Breakthrough Copywriter 2.0

突破文案 2.0

An Advertising Field Guide to

广告领域指南

Eugene M. Schwartz' Classic

尤金·M·施瓦茨的经典

Edited by Dr. Robert C. Worstell

由罗伯特·C·沃斯特尔博士编辑

Copyright © 2014, 2020 Midwest Journal Press.

版权所有 © 2014, 2020 中西部期刊出版社。

All Rights Reserved

保留所有权利

To all our many devoted and loyal fans: 

致我们众多忠诚的粉丝：

We research, write, and publish these books only for you.

我们研究、撰写并出版这些书籍，只为您一人。

(Be sure to get your bonuses at the end of the story...)

（别忘了在故事末尾领取您的奖励……）

Preface

前言

A PUBLIC MEETING ABOUT Disasters brought this book to life.

一场关于灾难的公共会议让这本书得以问世。

This meeting was simply to help people get organized so they could help each other when the worst happened. Saving lives, property, everything of real value. So human life could get going again after Nature got through with its extreme weather.

这次会议的目的是帮助人们组织起来，以便在最坏的情况下互相帮助。拯救生命、财产，一切真正有价值的东西。这样，在自然经历极端天气之后，人类生活才能重新开始。

What the person was talking about had solutions to anyone who was caught in a real emergency situation could use – with only your neighbors and your own two hands to do something about anything.

这个人谈论的内容为任何陷入真实紧急情况的人提供了解决方案——只需要你的邻居和你自己的双手就能应对任何事情。

It's the first 60 minutes where you can save lives around you – your own, your family, any neighbors you can reach.

这是你可以拯救周围生命的第一 60 分钟——你自己的、你家人的、任何你能到达的邻居。

What makes a “disaster” is any time the local and higher levels of government get too busy to answer everyone's personal emergencies. People need to personally act at those times, and they need to know what to do – before that next disaster happens.

“灾难”之所以成为灾难，是因为当地和更高层级的政府忙得无暇应对每个人的个人紧急情况。人们需要在这些时候亲自行动，并且需要知道该怎么做——在下次灾难发生之前。

And the worst part of any disaster happens when people don't know what to do. That's when most deaths can be prevented.

任何灾难中最糟糕的部分是当人们不知道该做什么。那就是大多数死亡可以避免的时候。

The biggest problem at that meeting was their paltry turnout. Something like only around a dozen people attending for a small city of over 11,000 and a surrounding county containing at least as many more. Rural. But rural areas get hit more often than large cities – even though they are seldom covered in the press other than maybe a picture or a few lines of text.

那次会议最大的问题是参与人数寥寥无几。对于一个超过 11,000 人的小城市和周围至少有同样多人口的县来说，只有大约十二人参加。农村地区。但农村地区比大城市更容易受到袭击——尽管它们很少在新闻中报道，可能只有一张照片或几行文字。

It doesn't mean that the lives saved or lost are any less valuable.

这并不意味着挽救或失去的生命价值有任何不同。

In a disaster, you need at least one person well-trained in emergency procedures to save lives on every city block. That was the core message. One that only the dozen people attending actually heard.

在灾难中，每个街区至少需要一个人接受过紧急程序的培训，以挽救生命。这就是核心信息。但只有到场的十几个人真正听进去了。

The poor turnout was because this meeting wasn't effectively marketed – the needs and wants, the emotional connection – all missing. Even though this city sat near the U. S. “Tornado Alley” and had weathered two traffic-stopping blizzards and multiple ice-storms in the last 5 years, as well as a couple of bad droughts in summer that strained their water and electricity supplies..

参会人数少是因为这次会议没有进行有效的宣传——需求和愿望、情感联系，这些全都缺失了。尽管这座城市靠近美国的“龙卷风走廊”，在过去 5 年里经历了两次导致交通瘫痪的大雪和多次冰冻风暴，夏季还有几次糟糕的干旱，使他们的水和电力供应紧张。

The cheerful-but-boring presentation also tended to keep people from acting rather than inspire them. A Power-point with no emotional heart-tugging. Video's that didn't work – well, not on a screen you could see.

欢快但无聊的演示往往让人不愿采取行动，而不是激励他们。一个没有情感共鸣的 PowerPoint。视频也无法正常播放——嗯，至少在你看不到的屏幕上。

Vital information which actually saved lives had been communicated in such a fashion that only a few were interested in finding out about it or doing anything with it.

一些实际上挽救了生命的重要信息，却以这样一种方式传达，以至于只有少数人感兴趣去了解或采取行动。

And those few were lulled into complacency.

那些少数人被安逸所迷惑。

The moral:

启示：

Marketing (and copywriting) is a form of communication.

市场营销（以及文案写作）是一种沟通方式。

It sits at the point where emotion and logic meet to cause action.

它位于情感和逻辑交汇的点，以引发行动。

Poor or missing marketing results in inaction.

市场营销效果不佳或缺失在于不采取行动。

Marketing and copywriting isn't just another mind-control game to make money for shysters and scammers.

市场营销和文案写作不仅仅是让骗子和诈骗者赚钱的精神控制游戏。

It's your way to help people find services and products which can improve or even save lives. The more profit you make, the more people you can help. Sales income is a measurement of value you've delivered.

它是帮助人们找到能够改善甚至挽救生命的服务和产品的途径。你赚得越多，就能帮助更多的人。销售收入是你所提供价值的衡量标准。

- - - -

IT WAS A FIND OF ONE of Gary Halbert's old columns which led me to find this book and bring it to you.

我偶然发现了一篇盖瑞·哈伯特（Gary Halbert）的旧专栏，这让我找到了这本书并带给你。

As someone wise beyond his years, Halbert pointed out that humankind hasn't noticeably changed as to their reactions and motivations – it was the old classics, tested over years and modernly, which still give the core data you need to study.

作为一位年长而睿智的人，哈尔伯特指出，人类在反应和动机方面并没有发生显著的变化——那些经过多年考验并被现代验证的经典之作，仍然为你提供了研究所需的核心数据。

You have to study successful advertising and marketing to get your own marketing and advertising success. You don't need to invest a lifetime in discovering them for yourself, when other successful marketers have already done that discovery and written them up.

你必须研究成功的广告和营销，才能获得自己的营销和广告成功。你不需要花费一生的时间去自己发现它们，因为其他成功的营销者已经发现了这些，并将它们写成了文字。

“Breakthrough Advertising” was listed right up there with “Tested Advertising Methods” by John Caples, “How to Write a Good Advertisement” by Victor Schwab, and “Scientific Advertising” by Claude Hopkins.

《突破性广告》与约翰·卡普勒的《测试性广告方法》、维克多·施瓦布的《如何写一则好广告》以及克劳德·霍普金斯的《科学性广告》并列在一起。

At the end of that list, he said to burn anything else. Really. (And it wasn't his advice, but Hopkins'.)

在那列表的末尾，他说要烧毁任何其他东西。真的。（而且那不是他的建议，而是霍普金斯的。）

Because you only need the basics. You can work everything else from that.

因为你只需要基础。你可以从那开始做其他一切。

In my other studies of current “legendary” copywriters (and self-proclaimed experts) I've found that they are all standing on the shoulders of these giants – and every thing they say has already been said before. The newer books just have modern words, in the way we talk now. Marketing on the Internet still utilize the same precise principles as printed magazines and road-side billboards have since they were the latest craze.

在我研究其他当前“传奇”文案撰稿人（以及自封的专家）时，我发现他们都在这些巨人的肩膀上站立——他们所说的一切都已经被说过。新的书籍只是用了我们现在说话的方式的现代词汇。互联网上的营销仍然利用与印刷杂志和路边广告牌自它们成为最新潮流以来相同的精确原则。

(The worst among those modern “guru's” don't even credit those who've gone before – or put some other special “spin” on rules, laws, and principles these earlier authors found by intensive and lengthy testing. Then marketing becomes even harder to learn...)

（那些现代“大师”中最糟糕的甚至不承认之前的人——或者对早期作者通过密集和长时间的测试发现的规则、法律和原则添加一些特殊的“旋转”。然后营销变得更加难以学习...)

But even worse for Schwartz' masterwork, it's only available as an expensive hardback.

但对施瓦茨的杰作来说，更糟糕的是，它只以昂贵的精装书形式提供。

This is the reason I brought this guide to you in this form. His breakthroughs need to be available to copywriters everywhere.

我之所以以这种方式为您提供这本指南，是因为他的突破性成果需要让所有文案撰稿人都能获得。

This short review is simply an assist to your study of his original work. And for that, you'll need to get your own copy by buying used or visiting https://www.breakthroughadvertisingbook.com/

这篇简短的书评只是您研究他的原作的一个辅助。为此，您需要自己购买二手书或访问 https://www.breakthroughadvertisingbook.com/ 获取副本。

- - - -

THIS REVISED EDITION is to streamline the original research and organize it for improved flow after seven years of regular sales and use.

这本修订版是在七年常规销售和使用之后，为了简化原始研究并改进流程而编写的。

The other books Schwartz, Halbert, and others recommended are also being dusted off and updated as part of a complete series of study guides – even self-paced courses as well as both hardcopy and ebook versions of each.

施瓦茨、哈尔伯特和其他人推荐的书籍也将被重新翻阅和更新，作为一系列学习指南的一部分——甚至包括自学课程以及每种书的纸质版和电子书版本。

The point is to help others as I've been helped – and continue to pay it all forward.

重点是帮助他人，就像我曾得到帮助一样——并继续传递这份善意。

Good luck to all of us.

祝我们好运。

Dr. Robert C. Worstell

罗伯特·C·沃斯特尔博士

Dec 14, 2013 / Jan 4, 2020

2013 年 12 月 14 日 / 2020 年 1 月 4 日

Notes on Usage:

使用说明：

I'VE MADE MY OWN OUTLINE and notes in studying Schwartz' classic. I won't be necessarily separating his text from my own. I may or may not set off his text in quotes or with other emphasis. This is to make the book as readable and usable for you as possible.

我自己研究了施瓦茨的经典著作，并做了提纲和笔记。我不一定会将他的文字和我自己的文字分开。我可能会也可能不会用引号或其他强调方式来区分他的文字。这是为了让这本书对您来说尽可能易读和实用。

While Schwartz set these principles down, the ideas themselves are universal and may be discovered in other texts.

虽然施瓦茨提出了这些原则，但这些思想本身是普遍的，可以在其他文本中发现。

This is a review, not a book of excerpts. The reason is to bring these principles to life again, to make them available for your success.

这是一篇评论，而不是一本摘录集。原因是让这些原则再次生动起来，使它们能够为您的成功提供帮助。

This book doesn't follow Schwartz' original structure. It is a study aid. I've rearranged his concepts (slightly) in order to make more logical sense of them. This review is no substitute for thorough reading and studying his original book (see that link above and in the Bibliography).

这本书没有遵循施瓦茨的原始结构。它是一个学习辅助工具。我重新安排了他的概念（稍微），以便让它们更有逻辑性。这篇评论不能替代彻底阅读和研究他的原版书（请参阅上面的链接和参考书目）。

How to Study This Book

如何学习这本书

INSIDE ONE OF Gary Halbert's old newsletters (http://calm.li/HalbertHandsOnExp) was the secret to mastering effective breakthrough copywriting.

Gary Halbert 的一篇旧简报（http://calm.li/HalbertHandsOnExp）是掌握有效突破性文案创作的秘诀。

Schwartz' book is one of a series of classic books that keep showing up on Halbert's and every legendary copywriter's list of must-reads out there. But just reading them or having them on your shelf for reference won't enable you to internalize their breakthroughs for your own use.

Schwartz 的书是 Halbert 和每一位传奇文案作家必读系列经典书籍中不断出现的一本。但仅仅阅读它们或将它们放在书架上作为参考，并不能使你内化它们的突破性内容以供自己使用。

Right there in Halbert's article are the methods that continue to prove out – the simple three steps that have made and continue to make top-flight copywriters.

正在 Halbert 的文章中，这些方法继续得到证明——这些简单的三步，使顶尖文案作家成名并持续成名。

The reason for all this is, again, to transmute the data in this book you are reading, plus the other widely-recommended few, into a native facility. Skills you use instinctively, consistently, and habitually – from this moment until the end of time, if not longer.

所有这一切的原因，再次是为了将你正在阅读的这本书中的数据，以及其他广泛推荐的几本书，转化为一种本地设施。从现在开始，直到时间的尽头，甚至更久，你都将本能地、持续地、习惯性地使用这些技能。

Starting now.

从现在开始。

The proven steps to study internalize these are to follow Halbert's advice:

学习并内化这些内容的经过验证的步骤是遵循 Halbert 的建议：

1. Read the classics (see bibliography) once through, each.

1. 逐本阅读经典（见参考书目）。

*2. Schedule your day to start spending some time each day writing out the truly great ads long-hand – in your own handwriting. This will enable you to learn by doing, to absorb the text on a personal basis. (*Key – this is coming up repeatedly as the one step that separates the also-rans from the top-flight copywriters.) Use “The 100 Greatest Advertisements” by Julian Watkins to start with.

*2. 安排你的日程，每天都要花时间用长手写的方式写出真正伟大的广告——用你自己的笔迹。这将使你能够通过实践来学习，以个人化的方式吸收这些文字。（*关键——这一步反复出现，是区分普通文案高手和顶尖文案大师的关键。）从朱利安·沃特金斯（Julian Watkins）的《100 个最伟大的广告》开始。

3. Then go back and study these classics through once again – taking notes and dog-earing, tabbing, bookmarking, highlighting all the points you see as key. You'll see even more the third time and every subsequent time after that. Start re-reading all these at least once annually.

3. 然后回去再仔细研究这些经典作品一次——做笔记、折页、贴标签、加书签、突出显示你认为关键的所有要点。你会发现第三次阅读以及之后的每次阅读都会有更多收获。至少每年重新阅读这些经典作品一次。

Halbert included more added steps, but those three steps will put you right on the road to success. Unlimited success.

哈伯特还包括了更多额外的步骤，但这三个步骤将把你带向成功之路。无限的成功。

Good Luck.

祝你好运。

A Mini-Course in Breakthrough Advertising

一门突破性广告迷你课程

1– Why Only Analyzed Solutions Work

1- 为什么只有分析性解决方案有效

EUGENE SCHWARTZ LAYS out the premise and breakthrough of his classic “Breakthrough Advertising”within the few pages of its introduction:

尤金·施瓦茨在《突破性广告》的几页引言中阐述了其经典著作的假设和突破：

“I've written this book – not from the mail order perspective alone – but from the universal problem of all copy writing: How to write a headline – and an ad that follows it – that will open up an entirely new market for its product.

“我写这本书——不仅仅是从邮购的角度——而是从所有文案写作的普遍问题出发：如何写出一个标题——以及它所跟随的广告——为它的产品打开一个全新的市场。”

“An ad that will give a new product immediate profit; that will give an old product a brand-new slant; that will give a competitively-battered product a new weapon – not only to protect itself against its imitators but to actually damage or destroy the loyalty of their following.

“一则广告将使新产品立即获利；将使旧产品焕然一新；将使竞争激烈的产品获得新武器——不仅用来保护自己免受模仿者的侵害，而且实际上损害或摧毁他们追随者的忠诚。”

“These objectives cannot be achieved by following somebody else's formula – no matter how successful it was for them. they demand creativity they demand a brand-new headline; a brand new approach to the market: a literal advertising 'breakthrough.' Hence the title of this book.

“这些目标不能通过模仿别人的公式——无论它对他们多么成功。它们需要创造力，需要一个全新的标题；一个全新的市场方法：一个字面意义上的广告‘突破’。这就是本书的标题。”

“This, then, is a practical book – of practical rules that produce, and exploit, creativity – and that are meant to pay off on the very first ad.

“因此，这是一本实用的书——包含实用的规则，这些规则产生并利用创造力——并且旨在在第一则广告中就取得回报。”

“In copy writing there are the hopes and fears and desires of millions upon millions of men and women, all over the world. And the copy writer does not create the desire of millions of women all over America to lose weight; but he can channel that desire onto a particular product, and make its owner a millionaire.”

“在文案写作中，有数百万男男女女的希望、恐惧和愿望，遍布世界各地。而文案作者不能创造全美数百万妇女减肥的愿望；但他可以将这种愿望引导到某个特定的产品上，并使该产品的拥有者成为百万富翁。”

The key point Schwartz makes here is the same one which is driving Internet Marketing as a subject down into a very deep hole:

施瓦茨在这里强调的关键点，也是推动互联网营销这一主题陷入深坑的原因：

•  There are millions if not billions of variations of the basic human desires.

•  人类的基本欲望有数百万甚至数十亿种变化。

•  As forces of human nature, no two desires are exactly alike.

•  作为人类本性的一部分，没有两个欲望是完全相同的。

•  While it is simpler to think of these in terms of a few, realize that for every niche – no matter how small – these each have subtle variations which have to be discovered and channeled onto your product.

•  虽然从几个方面考虑这些欲望更简单，但要意识到，对于每一个细分市场——无论多么小——这些欲望都有微妙的变化，必须被发现并引导到你的产品上。

•  But only one specific mass desire can be channeled in any ad for a single product.

• 但任何单个产品的广告中只能引导一种特定的群体欲望。

Schwartz explains:

施瓦茨解释：

“And the same advertising appeal, that builds an industry in reducing (weight loss), collapses completely when applied to health foods, even though both advertisements may reach exactly the same audience.

“同样的广告诉求，在减肥行业中构建了一个产业，但在应用于健康食品时，即使两则广告可能正好触达完全相同的受众，它也会完全崩溃。

“Why? Because no formula works twice. Each and every formula is simply the written solution to a particular problem that occurred in the past. Change even one part of that problem, and you need an entirely different formula. That's why... rewriting somebody else's headlines won't make you a copy writer.

“为什么？因为没有任何公式可以重复使用。每个公式仅仅是过去某个特定问题的一个书面解决方案。改变这个问题的任何一部分，你都需要一个完全不同的公式。这就是为什么……照搬别人的标题不会让你成为一位文案作家。”

“What will work? Innovation, of course. Continuous, repeated innovation. A steady stream of new ideas – fresh new solutions to new problems. Created – not by the impossible route of memory – but by analysis.

“什么会起作用？当然是创新。持续不断的创新。源源不断的新想法——针对新问题的新解决方案。这些新想法——不是通过不可能的途径——而是通过分析产生的。

“And what is analysis? Analysis is the art of asking the right questions and letting the problem dictate the right answers. It is the technique of the break-through. And it can be learned – just as surely as grammar, mathematics or spelling.

“那么，什么是分析？分析就是提出正确问题的艺术，让问题自己给出正确的答案。它是突破的技术。而且，它是可以学习的——就像语法、数学或拼写一样确定。

“The first part of this book is about analysis, applied to the profession of copy writing. Its basic thesis is this:

“本书的第一部分是关于分析，应用于文案写作这个职业。它的基本论点是：

“Every new market – every new product – every new advertisement is a fresh new problem that never existed before on the face of this earth.

“每一个新市场——每一个新产品——每一则新广告都是地球上以前从未存在过的新问题。”

“Past advertising successes – no matter how brilliant – can provide no answers for this new problem. They can only furnish jump-off points, yardstick questions, approximate solutions to lead you into the right direction.

“过去的广告成功——无论多么出色——都无法为这个问题提供答案。它们只能作为起点、衡量标准问题、近似解决方案，引导你走向正确的方向。

“The correct solution, the right headline, the perfect ad lies buried in the problem itself. It has never been written before. It cannot be produced by rote, carbon-copying or mutations.

“正确的解决方案、合适的标题、完美的广告都隐藏在问题本身之中。它从未被写过。它不能通过生搬硬套或变异来产生。

“But it can be sprung to the surface – automatically – by asking the right questions.”

“但它可以通过提出正确的问题自动浮出水面。”

Most Internet Marketing simply tells you how to build a sales page by using “swipe files”. What they don't tell you is that these sales pages only ever really worked on a certain audience of customers for one specific product. Borrowing them for another product, especially in a different niche, just makes them less and less effective with every re-use.

大多数互联网营销只是告诉你如何通过使用“模板文件”来构建销售页面。他们没有告诉你的是，这些销售页面只对特定产品的特定客户群体真正有效。将它们借用于其他产品，尤其是在不同的细分市场中，每次使用都会使其效果越来越差。

According to Schwartz, they only ever really worked effectively just once.

根据施瓦茨的说法，他们只真正有效地工作过一次。

He lays out the three levels of creative copywriting:

他阐述了创意文案的三个层次：

Word Substitution – most widespread and ineffective. Taking a list of successful headlines, you then change a word or two and hope for the best. They aren't tailor-made to the current market demands. Those headlines only remind you of another product that went before.

单词替换——最普遍且最无效。拿一份成功的标题列表，然后改变一两个词，希望最好。它们不是根据当前市场需求量身定制的。这些标题只会让你想起之前的一个产品。

Formulas – the copywriter memorizes a series of principles and pours his product headline and body copy through these. These rules say how a headline is expressed, how the copy must flow. What they don't tell you is what to do for that particular desire or that particular product for that particular audience.

公式——文案撰稿人记住一系列原则，并将他们的产品标题和正文通过这些原则。这些规则说明了标题如何表达，文案如何流动。但它们没有告诉你如何为特定的需求、特定的产品或特定的受众做特定的事情。

Analysis - this implies that there is only a single solution to every product, every ad. It means hard work of studying your product and your market and your prospects – each and every time you get an assignment. It is not easy. It is not fast. But it works as well as you invest yourself into that solution.

分析 - 这意味着每个产品、每个广告都只有一个解决方案。它意味着要刻苦研究你的产品、你的市场和你的潜在客户——每次你接到任务时。这不是一件容易的事。这不是一件快事。但只要你投入自己到那个解决方案中，它就会像你投资一样有效。

Remember: When all you have is a single hammer, every problem is a nail needing your one solution. “Breakthrough Advertising” gives you a complete toolbox of tools.

记住：当你只有一把锤子时，每个问题都是一个需要你一个解决方案的钉子。“突破性广告”给你一个完整的工具箱。

Why do you need more than a single formula? People are wising up as they read or watch or listen to more and more ads. It's become the buyer's market, not the seller's. One explanation of this likens these two styles as the difference between a harpoon or a net.

你为什么需要一个以上的公式？随着人们越来越多地阅读、观看或收听广告，他们变得越来越聪明。这已成为买方市场，而不是卖方市场。对这种现象的一种解释是将这两种风格比作鱼叉和网的区别。

“One school hammers the reader with red headlines, yellow highlighting, and aggressive copy that grips the reader like a terrier shaking a squirrel.

“一种方法是使用红色标题、黄色突出显示和侵略性文案，让读者像一只摇松松鼠的土狗一样紧抓不放。

“The other school develops a compelling personal voice, nurtures a relationship with the reader, and uses soft-sell techniques to nudge the reader down the path to purchase.”

“另一所学校发展引人入胜的个人风格，培养与读者的关系，并使用软性推销技巧引导读者走向购买之路。”

Schwartz' use of analysis says you could actually use either style, but the key point is to do your research to begin with – and find what your customer actually wants. You will be finding the key desire and then honing your copy to encourage and promote your product or service as the solution to that desire.

“Schwartz 的分析使用表明，实际上你可以使用任何一种风格，但关键点是在开始之前进行你的研究——找到你的客户真正想要什么。你将找到关键欲望，然后磨练你的文案，鼓励和推广你的产品或服务作为解决该欲望的方案。”

In addition to writing style differences, in our own Internet age, the time it takes a reader to reject your copy is extremely short now. This has been attributed (falsely) to a “shortening attention span”. Recall the datum that humankind has hardly changed at all in the last 10,000 years. The fast rejection rate is actually because we are deluged with ads, tempted and stung by scams, and swamped with images and demands for our time and money. The reader is being educated every time they open a magazine, browse the Internet, wait through trailers for the movie or podcast to start. People now can spot advertising bunk within split-seconds. Markets and buyers have matured and become more sophisticated.

“除了写作风格的差异外，在我们自己的互联网时代，读者拒绝你的文案所需的时间现在极其短暂。这被归因于（错误地）“注意力持续时间缩短”。回想一下数据，人类在过去 10,000 年中几乎没有什么变化。快速拒绝率实际上是因为我们被广告淹没，被诈骗诱惑和刺痛，被图像和信息淹没，要求我们的时间和金钱。读者每次打开杂志、浏览互联网、等待电影或播客开始时，都在接受教育。现在人们可以在几秒钟内识别出广告的虚假内容。市场和买家已经成熟，变得更加复杂。”

Dissatisfaction with all this constant bombardment of ads has developed a new market demand for “minimalism”, “tiny homes”, and deliberate living. In short – accepting few, if any buying opportunities.

对所有这些持续的广告轰炸的不满，催生了对“极简主义”、“微缩住宅”和刻意生活的市场需求。简而言之——接受很少，甚至不进行任何购买机会。

This new normal of ad-blocking doesn't close doors, but rather opens them wide with opportunities to get our product or service known and acquired by our targeted clients. The mass desire to find more happiness in life, to get more of what you and everyone wants individually, this desire has only been sharpened by the huge amount of poor ads out there. People still want to improve their lives. They still want advice on where to find products that will do that.

这种新的广告拦截常态并没有关闭大门，而是为我们产品或服务被目标客户所认识和获取打开了更广阔的机会。大众在生活中寻找更多幸福、获得更多个人所希望的，这种愿望由于大量糟糕的广告而变得更加强烈。人们仍然希望改善他们的生活。他们仍然需要关于在哪里找到能改善生活的产品的建议。

The huge slog of poor ads out there just means we have to create even more precise marketing, but reject anywhere we've been told there is only one formula to do this. Now we can use Schwartz' book (and the guide you are reading) to break this logjam. We can find our success in spite of the poor examples and bad advice we have already swallowed that explain “modern” or “Internet Age” copywriting and marketing.

现实中大量糟糕的广告意味着我们必须创造更精确的营销，但拒绝任何被告知只有一个公式来做到这一点。现在我们可以利用施瓦茨的书（以及您正在阅读的指南）来打破这个僵局。我们可以尽管已经吞下了那些解释“现代”或“互联网时代”文案写作和营销的糟糕例子和坏建议，找到我们的成功。

Using this guide to study Schwartz' original masterwork, can bring us to the point of doing what marketing and copywriting is supposed to provide as a service:

使用这份指南来研究施瓦茨的原始杰作，可以带我们达到营销和文案写作本应提供的服务点：

...to find and promote the highest possible quality services and products to people – so they can buy and use them to improve their lives and become/achieve everything they want.

...找到并推广最高质量的服务和产品给人们——这样他们就可以购买和使用它们来改善他们的生活，并实现/达成他们想要的一切。

The surprising result is that you will be able to dissect any ad in split-seconds – not just rejecting it outright, but studying each one in terms of what is its mass desire, what are the claims, what are the mechanisms it's describing, how it persuades (or fails) to get the viewer/listener to act, and how it could be improved.

令人惊讶的结果是，你将能够在几秒钟内剖析任何广告——不仅直接拒绝它，而且从每个广告的角度研究它，了解它的群体欲望是什么，它的主张是什么，它描述的机制是什么，它如何说服（或未能）让观看者/听众采取行动，以及它如何可以改进。

Moral:

道理是：

Analysis is the key - copywriting is not just using a hack “formula” that everyone else uses. Every product pitch requires a breakthrough of its own.

分析是关键——文案写作并非只是使用每个人都在用的“公式”。每个产品推广都需要自己的突破。

2 – How to Avoid Advertising and Marketing Failures

2——如何避免广告和营销失败

AD-BLOCKERS. WHY DO people use them? I do. So I had to ask myself that question.

广告拦截器。人们为什么使用它们？我也用。所以我不得不问自己这个问题。

Answer: I don't like being interrupted by nonsense.

答案：我不喜欢被无聊的事情打断。

Every day, I set goals for myself, jobs to do, things to get done. But when I get a telemarketer calling, or pop-up ad on my screen, they interrupt my work-process.

每天我为自己设定目标，要完成的工作，要办的事情。但是当有推销员打电话，或者屏幕上出现弹出广告时，他们会打断我的工作流程。

So I block them. If someone calls me that's not on my contact list, then they get blocked. (And my phone is on vibrate only and not nearby. If the call is important, I'll return it – when I'm not working.)

所以我屏蔽他们。如果有人给我打电话但不在我的联系人列表里，他们就会被屏蔽。（而且我的手机一直震动，并且不在附近。如果电话很重要，我会回过去——在我没在工作的时候。）

You and I don't need distractions. Life is short enough already.

你和我都不需要干扰。生活已经够短暂了。

On the other hand, when does marketing and advertising work? When you are already looking for something like they're presenting.

另一方面，营销和广告什么时候起作用呢？当你已经正在寻找他们所展示的东西的时候。

Is it that simple?

是那么简单吗？

Yes.

是的。

Schwartz says that good advertising is based on Mass Desires. He defines those as the “mass spread of a private want”. Meaning – there is something I want out there and someone has produced a product that will help me become or attain that want I need filled.

施瓦茨说，好的广告是基于大众欲望。他将这些定义为“私人欲望的大众传播”。意思是——我想要某样东西，而有人生产了一种产品来帮助我实现或满足我需要的欲望。

The problem with most advertising is that it's really schlock. (You can fill in any other word you want there.)

大多数广告的问题在于它真的很糟糕。（你可以用任何其他你想用的词来填补那里。）

Why don't I visit Facebook or Amazon or even the Google search engine to get my work done? They are rife with useless ads that don't give me products I need or want. They are ad-sponsored. So they plug ads in everywhere they can. And the vast majority of those ads are crud. (Sure I use search engines – just not those with ads, or who steal my personal usage data.)

为什么我不去 Facebook、亚马逊，甚至谷歌搜索引擎上完成我的工作呢？它们充斥着无用的广告，这些广告并没有给我带来我需要或想要的产品。它们是广告赞助的。所以它们可以在任何地方插上广告。而且绝大多数这些广告都是垃圾。（当然我使用搜索引擎——只是不使用那些带有广告的，或者窃取我的个人使用数据的。）

Most advertising is “schlock” because copywriters, advertising managers, and even CEO's won't look up and study the classic books on copywriting and advertising.

大多数广告是“垃圾”，因为文案撰稿人、广告经理，甚至 CEO 们都不会去查找和学习关于文案撰稿和广告的经典书籍。

One of these ignored classics is “Breakthrough Advertising”. (And there is a list in the back of this to help you find the most recommended other classics.)

