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| New to this Edition | |
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| Intro | |
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| Copywriting Dimensions | |
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| The Copywriting Marketplace | |
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| Freelance | |
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| Advertising Agency | |
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| Corporate In-House | |
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| Government/Institutional In-House | |
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| Outlet-Based | |
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| Other Employment Options | |
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| Continuity-The Copywriter's Main Product | |
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| Portfolio Creation | |
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| Copywriting and the Communication Process | |
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| Communication Fundamentals | |
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| The Electronic Media Communication Process | |
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| Tools of Our Trade | |
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| Print Punctuation Versus Audio/Video Punctuation | |
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| Tools to Read/Consult | |
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| Tools to Pound on, Write with, Write on | |
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| Time-The Tool That Rules | |
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| Tooling Up | |
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| Rational and Emotional Attractions | |
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| Rational Attractions | |
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| Emotional Attractions | |
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| A Plan for Rational/Emotional Proportioning | |
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| An Attractions Addendum | |
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| Making Sense of Our Audience | |
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| Audiences and Attitudes | |
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| Progressive Motivation | |
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| Psychographics | |
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| Account Planning and Message Engagement | |
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| An Audience Sense Summation | |
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| CDVP Factors | |
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| Creation | |
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| Definition | |
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| Validation | |
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| Prohibition (Regulatory) | |
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| Prohibition (Stylistic) | |
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| A CDVP Reassurance | |
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| Audio Copywriting | |
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| Key Elements of Audio Writing | |
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| Standard Audio Format | |
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| Audio Productional Terminology | |
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| Using Sound Effects | |
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| Using Music | |
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| Using Silence | |
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| The Audio Copywriter as Poet | |
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| Poetic Packaging | |
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| Other Techniques for the Audio Poet | |
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| Audio's Essence | |
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| Audio Commercials | |
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| Commercial Data Block | |
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| Generic Classification of Audio Commercials | |
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| Putting 'Punch' in the Audio Spot | |
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| The Ten Audio Commandments | |
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| An Audio Assurance | |
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| Additional Audio Endeavors | |
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| In-House Data Block | |
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| IDs and Transitions | |
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| Program Promos | |
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| Outlet Promos | |
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| Enhancers and Features | |
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| On-/Off-Air Listener Participations | |
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| Interviews and Semiscripts | |
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| Special Commercial Challenges | |
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| Video Copywriting | |
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| Key Elements of Video Writing | |
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| Video Conceptual Vehicles | |
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| A Bubble About Animation | |
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| Basic Video Production Methods | |
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| Video Productional Terminology | |
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| The Audio-Video Coalition | |
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| Casting and Voiceover Considerations | |
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| The Business of Television Commercials | |
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| TV Commercial Data Block | |
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| Show It, Use It-The D.D.Q. | |
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| Getting Recognized and Remembered | |
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| Video DR, Infomercials, and Co-op | |
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| Retail and Business-to-Business Pitches | |
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| The Storyboard Presentation | |
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| Avoiding the Storyboard | |
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| Additional Video and Broadband Endeavors | |
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| In-House Data Block | |
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| Outlet IDs and Promos | |
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| Television Program Promos on Radio | |
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| Television Program Promos on Video | |
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| End-Credit Voicers, Snypes and Trailers | |
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| Interviews and Semiscripts | |
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| Specialized Venues | |
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| Online and Mobile Applications | |
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| The Joy of Visual Selling | |
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| Campaign Copywriting | |
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| Public Service Assignments | |
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| The PSA Defined | |
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| The Three Hallmarks of Successful PSAs | |
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| Building on Audience Wants | |
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| PSA Format Conventions | |
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| PSA Data Blocks | |
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| Ten Public Service Postulates | |
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| A Sample Campaign | |
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| What's in It for the Copywriter | |
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| Pitching for 'The Publics' | |
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| Electronic Media Campaign Construction | |
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| Isolating Brand Character | |
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| Concept Engineering-Fashioning the Campaign Proposal | |
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| Proposal-Related Activities and Implements | |
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| Four Case Studies | |
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| The Campaign Dynamic | |
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| Outro | |
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| Endnotes | |
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| Index | |