其中一本被忽视的经典是《突破性广告》（而且这本书的后面还有一份清单，可以帮助你找到其他最推荐的经典书籍。）

These core data have been known since ads were first invented (some were even found posted on newly-excavated walls of Pompeii...)

这些核心数据自从广告被发明以来就已经为人所知了（有些甚至是在庞贝城新发掘的墙壁上发现的……）

A department store tycoon at the turn of the last century, John Wanamaker, is also famous for his complaint about advertising: “Half the money I spend on advertising is wasted; the trouble is I don't know which half”.

20 世纪初的一位百货公司大亨约翰·万马克，也因他对广告的抱怨而闻名：“我花在广告上的钱有一半是浪费的；麻烦的是我不知道是哪一半。”

By the quality of advertising today, anyone can estimate that it's far more than half-wasted these days. The vast bulk of ads out there are wasted marketing dollars.

从当今广告的质量来看，任何人都可以估计如今浪费的广告费用远不止一半。如今绝大多数广告都是浪费的营销资金。

You need only go to the massive ad buys for the Super Bowl to see the gargantuan waste of advertising money that can't accurately be measured for any actual return on investment (ROI).

你只需看看超级碗的巨额广告投入，就能看到广告资金巨大浪费，而这种浪费无法准确衡量任何实际的投资回报率（ROI）。

Instead, you'll see excuses being offered as “brand awareness” and “corporate goodwill”. Advertising awards are now based on how entertaining any ad is, without regard to how effective they were in sales.

相反，你会看到人们以“品牌知名度”和“企业好感度”为借口。如今广告奖项的评判标准是基于广告有多有趣，而不考虑它们在销售方面的有效性。

Ads should be designed as “salesmanship in print” (or video, or audio) – and so an ad is only as effective as it sells. That's the only viable metric – did sales increase?

广告应该被设计成“印刷中的推销”（或视频、或音频）——因此广告的效果只与其销售能力一样。这是唯一可行的指标——销量是否增加了？

And that's the reason I made this review and field guide. Because the most-effective advertising how-to books have already been out there for decades and, in some cases, over a century. They are commonly ignored as “old-fashioned” now – yet humanity hasn't really changed in our 10,000-year history and before. The core tenets of salesmanship haven't changed because people haven't changed. The best marketers of the ages deserve your study.

这就是我制作这个评论和现场指南的原因。因为最有效的广告指南书籍已经在那里存在了几十年，有些甚至超过了一个世纪。它们现在通常被忽视为“过时的”，然而在人类一万年的历史以及之前，我们并没有真正改变。销售的核心原则没有改变，因为人们没有改变。各个时代的最佳营销者值得你研究。

Schwartz' classic has been available over half a century now by itself. But no one else has come close to understanding his breadth of proved knowledge about this subject.

Schwartz 的经典作品现在单独存在了半个多世纪。但没有人接近理解他对这个主题的证明知识的广度。

And, like the other classic books, you can find these principles scattered through various other marketing books. The classic books are repeatedly recommended by other marketers because they worked for them. Reinventing the wheel when you have several perfectly good ones sitting in your library, is a waste of your life-time.

并且，像其他经典书籍一样，你可以在各种其他营销书籍中找到这些原则。经典书籍被其他营销者反复推荐，因为它们对他们有效。在你图书馆里有几个完美的轮子时，重新发明轮子是一种浪费你的一生。

How to Quit Wasting Advertising and Marketing Dollars

如何停止浪费广告和营销资金

DON'T BE LIKE WANAMAKER. Make all your ads pay for themselves. How? Simple: study the classics. Over and over and over. Again, there's maybe a dozen books that lay out all you need to know. The rest is studying the markets you are trying to reach.

不要像万马克那样。让你的所有广告都自给自足。怎么做？很简单：反复研究经典案例。也许有一打书可以告诉你所有你需要知道的东西。其余的就是研究你试图触及的市场。

And for copywriters, there's a small set of long-lasting ads that ran for decades with minor changes. There are many like this. The reason these ads ran that long was simple – they kept getting sales.

对于文案撰稿人来说，有一小部分广告可以持续几十年，只有微小的改动。有很多这样的广告。这些广告能持续那么长时间的原因很简单——它们持续带来销售。

Once you internalize those, and also understand how they work – then you can duplicate their success. Routinely.

一旦你内化了这些，并且理解了它们是如何运作的——然后你就可以复制它们的成功。常规地。

Sure, there will always be books that explain the technical details of how to use the latest new platform to run your ads. How many characters they allow you, how to decide on your ad spend, etc. Those books are describing the temporary changes, which books will be out of date or needing updating next year. The true classics tell you the constant principles that are timeless.

当然，总会有书籍解释如何使用最新的新平台来投放广告的技术细节。它们允许多少字符，如何决定广告预算等等。这些书籍描述的是暂时的变化，明年这些书籍就会过时或需要更新。真正的经典则告诉你那些永恒的原则，这些原则是经久不衰的。

There are no valid reasons that you can't create your own successful ads that run for months, years, or even decades to promote a given product. You can do this provided that mass desire is still in vogue – and you follow Schwartz' advices to keep your ad effective as that market and your prospects mature in awareness and sophistication.

没有正当的理由说你不能创建自己成功的广告，这些广告可以运行数月、数年甚至数十年来推广某个产品。只要你仍然遵循施瓦茨的建议，保持广告的有效性，并且随着市场和你的潜在客户在意识和成熟度上的发展，你就可以做到这一点。

Even 50 years after Schwartz wrote his masterwork, these principles it contains are still broadly unknown. While the copywriters, marketers, and execs who know these basics can rake in thousands of sales income for every dollar of advertising budget they spend. This book has made millionaires out of people who never even write copy.

即使在施瓦茨写出他的传世之作 50 年后，书中包含的原则仍然被广泛忽视。而那些知道这些基础知识的花花公子、营销人员和高管，每花一美元的广告预算就能赚取数千美元的销售额。这本书让那些甚至不写广告文案的人变成了百万富翁。

Because they now know after reading his book

因为他们在阅读了他的书之后现在知道了

•  how to find a market for their product,

• 如何为他们的产品找到市场，

•  how to determine the awareness and sophistication of that market, and

• 如何确定该市场的认知度和成熟度，

•  how to tailor their product to it with a good ad – or hire copywriters that can.

• 如何用一则好广告来调整他们的产品——或者雇佣能够胜任的文案撰稿人。

This field guide doesn't replace getting your own copy of Schwartz' book and completely dissecting it. (I'd recommend to go the extra expense of making photocopies of those printed pages and assembled into a loose-leaf binder of letter-sized pages so you can underline, highlight, tab, and dog-ear those print-outs all you want. And save your hardback edition for reference and display.)

这本指南并不能替代你亲自获取施瓦茨的书并彻底剖析它。（我建议你额外花点钱把那些印刷页复印下来，装订成活页夹，用 A4 大小的纸，这样你可以随心所欲地划线、高亮、贴标签和折角那些打印出来的材料。把你的精装版书留作参考和展示。）

Because Schwartz isn't a one-time read-and-absorb book. He will mention the use of a single principle as a solution for a particular problem early on, and then describe how that principle works several dozen pages later in a different scenario.

因为施瓦茨不是一本读一次就能完全吸收的书。他会在一开始提到一个单一原则作为解决某个特定问题的方案，然后在几十页后的不同场景中描述这个原则是如何运作的。

The point is to recognize the basic principles for themselves, then the various patterns which are built from combinations of these principles will be more effective for you. And more profitable.

关键在于要自己认识到基本原理，然后由这些原理组合而成的各种模式将对你更加有效。而且更有利可图。

Again, like the rest of these classics, you'll want to absorb them and then re-study them at least once every year to glean even more, leveraging your more-recent experiences. Every time you start a new calendar or day-planner – mark out a point where you should start restudying for that year.

同样，像这些经典著作一样，你想要吸收它们，然后每年至少重新学习一次，以获得更多，利用你更近期的经验。每当你开始一个新的日历或日程规划器时——标记一个点，你可以在那一年开始重新学习。

This is true for marketing executives, or even one-man-show's with their own home business. Marketing is the core of success in any of life's endeavors.

这对于营销高管来说是真的，甚至对于自己在家创业的独当一面的人来说也是真的。营销是生活中任何事业成功的核心。

Learning marketing basics is then the core training for success in life.

学习营销基础知识是人生成功的关键培训。

And to become a success, you need to study the truly successful.

而要取得成功，你需要研究真正成功的人。

- - - -

MASTERING SUCCESS AT marketing requires studying, understanding, and solving the impossible mysteries of any product's copywriting...

掌握营销成功需要研究、理解并解决任何产品文案中不可能的谜团...

3 - Solving Impossible Copywriting Mysteries

3 - 解决不可能的文案谜团

ANYONE CAN USE CHEAP knock-off, copy-cat headline. The top pro's use only one universal solvent for and and every copywriting puzzle.

任何人都可以使用廉价的仿冒品、模仿者的标题。顶尖的专业人士只使用一种通用的溶剂来解决所有的文案难题。

Eugene Schwartz laid out that solution, starting in his “Breakthrough Advertising” Introduction with the following points:

尤金·施瓦茨提出了这个解决方案，从他的《突破性广告》引言中开始，提出了以下几点：

•  Every new market – every new product – every new advertisement is a fresh new problem that never existed before on the face of this earth.

• 每一个新市场——每一个新产品——每一个新的广告都是一个地球上从未存在过的新问题。

•  The correct solution, the right headline, the perfect ad – all lie buried in the problem itself.

• 正确的解决方案、合适的标题、完美的广告——所有这些都隐藏在问题本身之中。

•  But that solution can be sprung to the surface by asking the right questions.

• 但通过提出正确的问题，这个解决方案可以被挖掘出来。

•  That solution comprises the first part of your ad – its headline.

• 这个解决方案构成了你广告的第一部分——它的标题。

•  The remainder of that ad is presented in the body copy, and is built out of your research notes from finding that solution.

• 广告的其余部分以正文形式呈现，并基于你找到解决方案时的研究笔记构建。

•  One cannot do its work without the other. Both are vital.

• 没有另一个就无法完成它的工作。两者都至关重要。

Schwartz' book lays out his general prescription for asking and resolving these copywriting problems.

施瓦茨的这本书概述了他解决这些文案问题的总体方案。

And despite how great that book is, it's just the tip of the iceberg.

尽管这本书非常出色，但它只是冰山一角。

So this field guide.

所以这本领域指南。

The mastery of Schwartz' materials lies in understanding them thoroughly.

施瓦茨材料的掌握在于彻底理解它们。

Because no one else in all of advertising has covered even half of his materials.

因为在所有广告中，没有人覆盖过他材料的一半。

The underlying trick is in knowing what the “right questions” are.

关键在于知道“正确的问题”是什么。

Schwartz' material is dense. And the “great” copywriters have spent a lifetime of trial-and-error to discover a version of them on their own.

Schwartz 的材料很密集。“伟大的”文案作家花了一辈子的时间和错误来发现他们自己的版本。

That trick is within the goal of the the copywriter, where they only work to “take the hopes, dreams, fears and desires that already exist in the hearts of millions of people, and focus those already existing desires onto a particular product.”

这个技巧在于文案的目标，他们只工作来“把成千上万人的希望、梦想、恐惧和欲望已经存在于他们心中，并将这些已经存在的欲望集中在某个特定的产品上。”

First Action – Selecting A Mass Desire

首要行动——选择大众欲望

WHAT IS A MASS DESIRE? It is the public spread of a private want.

什么是大众欲望？它是私人欲望的公开传播。

The effectiveness of any ad copy doesn't come from the words used – it comes from the single mass desire that is attached and honed to a thirsty demand through the headline and copy of that ad.

任何广告文案的有效性并不来自所使用的词语，而是来自通过广告的标题和文案所附加和磨砺的单一大众欲望，将其转化为一种渴望的需求。

Where this becomes interesting and profitable to marketers and copywriters is the point where a significant number of people share a private desire – significant enough numbers to pay for development, promotion, and distribution of a product which fulfills that desire. That is when a market is born.

对营销人员和文案撰稿人来说，这变得有趣和有利可图的地方在于，当大量的人分享一个私人欲望时——数量足够多，以至于可以支付满足这种欲望的产品开发、推广和分销费用。这就是一个市场的诞生。

Again, separate the market from the marketplace – like the ancient bazaars and their modern equivalent. Every individual has private wants. When these coalesce into a common, public spread – only then we have a mass desire.

再次，将市场与市场区分开来——就像古老的集市及其现代对应物。每个人都拥有私人需求。当这些需求汇聚成公共传播的共性时——只有那时我们才拥有大众欲望。

Since mass desires are shared by thousands to millions to tens of millions of people, they can take years to develop. Those desires are created by social, economic, and technological forces. Promoting and marketing can then tap and amplify every dollar spent into fifty or even five thousand.

由于大众欲望被成千上万乃至数百万至数千万的人所共享，它们可能需要数年才能形成。这些欲望是由社会、经济和技术力量创造的。推广和营销可以然后利用并放大每花一美元所获得的效果，甚至达到五千倍。

Of course, that Amplification Effect can only take place when advertising exploits an already-existing mass desire.

当然，这种放大效应只有在广告利用了已经存在的大众欲望时才能发生。

What Creates Any Mass Desire?

什么创造了任何大众欲望？

SCHWARTZ NARROWED THEIR creation to two forces: Permanent forces and forces of Change.

施瓦茨将他们的创造缩小为两个力量：永久力量和变革力量。

Permanent Forces are derived from

永久力量源于

a) Mass Instinct – like health, attractiveness, virility. These desires are timeless, built-in to the human experience. The only changes you notice are in the various products made available and how they are tuned-in to those desires.

a) 大众本能——如健康、吸引力、活力。这些欲望是永恒的，根植于人类经验之中。你所注意到的唯一变化是各种产品的提供以及它们如何与这些欲望相契合。

b) a Mass Technological Problem, which is resolution to the new problems that our evolving technologies work to resolve. People can have various gizmo's and machines and foods and medicines in their lives, each by their own choice, in order to make their lives longer or easier.

b) 一个大众技术问题，这是我们的不断发展的技术所致力于解决的新问题的解决方案。人们可以在生活中拥有各种小工具、机器、食物和药物，并根据自己的选择来延长或简化他们的生活。

These two forces are ever-present, and as old as the history of our species.

这两种力量始终存在，并且与人类历史一样古老。

Forces of Change – essentially “Styles”.

变革的力量——本质上就是“风格”。

a) These are Trends that start up, increase, stabilize, and gradually decline or restart. These are mercurial and have to be tracked with regular attention and study.

a) 这些是开始、增长、稳定并逐渐衰退或重新开始的趋势。它们变化无常，需要定期关注和研究。

b) They are reinforced by Mass Education – schools, movies, radio, TV, and also the mass volumes and quality of advertising itself. Education is composed of forces that are beyond any available advertising budget to create on its own. Again, advertising can only effectively tap into already existing specific desires.

b) 它们通过大众教育——学校、电影、广播、电视以及广告本身的巨大数量和质量得到加强。教育由广告预算无法独自创造的力组成。再次，广告只能有效利用已经存在的特定欲望。

Those two forces are named or implied in the headline. Then the body copy narrows and tunes the approach.

这两种力量在标题中被命名或暗示。然后正文文案缩小并调整方法。

To tap into mass desires, to make the most effective headlines and body copy, you have to analyze the specific product you are offering and discover its claims.

要利用大众欲望，制作最有效的标题和正文文案，你必须分析你所提供的产品，并发现其主张。

Three Dimensions of Any Mass Desire's Power

任何大众欲望的三种维度

EVERY MASS DESIRE HAS three dimensions:

每个大众欲望都有三种维度：

Urgency, intensity, demand for satisfaction.

紧迫感，强度，对满足的需求。

Staying power, degree of repetition, inability to be satiated.

持久力，重复程度，无法满足。

Scope – the number of people who share this desire.

范围——共享这种欲望的人数。

While any product will have several desires that it can be attached to, only the dominant one will produce the largest possible return for the advertising dollar.

虽然任何产品都可以与多个欲望相关联，但只有占主导地位的欲望才能为广告投入带来最大的回报。

And while you might at first only want to target a small subset of the possible prospects for this product – a “splinter market” – the steps of researching your product to extract the claims and then selecting your mass desire are needed in every case.

而起初你可能只想针对这种产品的一个小部分潜在客户——一个“细分市场”，但在任何情况下，研究你的产品以提取主张，然后选择大众欲望的步骤都是必要的。

Second Action - Analyzing Your Product

第二步 - 分析你的产品

THE SECRETS TO SCHWARTZ' analysis process is found in his two (included) talk transcripts.

施瓦茨的分析过程在他的两个（包含的）谈话记录中可以找到。

1. Keep a regular monitor on all the popular media to be aware of mass desires. Tabloid magazines, movies, bestselling books. Media that people have to pay to acquire or view. What passes for “social media” may be too mercurial to analyze for profitable trends. Any of several online trend analysis tools may or may not be of long term use in helping you determine these – and are hard-pressed to determine profitability. The key here is to develop a greater personal understanding and an innate sense of what is driving our culture in that snapshot of time.

1. 定期关注所有流行媒体，了解大众欲望。小报、电影、畅销书。人们必须付费才能获得或观看的媒体。所谓的“社交媒体”可能太不稳定，无法分析盈利趋势。几种在线趋势分析工具可能或不可能长期帮助你确定这些——而且很难确定盈利能力。关键在于培养更深入的个人理解和内在感觉，了解在那一刻推动我们文化的东西。

2. Analyze the product itself and find its claims. If a book, you'll note the written claims made by the author. If it's a physical product, you have to find the claims by interviewing and studying everything about it, from its manufacturing process, packaging, and delivery methods. Note all of these down.

2. 分析产品本身，找出其宣称。如果是书籍，你要注意作者所写的宣称。如果是实体产品，你必须通过采访和研究其制造过程、包装和交付方式来找出宣称。将所有这些记录下来。

3. Study and research the claims to find the mechanisms. During your study of the product, you'll also find explanations of how things work. The product itself has two sets of attributes

3. 研究和调查宣称以找到其机制。在研究产品时，你还会找到其工作原理的解释。产品本身具有两套属性

a) the physical: what it actually looks like, how well it works and

a) 物理的：它实际看起来怎么样，工作效果如何

b) the functional: how it does what it does best to help the prospect attain that desire.

b) 功能的：它如何做到最好，帮助潜在客户实现那种愿望。

Both of these product attributes must be studied to find what can be used in your copy to heighten that desire for attainment to the prospect.

必须研究这两个产品属性，以找到可以在您的文案中用来增强对潜在客户获取欲望的内容。

Again, you select one mass desire, one key claim, one underlying mechanism and align these through your headline and copy. Once you have these aligned, you have your theme. And then can massage your headline and copy to align to that “sales pitch in print” that will attract and engage the prospect forward to purchase your product.

同样，您选择一个大众欲望、一个关键主张、一个潜在机制，并通过您的标题和文案进行对齐。一旦您对这些进行了对齐，您就得到了您的主题。然后可以调整您的标题和文案，以与这种“印刷中的销售陈述”保持一致，从而吸引并吸引潜在客户向前购买您的产品。

Keep track of all your research, since this will be needed as both your prospect and market each mature in awareness and sophistication.

记录所有您的研究，因为这将随着潜在客户和市场的成熟和 sophistication 而需要。

And once more – this short mention is only an aid to studying Schwartz' book. This is a field guide, not a replacement for his text.

再一次——这个简短提及只是为了研究 Schwartz 的书。这是一个指南，而不是他文本的替代品。

Then you'll be able to take a beer like Schlitz from fifth-selling to a first-place tie by describing its specific quality manufacturing process. Or like Rolls-Royce, where “the only sound you hear at 60 mph is the electric clock ticking”. Or a grammar course which pointedly asks “Do You Make These Mistakes in English?”

那么你将能够像施利茨啤酒一样，将其从第五名提升到并列第一，通过描述其特定的质量制造工艺。或者像劳斯莱斯，那里“在 60 英里时速下你能听到的唯一声音是电子钟的滴答声”。或者一个语法课程，巧妙地问道“你在英语中犯这些错误吗？”

The trick is to align the claim and its mechanism with the most appropriate and most powerful mass desires. Several of these might apply. Your job is to align your ad with the most powerful desire to get the best amplification results. Your work is to select the best claim and mechanism and amplify these through your copy's theme – to match the Desires, Identifications, and existing Beliefs of the Prospect.

关键在于将主张及其机制与最合适、最强大的大众愿望相匹配。其中可能有几个适用。你的工作是让你的广告与最强大的愿望相匹配，以获得最佳的放大效果。你的工作是选择最佳的主张和机制，并通过你文案的主题来放大这些内容——以匹配潜在客户的愿望、认同和现有信念。

Those three dimensions of thought and feeling are the next study...

这三个思想和情感的维度是下一个研究课题...

4 - The Heart of Copywriting

4 - 广告文案的核心

SCHWARTZ AND OTHER copywriters immersed themselves in our culture, recommending that you get subscriptions to the most popular magazines, and you buy and read the blockbuster books, and you see all the most popular movies several times.

施瓦茨和其他文案撰稿人沉浸在我们的文化中，建议你订阅最受欢迎的杂志，购买并阅读畅销书，多次观看最受欢迎的电影。

All to help you spot the mass desires where they occur. Where those migrated from a private want into a mass desire that drives the markets.

所有这些都是为了帮助你发现大众欲望的出现。在哪里那些从私人欲望转变为驱动市场的大众欲望。

The first half of Breakthrough Advertising is devoted to the headline. The second half is devoted to the rest of the copy. And a single chapter named “The Final Touches” (which should have been elevated to a Part on its own) is how to put everything together and make it work.

《突破性广告》的前半部分致力于标题，后半部分致力于其余的文案。并且有一个名为“最后的润色”的章节（这应该提升为一个单独的部分）是如何将所有东西组合在一起并使其发挥作用。

Right at the beginning of the second part is a list of key elements that enable copywriting to attract, grab, and hold onto the reader:

在第二部分的开始处有一个关键要素列表，这些要素使文案能够吸引、抓住并留住读者。

Three Dimensions of Thought and Feeling

思维与情感的三个维度

COPYWRITING AND ALL Marketing parallels the mind. Your mind, my own, everyone's. The successful ad reaches into and persuades the person based on what is already built into their mind – from their entire lifetime of influences and education – which may have even  started prenatally.

广告文案与所有营销都类似于人的思维。你的思维，我的思维，每个人的思维。成功的广告深入到人的内心，并基于他们已经建立起来的思维——这些思维可能从他们整个一生的影响和教育开始，甚至可能从胎儿时期就开始了——来进行说服。

Schwartz lays out the three key part of your prospects minds in Chapter 6 of his book. Then he follows up on these with a separate chapter for each.

施瓦茨在他的书的第 6 章中概述了你潜在客户思维中的三个关键部分。然后，他针对这些部分分别用单独的一章来进一步阐述。

Here's the overview:

以下是概述：

1. Desires

愿望

YOU ALREADY PICKED these out during your research to select your headline. Through the rest of the body copy, you'll need to build, expand, and sharpen them for your prospect. Again, you can't create these out of whole cloth. No person or company has the budget to re-educate the buying public – even in small splinter markets – to have a desire.

在你进行研究和选择标题的过程中，你已经挑选出了这些。在正文的其余部分，你需要为你的潜在客户建立、扩展和强化这些愿望。同样，你不能凭空创造这些。没有个人或公司有预算去重新教育购买公众——即使在小的细分市场中——去培养愿望。

Your only task with your ad is to find and expand your prospect's existing want, to sharpen their desire, to get them to picture their complete fulfillment of what they want.

你的广告的唯一任务就是找到并扩展潜在客户现有的愿望，强化他们的欲望，让他们想象他们想要的完整满足。

You want your prospects visualizing themselves as already having the physical need resolved, the material want acquired.

你希望你的潜在客户想象他们已经解决了身体需求，获得了物质愿望。

Every prospect has to feel the satisfaction, the relief, the pride of achieving or acquiring or attaining what it is that they most want in life.

每个潜在客户都必须感受到实现或获得或达到他们生活中最想要的东西所带来的满足感、解脱感和自豪感。

You need to inspire them to action by whetting their appetite to act from what they have always wanted.

你需要通过激发他们对他们一直想要的渴望来激励他们采取行动。

Chapter 7 of “Breakthrough Advertising” shows you 13 ways to strengthen their desires through your ad copy.

“突破性广告”的第七章向你展示了 13 种通过广告文案增强他们欲望的方法。

2. Identifications

2. 身份认同

AFTER THE SECOND WORLD War, a major shift evolved in advertising. While the obvious gratification from material goods was obvious, a more subtle set of desires came into play. Perhaps due to the sheer abundance of products available from the excess of manufacturing capacity as that war wound down. Once physical needs are routinely being fulfilled, a different desire drives buying.

二战后，广告领域发生了重大转变。虽然物质产品带来的直接满足感显而易见，但更微妙的一套欲望开始发挥作用。也许是由于战争接近尾声时制造业产能过剩导致的产品极大丰富。一旦生理需求得到常规满足，就会有不同的欲望驱动购买。

Schwartz tentatively named this new type of desire as the “Longing for Identification”.

施瓦茨将这种新的欲望试探性地命名为“身份认同的渴望”。

There are two types of Identification people seek. These are Character Roles. People no longer buy objects only for the material satisfaction, but also to define themselves to others around them. Your purchases tell your friends and associates who you are.

人们寻求的身份认同有两种类型。这些是角色定位。人们不再仅仅因为物质满足而购买物品，而是为了向周围的人定义自己。你的购买行为告诉你的朋友和同事你是谁。

a) Character Roles: In short, this is what people want to be. More often, they are never put into words fully. They are also trained into the subconscious. These are the realm of your prospect's fantasies. Often, they can only be described by adjectives and modifiers.

a) 角色定位：简而言之，这就是人们想要成为的样子。更常见的是，它们从未被完全用语言表达出来。它们也被训练成潜意识。这是你潜在客户幻想的领域。它们通常只能用形容词和修饰语来描述。

Marlboro cigarettes were sold in terms of virility. Virginia Slims displayed femininity. Study the difference between a Starbucks Latte, and a McDonald's McLatte. Often an ad will contain only visual images to reinforce this subtle role the prospect wants to perform in their life.

万宝路香烟以阳刚之气销售。万宝路丝苗香烟展示了女性气质。研究一下星巴克的拿铁和麦当劳的麦克拿铁之间的区别。通常广告只会包含视觉图像来强化潜在客户想在生活中扮演的微妙角色。

Your product isn't just filling a functional need, but identifies his character to everyone else. Why would one buy a tricked-out sport car based on acceleration and cornering when a small subcompact would get him safely and economically to work every day?

你的产品不仅仅满足功能需求，还向其他人展示了他的性格。为什么有人会基于加速和过弯性能购买改装过的跑车，而一辆小型掀背车每天可以安全经济地把他送到工作地点？

There are people who continually buy yet another expensive self-improvement course binder which only go onto their shelves, displayed prominently in their living room and seldom, if ever opened. Just as the 2008 recession was created by extending loans for a few thousand square-foot homes that could never be repaid. Or our our current trends for minimalism and tiny homes that are barely a hundred square feet of living space for a couple or small family.

有一些人不断地购买昂贵的自我提升课程资料，这些资料只会放在他们的书架上，在客厅里显眼地展示着，却很少，甚至从未打开过。就像 2008 年的经济衰退是由那些几千平方英尺的房屋贷款造成的，这些房屋永远无法偿还。或者我们目前的极简主义和小型房屋趋势，这些房屋只有大约一百平方英尺的居住空间，适合一对夫妇或一个小家庭。

These homes and products loudly tell the roles those prospects are playing at a glance.

这些房屋和产品大声地告诉人们那些潜在客户在扮演什么角色。

b) Achievement Roles: Again, the product shows the attainment of status by those prospects. A “modern home maker” has the latest and newest appliances as well as entertainment centers and other gizmo's. Drapes, sheets, comforters, throw pillows – all these say the home owner is up-to-date and follows fashions, trends. They may have huge closets of clothes that are regularly updated regardless of wear.

b) 成就角色：同样，产品展示了目标客户所取得的地位。一个“现代家庭主妇”拥有最新最先进的电器以及娱乐中心和其它小玩意。窗帘、床单、舒适被、抱枕——所有这些都说明了房主紧跟时尚、潮流。他们可能有装满衣服的大衣柜，并且会定期更新，不管是否穿着。

These also say “rising executive” when they have an expensive touring sedan and perhaps also a sporty, classic convertible for weekend jaunts.

这些也表明他们是“上升的行政人员”，当他们拥有一辆昂贵的旅行轿车，也许还有一辆运动型的经典敞篷车，周末外出时用。

Whole neighborhoods are defined by the size and decorations of homes that fit their image as professionals. Schools their children attend are selected for “prestige” and not just quality of eduction. A certain zip code in Los Angeles even inspired a long-running TV show just about the type of lifestyle the “rich and famous” lived.

整个社区都由符合他们专业人士形象的房屋大小和装饰所定义。他们为孩子选择的学校不仅是为了“声望”，而不仅仅是教育质量。洛杉矶的一个特定邮编甚至启发了一部长期播出的电视剧，讲述的就是“富人和名人”的生活方式。

What you own speaks volumes about what you've achieved in your life, what social role we play, where we live on the “pecking order” of our culture and society.

你拥有的东西反映了你在生活中所取得的成就，我们扮演的社会角色，以及我们在文化和社会的“等级制度”中的位置。

3. Beliefs

3. 信念

OUR MINDS ARE ALSO predisposed to believe those ideas, and their representations, that we already have embraced.

我们的大脑也倾向于相信我们已经接受的想法及其表现。

Advertisers can try to run against these “prejudices” which only slowly change over the years. Because our inner worlds have been built in our subconscious with models that we follow. And we surround ourselves with objects that reflect our beliefs.

广告商可以尝试对抗这些“偏见”，这些偏见在多年后才缓慢改变。因为我们的内心世界是在潜意识中通过我们遵循的模型建立的。而且我们周围环绕着反映我们信念的物品。

Habits are an indicator of these. Any habit can be changed with daily, disciplined new actions to replace old ones. But will take a minimum of nearly a month, and usually several months to completely replace. Smoking and obesity are both more habitual in nature than physical. Fast food is marketed with sugar, fat, and salt – despite generations of education about what a “balanced diet” consists of.

习惯是这些的指标。任何习惯都可以通过每天有纪律的新行动来取代旧的行动。但完全取代至少需要将近一个月，通常需要几个月。吸烟和肥胖在本质上比身体更习惯。快餐用糖、脂肪和盐进行营销——尽管有几代人的教育关于“均衡饮食”的构成。

Convenience and “instant gratification” only works when other beliefs back these up – and the prospect is rewarded for filling beliefs they already have.

方便和“即时满足”只有在其他信念支持这些的时候才有效——而且潜在客户需要得到奖励来满足他们已有的信念。

- - - -

THESE THREE ELEMENTS: Desires, Identifications, Beliefs – work together with equal parts of emotion and thought. All to enable anyone to reinforce the world they want around them.

这三个要素：欲望、认同、信念——与情感和思想同等重要地相互作用。所有这一切都是为了使任何人都能加强他们想要围绕自己的世界。

These then start to explain why people decide their purchases emotionally and justify their purchases with rational explanations after the fact.

这就解释了为什么人们会凭情感做决定，并在事后用理性的解释来为自己的购买行为辩护。

The copywriter and marketer need to weave in these three elements through all their advertising headline and copy to achieve real success.

文案撰稿人和营销人员需要通过所有的广告标题和文案编织这三个要素，以实现真正的成功。

5 - The Two Questions You Must Ask First

5 - 你必须首先问的两个问题

PROBABLY THE MOST VITAL breakthrough Gene Schwartz developed as he wrote the book was based on just two elements and their maturity. Both of these may seem obvious to someone who has a long history in copywriting.

基因·斯瓦茨在写这本书时发展出的最重要的突破，基于两个要素及其成熟度。对于在文案写作领域有长期历史的人来说，这两点可能看起来很明显。

The maturity of the prospect (awareness)

顾客的成熟度（认知）

The maturity of the market (sophistication)

市场的成熟度（成熟度）

Maturity of the Prospect (Awareness)

潜在客户的成熟度（认知）

PROSPECTS MATURE AS they are exposed to and become more aware of various products and their marketing. These parallel the market maturity, but have important differences.

潜在客户随着接触和了解各种产品及其营销而成熟。这平行于市场成熟度，但存在重要差异。

1. Most aware

1. 最了解

KNOWS OF THE PRODUCT and what it does and that they want it.

了解产品及其功能，并且想要它。

This is the simplest and probably rarest situation you can find. All you need to do is to state the name of the product, a bargain price, and where to find it. This doesn't even really need a copywriter.

这是最简单也最可能罕见的情况。你只需要说明产品的名称、优惠价格以及在哪里可以找到它。这甚至真的不需要文案撰稿人。

2. Knows about the product but doesn't want it

2. 了解产品但不想购买

YOUR PROSPECT ISN'T completely aware or convinced of all your product does, how well it does it, or how much better it does it now.

你的潜在客户并没有完全意识到或相信你的产品能做什么，它做得有多好，或者它现在做得有多好。

The vast bulk of all advertising occurs in this area.

绝大多数的广告都发生在这个领域。

Actions you can take are to bring the prospect up to speed:

你可以采取的行动是让潜在客户了解情况：

- reinforce your prospects desire

- 强化潜在客户的需求

- sharpen his image of the way your product satisfies

- 使他更清晰地认识到你的产品如何满足需求

- extend his image of where and when your product satisfies

- 扩展他对你产品满足需求的场景和时间的想象

- introduce new proof, details, documentation

- 介绍新的证明，详细说明，文档

- announce a new mechanism in that product to enable it to satisfy that desire even better, that eliminates former limitations, and/or change the image or the mechanism of that product to set it apart from competition.

- 宣布产品中的一种新机制，使其能够更好地满足那种需求，消除以前的限制，和/或将该产品的形象或机制改变，以使其区别于竞争对手。

3. New Product

3. 新产品

THE PROSPECT ALREADY knows, or recognizes they want what the product does. But doesn't know your specific product will do it for him.

潜在客户已经知道，或者认识到他们想要产品所做的事情。但他们不知道你的特定产品会为他做到这一点。

In this case you simply pinpoint the desire in your ad, and crystallize it as well as its solution. The results is that every prospect will recognize it the moment it hits their radar.

在这种情况下，你只需在广告中点明欲望，并将其及其解决方案明确化。结果就是，每当潜在客户看到它时，他们会立刻认出它。

4. Products That Solve Needs

4. 解决需求的产品

HERE, THE PROSPECT has a need and not a want. Practically, this is a similar approach as above.

在这里，潜在客户有需求而不是欲望。实际上，这种方法与上述方法类似。

You should name the need/solution in your headline. Follow that by dramatizing the need vividly. So they realize just how badly they need your solution. Your product in now the inevitable solution to their need.

你应该在标题中命名需求/解决方案。然后生动地描绘需求，让他们意识到他们多么需要你的解决方案。你的产品现在成为他们需求的必然解决方案。

5. A Completely Unaware Market

5. 完全无意识的市场

THE PROSPECT IS NOT aware of his desire/need – or won't admit it.

潜在客户对他的欲望/需求——或者不会承认——没有意识到。

Their need might be so general and undefined that it resists being summed up in a single headline. And it could be a secret that escapes being verbalized.

他们的需求可能非常普遍和模糊，以至于无法用一句话概括。而且它可能是一个无法用语言表达的秘密。

Your solution is to write an identification headline.

你的解决方案是写一个识别性标题。

Emphasize the character role your prospect wants most – whether something they want to be or have/achieve/attain. Your product then becomes a symbol or representation to them of the character role they seek to play out in their life.

强调你的潜在客户最想扮演的角色——无论是他们想成为的、拥有的、实现的或达到的。你的产品对他们来说就变成了他们想在生活中扮演的角色的一个象征或代表。

- - - -

Maturity of the Market (Sophistication)

市场的成熟度（复杂性）

1a. First in Your Market

1a. 市场中的第一

THE DREAM OF ANY MARKETER is to arrive in an un-tapped market.

任何营销者的梦想都是进入一个未开发的市场。

This still happens, often due to technological breakthroughs or a radical improvement, or perhaps a manufacturing improvement that allows prices to be drastically lowered.

这仍然会发生，通常是由于技术突破或根本性的改进，或者可能是制造工艺的改进，使得价格大幅降低。

Sometimes, this is where a new application is found for a product – as where Ovaltine was originally developed for insomnia, then became a food for body-builders, then a children's after-school snack.

有时，这就是为产品找到新用途的地方——例如， Ovaltine 最初是开发用于失眠的，然后成为健美运动员的食物，最后成为儿童放学后的零食。

Here you only have to provide the need or claim in your headline.

在这里，你只需要在标题中提供需求或主张。

1b Direct claim is still working

1b 直接主张仍然有效

OTHER PRODUCTS SUPPLY the demand with that same claim.

其他产品也用同样的说法来满足需求。

Here you enlarge on how well your product fulfills the claim – how much better than any competition.

这里你可以详细说明你的产品如何很好地实现这一说法——比任何竞争对手都好多少。

2a Prospects have heard all the claims

2a 潜在客户已经听过所有的说法。

AND THEY'VE ALSO HEARD all the extremes of how they are filled.

并且他们也听过关于如何满足这些说法的所有极端情况。

Now you need to show a new mechanism – show how the product fulfills that claim in a new way.

现在您需要展示一个新的机制——展示产品以新的方式满足该主张。

2b More elaboration and enlargement

2b 更多阐述和扩展

A NEW MECHANISM HAS been introduced by a competitor.

一个新的机制已被竞争对手引入。

If this is producing sales, then you now simply elaborate or enlarge upon that successful new mechanism.

如果这正在产生销售额，那么现在您只需阐述或扩展那个成功的新机制。

3 Reviving a "Dead" Product

重新激活“已死”的产品

YOUR PRODUCT, AS WELL as its claims, and mechanisms, are perhaps “too” well known. All versions of these have played out with your prospects and are no longer believed.

您的产品、以及它的主张和机制，可能“太”为人所知了。所有这些版本都已经和您的潜在客户玩过，不再被相信。

Now your headline and copy shifts from what the product does and how – over to identifying with the prospect themselves. Your product now becomes a representation of what the prospect wants to become or achieve. It becomes an identity symbol.

现在，您的标题和文案从产品做什么以及如何做，转向与潜在客户自身建立联系。您的产品现在成为潜在客户想要成为或实现的东西的象征。它成为了一个身份符号。

Solving the Commodity Markets

解决商品市场问题

Certain markets have been developed that deal in only commodities.

某些市场已经发展起来，专门交易商品。

Breaking out of these markets into splinter markets are necessary. This is “branding”. Your product has to be researched for what claims it has, what desires it fills, what mechanisms it uses to fill those desires. Even what identifications it fulfills.

冲出这些市场，进入细分市场是必要的。这就是“品牌化”。你的产品需要被研究，了解它有哪些声明，它满足了哪些愿望，它使用了哪些机制来满足这些愿望。甚至它满足了哪些身份认同。

Again, your market has to be researched for a subset where there are enough buyers to make advertising profitable. A smaller company can lower advertising costs with a smaller market, and so compete against large national brands. You'll need to rework your entire ad from headline down, even through choice of distribution to achieve a more profitable operation.

同样，你的市场需要被研究，找到一个有足够买家使广告盈利的子集。小公司可以通过更小的市场降低广告成本，从而与全国性大品牌竞争。你需要从标题到分销选择，重新设计整个广告，以实现更盈利的运营。

The point here is that it can be done. Organic farming became a splinter market from commodity farming. Demand for more wholesome, less generic produce has brought “heritage” vegetables and fruit back from extinction. Certain breeds of livestock are marketed by their specific look, which profitably fights the commodity auction market prices for “all-black” generic beef animals.

这里的要点是，这是可以做到的。有机农业是从商品农业中发展出来的一个细分市场。对更健康、更少通用的产品的需求使“传统”蔬菜和水果得以复兴。某些品种的牲畜是根据其特定的外观进行营销的，这成功地对抗了“全黑”通用牛肉的拍卖市场价格。

Your earlier success examples are where carbonated soft drinks continue to separate themselves from generic “cola” and “lemon-lime” also-rans.

您早先的成功案例在于碳酸软饮料不断将自己与普通的“可乐”和“柠檬-青柠”等陪衬品区分开来。

- - - -

WITH ALL THIS SAID, do you still have questions of where to find your own breakthroughs in advertising? Where to begin may be simpler than you think...

话虽如此，您是否还在寻找自己在广告中找到突破点的方向？开始的地方可能比您想象的要简单...

6 - Where to Find Your Breakthroughs

6 - 如何找到您的突破点

SCHWARTZ' CLASSIC IS not an easy study. These five lessons above are simply short summaries of data that sometimes is explained across and between several chapters.

施瓦茨的经典著作并非易读之物。上述五个要点仅仅是几章内容中有时分散解释的数据的简短总结。

Again, your own mileage will depend on your study of this and other classics – to boil down and internalize the principles and patterns of these author's experience into a working philosophy you can employ.

再次，你自己的体验将取决于你对这个和其他经典的研究——将作者的经验原则和模式提炼并内化为你可以运用的工作哲学。

“No one school has all the teachers” goes a ancient Oriental maxim. So having and regularly re-studying even a small library of proved marketers is a must to succeed in any marketing.

“没有哪个学派有所有的老师”是一句古老的东方箴言。因此，拥有并定期学习一个小型经过验证的市场营销者的图书馆是任何营销成功的关键。

Just to summarize the high points of what we've covered:

简要总结我们涵盖的重点：

•  Out of the three types of copywriting practiced today, only real analysis will help you develop the breakthrough headlines and copy you'll need to rise above the bulk of marketers out there – to attain the profitable results you are looking for.

•  在当今实践的三大类型广告文案中，只有真正的分析才能帮助你发展出突破性的标题和文案，从而超越其他市场营销者——获得你正在寻找的有利结果。

•  Conventional advertising is educating your prospects to more quickly reject poor ads faster than ever before. Because Sturgeon's Law applies: “90% of everything out there is crud.”

•  传统广告正在让潜在客户更快地拒绝糟糕的广告，前所未有。因为斯特恩斯定律适用：“90%的东西都是垃圾。”

•  Research and study the markets you want to enter. Research and study your product to extract the claims and mechanisms your product has, in order to fulfill the strongest desire your product represents. Build your headline from that desire, build your copy from your claims and mechanisms. Then align these to a theme that will appeal to the beliefs of your prospect and inspire them to take action.

•  研究和调查你想进入的市场。研究和调查你的产品，提取产品所具有的声明和机制，以实现产品所代表的最强烈愿望。从这种愿望中构建你的标题，从你的声明和机制中构建你的文案。然后将其与一个主题对齐，该主题将吸引潜在客户的信念，并激励他们采取行动。

•  Mass desires are the public spread of a private want – and are derived from mass instinct and mass technological problems. They appear as trends and are reinforced by mass education. The three dimensions of any mass desire's power are its urgency, its staying power, and its scope – how many people share it. No company has the budget to re-educate even a small market to accept a new desire.

•  大众欲望是私人欲望的公共传播——它们源于大众本能和大众技术问题。它们表现为趋势，并由大众教育所强化。任何大众欲望的力量都有三个维度：它的紧迫性、它的持久性和它的范围——有多少人分享它。没有公司有预算去重新教育一个小市场以接受一个新的欲望。

•  Your mass desire has enough prospects in that market to make advertising profitable. While your product will fulfill many desires, there is only one that you can use in any ad – the strongest or most effective for that product at that time.

•  你的大众欲望在那市场中有足够的潜在客户，足以使广告盈利。虽然你的产品能满足许多欲望，但在任何广告中，你只能使用其中最强大或最有效的那个。

•  Ads and Marketing rely on your ads to fulfill the desires, identifications, and beliefs of your prospect.

•  广告和营销依赖于你的广告来满足潜在客户的欲望、认同感和信念。

•  Identifications are in the form of roles. The two types are Character and Achievement. What people want to be and what they want to have. The product becomes symbolic of those roles.

•  认同感以角色的形式存在。有两种类型：角色和成就。人们想成为什么以及他们想拥有什么。产品成为这些角色的象征。

•  Markets and Prospects mature. Both start out with unknown products and un-named desires, then mature through being introduced to new and later expanded claims and mechanisms to ultimately becoming identified with their lifestyle.

•  市场和潜在客户都在成熟。它们都从未知的产品和未命名的欲望开始，通过接触新的和后来的扩展声明和机制而成熟，最终与他们的生活方式相认同。

Through these principles and patterns, you can develop your own workable system that will in turn help you to weather any competitive market you enter, and to learn from your own and other's mistakes.

通过这些原则和模式，你可以开发出自己的实用系统，这将帮助你应对任何你进入的竞争市场，并从自己和他人的错误中学习。

You'll start analyzing every ad and piece of copy you see. You'll find where they keep you involved and where your interest drops off.

你将开始分析你看到的每一则广告和文案。你会发现他们是如何让你保持参与，以及你的兴趣是如何下降的。

You'll see that while the big successes you know of each have effective marketing as a basic tool, the most effective marketing has effective copywriting as its stable base. The better your copywriting, the greater your success.

你会看到，虽然你所知道的每一个巨大成功都把有效的营销作为基本工具，但最有效的营销以有效的文案为其稳固的基础。你的文案写得越好，你的成功就越大。

And you improve your copywriting through continual study, regular practice, and precise analysis.

而你要通过持续学习、定期练习和精确分析来提高你的文案写作能力。

It's all just that simple.

这一切都只是那么简单。

Breakthrough Advertising Secrets

广告突破秘诀

Notes on a talk given by Gene Schwartz to Phillips Publishing on Oct 8, 1993

基因·施瓦茨于 1993 年 10 月 8 日在菲利普斯出版公司发表演讲的笔记

- - - -

I WANT TO EXPLAIN WHAT I’m doing here. I have two goals. My first goal is to help you as much as I can.

我想解释一下我在这里做什么。我有两个目标。我的第一个目标是尽可能多地帮助你。

My second goal is to make myself transparent. This is a mystical experience which we undergo every so often. I don’t know whether you’ve tried it. It’s marvelous. If you work with a computer - a good computer, lots of bytes - you can say to the computer, "Solve this problem for me." When it does, you can then say, "Make yourself transparent to me. How did you solve this problem?" Then the computer will then go back every step and show you how it reached its solution.

我的第二个目标是让自己变得透明。这是一种我们偶尔会经历的神秘体验。我不知道你是否尝试过。它非常奇妙。如果你使用一台计算机——一台好计算机，有很多字节——你可以对计算机说：“帮我解决这个问题。” 当它完成后，你可以说：“让自己对我透明。你是如何解决这个问题的？” 然后，计算机就会一步步地展示它是如何得出解决方案的。

The computer cannot lie. It doesn’t have that circuit built in. We have a very large number of lying circuits built into us. Now what I’m going to try to do is take the lying circuits and move them over here and be transparent. That means I’m going to answer any question, give you all the information I can, completely honestly. And we’ll see how that works because that’s the only way I can possibly impart anything of value to any of you.

电脑不会撒谎。它没有内置撒谎的电路。我们身上有很多撒谎的电路。现在我打算把撒谎的电路移到这里，变得透明。这意味着我将回答任何问题，给你我能提供的所有信息，完全诚实地。然后我们会看看效果，因为这是我唯一可能向你们中的任何一个人传递有价值信息的方式。

Now, I know you’re extremely fine professionals and much of what I say for the first ten minutes is going to be too elementary for you. But I cannot discuss anything unless I go over the very, very, very, very beginning.

现在，我知道你们都是非常优秀的专业人士，我在前十分钟说的很多内容对你们来说可能太基础了。但是，除非我从最最最最基础的开始讲起，否则我无法讨论任何内容。

Okay. This is a timer. It is the most valuable thing I ever bought in my life. I go nowhere in the world without a timer. Whenever I do anything, I press in "3, 3, 3, 3". That means 33 minutes and 33 seconds. I then press the start button. Now we’re going to speak for 33.33 minutes.

好的。这是一个计时器。这是我一生中买过的最宝贵的东西。无论我去世界的哪里，都不会没有计时器。每当我做任何事时，我都会按入“3, 3, 3, 3”。这意味着 33 分钟和 33 秒。然后我按启动按钮。现在我们将进行 33.33 分钟。

Now, why do I do this? Because I don’t think anyone can work for a very long period of time without interruption. And if you do, you exhaust yourself too quickly. When a posse used to chase a criminal out West where I come from, Butte, Montana, (very important fact) the horse thief would ride for an hour, and then he’d get off and walk the horse for an hour, and then he’d get on the horse again and ride.

现在，我为什么要这样做呢？因为我不认为任何人可以在没有中断的情况下长时间工作。如果你这样做，你会很快筋疲力尽。在我来自的西部，Butte，蒙大拿州，当一队人马追赶一个罪犯时，（这是一个非常重要的事实）马贼会骑马一个小时，然后下来步行一个小时，然后又骑上马。

And the posse would ride for an hour behind him, get off the horse and walk an hour, and then ride. Why wouldn’t the posse go faster?

而那队人马会骑一个小时在他后面，下来步行一个小时，然后又骑。为什么那队人马不会更快呢？

Because the horse would be exhausted and drop dead. Okay, your mind has a way of dropping dead on you. So what we do is we give it this 33.33 minutes and this gives us room for inspiration to sneak in.

因为马会筋疲力尽而死。你的大脑也有筋疲力尽并死掉的方式。所以我们做的是，我们给它这个 33.33 分钟，这给了我们灵感悄悄溜进来的空间。

Okay, that’s Number One. Number Two is the fact that I come from Butte, Montana. Now, you’ve probably come from a lot of different places rather than this particular place. I was very fortunate to be born in Butte, Montana. It’s a very small town of 30,000 people. I grew up there. I left when I was 15. I live in Manhattan - I lead an extremely sophisticated life in Manhattan. I try never to lose the Butte, Montana in me. Because the Butte, Montana in me is everybody in this huge country of ours.

好的，这是第一点。第二点是，我来自蒙大拿州的布特。现在，你可能来自很多不同的地方，而不是这个地方。我很幸运出生在蒙大拿州的布特。那是一个只有三万人的小镇。我在那里长大。我 15 岁离开那里。我住在曼哈顿——我在曼哈顿过着极其复杂的生活。我从不忘记自己身上的布特，蒙大拿人。因为布特，蒙大拿人就是我这个巨大国家的每一个人。

Now, I don’t know how many of you read the National Enquirer every week. I don’t know how many of you go to every film that makes over $100 million and see every one of them. You cannot lose touch with the people of this country, no matter how successful or how potent you are. If you don’t spend at least two hours a week finding out where your market is today, you are finished! You will have a career of three blazing years and be finished.

现在，我不知道你们中有多少人每周都读《国家询问者》。我不知道你们是否去看每一部票房超过 1 亿美元的电影。无论你多么成功或强大，都不能与这个国家的人民失去联系。如果你每周至少花两个小时了解你的市场在哪里，你就会失败！你将会有一个辉煌三年的职业生涯，然后就会结束。

Here's A Summary:

这里是总结：

Gene Schwartz’s rules of great copywriting are in fact the rules of great marketing and great editorial. And, yes, Schwartz says, these are rules, and I'll expound upon them: Be the best listener you ever met.

吉恩·施瓦茨的伟大广告文案规则实际上是伟大营销和伟大编辑的规则。是的，施瓦茨说，这些是规则，我会详细阐述：做你遇到过的最好的倾听者。

Work extremely intensely, in spurts. Never "create"- know the product to the core and combine the details in new ways. Write to the chimpanzee brain, simply, directly.

要极其专注地工作，集中精力。永远不要“创造”——深入理解产品，并将细节以新的方式结合起来。用简单直接的方式写给黑猩猩的大脑。

Channel demand - never sell. Think about what your product "does", not "is"- and demonstrate this.

引导需求——永远不要销售。思考你的产品“做什么”，而不是“是什么”——并展示这一点。

Make gratification instantaneous. Failing often, and testing big differences, shows you are trying hard enough.

让满足感即时发生。经常失败，并测试巨大的差异，表明你努力得足够。

"If any writer has set the tone and style for successfully marketing books to consumers, it is Eugene Schwartz. His packages not only sell millions of books for them, but also provide an inspiring model for everyone. No writer in the business can match Schwartz’s energy, intensity, and ability to pile benefits on top of benefits on top of benefits. Two of Schwartz’s packages - for Dick Benson’s Wellness Encyclopedia and Rodale’s Secrets of Executive Success - have an astonishing 299 separate and distinct benefits to the buyer in the former and 237 in the latter."-Denny Hatch

“如果任何作家为成功地向消费者营销书籍设定了基调，那就是尤金·施瓦茨。他的套餐不仅为他们卖出了数百万本书籍，还为大家提供了一个鼓舞人心的模式。在这个行业里，没有哪个作家能比得上施瓦茨的能量、专注力以及将好处层层叠加的能力。施瓦茨的两个套餐——为迪克·本森的《健康百科全书》和罗代尔《企业家的成功秘诀》——前者对买方有 299 个独立的、不同的好处，后者有 237 个。”-丹尼·哈奇

Talk Little, Listen Much

少说多听

SO GO AND GET IN TOUCH with your people. Don’t lose that.

去联系你的朋友吧。不要失去联系。

Talk to every cab driver you meet. Speak to everyone you can. Be the best listener you have ever met. Talk little, listen much. That is your market talking.

和你遇到的每一位出租车司机交谈。和你能接触到的人说话。成为你遇到过的最好的倾听者。少说多听。这就是你的市场在说话。

You don’t have to have great ideas if you can hear great ideas. Marty Edelson is the owner of Boardroom, Inc., which is a business about the same size as yours: $100 million a year. He came to me with $3,500 in his pocket, and I told him I’d have to charge him $2,500 as a copy fee, which embarrassed the devil out of me but didn’t bother him at all. And he said, "Okay, what do we do?" And I said, "Well, we can start it right now. I’m gonna sit and I’m going to listen and you’re going to talk." He talked about four hours about this crazy concept of having a thing called Boardroom - a newsletter called Boardroom. And I just sat there like you’re sitting there right now, taking notes. And when he said things I just took it down.

如果你不能产生伟大的想法，至少你能听到伟大的想法。Marty Edelson 是 Boardroom, Inc.的老板，这是一家和你规模相当的公司：年收入 1 亿美元。他口袋里只有 3500 美元，我告诉他我的复制费用是 2500 美元，这让我非常尴尬，但他一点也不在意。他说：“好吧，我们做什么？”我说：“我们可以现在就开始。我要坐下来，我会听，你会说。”他花了四个小时谈论这个疯狂的概念，就是有一个叫做 Boardroom 的东西——一个叫做 Boardroom 的时事通讯。我就像你现在这样坐在这里，记笔记。当他说话的时候，我就记下来。

And about 30 minutes into it he said one sentence. And I took it down, and then we finished. And I said, "Well, thank you." He said, "When can you have the copy for me?" And I said "about two weeks. "He walked out. I went home. My wife takes a long time to make up. While she did that, I wrote the ad. I put in the ad from stern to stern. I couldn’t give it to him the same night because he would think it was worth nothing. So I then put it away for two weeks. And in two weeks, I sent it to him and he ran it.

大约在谈话进行到 30 分钟时，他说了一句。我记了下来，然后我们结束了。我说：“那，谢谢你。”他说：“你什么时候可以把文案给我？”我说“大约两周。”他走了出去。我回到家。我妻子化妆要花很长时间。在她化妆的时候，我写了广告。我把广告从一端写到另一端。我不能在同一天交给他，因为他会觉得它一文不值。所以我把它放了两周。两周后，我把它寄给了他，他发表了。

Now, my copy was 70% his conversation. The headline was, "How To Get the Heart of 370 Business Magazines in Just 30 Minutes a Month.

现在，我的文案有 70%是他的对话。标题是，“如何在 30 分钟内获得 370 本商业杂志的心。”

"It was his thing. It was his idea. It was his conception. It w his as vision. All I did was write it out and give it to people. Okay. You must be in contact with your market. You must listen. You must let the ideas come to you. If you don’t let the ideas come to you, you’re going to rely too much on your own creativity. These are all fundamentals.

“这是他的东西。这是他的想法。这是他的构思。这是他的愿景。我所做的一切就是把它写出来并交给人们。好的。你必须与你的市场接触。你必须倾听。你必须让想法来到你身边。如果你不让想法来到你身边，你将过于依赖自己的创造力。这些都是基础。

The number one rule of success in anything - marketing, football (which I’m going to talk about a lot today), chess, etc. - is work. And it’s so funny. It’s so easy to say, "Work, work, work, work, work." But I have to emphasize that to you. I was telling Richard that I have a very peculiar life. I live at home. I have no boss. I’ve never had one since the second year In was in business. In am a West-Coast person who doesn’t relate very well to the East-Coast clock, and so every morning In get up about ten and by 10:30 or 11:00, I’m ready to go to work. I work every single day of the week. I work on Saturdays and Sundays, too. I have never had a writer’s block, an editorial block, or any other kind of block. I create 12 to 15 mailing pieces a year. I never have any trouble getting started on them. I work between three and four hours a day. I work extremely intensely. I work in half-hour spurts as I’ve already told you.

任何事——无论是营销、足球（我今天会经常谈到这个），还是象棋等等——成功的首要规则就是努力。这真是太好笑了。说“努力，努力，努力，努力，努力”是那么容易。但我必须强调这一点给你听。我告诉理查德，我过着非常奇特的生活。我住在家里面。我没有老板。自从我创业的第二年起，我就再也没有过老板。我是一个西海岸的人，不太适应东海岸的时间观念，所以每天早上我十点左右起床，到十点半或十一点，我就准备好去工作了。我一周七天都工作。我周六日也工作。我从来没有遇到过写作障碍、编辑障碍或其他任何类型的障碍。我每年创作 12 到 15 份邮件宣传品。我从不为开始它们而感到任何困难。我每天工作三到四个小时。我工作得非常专注。我已经告诉过你，我是在半小时的间歇中工作的。

I’ll tell you how I manage to get the work combined with creativity. It’s very simple. And I have about an 85% hit ratio. That means 85% of the ads I write pay out.

我会告诉你我是如何将工作与创造力结合起来的。这非常简单。我大约有 85%的成功率。这意味着我写的 85%的广告都有回报。

The Creativity Is Not In You... Never Mistake That

创意不在你身上……永远不要犯这个错误

NOW, I AM OF THE OPINION that the absolutely most talented copy writer in the world, who doesn’t work very much, will be beaten by a copy cub who puts in four times as much work, because the creativity is not in you. Never mistake that. The creativity is in your market and in your product, and all you are doing is joining the two together. And the only way you can get the creativity out of your product and your market is to dig it out.

现在，我认为世界上最才华横溢的文案撰稿人，工作并不勤奋，将会被一个努力四倍的文案新手打败，因为创造力不在你身上。永远不要搞错这一点。创造力在你的市场和你的产品中，你做的只是将两者结合起来。而你唯一能从你的产品和市场中提取创造力，就是深入挖掘。

And the only way you can dig it out is dig it out more than anybody else digs it out.

而你唯一能深入挖掘的方法，就是比任何人都更深入地挖掘。

I’m better, result-wise, than many great copywriters, who are better writers than In am, because In work harder than they do - and In can actually see the gaps in their working. Let me explain that. We have what In call the Super Bowl of copy. In use football metaphors, because they are apt, and In hope everybody here understands them.

在结果方面，我比许多伟大的文案撰稿人都要好，他们写作能力比我强，因为我工作更努力——而且我实际上能看到他们工作中的差距。让我解释一下。我们称之为文案超级碗。我们使用足球比喻，因为它们很贴切，我们希望在这里的每个人都能理解它们。

If you don’t, I’ll translate them into other metaphors, but they work very well for me. Take Rodale. I’m not going to talk about Phillips Publishing at all here. You’re great, you’re sensational; you’re one of the greatest companies I’ve ever seen. I’ve studied you intensely, but I’m not going to talk about you because I’m going to talk about other experiences so you can relate the other strange experiences to your own and therefore broaden your scope of creativity.

如果你不这么做，我会把它们翻译成其他的比喻，但它们对我来说效果非常好。以罗代尔为例。我根本不会在这里谈论菲利普斯出版社。你很棒，你太棒了；你是我见过最伟大的公司之一。我深入研究了你，但我不会谈论你，因为我要谈论其他经历，这样你就可以将其他奇怪的经历与自己的联系起来，从而拓宽你的创造力范围。

Rodale made $315 million in sales last year. It should come close to $400 million this year. That’s just Rodale Books. A very good company. It’s done many innovative things, produces excellent books, etc. They hire two copywriters for every single new book they do. The two copywriters are sent the manuscript of the book, and they write ads. (Now, you can call them mailing pieces or anything else. I call everything ads, because I like to use short words.) We then submit the two pieces. They are laid out by Rodale’s layout department. They send the copywriters a sort of preliminary layout j - then the artist and I talk about it, fix it up, get it right. It’s sort of a Super Bowl because these are the highest-paid copywriters in America.

罗代公司去年销售额达 3.15 亿美元。今年应该接近 4 亿美元。这只是罗代图书公司。一家非常好的公司。他们做了很多事情，出版了很多好书等等。他们为每一本新书雇佣两名文案。两名文案会收到书稿，并撰写广告。（现在，你可以称它们为宣传材料或任何其他名称。我喜欢用简短的词语，所以我称它们为广告。）然后我们提交这两份材料。它们由罗代的版面设计部门进行排版。他们向文案发送一种初步的版面设计稿——然后我和艺术家讨论，修改它，弄正确。这有点像超级碗，因为这些是美国收入最高的文案。

We all get lots of money. I have done that four times this year so far.

我们都赚了很多钱。今年到目前为止，我已经赚了四次了。

It’s not a Super Bowl where it’s once a year - it keeps going all the time. And you keep running up against these terribly, terribly, terribly great writers.

这不是一个每年只有一次超级碗——它一直在进行。你不断地遇到这些非常、非常、非常优秀的作家。

To compete in it, I read the Rodale book. Seven hundred pages. Four times. I underline the book so intensely that I get 40 or 50 pages of notes out of those readings. Those notes are then sent out to a secretary and she types up those notes so I get a precise "vocabulary." I then go over the vocabulary and begin structuring an ad. We’ll talk much more about that in a few moments. When In am finished, and I am working on the copy, I know more about the book than the editor who has produced it. Because many times at Rodale, they’ll come back to me and say, "This is not correct. This is too exaggerated, and I will say, "In combined something from page 116 with 531" and the editor goes back and he says, "Yeah, okay! It can be done!

为了参与其中，我读了罗代尔出版社的书。七百页。我读了四遍。我如此强烈地划线，以至于从这些阅读中我获得了 40 或 50 页的笔记。然后我将这些笔记交给秘书，她将笔记打出来，所以我得到了一个精确的“词汇表”。然后我过一遍词汇表，开始构建广告。我们将在几分钟后更多地谈论这一点。当我完成后，我在处理文案时，比编辑这本书的人更了解这本书。因为很多时候在罗代尔出版社，他们会回来对我说，“这不正确。这太夸张了，我会说，“我把第 116 页和 531 页的内容结合起来”编辑回去说，“哦，好的！可以做到！”

Finding Those Hidden Desires

寻找那些隐藏的欲望

FIND YOUR READERS’ hidden desires. They are hidden, because your reader doesn’t want to really talk about them, but they are n the subculture, hidden culture, under-culture of our civilization. That’s why you’ve got to read the things that people buy. Anything that people buy. Vanity Fair. You’ve got to read Vanity Fair. You won’t know what’s going on unless you read Vanity Fair, People Magazine, The Weekly World News. I don’t know whether you are advocates of the Weekly World News. You’ve got to read that because it shows the extent of people’s ability to believe.

寻找读者隐藏的欲望。它们是隐藏的，因为读者并不想真正谈论它们，但它们存在于我们的文明中的亚文化、隐藏文化和底层文化中。这就是为什么你必须阅读人们购买的东西。任何人们购买的东西。名利场。你必须阅读名利场。除非你阅读名利场、人物杂志、每周世界新闻。我不知道你是否是每周世界新闻的拥护者。你必须阅读它，因为它展示了人们相信的程度。

When you start working on the project, you go to the person who has initiated the project and you listen. You listen two ways. A person in books and publishing has probably done a lot of words on paper, so you read those. And then, if you can, you sit down with him and you just kind of turn on the tape recorder and you listen, listen, listen.

当你开始处理项目时，你去项目的发起者那里，并倾听。你以两种方式倾听。在书籍和出版领域的人可能已经在纸上写了很多字，所以你阅读那些。然后，如果你能，你坐下和他一起，就像打开录音机一样，你只是听着，听着，听着。

Nobody’s going to know more about it than you. Then you listen to people every single day of your life. You’re paid to listen. It’s a very bad profession. Very lonely profession. Because it gives you almost no chance to brag or talk about yourself. You really listen. Martin Edelson gave me a headline and theme for a whole new series of books which we have not even prepared yet because he said something at lunch the other day.

没有人会比你更了解它。然后你每天都听着别人的话。你被支付去倾听。这是一个非常糟糕的职业。一个非常孤独的职业。因为它几乎不给你机会炫耀或谈论自己。你真的在倾听。马丁·爱德森给了我一个标题和主题，用于一套全新的书籍系列，我们甚至还没有准备，因为他前几天在午餐时说了些什么。

You listen, you pick up ideas from people. That’s where they are. If you get them talking, they will come out. Know The Product To Its Core Because I have to know that product right down to its core in order to get every single sales appeal out of it, I work harder, and therefore I make 85% winners. Okay, I guess the best guys are much better writers than I am. I’m not really that good. I haven’t got their flair. Jim Punkre’s a hundred times better than I am. So you work. You work, you work, you work. You leave nothing out. No step undone.

你倾听，你从人们那里获得想法。那里就是它们的来源。如果你让他们开始交谈，他们就会说出来。了解产品到核心。因为我必须深入了解产品，才能从中提取出每一个销售诉求，我工作更努力，因此我取得了 85%的胜利。好吧，我想最好的那些人比我写得好得多。我真的不怎么样。我没有他们的才华。吉姆·潘克雷比我强一百倍。所以你要努力工作。你工作，你工作，你工作，你工作。你什么都没落下。没有未完成的步骤。

What the client gives you may be inadequate. If it is, you challenge the client. You have no client but the audience. You really don’t care about anything but the market or the process. When I’m finished I send my copy in, he sends his copy in, she sends her copy in, whoever it is.

客户给的东西可能是不够的。如果不够，你就挑战客户。你唯一的客户就是受众。你真的不在乎任何事，只在乎市场或流程。我完成后提交我的文案，他提交他的文案，她提交她的文案，无论他是谁。

The ads run. Direct mail pieces are mailed out. And I get a report back from Rodale and they say, "You out pulled Jim Punkre 146% on one ad, and he out pulled you 31% on another." You then get his copy, his mailing piece as well as your mailing piece. You then go over in great detail his approach and compare it with your own approach. It’s a very good way to learn. Very humiliating. Very enlightening. I can see where they didn’t do enough work. I can see where they lost facts.

广告开始投放。直接邮件被寄出。然后我从罗代尔那里得到一份报告，他们说：“你在一则广告上比吉姆·潘克雷多拉了 146%，而在另一则广告上他比你多拉了 31%。然后你得到他的文案，他的邮寄材料和你的邮寄材料。然后你非常详细地研究他的方法，并将其与自己的方法进行比较。这是一个很好的学习方法。非常屈辱。非常启发人。我能看出他们没有做足够的工作。我能看出他们丢失了事实。”

And the loss of those facts stands out so clearly because I had the facts; they didn’t have the facts. Usually, I win. When you are dealing with someone of real brilliance and they do a headline, that’s absolutely beyond all belief, then you are going to have a hard time.

那些事实的丢失之所以如此明显，是因为我掌握了事实，而他们没有掌握事实。通常我赢。当你和一个真正才华横溢的人打交道，他们做了一则标题，那简直超乎所有信念，那你将很难。

Probably you’re going to lose then no matter how many facts you have. But nevertheless, 70% of the time if the facts aren’t there, they’ll hurt you. It’s exactly as if you don’t have a piece of concrete in your building, and it collapses.

也许不管你有多少事实，你还是会输。但无论如何，70%的情况下，如果没有事实，它们会伤害你。这就像你的建筑没有一块混凝土，然后倒塌了一样。

These are fundamentals, but they are universally applicable. If you don’t get in the facts, you’re just not going to do a top job. When you marshaled the facts, you then begin writing the copy. Now, we are specially privileged people. All of us . Because we are working in publishing. And what is given to you is not a product, but words.

这些是基础，但它们普遍适用。如果你不掌握事实，你就不可能做好顶尖的工作。当你整理了事实之后，你就可以开始写文案了。现在，我们都是特别幸运的人。我们都在出版行业工作。而且给你的是不是产品，而是文字。

You’ve got a constant flow of words that you are investigating. So much of your copy is already written for you. So you start with their copy and your comments and additions and inspirations from their copy, and it’s there on these 40-some pages. In your computer, on your screen and you start at the very top and you work your way down sentence by sentence and paragraph by paragraph by paragraph. It’s very easy.

你有持续不断的文字流需要研究。你的很多文案已经被写好了。所以你从他们的文案开始，加上你的评论、补充和灵感，这些都在这 40 多页的文档里。在你的电脑屏幕上，你从最上面开始，逐句逐段地工作。这非常简单。

A Very Simple Way to Make Sure You Get Down to Work

确保你开始工作的一个非常简单的方法

LET’S TALK ABOUT THE value of it being easy. Many very brilliant writers - as well as other workers in all fields, physical and especially intellectual - have trouble getting started. They have what is probably known as a writer’s block, which is a Western phenomenon and does not occur much in the East. In Zen Buddhism for example, it doesn’t occur at all.

让我们谈谈它容易的价值。许多非常聪明的作家——以及其他所有领域，无论是体力还是尤其是智力——的人都难以开始。他们有可能是所谓的写作障碍，这是一种西方现象，在东方并不常见。例如，在禅宗佛教中，它根本不会发生。

Why does it occur here and not occur there? It’s very simple. Zen Buddhists about 4,000 years ago invent ed a very simple way to make sure you get down to work. And to make sure you don’t have a block.

为什么在这里发生而在那里不发生呢？这很简单。大约 4000 年前，禅宗佛教徒发明了一种非常简单的方法，以确保你能开始工作。并确保你没有障碍。

What happens when a Zen or a, let’s say, me - I’m partially Zen - starts to work? What he does is he takes out the piece of copy, and he calls it up on the computer. That is the vocabulary. All those little quotes. He then takes out a cup of coffee. The same cup of coffee every day. He swirls it around and mixes the sugar. Mixes the cream and swirls it around. Then takes out a pad and a pencil and puts it in exactly the same space. He’s not doing anything very much. Then he takes out a little timer - that crazy little device - - and punches in 33:33. I’ve been talking for 13 minutes so far. I know exactly where I am. Okay. He puts in 33 minutes and presses the start button.

当一位禅宗大师，或者就说我——我部分是禅宗——开始工作时会发生什么？他做的是拿出那篇文案，并在电脑上调用它。那就是词汇。所有那些小引语。然后他拿出一杯咖啡。每天都是同一杯咖啡。他转动它，搅拌糖。搅拌奶油并转动它。然后拿出一个记事本和一支铅笔，放在完全相同的位置。他并没有做什么特别的事情。然后他拿出一个小计时器——那个疯狂的小装置——输入 33:33。到目前为止我已经讲了 13 分钟。我确切地知道我在哪里。好的。他输入 33 分钟并按下开始按钮。

When I press the start button, I can do anything I want. All willpower is dissolved. I can do anything I want as long as it relates to the piece of copy in front of me. I can ignore it. I don’t have to touch it. I don’t have to look at it. But I can’t get up from the desk, and I can’t do anything except ignore or relate to the piece of copy. I am not trying to write a wonderful ad. I am not trying to earn and extra million dollars. I am not trying to do anything. I have no goal whatsoever as to what that particular piece of copy is going to do for me. All I know is that I’m going to work on the copy, and I have no responsibility to the client, the copy, the prospect, the market, myself and my future except to work.

当我按下开始按钮时，我可以做任何我想做的事情。所有的意志力都消失了。只要与眼前的文案有关，我就可以做任何事。我可以忽略它。我不用触摸它。我不用看着它。但我不能离开桌子，除了忽略或与文案有关，我不能做任何事。我并不是试图写一个很棒的广告。我并不是试图赚额外的百万美元。我并不是试图做任何事。对于那篇特定的文案对我有什么作用，我没有任何目标。我只知道我要处理文案，除了工作，我对客户、文案、潜在客户、市场、我自己和未来没有任何责任。

So finally, after a good deal of looking around - I can’t get out of the chair now, I am trapped in that chair for 33.33 minutes, I get bored.

所以最后，经过一番寻找之后——我现在不能离开椅子了，我被困在椅子里 33.33 分钟，我感到无聊。

So what do I do? I start reading down the copy! As I start reading down the copy, the copy says to me, "Oh, hey, aren’t I beautiful? Why don’t you pull me out and put me on top? "Or, "Why don’t you change this phraseology? It’s extremely ineptly put. Why don’t you put it into advertising terminology? "So what happens is that I begin to get into it. And without about five minutes I am working on the copy, making the ad from the copy. Okay. No block, because I am really not doing very much at that time.

那我该怎么办？我开始读广告文案！当我开始读广告文案时，文案对我说：“哦，嘿，我不是很美吗？你为什么不把我拿出来放在最上面？”或者，“你为什么不改变这个措辞？它被非常笨拙地表达出来。你为什么不把它变成广告术语？”所以发生的事情是我开始投入其中。不到五分钟，我就开始根据文案制作广告。没有障碍，因为我当时真的没有做太多事情。

Forty pages is a lot. The computer doesn’t like 40 pages. New computers like them better - they’ve got more bytes. But they don’t handle them well, and so we are going to have to start subdividing them into categories. The categories are going to become your letter, your flyer, and in a magalog they’re going to become one page - the little sidebars in the magalog, etc. So you begin to sort it out, and you begin to get it. As you sort things out into categories, things leap out at you. When they leap out at you, you capture them at that moment.

四十页很多。电脑不喜欢四十页。新电脑更喜欢它们——它们有更多的字节。但它们处理不好，所以我们不得不把它们分成类别。类别将变成你的信件、传单，在杂志目录中，它们将变成一页——杂志目录中的小侧边栏等等。所以你开始整理，开始理解。当你把事情整理成类别时，事情会跳出来给你看。当它们跳出来给你看时，你就在那一刻抓住它们。

The computer has a thing called a highlighting device - the bold key - you hit the bold key, and you make them into a headline or a sub-headline. They are the points of contact, the most dramatic points of contact you have with your prospect, with your market.

计算机有一个叫做突出显示设备的东西——加粗键。你按下加粗键，就可以将它们变成标题或副标题。它们是接触点，是你与潜在客户、市场最戏剧性的接触点。

I hope you can all see this ad. It says, "Burn Disease Out of Your Body. "Crazy. A really wild piece written in 1979. The full, headline is "How Modern Chinese Medicine Helps Both Men and Women Burn Disease Out of Your Body Using Nothing More Than the Palm of Your Hand. "Okay. This ad has been running for 14 years now, selling the book, which sold for $6.95 when it first ran and sells for $33 now. It will sell more copies this year than it ever did before. And we paid the author well over a million dollars. I wrote it as a special favor for the author because he had done a special favor for me - he gave me back the use of my right hand after I had my stroke. I paid $125 for the layout. It’s as crude as can be. I never thought the thing would sell.

我希望你们都能看到这则广告。它说，“把疾病从你的身体里烧掉。”疯狂。这是一篇写于 1979 年的非常狂野的文章。完整的标题是“如何利用现代中医，仅用手掌就能帮助男性和女性把疾病从身体里烧掉。”好吧。这则广告已经运行了 14 年，最初售价为 6.95 美元的书籍现在售价为 33 美元。今年它将比以往任何时候都卖得更多。我们给了作者超过一百万美元的报酬。我作为对作者的特别关照而写了它，因为他为我做了个特别的关照——在我中风后帮我恢复了右手的使用。我花了 125 美元来设计版面。它非常粗糙。我从未想过它会卖出去。

Layout, letter, very crude, very small type. A lot of violations. We’re going to go over this in some degree of thoroughness later on. I couldn’t get anybody to run it, so I started my own business to run it.

版式，信件，非常粗糙，字体非常小。有很多违规行为。我们将在某种程度上彻底讨论这个问题。我找不到任何人来运行它，所以我开始了自己的公司来运行它。

And there I was.

那里我就站了。

How Modern Chinese Medicine Helps Both Men and Women BURN DISEASE OUT OF YOUR BODY Using Nothing More Than The Palm Of Your Hand!

如何中医帮助男性和女性使用仅仅是你手掌将疾病从你的身体中烧掉！

"How to treat high blood pressure, bursitis and arthritis - and prevent them from degenerating further, or even reverse them - simply by massaging the outside of the legs in a downward way. This pose helps reduce water retention and excess weight.....cures and prevents hemorrhoids, and cures problems of the prostate, such as ...enlargement and cancer.

“如何治疗高血压、滑囊炎和关节炎——并且防止它们进一步恶化，甚至逆转——只需通过向下按摩腿部外部。这个姿势有助于减少水肿和多余体重……治愈并预防痔疮，并治愈前列腺问题，例如……增大和癌症。”

"Eventually throw your glasses away, and never need to see an eye doctor again, simply by rubbing around the eyes for a few minutes every day. "If one has strong..., they never grow old..."

"最终扔掉你的眼镜，每天只需揉搓眼睛几分钟，就再也不需要看眼科医生了。如果一个人有强烈的……，他们就永远不会变老……"

FREE... INSTANT IMPROVEMENT

免费……即时改善

By applying the ...faithfully, he regulated his bowel movement, lost 40 pounds, and was filled with new energy."

通过坚持使用……，他调节了肠道运动，减重 40 磅，并充满了新的活力。"

FREE HOW TO RUB YOUR STOMACH AWAY

免费 如何揉掉你的肚子

"In just a few weeks, she had lost five inches in her waist, hi ps and thigh area." MAIL ENCLOSED CARD FOR FREE COPY. I got a call from him...and he told me...that he had already lost...his best. "THE SIMPLEST AND MOST NATURAL WAY TO LOSE WEIGHT IS BY THIS EFFORTLESS TWO-MINUTE EXERCISE.”

"短短几周内，她的腰围、臀部和大腿部位减了五英寸。随附免费副本的卡片。我接到了他的电话...他告诉我...他已经失去了...他的最好。" "最简单、最自然减肥的方法是通过这种毫不费力的两分钟运动。"

By such apparently simple means, the superfluous areas of the stomach and abdomen are literally rubbed away.

通过这种看似简单的方法，腹部和腹部的多余部位实际上被擦掉了。

MAILER: Instant Improvement, Inc.

发送者：即时改进公司

PACKAGE: Dr. Chang’s Book of Internal Exercises

包裹：张博士的内部锻炼书

COPYWRITER:Eugene M. Schwartz

广告文案：尤金·M·施瓦茨

FIRST MAILED: 1979 The 9" x 12" outer envelope

首次邮寄：1979 年 9 英寸 x12 英寸的外层信封

Okay. "Burn Disease Out of Your Body Laying Flat on Your Back, Using Nothing More Than the Palm of Your Hand" are not my words. They’re the author’s words. I wrote seven paragraphs of this letter. But I had the ability to let this man speak for himself. And he still speaks to millions of Americans. We are mailing more in January than we mailed for the first eight years of the mailing. And it goes against very, very strong, strong, strong wonderful copy, including your own copy. And it still continues to do well.

好的。“将疾病从你的身体中燃烧掉，平躺在你的背部，仅使用你的手掌”不是我的话。它们是作者的话。我写了这封信的七个段落。但我有能力让这个人自己说话。他仍然在向数百万美国人说话。我们在一月份邮寄的数量比我们前八年的总邮寄量还要多。而且它仍然在很好地工作，即使包括你自己的文案，也非常非常强大、强大、强大的美好文案。

That just about finishes the fundamentals.

这就差不多完成了基础知识。

After 33.33 minutes happen, this thing goes crazy and rings all over the place. You stop. You push the stop button. You don’t do anything from that moment on. If you are in the middle of a sentence you really leave that sent ence go. If you lose it, you lose it. That’s too bad. You are under the command of something higher than you. It’s so funny to use these metaphors. You pull yourself and push yourself back. You stand up. You now have five minutes of compulsory leisure. You are not to create any more! You are not to work anymore. You have five minutes. Now. Coffee low? We’ll have to make a new cup. Dog? Play with the dog. Go shave (if you’re a man, of course). Okay. You do something.

33.33 分钟后，这东西就疯狂地响个不停。你停下。你按下停止按钮。从那时起你什么也别做。如果你正说到一半，那就让这句话随风去吧。如果你错过了，那就错过了。那太糟糕了。你受制于比你更高的事物。用这些比喻真是太有趣了。你拉回自己，把自己推回去。你站起来。现在你有五分钟的强制休息时间。你不能再创造任何东西了！你不能再工作了。你有五分钟。现在。咖啡低了？我们得倒杯新的。狗？和狗玩。去刮胡子（当然，如果你是男人）。好吧。你该做点什么。

You see, you have to do something, but you can’t work. You have to engage your mind. You have to engage your intelligence. But you can’t engage your mind or your intelligence on what you have been doing.

你看，你必须做点什么，但你不能工作。你必须让你的大脑活跃起来。你必须让你的智力参与进来。但你不能让你的大脑或智力参与到你所做的事情上。

Why? Because you are about to create. You have been working until that point. Now you are about to create.

为什么？因为你即将开始创作。你一直工作到那时。现在你即将开始创作。

How Does One Create?

人如何创作？

NOW LET’S TALK ABOUT creation. How does one create? How does one become creative? How does one get new ideas? How does one solve problems that are intractable and cannot be solved? That you’ve worked on for weeks and thrown your hands up in despair? Well, that again is quite simple. We’ll take a few minutes on this because it’s really so valuable, and it’s so much a habit that can become cultivated, and then become rather automatic and give you a statistical proportion of hits. That means new ideas, in this case.

现在让我们谈谈创造。一个人如何创造？如何变得有创造力？如何获得新想法？如何解决那些棘手且无法解决的问题？那些你花了几周时间，却绝望地放弃了的问题？好吧，这其实很简单。我们会花几分钟时间来讨论这个话题，因为它非常宝贵，而且它是一种可以培养的习惯，然后变得相当自动化，并给你一个统计比例的命中。在这种情况下，这意味着新想法。

Your conscious mind is actually your focus of attention. The conscious mind is absorbed with what you are paying attention to. I’m paying attention to all of you when I’m speaking at this particular moment.

你的意识思维实际上是你的注意力焦点。意识思维专注于你正在关注的事物。在我此刻讲话时，我关注的是在场的所有人。

Your conscious mind can only hold about seven memory bytes. That’s pretty small, so you have to focus. Your conscious mind is where you focus your attention. It’s very narrow. It’s wonderful. It’s fantastic for working out syllogisms, consequences, etc. It will not create for you.

你的意识思维只能容纳大约七个记忆字节。这很小，所以你必须集中注意力。意识思维是你集中注意力的地方。它非常狭窄。它很棒。它非常适合进行三段论、推论等。但它不会为你创造。

What is creation? Creation is a lousy word. It’s a lousy word that confuses what you really do to perform a simple little procedure.

什么是创造？创造是一个糟糕的词。这是一个让你真正做的事情的糟糕的词，它只是一个简单的操作过程。

Creation means create something out of nothing. In the beginning, God created Heaven and Earth. Okay, only God can do that. We can’t do that: We’re human. So let’s throw creation out, and let’s talk about connectivity. What you are trying to do is connect things together.

创造意味着从无到有地创造出某物。在开始时，上帝创造了天堂和地球。好吧，只有上帝能做到这一点。我们不能做到：我们是人类。所以让我们抛开创造，来谈谈连接性。你试图做的是将事物连接在一起。

You’re trying to practice connectivity. You’re trying to get two ideas that were separate in your mind and culture before, and you are trying to put them together so they are now one thought. You want something new to come out, but new doesn’t mean it never existed before, it means never joined before. New - in every of discipline - means ne ver joined before.

你正在练习连接性。你试图将你在思想和文化中之前是分开的两个想法连接在一起，使它们现在成为同一个思想。你想要出现新的东西，但这并不意味着它以前不存在，而是意味着它以前从未连接过。新——在每一个学科中——意味着以前从未连接过。

You’ve got to trick that conscious mind because that conscious mind isn’t big enough to connect all these widespread phenomena. So what you do is you take your conscious mind and you focus it on making a new cup of coffee! That holds it there, and then ideas can kind of bleed into the back of your mind and come into the front of your mind.

你必须欺骗你的意识，因为意识并不足以连接所有这些广泛的现象。所以你做的是让你的意识专注于冲泡一杯新咖啡！这能把它稳住，然后想法就能悄悄地渗入你的潜意识，并进入你的意识。

The best example is Mozart - a most creative man, who was writing symphonies at six, seven, eight. I don’t know whether you saw the movie Amadeus. It shows very truthfully and very well how he wrote.

最好的例子是莫扎特——一个极具创造力的人，他在六岁、七岁、八岁时就开始写作交响乐。我不知道你是否看过电影《阿玛迪斯》。它非常真实且非常出色地展示了他是如何写作的。

He never, ever, rewrote. He never changed. He wrote his scores in pen and ink. He never changed a note of them. They were always perfect and the highlight of his genius of course, but that doesn’t mean a thing.

他从不，从不，修改。他从不改变。他用钢笔和墨水书写乐谱。他从未更改过一个音符。它们总是完美的，当然是他天才的亮点，但这并不意味着什么。

How did he do it? Well he did it very simply. He composed at a billiard table. He would stand at the billiard table, and he would have a single white billiard ball. He would have a pen and an inkwell, and he would have the score. And he would take the white billiard ball in his left hand while he had the pen in the right hand and he would throw the white billiard ball out against the three cushions. And it would bounce off the three cushions. It’s random, how it comes back, to a certain extent. It never comes back exactly at the same place, so he had to focus on the trajectory of the billiard ball until it came back.

他是怎么做到的？嗯，他做得非常简单。他在台球桌旁作曲。他会站在台球桌旁，手里拿着一个白色的台球。他会有一支笔和一个墨水瓶，还有乐谱。然后他会用左手拿着白色台球，同时右手拿着笔，把白色台球扔向三个球垫。它会弹跳三次。弹回来的方式在一定程度上是随机的。它不会回到完全相同的地方，所以他必须专注于台球弹回来的轨迹，直到它回来。

When it came back here or here or here, he had to focus on that hand being at the exact right place. Meanwhile, while his conscious mind was over here, his unconscious mind slipped the note back to him and then he had the next note. Every note was a billiard ball traveling.

当它回到这里或这里或这里时，他必须专注于手放在完全正确的位置。与此同时，当他的意识在这里时，他的潜意识把音符还给了他，然后他得到了下一个音符。每个音符都是一个旅行中的台球。

Every note was a distraction. Every note was an addition. You’ve got to break out of that conscious prison to be unconsciously creative, which means to connect unconsciously things that haven’t been consciously connected before.

每一条笔记都是一个干扰。每一条笔记都是一个补充。你必须打破那种有意识的牢笼，才能无意识地创造，这意味着要无意识地连接那些以前没有有意识地连接过的事情。

My greatest inspirations or creations come when I’m shaving. I am the poorest shaver. I cut myself continually, and I’m always running back and forth between the bathroom and my desk. They are right next to each other because I have to get it down before it slips away.

我最伟大的灵感或创作往往在我刮胡子的时候。我是最差劲的刮胡刀使用者。我不断地割伤自己，总是在浴室和书桌之间来回跑。它们紧挨着，因为我必须赶在它溜走之前搞定它。

I’ll draw one of my great connections for you. A very successful ad. It says, "71-year-old man has sexual congress five times a day!"

我要为你画出一个我伟大的联系。一个非常成功的广告。它说，“71 岁的男人每天进行五次性行为！”

Problem? This was a sexual health product. There are many sexual health problems and health products around. Everybody constantly talks about super-potency, etc., etc. They all say you can gain back everything you had. How was that going to compete in a market with a very simple, very crude mailing piece?

问题是什么？这是一个性健康产品。周围有很多性健康问题和健康产品。每个人都不断地谈论超强效力等等等等。它们都说你可以恢复你曾经拥有的一切。在这样一个市场里，一个简单、粗俗的邮寄宣传品将如何竞争？

And I found I could do it by two ways. Number one, I used "sexual congress" which is a very strange way of phrasing this particular act, but which was a very typically American way in the 1890s. And number two, I talked about a 77-year-old man when I’m selling products to 40 - year-old men. I gave the extreme. I did not think of this. I had no idea of thinking of this. It came to me, in fact, when I was shaving. I put it down, and it pulled 9% on the first test!

我发现可以用两种方法做到。第一种，我使用了“性交”这个词，这是一个非常奇怪的说法，但却是 19 世纪美国非常典型的一种表达方式。第二种，我在向 40 岁的男性销售产品时谈论一个 77 岁的男人。我给出了极端的例子。我没有想到这一点。我完全不知道会想到这一点。事实上，这个想法是在我刮胡子的时候出现的。我记下来，在第一次测试中就提高了 9%！

Okay, those are the fundamentals. Let’s go over them again.

好的，那些是基础知识。我们再过一遍。

The first, most dominant, absolutely incontrovertible and indispensable fundamental is that you work harder than anybody else, therefore you make more money than anyone else. A one -to-one connection. Red Blake - coach of Army, during WWII, a great coach - said the will to win depends on the will to prepare. You gotta prepare. Prepare, prepare, prepare. You got to go over it. And on the sixth reading you’ll see the great stuff.

第一条，最主导的，绝对不可否认且不可或缺的基础知识是，你比任何人都努力，因此你比任何人都赚得多。这是一个一对一的联系。二战期间担任陆军教练的雷德·布莱克，是一位伟大的教练，他说赢得的意志取决于准备的意志。你必须准备。准备，准备，准备。你必须反复思考。在第六次阅读时，你会看到精彩的内容。

Second is the ability to get to work. If you don’t get to work you can’t make money. And you get to work simply by using techniques for thinking creatively.

第二点是工作的能力。如果你不工作，你就不能赚钱。而你能通过使用创造性思维的技术来开始工作。

Richard-Stanton Jones: What are some of the techniques you use for tuning in or listening well?

理查德·斯坦顿·琼斯：你使用哪些技巧来调整状态或倾听得很好？

Schwartz: Number one: One hour a day, read. Read everything in the world except your business. Read junk. Very much junk. Read so that anything that interests you will stick in your memory. Just read, just read, just read. Subscribe to Ladies Home Journal Cosmopolitan, Vanity Fair. Get all the very low stuff. Low culture makes big money.

施瓦茨：第一：每天一小时，阅读。阅读世界上除了你的业务之外的一切。阅读垃圾。很多垃圾。阅读，以至于任何引起你兴趣的东西都会留在你的记忆中。只是阅读，只是阅读，只是阅读。订阅《妇女家庭杂志》、《 cosmopolitan》、《名利场》。得到所有非常低级的东西。低级文化赚大钱。

Got to remember that! There is your audience. There is the language.

必须记住这一点！这就是你的受众。这就是语言。

There are the words that they use.

有他们使用的词语。

Remember, when somebody does a picture, about a kid who gets lost over Christmas, and makes $300 million, a lot of people like that! If you have to go to that well not once, but twice, and you have to say to yourself, "What makes this reach these people?

记住，当有人画一幅关于圣诞节丢失孩子的画，并且赚了 3 亿美元时，很多人就会喜欢！如果你不得不去那口井，不是一次，而是两次，你必须对自己说，“是什么让这个触动了这些人？”

Assume People Are Wonderful

假设人们是美好的

ASSUME, AS YOUR CONSTANT assumption, that people are wonderful. You might read Dale Carnegie’s book How To Win Friends and Influence People again. That book is one of the greatest books ever written. And everybody should read it every two or three years. The assumption is that everybody you’re out there writing to is a good soul. As my father used to say, the sale of the earth. They really want to be nice, honest and successful. They want to be happy. And they want to have friends.

假设，作为你的恒定假设，人们是美好的。你可能需要再读一遍戴尔·卡耐基的书《如何赢得朋友并影响他人》。这本书是有史以来最伟大的书之一。每个人都应该每两三年读一次。假设你在外面写作的每个人都是一个好人。就像我父亲常说的，地球的销售。他们真的想变得善良、诚实和成功。他们想快乐。他们想交朋友。

And assume that’s there and then see what they’re very interested in at this time.

然后假设这是存在的，然后看看他们此时此刻非常感兴趣的是什么。

When you are at parties - and this is extremely difficult - listen. Sit down and listen. The technique of listening is extremely simple, and most people - 80% of people - don’t really practice it. You look the other person in the eye and you say, "Gee, you’re wonderful." You say, "Well, isn’t that interesting. What do you do?"" Oh, I’m publishing."

当你在派对上时——这非常困难——要倾听。坐下并倾听。倾听的技巧非常简单，而大多数人——80%的人——并不真正练习它。你看着对方的眼睛说，“哦，你真棒。”你说，“这真有趣。你做什么工作？”“哦，我从事出版业。”

"Who do you work for?" "Phillips Publishing."" Oh, terrific! What do you do there?" And you sit and you listen and you listen and you listen.

“你为谁工作？” “菲利普斯出版社。”“哦，太棒了！你在那里做什么？”然后你坐下来，倾听，倾听，再倾听。

And every time they say something, you nod. And memorize specific statements, so you can feed them back to them in the same conversation. In that way, the person goes into a talking frenzy.

每次他们说话时，你都点头。并记住具体的陈述，这样你可以在同一对话中反馈给他们。这样，这个人就会进入谈话的狂热状态。

He begins to feel very important, very comfortable, very happy and he loves you and he will confide in you. That gives you his inner secrets. I have - pardon me for saying this - but I have had a dinner conversation with a woman I have never met before at which the entire table around us - 12 people - stopped when she said, "I tell you my cervix is no larger than my little fingernail!" This is because people will become hypnotized by their own stories.

他开始感到非常重要、非常舒适、非常快乐，他喜欢你，他会向你倾诉。这会给你他的内心秘密。我——请原谅我说这话——但我曾与一个素未谋面的女人共进晚餐，当她说“我告诉你，我的宫颈和我的小指甲一样大！”时，我们周围的整个桌子——12 个人——都停了下来。这是因为人们会被自己的故事催眠。

Write To The Chimpanzee Brain

写给黑猩猩的大脑

ALL THE EXPOSURE BOOKS. Every single one of them. Barbarians at the Gate. You know, all the ones that said, "These are the way people got away with it." Get that book. Everything that tells you how to be crooked - as an investor I would devour them. People are two-sided. I mean, there are so many ways we can go. You are all chimpanzees.

所有的曝光书籍。每一本。野蛮人入侵。你知道，所有那些说，“这些人是如何逃脱惩罚的。”得到那本书。所有告诉你如何变得不择手段——作为一个投资者我会贪婪地吞下它们。人们是两面的。我的意思是，我们可以有很多种方式。你们都是黑猩猩。

I’ve got terrible news for you!

我有坏消息要告诉你！

There are three kinds of chimpanzees invented by nature: the regular chimp, the pygmy chimp, and this thing called man. Man was the third. He came along a couple of hundred thousand years ago.

自然创造了三种黑猩猩：普通黑猩猩、侏儒黑猩猩，还有这个叫做人类的东西。人类是第三个。他出现在大约几十万年前。

So you have three brains! You have a reptilian brain, a mammalian brain and human brain: the cerebrum up here which thinks logically.

你有三个大脑！你有一个爬行动物大脑、一个哺乳动物大脑和一个人类大脑：这里的大脑负责逻辑思考。

You don’t use the human brain that much in reading copy. You really use the chimpanzee brain in reading copy. You are an animal. When it gets you in the gut, what does that mean? It gets you in the chimpanzee brain. That’s why you use very simple and very vivid words when you’re dealing with investment copy, I think. In any other kind of advertising I’ve ever run I used very simple words.

在阅读广告文案时，你并不常用人类大脑。你真正用的是黑猩猩大脑。你是一个动物。当你感到内心激动时，这意味着什么？这意味着它激发了你的黑猩猩大脑。这就是为什么在处理投资文案时，我认为你使用非常简单和非常生动的词语。在我做过的任何其他类型的广告中，我也使用非常简单的词语。

Inside of us we have this hidden chimpanzee. It gives us a lot of trouble. But it provides a lot of opportunities for marketers. The person who buys investment material wants to make a lot of money very, very, very fast. He may logically know he can’t do that, but he would love to do it. And believe me, he goes home and presses that TV button and sees right in there. That is your junk reading. Now, he’s going to look for the best, most rational and most honest approach possible. But he’s also going to have that little sly side of him and you are going to have to appeal to that to sell to him.

在我们内心深处，有一个隐藏的黑猩猩。它给我们带来很多麻烦，但它也为营销人员提供了很多机会。购买投资材料的人想要非常非常非常快地赚很多钱。他可能从逻辑上知道他做不到这一点，但他渴望做到。相信我，他回到家按下电视按钮，看到了里面的内容。这就是你的垃圾阅读。现在，他将寻找最好的、最合理和最诚实的方法。但他也会有一点点狡猾的一面，你必须迎合他才能向他销售。

Copywriting Is Simple Writing

广告文案写作很简单

I ALSO JUST WANT TO quickly throw that into another dimension. I guess you all supervise or work with the copywriters. And you all write copy.

也要快速把它扔进另一个维度。我猜你们都监督或与文案人员共事。你们都写文案。

You all speak copy. You’re all trying to sell somebody something - if it’s only a raise or going out on a date, or having somebody do what you want them to do.

你们都谈论文案。你们都在试图向某人推销东西——不管是加薪还是去约会，或者让某人做你们想让他们做的事情。

Copy writing - as well as all effective writing - is simple, transparent writing. It is not literary writing. The surest way to know that something is failing as copy is to have someone come in and say,

文案写作——以及所有有效的写作——都是简单、透明的写作。它不是文学写作。知道某件事作为文案失败的最可靠的方法是有人进来并说，

"God, that was great copy! Oh, I love the ring of that sentence! And that phrase you put in there moved me!" Uh, uh! What happens is that you want them to come in and say, "Jesus Christ, am I in that much danger?" Or, "is there really a way that I can have sexual congress fives times a day?" That’s what you want.

“天啊，那真是绝妙的文案！哦，我喜欢那句话的韵味！你放进去的那个短语让我感动！”呃，呃！发生的是你们希望他们进来并说：“天哪，我真的是那么危险吗？”或者，“真的有办法让我一天性交五次吗？”那就是你们想要的。

You are presenting a showcase for your product. Just like a store showcase on Fifth Avenue. You want the person to be able to look through the copy like the person is able to look through the glass in the showcase and see the product inside. If that glass becomes dirty, reflective, or calls attention to itself in any way, you have failed. If you want to write a novel, go write a novel. And I have! But don’t write novel copy!

你正在为一个产品做展示。就像第五大道上的商店橱窗一样。你希望人们能够像透过橱窗的玻璃一样浏览文案，看到里面的产品。如果那块玻璃变得脏兮兮、反光，或者以任何方式引起注意，你就失败了。如果你想写小说，那就去写小说。我已经写过了！但是不要写小说式的文案！

Simple, dramatic, move-gut copy. There’s also enormous room for logical terminology in ads. And you should use it continually. But that is logical, terminology and structure. Don’t use hard words in ads - words with more than three syllables - unless you want to give a certain flavor at that moment. You’ve got to be simple. Remember.

简洁、戏剧性、触动内心的文案。广告中也有巨大的空间使用逻辑术语。而且你应该持续使用。但是那是逻辑、术语和结构。在广告中不要使用难词——那些超过三个音节的词——除非你想在那一刻营造某种氛围。你必须简单。记住。

The Headline Does Not Sell

标题不销售

LET’S GET INTO SPECIFICS. This desk here is a good example of what your table at home looks like every day and what your prospect’s table at home looks like every day. Here I come in, and I’ve had a tough day.

让我们具体分析。这张桌子就是一个很好的例子，它看起来像你家中的桌子，也像你潜在客户家中的桌子。我来了，我的一天很艰难。

And I’m pretty tired. And I’ve got one, two, three, four, six, seven, eight, nine or more pieces of mail. What is my movement when I open these pieces of mail? I go this way and this way and this way, okay?

我现在很累。而且我有一、二、三、四、六、七、八、九封或更多信件。当我打开这些信件时，我的动作是怎样的？我这样、那样、那样移动，好吗？

My actual rhythm - and your actual rhythm - is you pick them up like this. You may pick them up like this, and you look. The envelope has ten seconds. You, as a company, as an executive, as a copywriter, have ten seconds. The hand comes up, the hand looks, the hand throws away.

我的实际节奏——以及你的实际节奏——是这样的：你像这样拿起它们。你也可以像这样拿起它们，然后看看。信封有十秒钟的时间。你作为一个公司、一个高管、一个文案，只有十秒钟的时间。手抬起，手看起来，手扔掉。

Or, the hand stops. Something gets him. You have ten seconds for your headline to stop that hand from throwing your piece away. So what is a headline? That’s very important. And a headline is a very simple device that has a very easy job to do. Except that people make it extremely hard.

或者，手停了下来。有什么东西吸引了他。你有十秒钟的时间让你的标题阻止手扔掉你的信件。那么，标题是什么？这非常重要。而且标题是一个非常简单的工具，有一个非常容易的工作要做。但人们让它变得极其困难。

The purpose of this headline: "Burn Disease Out of Your Body" - which is the first thing they see in those ten seconds - is to get them to read the next paragraph. That’s all it is. Nothing else. It sells nothing. It confirms nothing. It argues nothing. It establishes nothing about the firm. If it stands by itself it would do nothing in the world, but all it’s gotta do is, it’s got to get them to read the next paragraph.

这个标题的目的是：“从你的身体中燃烧疾病”——这是他们在十秒钟内看到的第一件事——是为了让他们读下一段。这就是它的全部。它不销售任何东西。它不确认任何东西。它不做任何争论。它不关于公司建立任何东西。如果它单独存在，它将不会在世界上做任何事情，但它必须做的是，它必须让他们读下一段。

Second, how long should a headline be? That’s a classic question in copywriting. And, of course, the answer is, "No determined length."

第二，标题应该有多长？这是文案写作中的一个经典问题。当然，答案是“没有确定的长度。”

The headline depends strictly on how long it gets you to stop the person and get them going.

标题严格取决于它能否让你停下来并吸引读者继续阅读。

And the third question is, how many headlines can there be in a mailing piece? And that, of course, is as many as you get on the page and make work.

第三，一个宣传品中可以有多少个标题？当然，只要有足够的空间并且有效，就可以有多少个。

In the old days, people used to think that there should be one great headline. One super, marvelous headline that was only words - five words, six words, seven words - that would stop, and everything came out of that. The classic example is, "Why Men Crack." It’s a great headline - ruled for years. Three words, and that was it! It is represented by this one. "A 71-Year-Old Man Has Sexual Congress Five Times a Day." Then you begin to realize you got all this paper.

在过去，人们认为应该只有一个伟大的标题。一个超级、精彩的标题，它完全由文字组成——五个字、六个字、七个字——能够吸引注意力，所有内容都由此展开。一个经典的例子是“为什么男人会崩溃”。这是一个很棒的标题——多年来一直被奉为经典。三个字，就是这样！它代表了这样一个标题。“一个 71 岁的男人每天性交五次。”然后你开始意识到你得到了所有这些纸张。

You’re paying a fortune for all this paper, so why don’t you use it in any way you can.

你在为这些纸张支付一大笔钱，所以为什么不以任何你能想到的方式使用它们呢。

All you want the person to do is pick up the envelope, see what he’s got, read it, say, "Umm, that looks interesting - turn it over on the back - there’s something on the back - read the back - says, Umm, that looks interesting," and he opens it. So all you’re asking him to do is move through your copy. Nothing more. You’re not trying to sell.

你希望这个人做的所有事情就是拿起信封，看看里面有什么，读一读，说，“嗯，这看起来很有趣——把它翻到背面——背面有什么——读背面——说，嗯，这看起来很有趣，”然后他打开它。所以你要求他做的只是浏览你的文案。没有更多。你并不是想卖东西。

The headline sells the first line. The first lines sells the second line. The second line sells the third line. And the third line sells the fourth line, etc.

标题销售第一行。第一行销售第二行。第二行销售第三行。第三行销售第四行，等等。

There’s a tremendous advantage there. There are things that you can say in the middle of an ad which will be believed because you prepared them for it. But, if you said it at the top of the ad, or in the envelope, it would be thrown away. The guy would say, "This is ridiculous, this is insulting my intelligence, I’m not going on. "If you can get him into the middle, if you can get certain facts to him, then he is prepared to believe. And if he is prepared to believe, he’s prepared to buy.

这里有巨大的优势。在广告的中间，你可以说出一些会被相信的话，因为你已经为他们做好了准备。但是，如果你在广告的顶部或信封里说，它会被扔掉。这个人会说，“这太荒谬了，这是侮辱我的智商，我不继续了。”如果你能让他进入中间，如果你能让他了解某些事实，那么他就准备好相信了。如果他准备好相信，他就准备好购买了。

There’s a headline. Should it be tremendously big?

标题是巨大的吗？

Overwhelming? Not really. This is an envelope. Just take a look at it. What it says is, "If a Disease Is as Crippling as This, Then You Certainly Have To Treat It With Drugs. Or Do You? Decide For Yourself From the Startling Facts Below." Well, that’s the whole headline. It’s pretty much that. If they start reading, "if a disease is as crippling as this," then they will probably finish this. And if they do that they will go on to that. If they do that, they will go on to that, they will go on to that. There must be what, a hundred words here? I don’t know. And then you turn around "Is Premature Aging the Most Universal Unconquerable of All the Common Diseases Listed Inside? Not at all. For startling, up-to-the-minute evidence that it is not, see inside!"

令人震撼吗？不完全是。这是一个信封。你看看它。上面写着，“如果一种疾病像这样使人丧失能力，那么你当然必须用药物来治疗它。或者你呢？从以下惊人的事实开始自己决定。”好吧，这就是整个标题。差不多就是这样。如果他们开始读“如果一种疾病像这样使人丧失能力”，他们可能会读完。如果他们这样做，他们会继续读下去。如果他们这样做，他们会继续读下去，他们会继续读下去。这里必须有一百个词左右？我不知道。然后你转过去“过早衰老是所有常见疾病中最普遍、最无法征服的吗？一点也不。为了看到最新的惊人证据，证明它不是，请看里面！”

Okay, this is a dirty envelope - "ugly, as Richard calls it. This is an ugly layout. I’ve been driving Rodale crazy for over 15 years giving them this kind of envelope. This sold 50 million (five-zero) million dollars worth of books. That’s a lot of books to sell on a single folded piece of paper. Why? Because it reaches out and touches somebody, and they’re willing to see and pay for these little miracles.

好吧，这是一个肮脏的信封——正如理查德所说的“丑陋”。这是一个丑陋的布局。我已经为罗代尔公司忙了 15 年以上，给他们提供这种信封。它卖出了 5000 万（五千万）美元的书籍。在一张折叠的纸上卖出这么多书，这怎么可能呢？因为它能够触动人心，让人们愿意看到并支付这些小奇迹的费用。

I wrote this to see how much copy I could get for an envelope on a single piece of typewritten paper single spaced. Then I threw it down to the design department. And what they did is they took the top of it which said, "tricks of the trade so powerful they could change your life." And then we gave 20 of those tricks of the trade right there on the envelope. Right there in the headline. "A form of ordinary water that, by itself, can relieve cold symptoms. Page 273.""Simple, do-it- yourself ways to not only burglar-proof your door, but also have invincible windows. Page 159."

我写这个是为了看看在一张单倍行距的打字纸上，我能写出多少广告文案。然后我把它扔给了设计部门。他们做了的是，把上面写着“如此强大的交易技巧，可以改变你的生活”的部分拿下来。然后我们在信封上直接给出了 20 种交易技巧。就在标题里。“一种普通的饮用水，仅凭自身就能缓解感冒症状。第 273 页。”“简单、自己动手的方法，不仅能使你的门防贼，还能让你的窗户坚不可摧。第 159 页。”

This ran as a control for 15 years. When it finally faded out, they went into this, which is prettier. Because it’s on coated stock, in color. And this says, "Old-timer tricks do the impossible around your home." So you’ve gotta learn that a headline doesn’t sell. It has nothing to do with selling.

这曾作为一个对照样本使用了 15 年。当它最终淡出时，他们转向了这个更漂亮的版本。因为它是在彩色涂布纸上印刷的。这个版本写着，“老手技巧能让您的家变得不可思议。”所以您必须明白，标题不负责销售。它与销售无关。

Who Are You Writing To?

你在为谁写作？

YOU ARE NOT WRITING to a private person. You are not writing to a bunch of people. You are writing to a number of people who share a private want. Remember that. If they don’t share the want, they are of no use to you. If there aren’t enough people that share the want deeply enough to spend the fifty bucks for a newsletter or $30 for a book, they are of no use to you.

您不是在为一个私人人士写作。您不是在为一群人写作。您是在为一群有共同私欲的人写作。记住这一点。如果他们没有共同的欲望，他们就没有用处。如果分享这种欲望的人不够多，以至于他们不愿意花 50 美元买一份简报或 30 美元买一本书，他们就没有用处。

You are writing to a number of people who share a private want, and you are addressing them as if they were the only person in the world.

您是在为一群有共同私欲的人写作，并且您要像他们是世界上唯一的人一样来回应他们。

What is the most powerful word in advertising? Not "free!" "It’s "you!"

广告中最强大的词是什么？不是“免费！”而是“你！”

And yet so many times you see "these symptoms appear." How about "your symptoms appear?" What you are talking about is you. The person who has got this piece of paper in their hand and is on the other side of your copy. You, you, you, you, you, you, you, you, you.

然而，你经常看到“这些症状出现”。为什么不写成“你的症状出现”？你谈论的是你。手里拿着这张纸，在你文案另一边的那个人。你，你，你，你，你，你，你，你，你。

If it doesn’t have the word "you" a hundred times, I really don’t like it very much.

如果一个文案中“你”字没有出现一百次，我真的不喜欢它。

Now, when you are writing to a public that shares a private want, they may share subsections of the want. And therefore, what the hooks - the promises - are doing is pulling out a subsection and putting it in.

现在，当你写给那些共享私人欲望的公众时，他们可能会共享欲望的子部分。因此，钩子——承诺——的作用就是提取一个子部分并将其放入其中。

I’m trying to pick up five percent in this hook, 10% in another hook, etc. And you’ve got to have an overall way of getting everybody to read through.

我正在尝试在这个钩子上提高五个百分点，在另一个钩子上提高 10%，等等。而且你必须有一个让大家通读的方法。

Notice that the headline says, "If A Disease as Crippling as This." Well, that includes arthritis victims, bursitis victims, emphysema victims.

注意，标题写着，“如果有一种像这一样使人瘫痪的疾病。”好吧，这包括关节炎患者、滑囊炎患者、肺气肿患者。

Headline Elements: Promise = Intrigue, Mechanism = Emotion

标题元素：承诺=悬念，机制=情感

LET’S TALK ABOUT FINDING the headlines. We’re getting very technical now. Very specific. You have your 40 pages of notes. And you are going through your 40 pages of notes. And you begin to see a picture emerging. There was a book that Rodale had a lot of trouble with. And they kid of figured that maybe they shouldn’t have published it. It was a book on arthritis. And Rodale is extremely good - the best in the country, I think, at doctor remedies, hidden doctor remedies. And this book went way off from that because it wasn’t written by doctors. And, of course anybody that buys Rodale books, buy doctor remedies.

让我们谈谈如何找到标题。我们现在变得非常技术化，非常具体。你有你的 40 页笔记。然后你开始浏览你的 40 页笔记。然后你开始看到一幅画面浮现出来。有一本书，罗代尔遇到了很多麻烦。他们有点觉得也许他们不应该出版它。这是一本关于关节炎的书。罗代尔非常出色——我认为他是全国最好的——在医生疗法、隐藏的医生疗法方面。这本书偏离了那个主题，因为它不是由医生写的。当然，任何购买罗代尔书籍的人都会购买医生疗法。

This was a book about people who cured their arthritis by themselves that the doctors didn’t really agree with. 766 different people who had different cures which they found by themselves. How are you going to reach them? So the headline is, "Sneaky Little Arthritis Tricks. Natural Foods and Do-It-Yourself Secrets That Pain-Proofed Over 100 Men and Women Like You."

这是一本关于人们通过自我治疗治愈关节炎的书，而医生们并不真的同意这样做。有 766 个不同的人，他们通过自我发现不同的治疗方法。你将如何联系他们？所以标题是，“狡猾的小关节炎技巧。天然食物和自我动手的秘密，让 100 多位像你一样的男性和女性免于疼痛。”

I figured that these people were sneaking around doctors. And they felt guilty about doing it. Nobody said this, incidentally. It isn’t in the book. And the people who went to the doctors or the market for this were still in pain. Arthritis is a very intractable disease, and we haven’t cured to it yet, even though I hope we will in the next five years. So I thought the only way we could do this was "sneaky little" - both words you don’t usually use in advertisements like this.

我觉得这些人在偷偷绕过医生。他们对此感到内疚。顺便说一句，没人这么说。书里也没有写。那些去看医生或去市场的人仍然感到疼痛。关节炎是一种非常难治的疾病，即使我希望我们在未来五年内能够治愈它。所以我认为我们唯一能做的是“狡猾的小”——这两个词通常不用于这种广告。

Now, in this particular case, when we said "Sneaky Little Arthritis Tricks," this grabbed attention. Then what’s the next step? - What are they? "Natural Food and Do-it-Yourself Secrets That Pain-Proofed over 100 Men and Women Like You."

现在，在这个特定的情况下，当我们说“狡猾的小关节炎技巧”时，这吸引了注意力。接下来是什么步骤？——它们是什么？“天然食物和自我动手的秘密，让 100 多位像你一样的男性和女性免于疼痛。”

Notice how it’s step-by-step. You grab their attention; you send them into the mechanism. That is the foods and secrets. You send them into the first reward: pain-proof. Then we have these pictures and all these testimonials one, two, three, four, five, six, seven; there were seven quotes from seven of these 776 people. One says, "I enjoyed a total remission of my arthritis." Another says, "I have not had sciatica since 1971." Another said "All symptoms disappeared and have not returned." Okay. What you’ve got is intrigue in the first part, a mechanism for giving you something you can’t get in the second part, and proof in the third part.

注意它是一步一步的。你吸引他们的注意力；你将他们带入机制。那就是食物和秘密。你将他们带入第一个奖励：防痛。然后我们有这些图片和所有这些见证者，一、二、三、四、五、六、七；有七个来自这 776 个人的引言。一个说，“我享受了关节炎的完全缓解。”另一个说，“自从 1971 年以来我再也没有患过坐骨神经痛。”另一个说“所有症状都消失了，并且没有再出现。”好吧。你得到的是第一部分的神秘感，第二部分给你你不能得到的东西的机制，第三部分是证据。

You’ve also got enormous gut emotion in the envelope because of those exceptional pictures that they put. Look at that beautiful woman at the bottom. You can’t help relating to her. Look at the man with the little child kissing him at the top. This is what you want. You have this woman. Look at her stride. Very strong. This is what you want. So you have great promise, intrigue. You have a mechanism - a new mechanism that delivers that promise. You have proof that that promise has been delivered to people like you. And you have deep emotion. That’s what you need. All of them combined, get the prospect to read.

你在信封里也感受到了巨大的情感冲击，因为那些卓越的图片。看看底部那位美丽的女人。你无法不与她产生共鸣。看看顶部那个抱着小孩亲吻的男人。这就是你想要的。你拥有这位女人。看看她的步伐，非常有力。这就是你想要的。所以你拥有巨大的希望，引人入胜。你拥有一个机制——一个能传递这种希望的新机制。你拥有证据，证明这种希望已经传递给了像你这样的人。你拥有深厚的情感。这就是你需要的东西。将它们全部结合起来，吸引潜在客户阅读。

How to Uncover Great Headlines

如何发现出色的标题

LET’S ABOUT HOW WE build an ad. I’m going to read you this; this is very successful, the second-longest running direct mail piece.

让我们来谈谈如何制作广告。我将读给你听；这是非常成功的，第二长寿的直接邮件广告。

We start with "How Modern Chinese Health and Medicine Helps Both Men and Women." That is the small type above the headline.

我们从“现代中医和医学如何帮助男性和女性”开始。那是位于标题上方的较小字体。

What does that do? In the first place, it establishes the point of difference. They’re going to be running to about 150 lists; 150 lists all have their own product. How do you establish a point of difference between this product and their product? Especially when it’s a book as old as this one? By talking about Chinese medicine which is ancient, but at the same time it’s modern. Most people haven’t heard about it, but they’re intrigued. We all know how powerful the East is. And both "men and women" is an inclusion headline which looks like an exclusion headline. "Both men and women" means if you’re a man you can read this; if you’re a woman you can read this. It’s very crude, but it works.

这有什么用？首先，它确立了差异化点。他们将会运行到大约 150 个列表；150 个列表都有自己的产品。你如何在这款产品和他们的产品之间建立差异化点？尤其是当它像这样一本古老的书时？通过谈论中医药，它既古老，同时又是现代的。大多数人没听说过它，但他们感到好奇。我们都知道东方的力量。而且“男性和女性”是一个包容性标题，看起来像是一个排他性标题。“男性和女性”的意思是如果你是男性，你可以读这个；如果你是女性，你也可以读这个。它很粗俗，但它有效。

Then you go to "Burn Diseases out of Your Body Lying Flat on Your Back Using Nothing More Than the Palm of Your Hand." Why is this effective? Because, of course, you’d like to get rid of disease, but how can you burn disease out of the body? And then the contradiction immediately comes up, "Lying Flat on Your Back Using Nothing More Than the Palm of Your Hand." Again, you’re not taking drugs, you’re not seeing your doctor, you’re not undergoing surgery, etc. This sounds extremely easy. So what you’ve got is inclusion; a very powerful claim and a very easy mechanism.

然后你去做“用你的手掌躺着就能将疾病从身体中烧掉”。为什么有效呢？当然，你想要摆脱疾病，但如何才能将疾病从身体中烧掉？然后，矛盾立刻出现，“用你的手掌躺着就能将疾病从身体中烧掉”。你既不服用药物，也不去看医生，更不进行手术等等。这听起来非常简单。所以你得到的是包含；一个非常有力的声明和一个非常简单的机制。

Now notice what you have given the reader. You have given a great deal of information in three sentences. And the person is now ready to go on. "This may be the most startling news you’ve ever read. And we are going to let you prove its merits yourself without risking a single penny. It is that different. They’re powerful, they’re provocative and controversial."

现在注意你给了读者什么。你在三句话中给出了大量的信息。现在这个人已经准备好继续下去了。“这可能是有史以来你读到的最惊人的消息。我们将让你自己证明它的优点，而不冒一分钱的风险。这就是不同之处。它们是强大的，它们是挑衅的，也是有争议的。”

We are going to let you prove its merits yourself without risking a single penny. Thus the guarantee comes to the front of the piece.

我们将让你自己证明它的优点，而不冒一分钱的风险。因此，保证成为了文章的前沿。

Once you have said "without risking a single penny", it means you, the publisher, are taking a chance on them, the reader, liking your product. Then you can say it is that different, it is that powerful, that provocative and controversial. If you had said at the front without any preparation, "it is that different, that powerful, that provocative and controversial", it would not be believed as readily as if you say, "I’ll put my money on it that this will give you these benefits."

一旦你说出“不冒一分钱的风险”，这意味着你，作为出版商，在赌他们，作为读者，会喜欢你提供的产品。然后你可以说它有多么不同，多么强大，多么挑衅和有争议。如果你在没有任何准备的情况下，一开始就说“它有多么不同，多么强大，多么挑衅和有争议”，它就不会像你说的“我赌这个会给你带来这些好处”那样容易被相信。

Prepare the Ground for Each Claim

为每个主张做好准备

WHAT YOU’VE DONE IS you’ve taken a claim and made it powerful by preparing for it. You must prepare. Again, you have the time to prepare because you certainly don’t have to sell now. You’ve got a whole mailing piece to sell. The more time you have, the more you can sell. "Let us explain. The Chinese do not believe in surgery or medicine for major illness. They prevent such illnesses instead with a series of mild, almost effortless internal exercises." What you have been relying on is no longer necessary. Surgery and medicine are expensive, dangerous, and painful. Also embarrassing. But the Chinese don’t believe in it. They prevent. Instead of treat, prevent. With a series of mild, almost effortless internal exercises. It sounds like fun!

你所做的是，你通过准备来赋予一个主张力量。你必须准备。再说，你有时间准备，因为你当然不必现在就销售。你有一整份宣传材料要销售。你拥有的时间越多，你能销售的就越多。“让我们来解释。中国人不相信为重大疾病进行手术或药物治疗。他们通过一系列温和、几乎不费力的内部锻炼来预防这些疾病。”你所依赖的不再必要。手术和药物是昂贵的、危险的、痛苦的。而且尴尬。但中国人不相信这些。他们预防，而不是治疗。通过一系列温和、几乎不费力的内部锻炼。听起来很有趣！

"If you do not have an open mind, please stop reading here, for this letter’s about to introduce you to a new, although it is 4,000 years old, a different type of self-healing. Born in China, over 40 centuries ago, it’s called Taoist medicine. And we will let the foremost practitioner of it in the Western world, Dr. Stephen Chiang, gave you a brief and startling introduction to these effortless exercises."

如果你没有开放的心态，请在这里停止阅读，因为这封信即将向你介绍一种新的、虽然已有 4000 年历史的不同类型的自我疗愈。它诞生于中国，已有 40 多个世纪，被称为道家医学。我们将让西方世界中最杰出的道家医学实践者 Stephen Chiang 博士，为你简要而惊人地介绍这些不费力的锻炼。

"Brief." "Startling." "Effortless." Look at adjectives. Adjectives are where you carry your emotion. Adjectives are gut words. Adjectives are description words. Adjectives are feeling words. Look at your adjectives. Do an adjective check when you’ve done your copy. Very important words.

"简洁。" "惊人。" "轻松。" 看看形容词。形容词是你传递情感的地方。形容词是直觉词。形容词是描述词。形容词是感觉词。看看你的形容词。在完成文案后进行形容词检查。非常重要的词。

You can say something with adjectives and without adjectives and have absolutely two different things. And then Dr. Chiang comes in, and the rest of the entire mailing piece is quotas from the book.

你可以用形容词说一件事，也可以不用形容词，结果会完全不同。然后蒋博士介入，剩下的整个宣传册都是来自那本书的摘录。

Except for one or two sections which I am going to get to next.

除了接下来我要提到的部分。

Now, he makes extremely powerful claims. All of which are exceptionally pleasant. "Clicking the teeth, as shown to you on page 132, will help tighten the joints in the body and keep the teeth healthy." Now how can your teeth help tighten your joints? This is the precursor of Rodale’s "Doctors’ Home Remedies", in which we gave these silly little things like putting a tea bag up to your eye to improve eyesight. Twist, twist, twist? The more twist, the more powerful.

现在，他提出了非常有力的主张，这些主张都非常令人愉悦。"如第 132 页所示，咬紧牙关有助于收紧身体关节并保持牙齿健康。" 那你的牙齿如何能收紧你的关节呢？这是罗代尔《医生的家庭疗法》的前奏，其中我们给出了这些愚蠢的小东西，比如把茶包放在眼睛上以改善视力。扭转，扭转，再扭转？扭转越多，力量越强。

"The muscles in the abdomen and body will tighten and become toned and strengthened. Excess water and flesh will be eliminated and the belly is shrinking. And you are doing all this with the palm of your hand."

"腹部和身体肌肉会收紧、变得紧致和强壮。多余的水分和脂肪会被排出，肚子在缩小。而你只需要用你的手掌就能做到这一切。"

Biography Builds Belief

传记建立信念

ONCE YOU HAVE CLAIMS this powerful, people are going to say, "Isn’t that nice? I don’t believe a word of it." You can’t make powerful claims unless you can prove them. You have to prepare for them, and you have to prove them. You’ve got to stop them and make them believe.

一旦你有了这些强大的声明，人们就会说，‘这不是很好吗？我一个字都不相信。’你不能做出强大的声明，除非你能证明它们。你必须为它们做准备，你必须证明它们。你必须阻止它们，并让它们相信。

So what we had which we didn’t have in almost any other ad at that time, 14 years ago, was a little section up here in the biography. Got a great, Chinese face. He’s 67 years old; he looks about 40. Great Chinese face.

所以我们当时有的，而在当时几乎其他任何广告中都没有的，是这里的一个小传记部分。有一个很棒的中国面孔。他 67 岁；看起来像 40 岁。很棒的中国面孔。

Well, what do we say about him. I’m going to take a few minutes to read that, because it’s very important. "Stephen Chiang, Ph.D., M.D. comes from a family which has practiced medicine for more than 400 years. Dr. Chiang’s great-grandfather was personal physician to the Empress Chai Chi and the first ambassador to the United Kingdom. Dr. Chiang has a Ph.D. in philosophy, holds two law degrees and received his medical degree from China, from the Yung Chee University Medical School, where he was trained n both Western and Chinese medicine. ”

嗯，我们怎么说他呢。我要花几分钟读一读，因为这非常重要。“Stephen Chiang，博士，医学博士，来自一个有 400 多年行医历史的家族。Chiang 博士的曾祖父是柴治皇后的私人医生，也是第一位驻英国大使。Chiang 博士拥有哲学博士学位，持有两个法律学位，并在中国，从永济大学医学院获得医学学位，在那里他接受了中西医的双重训练。”

Okay, so we’ve got his background. Now what has he been doing recently? “Currently he is on the faculty, consulting and conducting classes in Chinese medicine in such universities as University of California, University of Oslo; the United States Health Service Hospital, San Francisco; the University of Oregon; college of San Mateo; Golden West College; center for Chinese Medicine and Continuing Education.

好的，我们已经了解了他的背景。那么他最近在做什么呢？“目前他在教职，咨询并在中国医学领域授课，如在加州大学、奥斯陆大学；美国卫生服务医院旧金山；俄勒冈大学；圣马特奥学院；金西西学院；中医中心和继续教育学院。”

"In addition, Dr. Chiang has given many workshops where...”

此外，Chiang 博士已经举办了许多研讨会，在那里……”

I promise you every word of that is read. It’s in eight-point print type. It’s read, because people want to believe...

我向你保证，这些话中的每一个字都被读过了。它是八点活字印刷的。它被读，因为人们想要相信……

You’ve Got to Demonstrate the Product

你必须展示产品

OKAY, NOW THAT YOU have proof, you’ve got to demonstrate.

好的，既然你有了证据，你必须展示。

Demonstration and proof are extremely powerful. You do this by saying, "Let us give you the simple internal exercise that energizes the heart. This exercise shows you immediately how incredibly simple, how incredibly easy, how incredibly comfortable these internal exercises are. When you receive Dr. Chiang’s book to prove or disprove it at our risk turn immediately, without preliminary reading, to page 140."

展示和证据是非常强大的。你通过说，“让我们给你一个简单的心脏激活练习。这个练习立即向你展示这些内部练习是多么简单，多么容易，多么舒适。当你收到蒋博士的书来证明或证伪它时，冒着风险立即，不要预先阅读，转到第 140 页。”

Important, because you’re going to give something they should do with the book. You don’t want them to send it back. And also, it sounds very good. It’s convincing them. They are now using the book with you in the letter. There you will be shown the exact way to hold your body while energizing your heart. No movement. We’ll repeat. No movement is required. All you do instead is this: sit or stand in a comfortable position with your hands simply extended in front of your chest at the level of your shoulders. Make sure that the fingertips of each hand almost touch. But keep about a quarter of an inch between them. Keep your eyes focused on the top of your fingers. That is all there is to the entire exercise. Nothing else. No further effort. Not even the simplest movement of the body is required. Nothing more.

很重要，因为你将给他们一些关于如何使用这本书的建议。你不想让他们把书退回来。而且，这听起来非常好。这是有说服力的。他们现在正和你一起在信中使用这本书。在那里，你会看到在激发你心脏时如何正确地保持你的身体姿势。没有动作。我们会重复一遍。不需要任何动作。你唯一要做的，就是：舒适地坐着或站着，双手简单地伸在胸前，与肩膀同高。确保每只手的指尖几乎相触，但保持约四分之一英寸的距离。让你的眼睛专注于指尖的上方。这就是整个练习的全部内容。没有其他事情。不需要进一步的努力。甚至身体最简单的动作都不需要。没有更多的事情了。

Nothing more to do. Not a single strain in any part of your body. Your heartbeat doesn’t rise a single beat. And yet, what happens is this:

没有更多的事情要做。你身体的任何部位都没有一丝一毫的紧张。你的心跳也没有增加一跳。然而，发生的事情是这样的：

"The exercise creates a flow of energy."

"这个练习创造了一股能量流动。"

You have just demonstrated the book. You have taken one exercise, one paragraph out of a 270-page book, and you have said to the person, "Get on the floor and try this. Feel what happens. If you don’t like what happens, don’t send for the book. If you do like what happens, you have already demonstrated the first part of the book and you can now order and can get everything else."

你刚刚展示了这本书。你从一本 270 页的书里摘取了一个练习、一个段落，然后你对人说：“到地上去试试这个。感受一下发生了什么。如果你不喜欢发生的事情，就不要订购这本书。如果你喜欢发生的事情，你就已经展示了这本书的第一部分，现在你可以订购并得到所有其他内容。”

Every Sentence Is a Branch of a Tree The ad is built as a mosaic. Every sentence in the ad is built as a mosaic. First you give a proof. You give a claim. You give a mechanism, which is how the claim is achieved. You give a proof. You give documentation. You give demonstration. Every sentence is a branch on a tree. And the words in the sentence as the leaves on the branch. First the branch comes; that’s bare outline of the sentence.

每个句子都是一棵树的分支。广告就像一幅马赛克一样构建。广告中的每个句子都是一幅马赛克。首先你给出证据。你给出主张。你给出机制，即如何实现主张。你给出证据。你给出证明。你给出演示。每个句子都是一棵树的分支。句子中的单词就像树枝上的叶子。首先树枝出现；那是句子的裸线轮廓。

And then you see out of the branch, the leaves popping up. The leaves give the branch color. They give the branch beauty. They give the branch strength and power because they collect the energy coming from inside. That’s what you do.

然后你看到从树枝上，叶子冒出来。叶子给树枝上色。它们给树枝带来美丽。它们给树枝力量和权力，因为它们收集来自内部的能量。这就是你要做的。

You Channel Demand

你引导需求

I FIND AS A PERSONAL phenomenon advertising to be an extremely easy discipline. It can be very hard if you work at it too hard. It can be very easy if you flow along with it. What are you doing when you market something? You are not creating demand for a product. If you think that you are creating demand for your product, you’ve doomed yourself to a lifetime of hard work and failure. You can’t create demand for anything because demand is too large for you to create.

将其视为一种个人现象，广告是一门极其容易的学科。如果你过于用力，它可能会非常困难。如果你顺应其自然，它就会非常容易。当你推广某物时，你是在创造一种产品的需求吗？如果你认为你在为你的产品创造需求，那么你注定要终生努力并失败。你不能为任何东西创造需求，因为需求对你来说太大了，你无法创造。

The demand has to be out there. The demand has to exist before you even walk into the picture. Think of yourself as an atomic scientist.

需求必须存在于那里。在你进入画面之前，需求就必须存在。将自己视为一个原子科学家。

You find a tiny thing called the atom, which has got enormous, enormous, enormous stored-up, locked-in power, and you find that if you take two atoms and bind them together, you can release the power. That’s what you’re doing.

你发现了一个微小的东西，叫做原子，它具有巨大、巨大、巨大的储存的、被锁定的能量，你发现如果你将两个原子结合在一起，就可以释放能量。这就是你在做的事情。

You’ve got a market out there that wants security in retirement.

你有一个市场，他们想要退休保障。

You’ve got a market out there that wants alternative healing outside of the pain and embarrassment inflicted upon them by the medical profession. But they want the authority of a doctor. What you are doing is you are taking that demand from every one of those persons, individual people, private people who comprise that market. And you are simply turning it or focusing it or channeling it onto your product.

在那里有一个市场，人们想要在医疗职业给他们带来的痛苦和尴尬之外寻求替代疗法。但他们想要医生的权威。你正在做的是，你正在从那些构成该市场的每一个人、个人、私人人士那里获取这种需求。然后你只是将这种需求转向或集中或引导到你的产品上。

That’s all! It’s so much easier. If the demand isn’t there, no matter how great a copywriter you are, you are going to fail.

就这些！这要容易得多。如果没有需求，无论你多么优秀的文案撰稿人，你都会失败。

You cannot create demand. You can only channel demand. Demand is there. Demand is enormous. The bigger the demand, the better your ad is. You are getting in a boat and letting the stream carry you. Just don’t think that you can paddle up against the stream.

你无法创造需求。你只能引导需求。需求是存在的。需求是巨大的。需求越大，你的广告就越好。你正乘船顺流而下。只是不要以为你可以逆流而上。

The Associative Process

关联过程

LORNA NEWMAN: I HAVE a question. This comes back to the vocabulary of the list of quotes. When you look at the product, do you only pull the product to make the list or do you add from elsewhere as you go along?

洛娜·纽曼：我有一个问题。这涉及到引用列表的词汇。当你看到产品时，你是只从产品中提取来制作列表，还是随着进行添加其他内容？

Schwartz: Copywriting, of course, is an associative process. The list becomes an associative stimulus list. And as you go down through the list, you’ll get ideas! Okay, you hit the end of bar twice, that gives you a space, and you write it in. Now, you may want to disassociate your own ideas from the quotes, so you can put your ideas in bold, underline, italics, anything else. The more disassociative ideas you get, the more chance you have of getting a stronger ad. But, you will find that authors are not writing copy; they are writing text. Their vocabulary is different, and their entire conception of what it means to write is different.

施瓦茨：文案当然是一个联想过程。列表变成了一个联想刺激列表。当你逐个查看列表时，你会得到想法！好的，你两次击中横杆，那给你一个空格，然后你写进去。现在，你可能想将你自己的想法与引用区分开来，这样你就可以加粗、下划线、斜体，任何其他方式。你得到的越多的区分性想法，你就有更大的机会得到一个更强的广告。但是，你会发现作者们不是在写文案；他们是在写文本。他们的词汇是不同的，他们对写作的含义的理解也是不同的。

So you come up with a paragraph about half a page long. A real big paragraph. And you’ll see this great idea in there. So make it bold and write a headline. That’s a wonderful way to do it. Write a ten-word headline. That makes you condense the thought, and makes you search for advertising terminology to parallel the thought.

所以你写一个大约半页长的段落。一个真正的长段落。你会看到里面有一个伟大的想法。所以把它加粗，写一个标题。那是一个很棒的方法。写一个十个字的标题。这让你浓缩思想，并让你寻找广告术语来平行思想。

When you get through doing that, don’t read what you’ve just written.

做完那之后，不要去读你刚刚写的内容。

It’s not worth reading. Just keep going. Now, what you want to do, is get yourself into a creative frenzy. Like a feeding frenzy. You want to get the ideas flowing so thoroughly, that pretty soon you’re not condensing what he or she has written, but pretty soon you are coming up with entirely new concepts that will apply.

没什么值得去读的。继续前进。现在，你要做的是让自己进入一个创意的狂热状态。就像一场捕食的狂热。你想要让想法充分流动，以至于很快你就不是在浓缩他或她写的内容，而是很快你就能够提出全新的概念，这些概念将会适用。

Here’s an example:

举个例子：

You remember Gecko? In “Wall Street”? Let’s say that he’s kind of burnt in your memory and you’re selling an investment letter, and you remember something he said at the trial, on the stock market. And all of a sudden, that idea is floating there, that image, Gecko, and here is the investment letter you’re working on. And as you’re doing this pulling and condensing headlines out of the text you’re given, all of a sudden, you get something from that, and Gecko suddenly joins. It fuses. Like an atomic reaction in your mind. And you have a powerful line to sell your product.

你还记得杰科吗？在《华尔街》里？假设他在你的记忆中有点模糊，你正在销售一份投资信，你记得他在审判中关于股票市场说过的话。突然间，那个想法就在那里浮动，那个形象，杰科，还有你正在处理的投资信。当你正在做这件事，从你给定的文本中拉出并浓缩标题时，突然间你从中得到了一些东西，杰科突然加入了。它融合了。就像你大脑中的原子反应。然后你有一个强有力的句子来销售你的产品。

Then, when you’re through with everything, go away for a day, and come back. Then, you judge. Always remember, incidentally, that you cannot judge. I’ve been doing copy now for 35 years. I’ve sold millions and millions and millions of things. What does my experience allow me to say about the power of an ad? What does your experience allow you to say about the power of an ad before it’s run? Absolutely nothing!

然后，当你做完所有事情后，离开一天，再回来。然后，你才能评判。顺便说一句，你永远无法评判。我已经做了 35 年的文案工作。我卖出了数百万、数百万、数百万的东西。我的经验让我对广告的力量有什么可说的？在你投放广告之前，你的经验让你对广告的力量有什么可说的？绝对什么都没有！

You must remember that. You don’t know anything about how an ad is going to pull. The only way you can tell is to get a test cell.

你必须记住这一点。你不知道广告会吸引多少人。唯一的方法是得到一个测试单元。

I don’t believe in focus groups or anything else. I think they’re wonderful, but they don’t give you an indication. Sometimes the things that they think you should throw away are the things that really go.

我不相信焦点小组或任何其他东西。我认为它们很棒，但它们不会给你一个明确的指示。有时候他们认为你应该扔掉的东西，反而是真正成功的。

Only the test can decide. All the previous experience in the world tells you nothing - because you are introducing something absolutely new.

只有测试才能决定。世界上所有的经验都告诉你毫无用处——因为你正在引入一个完全新的东西。

And that leads to the next thing, which is, "Go for the touchdown pass." In football, if you are behind by six points and you have 30 seconds and you’re on your own 20 (and that means you have to go 80 yards), and they’ve got everybody except the coach facing you on the line, what you do is you fall back. The quarterback falls back, he sends out the ends and everybody else as fast as they can, and he throws a 60-yard pass. If you catch it, you win; if it drops, you lose.

那就引出了下一点，“去完成触地得分传球。”在足球中，如果你落后六分，只有 30 秒时间，并且你在自己的 20 码线（这意味着你必须跑 80 码），而且对方除了教练之外所有人都在你所在的线路上面对你，你应该做的是后撤。四分卫后撤，他快速派出端锋和其他所有人，然后投出一个 60 码的传球。如果你接住了，你就赢了；如果掉球了，你就输了。

When you’re in that situation, go for the touchdown pass. The only way to be a good copywriter is to get great results. To think of yourself as going for the breakthrough. And nobody can tell its power until the orders come in.

在那种情况下，就去完成触地得分传球。要想成为一名优秀的文案撰稿人，就必须取得好成果。要把自己看作是去实现突破。没有人能知道它的力量，直到命令下达。

Always think statistically. You do not work with words. Think in terms of percentage points. That’s what you should do.

始终从统计学的角度思考。你处理的是文字，而不是数字。应该用百分点来思考。

Freshness Difference

新鲜度差异

LORNA NEWMAN: OUR CONTROLS run dry. A good control for us runs a year and a half to two years. We’ve never had a 17-year-old control. Why is that?

LORNA NEWMAN：我们的控制装置已经耗尽。对我们来说，一个好的控制装置可以运行一年半到两年。我们从未有过一个使用 17 年的控制装置。为什么是这种情况？

Schwartz: There are two things. Number one, your new format in selling in direct mail, the magalogs, is a very powerful format. Ergo, you are getting enormous numbers of people using the same format.

施瓦茨：有两件事。第一，你新的直接邮件销售格式，即杂志型目录，是一个非常强大的格式。因此，有大量的人使用相同的格式。

The more people that use your format, the more dangerous for you, because after a while, the person who gets your piece is having trouble distinguishing it from others’. And, of course, the mathematics are now known, and so even small companies realize that they can do it. That presents a constant challenge. Number two, I specialize in "ugly." I’m the lousiest layout man in the world. I do ugly layouts.

使用你格式的人越多，对你来说就越危险，因为过了一段时间，收到你邮件的人很难将你的邮件与其他邮件区分开来。当然，现在数学公式是众所周知的，所以即使是小公司也意识到他们可以做到这一点。这提出了一个持续的挑战。第二，我专门从事“丑陋”。我是世界上最糟糕的版式设计者。我做丑陋的版式设计。

Why do I do ugly layouts? Because beauty looks much the same. It has a very narrow definition. Ugliness is randomness, which means that it’s spread out. So there are a hundred different ways to be ugly and only two or three ways to be beautiful. So, the ugly thing in a world of beauty stands out.

我为什么做丑陋的版式设计？因为美丽看起来非常相似。它有一个非常狭窄的定义。丑陋是随机性，这意味着它是分散的。所以有 100 种不同的方式可以变得丑陋，只有两三种方式可以变得美丽。所以在充满美丽的世界里，丑陋的东西会脱颖而出。

Estee Lauder discovered that. Twenty years ago, when Revlon was just knocking them dead with this four-color printing and then everybody else came in, Helena Rubenstein, etc., Estee herself said, "Well, if we run four-color, we’re gonna look like everybody else. Nobody’s going to be able to tell us. How about sepia?" And she got a series of sepia ads that were stunningly beautiful but completely different. And when you open the magazines there, wham! There is Lauder.

雅诗兰黛发现。二十年前，当露华浓用这种四色印刷猛击他们时，然后其他所有人都进来了，雅诗兰黛、赫莲娜等，雅诗本人说，“好吧，如果我们用四色印刷，我们就会看起来像所有人一样。没有人能认出我们。那用棕褐色呢？” 她做了一系列棕褐色的广告，美得惊人，但完全不同。当你打开杂志时，哇！那里就是雅诗兰黛。

So yes, the life of controls is probably shorter, and you are just going to have to innovate faster.

是的，控制的生命周期可能更短，你将不得不更快地创新。

Think About Your "Does" Product

思考你的“产品”

QUESTION: SUPPOSING we have a strong control that we think we have exhausted the market for. The message itself is strong. How much will a format change help?

问题：假设我们有一个强大的控制，我们认为我们已经耗尽了市场。信息本身很强。改变格式会有多大帮助？

Schwartz: You can get 20%-30% extra pull. That may not do it.

施瓦茨：你可以获得 20%-30%的额外吸引力。这可能还不够。

Let’s think about it in a different way.

让我们换一种方式思考。

Take your product. Let’s say it’s got some pictures in it, and graphs.

想想你的产品。假设它包含一些图片和图表。

Maybe just plain type. It’s eight pages. That’s your physical part.

也许只有纯文字。它是八页。这是你的实体部分。

That’s all there is. Nobody in the world is going to buy that, though.

所有的一切就是如此。尽管世界上没有人会买这个。

Nobody in the world cares about that.

世界上没有人关心这个。

Now let’s push that physical product aside and let’s get into the functional product. Functional product is what the physical product does for you. You’ve got a product there that does a certain number of things for you. Never think of what the product "is."A horse is an animal with four legs. It doesn’t do anything for you. Think of what the product "does. "When you define something with a "does,î it becomes a functional definition instead of an academic definition; a dog that runs up and licks your face when you come home every night.

现在我们把那个实体产品放在一边，让我们进入功能性产品。功能性产品是实体产品为你所做的事情。你有一个产品在那里为你做某些事情。永远不要考虑产品“是什么”。马是一种有四条腿的动物。它为你做不了任何事。想想产品“做什么”。当你用“做什么”来定义某物时，它就变成了功能性定义而不是学术定义；当你每晚回家时，那只狗会跑过来舔你的脸。

Your functional product - your "does” product - has immense number of "doeses." You have been tapping one specific strain of those "doeses."And that’s been successful for you. But, you have pretty well exhausted that strain of "doeses." You have to go into the other "doeses." And that gives you an entire new mailing piece which may reach the same audience but from a different direction.

你的功能性产品——你的“做什么”产品——有无数个“做什么”。你一直专注于其中一种“做什么”。这对你来说很成功。但是，你已经几乎耗尽了这种“做什么”。你必须进入其他的“做什么”。这会给你一个全新的宣传材料，它可能从不同的方向触达同一受众。

In my book, Breakthrough Copy, I give 27 different ways that you can "does” a product. Let’s take one of them right now. If you are talking about money-making, why not bring in an audience? What does the product affect besides you? Who’s going to look at you when you do this? We ran an ad for flowers 20 years ago that sold so many flowers we exhausted nurseries. And what it said, was, who ever head of 17,000 bloom from a single plant? We said, "When you put this into the Earth, and you jump back (quickly), it explodes in flowers. And everybody in your neighborhood comes and they look. And people take home blooms because you’ve got so many you could never find a house big enough to put them in. And you’ve become the gardening expert for the entire neighborhood.

在我的书《突破性文案》中，我给出了 27 种不同的方式来“让”产品发挥作用。现在我们就拿其中一种来谈谈。如果你在谈论赚钱，为什么不把观众带进来呢？这个产品除了影响你之外还有什么影响？当你这样做的时候，谁会看着你呢？20 年前我们为鲜花做了一则广告，销量如此之高，以至于我们耗尽了苗圃。而这则广告说的是，你听说过一株植物能开出 17000 朵花吗？我们说，“当你把它种入地里，然后迅速退后，它就会爆发出鲜花。然后你整个街区的人都会来看。人们会带一些回家，因为你拥有的鲜花太多了，你甚至找不到一个足够大的房子来存放它们。你成为了整个街区园艺方面的专家。”

Multi-blossom plants had been selling fairly well before, but we brought the audience into copy as actors within it. So get another "does." There are all kinds of “does's”. Just redo your product.

多重花蕾的植物在此之前销售得相当不错，但我们把观众带入了文案中，让他们成为其中的角色。所以再拿一个“让”来试试。各种各样的“让”都有。重新改造你的产品。

Is "Instant" Credible?

“即时”可信吗？

STANTON-JONES: YOUR company is called Instant Improvement. And all of the ads that I’ve read of yours promise improvement that is almost instantaneous. Also, in your Retirement Letter package that you are developing for us now you say, "Invest 45 minutes a month." But in our area, to demonstrate a result often takes months or even years.

STANTON-JONES：你的公司叫做即时改进。我读过的你所有的广告都承诺几乎可以立即改进。此外，在你为我们现在正在开发的退休信件套装中，你说“每月投资 45 分钟。”但在我们这个地区，要展示结果往往需要几个月甚至几年。

Your copy says, "No, no. It is instantaneous." Do you think that this is credible?

你的文案说，“不，不。它是立即的。”你认为这是可信的吗？

Schwartz: I have a different view of your product this moment from this discussion, I think, than you did. I think what you hired me for was to give you a different view and infuriate you. Let’s go back to my little Change piece. The Chang piece sells a book. Now you can’t prove the book until you get the book. Ergo, there is no instant benefit.

施瓦茨：从这次讨论中，我对你的产品的看法与之前不同了，我认为。我认为你雇我来的目的是给我一个不同的看法并激怒你。让我们回到我的小改变文章。改变文章卖一本书。现在你不能证明这本书，除非你得到这本书。因此，没有即时的好处。

Well, that’s not true! I took an exercise from the book and I said this is the way you (the reader) proved the book. Practice it a second.

嗯，那是不对的！我从书中拿了一个练习，我说这是你（读者）证明书的方法。练习一下。

Remember, your selling piece is always part of your product; disconnected from the product and sent out advance of the product. It is the functional product that it includes, not the physical. In each issues of Retirement Letter you’ve been giving instant gratification.

请记住，你的销售部分始终是产品的一部分；与产品分离并提前发送产品。它包括的是功能产品，而不是实体产品。在每一期《退休信》中，你一直在提供即时满足感。

You’ve been telling people that these are the three top bank stocks; there are the three top insurance stocks; this is the way to buy annuities; something XYZ annuity fund. That is instant gratification.

你一直在告诉人们，这三只是最顶尖的银行股；这三只是最顶尖的保险股；这是购买年金的方法；某个 XYZ 年金基金。这就是即时满足感。

You have two powers in your present format. Number one, you have something that I call camouflage which means the first time a person picks up your magalog they think this is a magazine. That power being diluted at this time. The second is you this incredible power of demonstration. Demonstration is form of proof which takes place at the present moment. The person picks it up. He looks at it. I’m talking about your pieces now and he says, "Yes! I can prove this! You are giving instant gratification just as you have been giving instant gratification for years.

在你目前的格式中，你有两种力量。第一，你有一种我称之为伪装的力量，这意味着当人们第一次拿起你的杂志时，他们会认为这是一本杂志。这种力量正在被稀释。第二，这是你这种不可思议的展示力量。展示是一种发生在当前时刻的证明。人们拿起它。他们看着它。我指的是你的作品，他们说，“是的！我能证明这一点！你一直在提供即时满足感，就像多年来你一直做的。”

You have this incredible, strong, proven, product. It has all kinds of unique advantages nobody else has. It’s been around for 20 years. It’s never had a losing year. You’ve got 200,000 people who subscribe to it more than anyone else in the world. The man has an extremely powerful credential list. All that is there. But then, it’s dealing with an incredibly sensitive subject: retirement. And the fear of being a failure at retirement. That’s the worst fear any older person has. And what I tried to do and I’m not sure I could do it or I’m not sure you have accepted it, or I’m not sure it will pay off, is I try to make your benefits absolutely instantly accessible in ways that you have not made them before, by inventing a series of forms for you that the person simply sends in. And then I can give an extremely threatening headline and put an extremely great promise as its cure at the same time.

你拥有这款非凡、强大、经过验证的产品。它拥有各种独特的优势，是别人所没有的。它已经存在了 20 年。它从未有过亏损的年份。有 20 万人订阅它，比世界上任何人都多。这个人有一个极其强大的资质清单。所有这些都存在。但是，它处理的是一个极其敏感的主题：退休。以及对退休失败的恐惧。这是任何老年人最糟糕的恐惧。而我试图做的是，我不确定我能否做到，我不确定你是否接受，或者我不确定它能否奏效，就是尝试让你的好处立即变得触手可及，通过为你发明一系列表格，人们只需填写。然后我可以给出一个极具威胁性的标题，并将其作为治愈的承诺同时呈现。

Almost anything that we do as publishers can be made instantaneous.

我们作为出版商所做的几乎任何事情都可以变得即时。

And people believe them. They are extremely powerful because nothing feels better than being proved right. And if you give them something that they can prove, they will really love it. That’s what I’m trying to do. I think everything is instantaneous.

人们相信他们。他们非常强大，因为没有什么比被证明正确感觉更好了。如果你给他们一些他们可以证明的东西，他们会真的很喜欢。这就是我试图做的事情。我认为一切都是瞬时的。

Bob King: When you think about it, there is only instant gratification in the present tense. No one goes to, say, medical school and says, "Gee, what I’m gonna work hard for ten years in school so I can be a doctor.

鲍勃·金：当你思考时，只有现在的即时满足感。没有人会去，比如，医学院，说，“哦，我打算努力学习十年，以便成为一名医生。

"Instead, you think about "Why do I do that today? Why am I doing that? "I do it because it feels right to me today to do that. If it didn’t feel right, there’s no way you’d work in the dark for ten years. So I think that you’re constantly doing things that give you instant gratification. And really all the gratification really is in the present tense.

“相反，你思考的是“我为什么要今天做这个？我为什么要做这个？”我之所以这样做，是因为今天我觉得这样做是对的。如果感觉不对，你根本不会在黑暗中工作十年。所以我认为你不断地做给你带来即时满足感的事情。事实上，所有的满足感真的都在现在时态。

Schwartz: Very true, and very profound.

施瓦茨：非常正确，也非常深刻。

Think In Decimal Points

用小数点思考

COPYWRITERS SHOULD be completely conversant with statistics and returns. The worst thing you can do to your copywriters is to separate them from the returns of every list and every test and every cell.

文案撰稿人必须完全熟悉统计数据和回报。对文案撰稿人最糟糕的对待方式就是将他们与每个列表、每个测试和每个单元的回报隔离开来。

Copywriters who write copy for the sake of copy and words alone are doomed to failure. If you keep your copywriters away from their results and their comparative results on every single test, they’re not going to do very much for you.

仅仅为了文案和文字而写文案的撰稿人注定会失败。如果你让你的文案撰稿人与他们的结果以及他们在每个测试中的比较结果保持距离，他们不会为你做太多事情。

Boardroom sends me thick packages of results. And I will spend three or four or five hours going over the results in detail for them. I think of myself as a person who creates 20% difference in returns. And I like decimal points. You’ve got to get those results. You can’t know something from the outside. You have to know it inside.

董事会经常寄给我厚厚的包裹结果。我会花三四个或五个小时仔细研究这些结果。我认为自己是一个能创造 20%回报差异的人。我喜欢小数点。你必须得到这些结果。你不能从外部了解某事。你必须从内部了解它。

1st Sale Must Build the 2nd Sale

第一次销售必须为第二次销售奠定基础

STANTON-JONES: THERE’S a piece of the puzzle that doesn’t quite fit for me at the moment. And all the things that we do are trying to build toward the second sale. Does that violate this idea of instantaneous, miraculous change and improvement.

STANTON-JONES：对我来说，有一块拼图似乎不太合适。我们所做的一切都是为了为第二次销售做准备。这是否违背了即时、奇迹般的变化和改进这一理念。

Schwartz: All mail order is dependent upon the second sale. Nobody really makes money on the first sale. You can, but it’s an awfully strange way to run a company. If you get too much profit on your initial mailing, you immediately expand it to lists which are not doing quite as well, so that you can get more names and sales. When we sell books, we would very much love to have the people absolutely delighted with the book, because with the book comes a brochure advertising the next book! So our second sale is there. And we mail them every month. So our carrier is much like your carrier. Your newsletter is a carrier for further advertisements. That is so for us, too.

施瓦茨：所有邮购业务都依赖于第二次销售。没有人真的在第一次销售中赚钱。你可以，但这是一种非常奇怪的公司运营方式。如果你在初始邮件中获得了过多的利润，你会立即将其扩展到表现不太好的列表中，以便获取更多的名字和销售。当我们销售书籍时，我们非常希望人们能对书籍感到非常满意，因为书里附有一份宣传下一本书的目录！所以我们的第二次销售就在那里。我们每月都会向他们发送邮件。所以我们的载体就像你们的载体一样。你们的新闻简报是进一步广告的载体。对我们来说也是如此。

Why Infomercials Work

为什么信息电视广告片有效

THINK OF TELEVISION. In 1949, our agency bought time in that new medium called television, on ABC, on a half-hour program. We didn’t know how to fill it so we wrote a program a day. How do you write a program a day? The only way you can write a program a day is to take the product and translate it into the program. There was a program called "The Answer Man, which was a regular program. People sent in questions; he answered them. So we decided, let’s take the product - a piano course - and let’s ask questions about the product for the entire 30 minutes, and then sell the product in the one -minute middle.

想到电视。1949 年，我们的广告公司在新媒介电视上购买了时段，在 ABC 电视台的一个半小时节目中。我们不知道如何填充它，所以我们每天写一个节目。你如何每天写一个节目？唯一能每天写一个节目的方法是将产品转化为节目。有一个节目叫做《答案先生》，这是一个常规节目。人们寄来问题；他回答它们。所以我们决定，让我们拿产品——钢琴课程——并就产品提出问题，整个 30 分钟，然后在中间的一分钟中销售产品。

And so we said, "Ca my kid play? Can a five-year-old kid play? Can a five-year-old kid without arms play, etc.? "And we turned out one program a day! All talking about piano courses. Well, we didn’t know it, but we invented the infomercial! Okay. We sold so darn many piano courses. And why did it work? Because we were demonstrating the product on the air.

所以我们说，“我的孩子能玩吗？五岁的孩子能玩吗？没有手臂的五岁孩子能玩吗？”等等。我们每天都能做出一个节目！所有关于钢琴课程。嗯，我们不知道，但我们发明了信息广告！好吧。我们卖出了这么多钢琴课程。为什么有效？因为我们正在空中展示产品。

Television infomercials really sell, but they also demonstrate.

电视信息广告真的能销售，但它们也展示了产品。

Everybody should get a copy of the slicer commercial! The slicer is a demonstration. That is the product. And what is coming across the mail in your package is not the physical product, but the functional product. Demonstrations are sending the products to the person.

每个人都应该得到一份切片器广告的副本！切片器是一个演示。那就是产品。而通过邮件寄给你的包裹里不是实体产品，而是功能产品。演示是将产品发送给个人。

Selling to Current Subscribers

向现有订阅者销售

NEWMAN: OUR EDITORS write special reports, and we sell them in inserts. It’s not as spectacular copy. Mostly because we write it. Do you talk to subscribers differently from prospects, do you think?

NEWMAN：我们的编辑撰写特别报告，并在增刊中销售它们。这不是那么引人注目的文案。主要是因为我们自己写的。你认为你与潜在客户交谈的方式不同吗？

Schwartz: I would test it. I would get the copywriter who wrote the promotion copy to write some of the subscriber follow-ups. Have them use the same copy. And see, whether it pulls more. If you have not tested it against another approach, perhaps y9ou’re losing an opportunity.

施瓦茨：我会测试它。我会让撰写促销文案的文案员写一些订阅者后续内容。让他们使用相同的文案。看看是否拉动更多。如果你还没有与其他方法进行测试，也许你正在错失机会。

Unknown: Every 'don’t’ is an opportunity. Just remember that. Now, it’s an opportunity which is slippery. You may fall flat on your face because if you test another newsletter to the newsletter that you’re selling, you may cut your renewals done. So you’ve got a two-stage test. Number one, what does this pull now? Number two, does it hurt renewals later on?

未知：每一个“不要”都是一个机会。记住这一点。现在，这个机会很滑溜。你可能会摔得鼻青脸肿，因为如果你测试另一个新闻简报来你正在销售的新闻简报，你可能会削减你的续订。所以你有两个阶段的测试。第一，这个现在能吸引什么呢？第二，它以后会损害续订吗？

Are You Failing Enough?

你失败得够多吗？

STANTON-JONES: WE RECENTLY had an experience where we used a well- known magazine copywriter with many soft-offer controls for magazines. He wrote us a package that did terribly. What’s your advice? Do you think that that type of copywriter cannot work in our field? Do you think soft-offer copywriters can never work on hard-offer newsletters? Or is there a way to work with them differently?

STANTON-JONES：我们最近有一个经验，我们使用了一个著名的杂志文案撰稿人，他有很多软性提议控制来杂志。他给我们写了一个包，表现很糟糕。你的建议是什么？你认为那种文案撰稿人不能在我们的领域工作吗？你认为软性提议文案撰稿人永远不能在硬性提议新闻简报上工作吗？或者有没有不同的方法与他们合作？

Schwartz: I can give a few theories. Number one, maybe he just didn’t have any rapport with your particular product at that time, and he missed. Number two, perhaps he’s going for the jackpot. He tried harder; you took a bigger chance. It’s very discouraging to work something that pulls within four or five percent of another offer. Then something’s wrong. You’re not taking enough of a chance. If you are running tests which are giving you small improvements, and if you are not running enough tests that are really flopping, then you are not doing your job.

Schwartz：我可以提供几个理论。第一，也许他那时对你特定的产品没有任何好感，所以错过了。第二，也许他正在追求大奖。他努力了；你承担了更大的风险。当你的工作接近另一个报价的百分之四或五时，这非常令人沮丧。那就有问题了。你承担的风险不够。如果你正在进行的测试只带来微小的改进，而且你没有进行真正失败的测试，那么你就没有做好你的工作。

Copywriters are crazy. And you want them crazy. They go for the big kill. And I would rather flop badly and succeed greatly than I would coming in with that little five percent boost. A very good copywriter is going to fail. If the guy doesn’t fail, he’s no good. He’s got to fail. It hurts. But it’s the only way to get the home runs the next time.

写手们都是疯子。而且你希望他们疯。他们追求的是大杀器。我宁愿失败得惨烈而成功得巨大，也不愿只带来那微小的百分之五的提升。一个非常好的写手会失败。如果那个家伙不失败，他就是个废物。他必须失败。这很痛苦。但这是唯一的方法，以便下一次能打出全垒打。

Eugene Schwartz Talk at Rodale

尤金·施瓦茨在罗代尔的演讲

Notes on a talk by Eugene Schwartz on May 11, 1994 at Rodale Press

1994 年 5 月 11 日尤金·施瓦茨在罗代尔出版社的演讲笔记

- - - -

I WANT TO TELL YOU what I'm going to do today, attempt to do today. If you work with computers - and I love computers - you can say to a computer that's running programs with you, and solving programs and non-word-processing tasks. Afterwards come up with correct solutions and say, "Be transparent. Be completely open and show me every single step that you took."

我想告诉你们我今天要做什么，尝试做什么。如果你使用电脑——而且我爱电脑——你可以对与你一起运行程序的电脑说，并解决程序和非文字处理任务。之后得出正确的解决方案，并说，“要透明。完全开放并给我展示你采取的每一个步骤。”

Now that computer has no non-transparency circuits. Human beings have an enormous amount of non-transparency circuits. So the computer will then show you every step it took. By studying that you can learn how the computer solved that. The computer is very inventive believe it or not.

现在这个电脑没有不透明电路。人类有大量的不透明电路。所以电脑会向你展示它所采取的每一个步骤。通过研究这些你可以学习电脑是如何解决这个问题的。电脑非常有创造性，你信不信。

I'm going to be completely transparent with you today.

今天我要对你完全坦白。

I like writing. I like copywriting. I like merchandising.

我喜欢写作。我喜欢文案写作。我喜欢商品销售。

And I think I've discovered a few very simple, obvious ways of doing this - and I think it will be nice for you and the other clients I had if I came down and talked to you about them.

而且我认为我发现了几个非常简单、明显的方法来做这些事情——我认为如果我能下来和你谈谈它们，对你和其他我服务过的客户来说会很好。

So I'm going to tell you the complete truth, and going to tell you anything you want to know. I'm going to be completely redundant and completely infantile - because I'm going to start at the very, very, very simple things that you already know, and then I'm going to work with some things that perhaps you do or do not know.

所以我要告诉你完全的真相，并且告诉你任何你想知道的事情。我要变得完全冗余和完全幼稚——因为我要从你最简单、最简单、最简单的事情开始，然后我会处理一些你可能知道也可能不知道的事情。

Let me start with the most important principle of success in publishing, in life, and in any task you want to achieve goals. And of course it is, very simply, hard work.

让我先谈谈出版、生活中以及在任何你想实现目标的任务中最重要的成功原则。当然，它非常简单，那就是努力工作。

Now I am - let's see if I got 27 out of 30 hits then I have 90 percent ratio which is pretty good. Okay I got that - not because I'm extremely talented or extremely creative or anything like that. I like to think of myself as working harder than anybody I'm tested against.

现在我来——让我们看看我是否得到了 30 个中的 27 个命中，那么我就有 90%的比率，这相当不错。好的，我得到了——不是因为我极其有才华或极其有创造力或任何类似的东西。我喜欢把自己看作是比我所比较的任何人都要努力工作。

Finding and Writing Claims

寻找和撰写主张

LET'S SAY THAT I'M called and someone says I'm going to send your a manuscript and you're going to send me back copy in five weeks. OK. The manuscript arrives. The manuscript here now is about eleven hundred pages. Eleven hundred pages is a lot.

假设有人给我打电话，说他们要发给我一份手稿，你将在五周内给我寄回校样。好的。手稿到了。这份手稿现在有 1100 页。1100 页很多。

What I do is I take the eleven hundred pages and I go through it within about two weeks. How do I go through it? I take the manuscript and I underline or bracket the claims as I go through every page. I take a red pencil and I mark at the front and back of each claim - and perhaps I'll have three claims a pages or three pages without claims. I am building at that time, out of that manuscript, a summary, a précis, or what I call a vocabulary - those are all equivalent terms. I am building the guts and the heart and the meat and the gist out of that manuscript.

我的工作就是处理那十一百页的内容，大约两周内完成。我是怎么处理的呢？我一边阅读手稿，一边在每一页上划线或加括号来标记论点。我用红铅笔在每一页的论点前后做标记——也许一页有三个论点，也许三页没有论点。当时，我正从那份手稿中构建一个摘要、一个提纲，或者我称之为词汇——这些都是同义词。我正在从那份手稿中构建出它的核心、精华和主要内容。

Now I go through every single page - and it's eleven hundred and three pages - I go through every single page. When I am done I, as I am done, as I am doing this, I send it over to my secretary or to a freelance typist and that person types up my vocabulary. It will come back to me between fifty and sixty pages. They will be essentially what I see as the strongest points in the book.

现在我逐页阅读——总共一千一百零三页——我逐页阅读。当我完成时，我会把这份手稿交给我的秘书或自由打字员，那个人会把手稿中的词汇打出来。它会在我手中返回五十到六十页。它们基本上是我认为书中最关键的部分。

Now I think it's important to know that I don't really have any ideas when I open the book.

现在我认为重要的是，当我打开书时，我并没有任何想法。

I take the table of contents and put it to the side - I don't even look at it. I start at the first page of the book itself and I work my way through to the last page of the book.

我把目录表放在一边——我甚至不看它。我从书的第一页开始，一直读到最后一页。

I am not interested really in what other people think is in the book. I am interested only in the book itself. I want to come across the claims as surprises. I want them to astound me. I want them to move me. I don't want to accompany them with a vision of my own.

我真的不关心别人认为书里有什么。我只关心书本身。我想让那些论点给我惊喜。我想让它们让我惊叹。我想让它们打动我。我不想带着自己的愿景去陪伴它们。

Now as I'm going through - tedious, terribly tedious work - can't be done more than an hour a day. Because you lose it - after a while you can't read anymore. And so you have to only do it an hour a day. As I'm going through that I will get ideas of course in response to the ideas in the book. I carefully take them and write them on a little piece of paper. I don't do much with them I just scratched them out in my own little shorthand and put them aside. When I get back the vocabulary - the vocabulary is in print and it's on a disk. I put the disk in my machine and I'm ready to go.

现在我正在阅读——这是一项枯燥、极其枯燥的工作——每天不能做超过一个小时。因为你会失去它——一段时间后你再也读不下去了。所以你只能每天做一个小时。在我阅读的时候，当然会根据书中的观点产生想法。我小心地把它们写在一张小纸条上。我没有对它们做太多处理，我只是用我自己的简写把它们划掉，放在一边。当我回来时，词汇——词汇是印刷出来的，它在一块磁盘上。我把磁盘放进我的机器里，我就可以开始了。

I start with the top again and I start now organizing, selecting, inspiring, associating everything else again. Finally I have a rough ad. Now, if you put 50 pages into a computer, into a single file, the computer will not like you. It will be very unhappy with this and it will have indigestion, and it will take a long time to go from back to front, you will lose stuff, etc.

我再次从顶部开始，现在开始组织、选择、激发、关联所有其他内容。最后我有一个粗略的广告。现在，如果你把 50 页放进电脑里，放进一个文件里，电脑会不喜欢你。它会非常不高兴，会消化不良，从后往前找会很慢，你会丢失东西等等。

So the computer will force categorization on you. It will force you to break it up into blocks and you will find yourself pulling things out and placing them in separate manageable files. So your first organization is dictated by the computer's necessity.

所以电脑会强迫你对内容进行分类。它会强迫你把它们分成块，你会发现自己在把东西拿出来，把它们放在可管理的不同文件里。所以你的第一次组织是由电脑的需要决定的。

When and How Your Writing Goes

你的写作何时以及如何进行

THEN I WRITE MY BEGINNING ad - no headline now, no sub-headlines, no flier headlines, nothing like that. Just sheer claim.

那么我写我的开头广告——现在没有标题，没有副标题，没有传单标题，什么都没有。只有纯粹的声明。

When I am through with that, three weeks have gone, and the pressure is building up. I can feel the people getting very nervous. And the phone calls sometimes leak through. "How are you doing? Wonderful. Oh it's great. Yeah it's sensational. I can feel the strength. How about sending us the envelope? Oh I can't do that right now, I want to refine it..."

那时候，三周过去了，压力也越来越大。我能感觉到人们变得非常紧张。而且电话有时会漏进来。“你怎么样？非常好。哦，太棒了。是的，太棒了。我能感觉到力量。我们什么时候把信封寄给我们呢？哦，我现在不能做，我想再完善一下……”

I haven't even written the envelope. I haven't written a word of the envelope. I'm still building.

我甚至还没有写信封。我还没有写一个字关于信封。我还在继续构建。

Then I begin selecting those claims which are the most unusual and the most powerful. I'll explain how I arrive at those decisions. And I began writing my envelope, or I began writing my head, or I began getting the big type stuff.

然后，我开始挑选那些最不寻常和最有力的主张。我会解释我是如何做出这些决定的。然后我开始写我的信封，或者我开始写我的头脑，或者我开始做那些大号字体的事情。

By the time I've done that, the fourth week has passed.

到那时，第四周已经过去了。

And I now take everything I've done - it's not finished yet, but it's certainly taking shape and it's beginning to look like what you're going to see when this stuff goes out - and I go back over it with the manuscript. I check it again.

现在我把我所做的一切都拿回来——它还没完成，但确实正在成型，看起来就像你们将要看到的东西——然后我再次仔细检查手稿。我再次检查。

I've made little notes. I put little checks - there's some thing's wrong with this, something is missing or something is not quite jelled here. So I go back over again.

我做了些小笔记。我做了些小标记——这里有些东西不对劲，或者缺少了什么，或者这里还没完全成型。所以我再次检查。

When I am through on the fifth week, and I send down the copy, I want to know the book as well or even better than the editor.

当我在第五周结束时，我把文案发下去，我希望对这本书的了解不亚于甚至超过编辑。

I'm going to spend a lot of time on this because this is what makes success. There's nothing else in the world that makes success as much as this.

我将花很多时间在这上面，因为这是成功的关键。世界上没有什么比这更能带来成功。

I will take the best copywriter in the world who is sloppy and careless and match him against the good copy cub. And two out of three times the sloppiness of the great person will be beaten by the carefulness of the other person. Because the power of the ad for a book or a product, any publication or any instrument, is always in the product itself. It's not in the copywriter. The copywriter simply finds it and expresses it.

我将世界上最优秀的文案撰稿人，一个粗心大意的人，与优秀的文案小助手进行比赛。三次中有两次，伟大人物的粗心大意将被另一个人的细心所击败。因为书籍或产品广告的力量，任何出版物或任何工具的力量，始终在产品本身。它不在文案撰稿人身上。文案撰稿人只是找到它并表达它。

I wrote an ad recently for a book, for a doctor, who I had never worked with and I sent him the copy and he sent the copy back and on the copy it said that you could eat fat, meat and eggs - and he crossed off the word "eggs"..

我最近为一位医生写了一则广告，这位医生我以前从未合作过，我发给他文案，他回给我文案，在文案上写着可以吃脂肪、肉类和鸡蛋——他把“鸡蛋”这个词划掉了。

And I called him, I'd never spoken to him before, and I said, "Doctor, I don't why you crossed off the word 'eggs'."

我给他打电话，我以前从未和他交谈过，我说：“医生，我不知道你为什么划掉了‘鸡蛋’这个词。”

And he said. "Well because I never used anything about eggs - eggs can't be controlled." And I said to the doctor, "On page 164 there was a sentence about eggs..." Which I quoted.

他说：“嗯，因为我从未使用过关于鸡蛋的内容——鸡蛋是无法控制的。”我对医生说：“在第 164 页上有一句关于鸡蛋的话……”我引用了这句话。

And he laughed.

他笑了。

Now why did he laugh? He laughed because I am an amateur who was criticizing an expert about his own text, and I knew more about his text at that moment than he did. When I heard that laugh, I was very hopeful that the ad would succeed - because I knew that much.

他为什么笑呢？他笑是因为我是一个批评专家自己作品的外行，那一刻我对他的作品了解得比他更多。当我听到那笑声时，我非常希望广告能成功——因为我了解那么多。

I spend half my time working on mail-order copy. I spent half my time collecting art, and I spent half my time writing my own books. It comes to 150%, yes. And I'm very busy. I am.

我花了一半的时间在制作邮购广告上。我花了一半的时间收集艺术，我花了一半的时间写自己的书。加起来是 150%，没错。我很忙。我确实很忙。

But I also - I've recently written a series of books on religion. And I was helping and working with one of the leading - the leading - Christian avant-garde theologians in America.

但我也——我最近写了一系列关于宗教的书。我和美国一位领先的——最领先的——基督教先锋派神学家合作。

A young lady who is absolutely brilliant and beautiful. And won a National Book Award. And she was asking me for some editorial comment on her book.

一位非常聪明和美丽的年轻女士。她赢得过国家图书奖。她曾向我寻求关于她书的编辑评论。

And she sent me 26 pages I read them and I called her up and said this is wrong. This passage of Mark is wrong. And she said but Mark says these three words about Pilate and I said no. And she laughed.

她给我发了 26 页的内容，我读完后给她打电话说这段关于马可的描述是错误的。她说但马可提到了关于彼拉多的这三个词，我说不对。她笑了。

Now why did she laugh? Because she's the best authority in America on that. But she hadn't checked against Mark versus Matthew and they blend in people's minds. I had checked exactly the words, and that check made the difference between her being attacked in the press for being irresponsible, and her being right - at no cost.

她为什么会笑呢？因为她是美国这方面的最佳权威。但她没有对照马可和马太的经文进行检查，它们在人们心目中是混淆的。我已经精确地检查了这些词，这个检查使她避免了在媒体上被指责为不负责任，而证明她是正确的——而且不花一分钱。

I want to be more accurate and more knowledgeable than anyone I come up against. You want to be more accurate and more knowledgeable than anyone would come up against. A person who is the best prepared and the most knowledgeable makes the most money. It's so simple.

我希望比我所遇到的任何人都要更准确、更博学。你希望比任何人都要更准确、更博学。一个准备最充分、最博学的人能赚最多的钱。这很简单。

How to Prepare for Creativity

如何为创造力做准备

THERE USED TO BE A football coach at West Point during World War II. His name was Red Smith. And he said "The will to win will be nothing without the will to prepare".

二战期间，西点军校有一位橄榄球教练，名叫雷德·史密斯。他说：“没有准备的决心，赢得决心的意愿将毫无意义。”

So the first thing is very simple, but more important than everything else I'm going to tell you. It means nothing without work.

所以第一件事非常简单，但比我要告诉你的所有事情都更重要。没有工作就毫无意义。

You'd like to make money. You'd like to live on Park Avenue. If you'd like to have a world famous art collection. Work. Just work. Anyone could do it. You're all brilliant. You wouldn't be here unless you're brilliant. You work at a great firm. Work hard. You'll get there. OK. I don't say you have to learn and work in impossible hours. Remember that. I work three hours a day, every single day, for five day a week. That's all I work. I work three hours a day. Three hours a day I get very tired and I go to work someplace else. But it's enough. I can do this because I'm better prepared than someone else. OK.

你想赚钱。你想住在公园大道上。如果你想要一个世界著名的艺术收藏。工作。就是工作。任何人都能做到。你们都很聪明。如果你们不在这里，那你们一定很聪明。你们在一家伟大的公司工作。努力工作。你们会成功的。好的。我并不说你必须学习并在不可能的时间里工作。记住这一点。我每天工作三小时，每个星期五天。就是这样。我每天工作三小时。每天三小时我会感到非常累，然后我会去别的地方工作。但这已经足够了。我能做到这一点，是因为我比其他人准备得更充分。好的。

Now how do I work. What is the secret. I've never had a writer's block.

现在我该怎么做。秘密是什么。我从来没有遇到过写作障碍。

I've done dozens of ads for Boardroom. Dozens of ads for myself. Many ads for other companies. I've written nine books. I've written many articles. I turn out a ton of material continuously. I never have a block. I always loved to write. I never stare at the page or more than a few minutes - what do I do?

我为董事会做过几十个广告。为自己做过几十个广告。为许多其他公司做过广告。我写了九本书。我写了许多文章。我不断地产出大量材料。我从来没有遇到过障碍。我一直很喜欢写作。我从来没有盯着页面超过几分钟——我该怎么做？

It is tough, enormously difficult for you to sit down in front of a blank page or a blank screen and say' "OK I'm going to create." Especially when you were working against the world's best which is where you want to be - against the world's best..

对你来说，坐在空白的页面或空白的屏幕前，说“好吧，我要去创造。”这是很困难的，非常困难，尤其是当你面对全世界最好的对手时，这也是你想要成为的地方——面对全世界最好的对手。

Therefore, you can't think about beating them. You can't think about how much pressure there is. You can't think about how much money is involved. You can't think about anything except what you're going to write on the page - which you're going to take, of course, from the publisher.

因此，你不能想着打败他们。你不能想着压力有多大。你不能想着涉及多少钱。你不能想任何事情，除了你将要写在页面上的内容——当然，这些内容将来自出版商。

Now how can you free yourself of all this anxiety? All this blockage, all the self-doubt? It's simple of course what you do is use an old Zen trick. Zen masters are enormously proficient, and have been for the last 2000 years, and they have a very simple system which I use continually. I use every day. You walk into the same place that you always write at. Now when I say write, I mean work at. If you do editorial, ab account executive, etc.. You're always at the same place - at home or at the office - I happen to work at home. You don't right at the office, I don't write anyplace else in the world except one desk where I've written. For the past 28 years. That desk is a nice, big comfortable desk, with an incredibly sloppy amount of paper all over.

现在怎样才能摆脱所有的焦虑呢？所有的障碍，所有的自我怀疑？当然很简单，你只需要使用一个古老的禅宗技巧。禅宗大师们非常精通，并且在过去的 2000 年里一直如此，他们有一个非常简单的系统，我一直在使用。我每天都使用。你走进你经常写作的地方。现在，当我说写作时，我指的是工作。如果你做编辑、广告客户执行等，你总是在同一个地方——家里或办公室——我恰好在家里工作。你不会在办公室里写，我除了一个我写了 28 年的书桌，不会在世界上任何其他地方写作。那张书桌是一个很棒、很大、很舒适的桌子，上面散落着大量的纸。

I create chaos. I'm a great chaos creator. I like it because it gives these wonderful little lessons.

我制造混乱。我是一个伟大的混乱制造者。我喜欢它，因为它能带来这些美妙的小教训。

You come in. You've got a set time which you may or may not keep. I never keep it - it's somewhere around 9:30, it's usually around 10:00 - but I know I'm going to be there every morning.

你进来。你有一个固定的时间，你可能遵守也可能不遵守。我从不遵守——大约在 9:30，通常是 10:00——但我知道我每天早上都会在那里。

You come in and you do the same thing all the time. Many people sharpen pencils.

你进来，总是做同样的事情。许多人削铅笔。

I don't have pencils, so I don't sharpen them, but I certainly have my little pens which I lay out. And so I pick that out. I put three of them out - one, two, three.

我没有铅笔，所以我不削铅笔，但我确实有小钢笔，我把它们拿出来。然后我拿出其中一支。我拿出三支——一、二、三。

They're there. I bring in a cup of coffee. I have one cup of coffee in the morning and that's my coffee intake for the day.

它们在那儿。我拿进来一杯咖啡。我早上有一杯咖啡，那就是我一天的咖啡摄入量。

I take the coffee, I place it down. I have a pitcher of cream. Very important to that I have a pitcher of cream by the coffee. I take it and pour it in the coffee. I think the spoon and stir it. I take the coffee, put it here.

我拿起咖啡，把它放下。我有一个奶油罐。奶油对我来说非常重要，我把奶油放在咖啡旁边。我把它倒入咖啡中。我想用勺子搅拌它。我拿起咖啡，把它放在这里。

I take my computer and I ask it to bring up the new ad I'm working on. It's wonderful that it does that - there's the 50 pages staring at me, on page one. I take this device - this is the liberator. This is the thing that removes you from all the anxiety and all the lack of self-confidence in the world. It is a timer. It is a punch-in timer. What I do with it is - I do this: I take it and boom, boom, boom, boom - and I've got thirty-three point thirty-three minutes. I then punch "on" and it starts ticking down. Now I put it down, and I am set. I have no goal for the next thirty-three point three-three minutes, except to work on the copy. Now, I don't have to work on the copy. There is absolutely no necessity for me to work on the copy.

我拿起我的电脑，让它调出我正在处理的新广告。它做到了，太棒了——五十页的内容出现在我面前，第一页就是。我拿起这个设备——这是解放者。这是能让你摆脱所有焦虑和自信心缺乏的东西。它是一个计时器。它是一个打卡计时器。我使用它的方法是——我拿起它，砰砰砰砰，我就有了三十三分三十三秒。然后我按下“开始”，它就开始倒计时。现在我把它放下，我就准备好了。接下来三十三分三十三秒内，我唯一的目标就是处理文案。现在，我不用处理文案。我完全没有必要去处理文案。

I can sit there I can stare out. I can drink the coffee I can stare some more. Drink some more coffee. I can do anything in the world except get up from that desk, Not do any of that task. Not even write my own name. I just sit there. Sooner or I get bored. And my boredom comes about one or two minutes.

我可以坐在那里，可以盯着外面看。我可以喝咖啡，可以继续盯着看。再喝点咖啡。我可以做世界上任何事，除了从桌子上站起来，不完成任何任务。甚至写不出自己的名字。我就只是坐在那里。很快，我就感到无聊。我的无聊通常在一两分钟内出现。

Then I begin looking at the copy. As I look at the copy I began paging up and down. And as I do that something reaches out from my computer and grabs me. And says. "Hey, aren't I beautiful? Hey, aren't I powerful? Hey. Start with me." And I say, "OK this is great. This is good but it's not quite phrased... Wouldn't it be better if we just took these words out and condensed them a little?" So I do that and then I go over them some more and then I see another one. And I do that and then another one. I have no goal that has anything to do except do the copy and. the thing that's staring me in the face

然后我开始看文案。我看文案时，开始上下翻页。就在这时，我的电脑伸出一只手抓住了我，说：“嘿，我不是很美吗？嘿，我不是很有力吗？嘿，从我开始吧。”我说：“好的，这很棒。这很好，但措辞上不太……如果我们把这些词去掉，精简一下，会不会更好？”于是我就那样做了，然后我再看一遍，然后我看到另一个。我那样做，然后又有一个。我没有任何目标，除了做文案，那个直勾勾地盯着我

So I'm not worried about the test, or the money, or the overhead, or the rent, or the new car, or the new painting. That's all gone. I'm just working on that.

所以我不担心测试、钱、开销、租金、新车或新画。这些都不重要了。我只是在处理那个

Now what I do is I work for 33.33 minutes. At the end of thirty-three point three-three minutes, this little thing rings. It's very important that it rings. Gotta get a timer that rings - because you should be so absorbed that you shouldn't notice time passing. Now we've got a timer in this room right here, besides this one, which is that television camera which is staring at me. That television camera has a 30-minute cycle, I believe. And what's going to happen at the end of 30 minutes, is that he's going to wave. How many minutes have gone? OK, four minutes. Now 20 minutes from now, this man is going to wave and we will have spent 30 minutes together. Okay. When he waves at me, I'm going to stop. I'm finished. I am going to interrupt myself and you and we're all going to sit around and do anything you want go to the bathroom, talk, scratch our heads, do anything we want for five minutes. But we're not going to do any more talking, we're not going to do any more listening.

现在我工作 33.33 分钟。在 33.33 分钟结束时，这个小东西会响。它非常重要，必须响。得买个会响的计时器——因为你应该全神贯注，以至于不会注意到时间的流逝。现在我们这个房间里正好有一个计时器，除了那个电视摄像机，它正盯着我。那个电视摄像机我相信有一个 30 分钟的循环。在 30 分钟结束时会发生什么？他会挥手。过了多少分钟了？好的，四分钟。现在再过 20 分钟，这个人会挥手，我们就一起度过了 30 分钟。好的。当他向我挥手时，我就停了。我完成了。我要打断自己和你，然后我们都会坐下来做任何你想做的事情，去洗手间，聊天，挠头，想做什么就做什么，持续五分钟。但我们不会再说话，也不会再听。

Why? Because when you're working, you're not creating. The whole secret is to know when you're working - and leave work and go on to creation. What do I mean by that? Number one: copy is not written. If anyone tells you you write copy - sneer at them. Copy is not written; copy is assembled. You do not write copy. You assemble it.

为什么？因为当你工作时，你并没有在创造。整个秘诀在于知道何时是工作，然后放下工作，去进行创造。我所说的意思是什么？第一点：文案不是写出来的。如果有人告诉你文案是写出来的，就嘲笑他们。文案不是写出来的；文案是组装出来的。你并不写文案，你是在组装文案。

You are working with a series of building blocks and you're putting the building blocks together - and then you are putting them in certain structures. You're building a little city of desire for your person to come and live in.

你正在使用一系列的积木，并将它们组合在一起——然后你将它们放在特定的结构中。你正在为一个目标建造一个小城市，让他们来居住。

You are not writing. You are assembling. You are assembling claims, you are assembling images, and you're assembling desires - that people will pay 33 dollars to share with you. On a 21-day guarantee. So forget about writing. Anybody in this room who writes copy - anyone in this room who works with copy - must realize that the person they are working with or the thing they are producing is not right. Get that out of your head because you won't produce good copy.

你不是在写作。你是在组装。你是在组装主张，你是在组装图像，你是在组装欲望——让人们愿意支付 33 美元与你分享。在 21 天保证期内。所以忘掉写作吧。这个房间里任何写文案的人——这个房间里任何与文案工作的人——必须意识到他们正在与之合作的人或他们正在生产的东西是不对的。把这个想法从你的头脑中排除出去，因为这样你不会写出好的文案。

Assembling Words – Windows in a Store

组装文字——商店的窗户

THE ONE THING I HATE most in the world and shows me absolute disaster is when somebody comes up to me and says. "Wow! The headline is so beautiful. What did you get those words? They're gorgeous." I say, "Oh God, he's seeing the words, he's not seeing through the words, he's seeing the words themselves. No good. If you want to write poetry, if you want to write prose, if you want to write novels, if you want to write literature - go outside of advertising.

我最讨厌世界上最糟糕的事情，就是有人走过来对我说：“哇！这个标题太美了。你从哪里得到这些词？它们太棒了。”我说：“哦，上帝，他看到了字，但没有透过字看到本质，他只看到了字本身。不好。如果你想写诗歌，如果你想写散文，如果你想写小说，如果你想写文学——那就别做广告了。

Words in advertising are like the windows in a store. You must be able to look right through them and see the product. If you see the window, it's dirty. And you're going to see yourself. Or you're going to see this mirror. You're not going to see the product and you're going to lose.

广告中的文字就像商店的窗户。你必须能够透过它们看到产品。如果你看到窗户，它很脏。你将看到自己。或者你将看到这个镜子。你将看不到产品，你将输掉。

Copy should never call attention to itself. You should never know that you are reading sentences and the words should never come out by themselves. What you want people to see is the visual, visceral image of what words are conveying.

广告文案不应该引起注意。你永远不会知道你在读句子，字也不会自己跳出来。你想让人们看到的是文字所传达的视觉、直觉的图像。

That is how it works.

这就是它的运作方式。

You've got to break that fascination. Of course you don't have the right words. Of course you've going to have the punch headline. But when the right words come, the people don't see them, they feel them. Here: "Sneaky little arthritis tricks" Four words. None of them is an exceptional word. They're all pretty standard, mundane words. It is that combination that makes their power. One of the words is a word that should not be used in advertising: "Sneaky". Because you know we don't like to sneak around, people sneaking around is not very appealing. We don't want to be identified with those.

你必须打破那种迷恋。当然你没有合适的词语。当然你会需要有力的标题。但当合适的词语出现时，人们看不到它们，他们感受到它们。这里：“狡猾的小关节炎诡计”四个词。它们都不是什么特别的词。它们都很普通，平凡。正是这种组合赋予了它们的力量。其中的一个词是在广告中不应该使用的词：“狡猾”。因为你知道我们不喜欢偷偷摸摸，人们偷偷摸摸不是很有吸引力。我们不想被与那些联系起来。

But when a person who has arthritis, and has the pain of arthritis, and humiliation, and the dependency of arthritis - sees "sneaky little arthritis tricks". And if they have gone to doctors, and spent hundreds of hours trying to follow doctors, and not been able to be helped by doctors - they know exactly what you're talking about.

但是当一个患有关节炎的人，并且有关节炎的痛苦，有关节炎的耻辱，有关节炎的依赖——看到“狡猾的小关节炎诡计”。如果他们已经去看过医生，并且花费了数百小时试图遵循医生的指示，并且没有被医生所帮助——他们确切地知道你在谈论什么。

It isn't at all like what it is when you are alone - I assume you're alone when you write. If you're in meetings that is OK, but I'm alone and I have been working for 33 minutes and I'm going to work for 1-2-3-4-5-6 33-minute periods today.

这完全不同于你一个人时的情况——我假设你写东西时是一个人。如果你在开会那是可以的，但我是一个人，我已经工作了 33 分钟，我今天将要工作 1-2-3-4-5-6 个 33 分钟的时间。

And I'm going to assemble, and judge, and read carefully for those thirty-three minute periods. Now what am I doing when I do that? I'm following somebody else's talk. Somebody else has organized some material and presented it in their way. They may not know the market as well as I know the market. They may not have as much training in copywriting as I do. But they are setting up a sequence, and they are setting up a vocabulary, and they're setting up a tone. They are all beautiful. But they're not going to sell the book.

我将要组装、评判，并仔细阅读那三十三分钟。现在，当我这样做时，我在跟随别人的谈话。有人组织了一些材料并以他们自己的方式呈现。他们可能不像我一样了解市场。他们可能没有我接受过那么多文案写作的训练。但他们正在建立一系列内容，建立词汇，建立语气。它们都很美。但它们不会卖掉这本书。

So for the thirty three point three-three minutes, I have to be extremely logical, learning, malleable, dependent, etc. After that time, when this rings, I'm going to go into creativity.

所以在那三十三分之三十三秒里，我必须极其逻辑、学习、可塑、依赖等等。在那段时间过后，当铃声响起时，我将进入创意状态。

Now I hate words like creativity, I despise them. Because when you say the word creativity, what does it mean? It has no image inside it. God created the heaven and the earth. What God did is he took nothing and made heaven and earth. you can't take nothing to make anything - you're not God.

我讨厌像“创意”这样的词，我鄙视它们。因为当你提到“创意”这个词时，它意味着什么？它里面没有图像。上帝创造了天堂和地球。上帝所做的是他什么都没有，却创造了天堂和地球。你不能什么都没有就创造出任何东西——你不是上帝。

So what we have to do is - after we've placed everything - because I like operational words. And operational words are the words we use to work from. They give you a method to work from.

所以我们必须做的是——在我们放置所有东西之后——因为我喜欢操作性的词语。操作性的词语是我们用来工作的词语。它们为你提供了一个工作的方法。

Creativity is Connectivity

创意即连接

CREATIVITY TO ME IS what I call connectivity. Of course, it is the ability to take two ideas that already exist in two different sentences or even in two different fields. And put them together, connect them. And what you're doing when you're creative is to try and connect two separate ideas that logically will not go together - up until that moment.

对我而言，创意就是我所称的连接。当然，它是指在两个已经存在于不同句子甚至不同领域中的想法之间建立联系。将它们放在一起，连接它们。当你进行创意活动时，你是在尝试连接两个在逻辑上原本不会在一起的想法——直到那一刻。

So you're looking for a connection and looking for a brand new connection. When you have a brand new verbal word connection, you'll have something that can start your reader, something that can stop your reader, something that can inspire, move, or sell your reader.

所以你正在寻找一个连接，寻找一个全新的连接。当你获得一个全新的词汇连接时，你就能激发你的读者，让你读者停下来，让你读者受到启发、感动或被说服。

We go back to "sneaky little arthritic tricks" again. Think about this for a moment. Let's talk about the publisher's position when they publish this book. This publisher has been selling books by doctors, or books by people who follow doctors, for many years now. They've had much success and grown very beautifully. Suddenly, for some reason I don't know, they come across a book about 700 people who did not follow doctors, who went away from doctors, who doctors couldn't help them.

我们再次回到“狡猾的小关节炎技巧”。请稍作思考。让我们谈谈出版商在出版这本书时的立场。这位出版商多年来一直出版医生写的书，或者出版那些跟随医生的人写的书。他们取得了很大的成功，发展得非常漂亮。突然，不知出于什么原因，他们遇到了一本关于 700 个人没有跟随医生、离开医生、医生无法帮助他们治疗的书。

They had received letters from people saying, "Hey they couldn't help us, but we did this on our own." And they published this marvelous book. People go away from doctors when the doctors can't help them. When the doctors can help them, of course, they stay with them, very simple.

他们收到了一些人的来信，说：“他们帮不上我们，但我们自己这么做了。”他们出版了一本很棒的书。当医生无法帮助他们时，人们会离开医生。当然，当医生能帮助他们时，他们会留在医生身边，很简单。

But when patients are given very strong drugs by doctors, and go into copper bracelets, let's say - they feel very bad about that. They don't want to do it because they really rely on the doctors. They feel guilty. That was the thing that came through.

但是，当医生给病人开了很强的药物，而他们又去戴铜手镯时——比如说——他们会感到非常不好。他们不想这样做，因为他们真的依赖医生。他们感到内疚。这就是那个观点。

These people were saying I had marvelous results, fabulous results. But I still am uneasy about it. What's happening? What will the doctors say? Will they catch me? Will they take away my strong drugs, etc.

这些人说我的效果很棒，非常棒。但我仍然感到不安。发生了什么？医生会说什么？他们会不会抓我？他们会不会拿走我的强效药物等等。

So I'm doing this, putting all this together, these wonderful quotes, these inspirational stories - And all of a sudden you know I'm up in left field and these four words just come - by themselves. I don't like them. I don't assemble them. I don't do anything. "Sneaky little arthritis tricks." They come. BAM. They're there. I have created this four word combination.

所以我正在做这件事，把所有这些放在一起，这些精彩的引言，这些鼓舞人心的故事——突然之间你知道我到了一个奇怪的地方，而这四个字就自己来了。我不喜欢它们。我不组合它们。我什么也不做。“狡猾的小关节炎诡计。”它们来了。砰。它们就在那里。我创造了这个四字组合。

Once that comes to me, people talk about the muse. "The muse" means that your unconscious mind is delivering something to you.

一旦那东西来到我这里，人们就开始谈论缪斯。“缪斯”意味着你的潜意识正在向你传递一些东西。

What you do if you've got to make money on it, if you want to set records in sales with it, first you put it up and then you see what can I say after that. And then we have "sneaky little arthritis tricks" Red line, "what natural foods and do-it-yourself secrets that pain-proofed over 100 men and women like you." Now the first is a catch, a hook. The second is sort of a proof. We're talking about natural food. We're talking about do-it-yourself secrets, we're talking about being pain-proofed. And we're talking about men and women having proved this for you, so you don't have to prove it yourself. That's the second line.

如果你必须靠它赚钱，如果你想要用它创销售记录，首先你把它放出来，然后看看我还能说什么。然后我们有“狡猾的小关节炎技巧”红色线条，“哪些天然食物和自制秘诀让超过 100 名像你一样的男性和女性免于疼痛。”第一个是诱饵，一个钩子。第二个有点像证明。我们谈论的是天然食物。我们谈论的是自制秘诀，我们谈论的是免于疼痛。我们谈论的是男性和女性已经为你证明了这一点，所以你不必自己证明。这就是第二行。

The first line gives you this wild claim, the second line makes it doable. And then there are these immensely beautiful pictures. Wonderful pictures from the art department - and what they say: "all symptoms disappeared and not returned." This beautiful woman walking, the man who's being kissed by the child.

第一行给你一个大胆的声明，第二行让它变得可行。然后还有这些极其美丽的图片。艺术部门的好照片——它们说：“所有症状都消失了，并且没有再回来。”这位美丽的女士在行走，这位男士正被孩子亲吻。

"After another 10 days I felt cured, and even the rheumatoid nodules were disappearing." And this lovely-looking lady: "I have found my salvation. It was my idea. Not the doctors. And it's better than any medicine he's prescribed to this date". So the envelope is the mailing, the complete mailing piece. Just open the envelope and send it in. We'll discuss that later. I'm talking about how the first part of the envelope came.

"再过 10 天我感觉痊愈了，甚至类风湿结节也在消失。"还有这位漂亮的女士："我找到了我的救星。这是我的主意。不是医生的。而且比他到目前为止开的任何药都好"。所以信封就是邮寄，完整的邮寄品。打开信封寄进来。我们以后再讨论。我是在谈论信封的第一部分是怎么来的。

Now creativity is a natural gift. It is built into you by 2 billion years of evolution. The only thing that makes it creativity hard is that we don't know really how to become creative, we don't know really how to become connected.

现在创造力是一种天赋。它是通过 20 亿年的进化构建在你身上的。让它变得困难的是我们不知道如何变得有创造力，我们不知道如何变得有联系。

So we say - how do we come out of the conscious mind into the unconscious mind? Again we run up against the block: the conscious mind doesn't mean anything, the unconscious mind doesn't mean anything either - except to the mystic, and that doesn't do us much good. So I think a much better word is the focused mind and the unfocused mind.

所以我们说——我们如何从有意识的心进入无意识的心？我们再次遇到了障碍：有意识的心没有任何意义，无意识的心也没有任何意义——除了对神秘主义者来说，这对我们没什么好处。所以我认为一个更好的词是专注的心和不专注的心。

The mind is a very large network of cells which retain thoughts or images and translate the images and thoughts back and forth. The mind has a vast network of these cells but it specializes in using only a certain amount of cells at any particular gaze. And so when you looked at something, if I look right there, I can only see this part of the room, and not that part of the room. That is blurred. This is quite in focus. If I look at this "sneaky little arthritis tricks" I can hold seven bytes or seven words in my conscious mind at a time. That's why we read sequentially. That's why we invented writing that goes along a line and interrupts itself, and goes along another line and interrupts itself, goes along another line... We can only hold seven of those. Now that is our mind focus. Seven images, words at a time. Now surrounding those seven is this huge number, this huge saucer of other ideas which are turning around. They are not focused - they are unfocused - and they're floating around.

思维是一个由大量细胞组成的网络，这些细胞可以保留思想或图像，并在图像和思想之间进行转换。思维拥有这些细胞的庞大网络，但它专门使用特定数量的细胞进行任何特定的注视。因此，当你看某物时，如果我看向那里，我只能看到这部分的房间，而看不到那部分的房间。那部分是模糊的。这部分很清晰。如果我看着这个“狡猾的小关节炎诡计”，我一次可以在有意识的大脑中保持七个字节或七个单词。这就是为什么我们按顺序阅读。这就是为什么我们发明了沿着一条线延伸并中断自己，然后沿着另一条线延伸并中断自己，再沿着另一条线……我们一次只能保持七个。这就是我们的思维焦点。七幅图像，七个单词一次。现在围绕这七个的是这巨大的数量，这个巨大的碟子里的其他想法在旋转。它们没有焦点——它们是分散的——它们在漂浮。

When you are focused, and you pay attention, you only concentrate on the logical things that come into your mind that you you're paying attention to - and the others stay out. When you want to become creative, when you want to get new connections to those seven things in the center - you gotta get out of there. And that's why we work for 33 minutes and that's why we play for five minutes. The brain connects when it plays. When it works, thinks, uses logic, etc.,it doesn't connect. It doesn't make explicit connections.

当你专注时，并且你注意力集中，你只专注于进入你脑海的逻辑事物，而你正在注意的事物会排除在外。当你想要变得有创造力，当你想要与中心的七件事建立新的联系时——你必须跳出那里。这就是为什么我们工作 33 分钟，这就是为什么我们休息五分钟。大脑在玩耍时连接。当它工作、思考、使用逻辑等时，它不会连接。它不会建立明确的联系。

How Mozart Wrote – On a Billiard Table

莫扎特是如何写作的——在一张台球桌上

THE BEST EXAMPLE OF that I've ever seen - and there are a lot of good ones - is the movie Amadeus. About Mozart. Mozart was a very unusual man, died at age 32 I think. And he never re-wrote his music. He always - if you look at his scores - every note is put in place and it was never changed.

我所见过最好的例子——有很多好的例子——是关于莫扎特的电影《阿玛迪斯》。莫扎特是一个非常不寻常的人，我想他 32 岁去世。他从未修改过他的音乐。如果你看他的乐谱——每个音符都恰到好处，并且从未改变。

It was as though he just wrote it from God - and then sent it out to the page.

仿佛他只是从上帝那里写下来——然后发送到页面上。

But it wasn't. He had a very simple system of escaping his focused, conscious mind. And it was on a billiard table - he always had a billiard table every where he went. And he would stand, and he would have his pen, and he would have his score, and he would have the billiard table, and he would have the cue ball. He would take the white ball, in his left hand, and he would throw it out and so it would hit one-two-three sides and came back to him. And he would pick it up, catch it as it came back, and throw it out - one-two-three sides and back. As it went and this little journey through three sides, he wrote a note. Then he picked it up, threw it again, and wrote the note while it was traveling picked it up again. And he wrote one note at a time every three times it hit. Why? It was very simple.

但并非如此。他有一个非常简单的系统来逃避他专注的、有意识的心灵。这个系统在一个台球桌上——他无论走到哪里都有一个台球桌。他会站着，手里拿着笔，拿着记分牌，还有台球桌和母球。他会用左手拿起白球，把它扔出去，让它撞击一、二、三个球桌边后弹回来。然后他会捡起来，在球弹回来时接住它，再扔出去——撞击一、二、三个球桌边后弹回来。在球撞击球桌边并弹回来的这个小旅程中，他会写一个便条。然后他捡起来，再次扔出去，在球飞行过程中写便条，再捡起来。他每次撞击三次就写一个便条。为什么？这非常简单。

His conscious mind - if you throw a billiard ball out to hit three of those sides, the sides are soft enough that they'd randomize the billiard ball. It doesn't become a predictable trajectory. It will vary slightly.

他的有意识的心灵——如果你把一个台球扔出去撞击三个球桌边，球桌边软得足以让台球随机化。它的轨迹不会变得可预测。它会稍微变化。

Therefore your conscious mind must watch it change its direction as goes out - you can't turn it into an unconscious mind. So your conscious mind - becomes the focused mind - becomes trapped in watching that billiard ball. Your unfocused mind can therefore use this entire range to furnish you with the notes you were looking for.

This is what we do. Now, I have written more headlines while I shave then when I've ever been at the computer.

I have pads - I'm such a slob - I have pads all over the house. And I always carry - even when I'm at a show - I'll carry a pen, honestly.

I'll write, write, write, write - and here's the idea I'm looking for. If you get into the habit of doing this and letting yourself “gulp” - of having fun, of letting anything in the world come into your mind, even though lots of these are going to be thrown out. Eventually as you begin going to other things (especially on vacations) I write. Most of my best ads and most of my best books are written in the margins of other people's books, while on vacation.

What happens is that you're down there listening to - like watching this gorgeous ocean, this beautiful cloud, listening to a CD player. You're always working - on nothing. But your mind suddenly begins outing forth this stuff - you see this scratch down the side - and you can write. You want to go into a feeding frenzy, because you want to go into a creative frenzy. You want to have the ideas coming so much into your mind that you can't stop.

发生的是，你就在那里听着——就像看着这美丽的海洋，这漂亮的云彩，听着播放器。你总是在工作——在无所事事。但你的思维突然开始涌现出这些东西——你看到这边的划痕——你可以写。你想进入一种饕餮盛宴，因为你想进入一种创作盛宴。你想让想法如此多地进入你的脑海，以至于你无法停止。

Never Work On Only One Thing At A Time.

不要一次只做一件事。

IN THE SAME WAY NEVER work on one thing at a time. I work on one book, one article, and one ad at the same time - I will spend an hour with one of them, an hour with the second of them, an hour with third one. That's why I say three hours. When I am working on the biography of Jesus Christ in the year 33 A.D. I will get his marvelous ideas for my ad. I know it and I will scratch them down.

同样地，永远不要一次只做一件事。我同时工作在一本书、一篇文章和一个广告上——我会花一个小时在其中一个上，一个小时在第二个上，一个小时在第三个上。这就是为什么我说三小时。当我正在工作耶稣基督公元 33 年的历史传记时，我会为我的广告获得他的美妙想法。我知道，我会把它们划下来。

Now it's silly. But the creative unfocused mind is by nature, silly. So it is called by Gardener - James Gardener was the best psychologist around - the "creative triangle".

现在很傻。但创造性的无焦点思维在本质上很傻。所以它被园艺师——詹姆斯·加德纳是当时最好的心理学家——称为“创造性三角形”。

When you are working on simultaneous projects, continuing simultaneous projects, one will feed the other. And by allowing yourself to go from one to the other. Your unconscious mind can work on one while your conscious mind is working on the other. And this is like ping-pong, three-sided ping-pong. So that is creativity.

当你同时进行多个项目时，继续进行多个项目，一个会促进另一个。并且通过让自己从一个项目转换到另一个项目，你的潜意识可以在一个项目上工作，而你的意识可以在另一个项目上工作。这就像是三人乒乓球。所以这就是创造力。

Getting Your Reader to Read

如何让你的读者阅读

LET'S TALK ABOUT WRITING “many-pieces”. What does a many-piece consist of?

让我们谈谈写作“多部分”。一个“多部分”由什么组成？

Every one of the many-pieces I have here, most the many-pieces I've seen, has separate elements. The first element of course is the envelope. Contained within the envelope there is a series of letters, fliers, sub-fliers, inserts, lip-letters. etc. and there's an order blank.

我这里每一个“多部分”，我看到的绝大多数“多部分”，都有独立的元素。当然，第一个元素是信封。在信封里，有一系列信件、传单、子传单、插入物、唇信等，还有一个订单表。

The entire idea is to get the people to go from the envelope to the order blank. Everything in between is a subsidiary to that - it's just there because it helps. I am sitting here at this desk which is much like my desk, and I've done my three hours of writing, and I am ready for lunch. Then I'm ready to do whatever I want for the afternoon.

整个想法就是让人们从信封走向订单表。中间的一切都是次要的——它只是存在，因为它有帮助。我坐在这张桌前，这张桌子和我的桌子很像，我已经写了三个小时的字，我准备好吃午饭了。然后我准备好做下午想做的事。

But I've got to the mailer. And I hate the mail. I like the mail because I make money in the mail, but I hate the mail because it's a lot of stuff.

但是我到了邮件。我讨厌邮件。我喜欢邮件，因为我从邮件中赚钱，但我讨厌邮件，因为有很多东西。

So here I am. This is all elementary and you heard it a dozen times before, but it's imperative.

所以我在这儿。这很简单，你已经听过很多次了，但它很重要。

So I take my mail and I sort it into two piles. This pile is dead - you have lost money. You are wiped out. You will never see the inside, you will never sign an order blank. He or she. This pile is the active pile. He will come back, or she will come back to it. She will look at it. Now, at the top of both of these is what is usually called the headline. "Sneaky little arthritis tricks." "A new generation of natural home remedies." And the question has always been as an extremely good question is what about the headline? What does the headline do? How long should the headline be? how many headlines did you have on an envelope? Etc..

所以我把我的邮件分成两堆。这一堆是无效的——你已经亏钱了。你被彻底搞砸了。你永远看不到里面，你永远不会签署订单。他或者她。这一堆是有效的。他会回来，或者她会回来。她会看它。现在，在这两堆的顶部通常被称为标题。“狡猾的小关节炎骗局。”“新一代天然家庭疗法。”而问题一直是一个非常好的问题是关于标题的？标题做什么？标题应该有多长？你在信封上放了多少个标题？等等。

When I first began writing copy the accepted belief was that there should be a single headline - and the single headline should read into the copy. Preferably the headline should sell the product or give an to an overwhelming claim. They have tremendous power. The key word is power. Power to sell, power etc. I hate that. The headline has absolutely nothing in the world view except one thing: to get you to read the sentence underneath the headline. The sentence underneath the headline has absolutely nothing in the world to do except one thing: to get you to read the sentence that follows it. The sentence that followed it has absolutely nothing to do except to get you to read the the sentence that follows it.

当我刚开始写文案时，普遍认为应该只有一个标题，而且这个标题应该引导文案。最好是标题应该销售产品或提出一个压倒性的主张。它们具有巨大的力量。关键词是力量。力量去销售，力量等等。我讨厌这一点。标题在这个世界上除了一个东西外没有任何作用：让你读标题下面的那句话。标题下面的那句话除了一个东西外没有任何作用：让你读下一句。下一句除了一个东西外没有任何作用：让你读下一句。

The headline should not try to sell, it should not try to identify the company, it should not try to present overwhelming power.

标题不应该试图销售，它不应该试图识别公司，它不应该试图展示压倒性的力量。

All it's gotta do is to get the prospect to read the next line, that's all. Everything else is forget it.

它只需要让潜在客户读下一行，仅此而已。其他的一切都是徒劳。

"Sneaky little arthritis tricks" is only there so the person will read "what natural foods and do-it-yourself secrets that pain-proofed over one hundred men and women like you."

"狡猾的小关节炎诡计"只是为了让人读"哪些天然食物和 DIY 秘诀让一百多个像你这样的人摆脱了疼痛"。

Why? Because all you have to do is get them into this habit of reading one line after another line after another line.

为什么？因为所有你都要做的是让他们养成一个接一个地读线的习惯。

They should read every line. Preferably on this envelope. They should then want to read more and turn over. When they get here, they should probably read that and then they should preferably open. Now, on the back we talk about Youth Pills given away free. And the last line on the back is, "See other age reversal miracles inside."

他们应该读每一行。最好是在这个信封上。他们应该然后想要读更多，翻过页。当他们到这里时，他们应该可能读那，然后他们最好打开。现在，在背面我们谈论免费提供的青春药。背面最后一行是，“在内部看到其他逆转年龄的奇迹。”

It's nice if you can ask them to move inside. Give them some reason for opening up the envelope. The big problem is to open the envelope.

如果你能够让他们移到里面，那很好。给他们一些理由来打开信封。大问题是打开信封。

I would say in general that the headline is replaced by the envelope. The entire envelope the front and back are your sales pitch.

我会说一般来说，标题被信封取代了。整个信封的前面和背面都是你的销售陈述。

You can have hundreds of words on the envelope. They don't have to be headlines. All they have to do is be tantalizing. I love the fact that for a while we all could use these marvelous big things although this is a brand piece which is also being sent out at the moment.

你可以在信封上写上几百个字。它们不必是标题。它们只需要诱人。我喜欢的是，有一段时间我们都可以使用这些美妙的大东西，尽管这是一个品牌产品，目前正在发送出去。

Because it gives us a lot of room. And we can sell and sell and sel,l and prove and prove and prove, and demonstrate and demonstrate.

因为它给了我们很多空间。我们可以卖，卖，卖，证明，证明，证明，展示，展示。

So that's wonderful. You get them to open up. That's all you have to do - all you have to do is get them to open up.

那真是太好了。你需要做的就是让他们打开。这就是你需要的全部——你需要的全部就是让他们打开。

They take it out and the first thing that approaches them is the letter, usually. It doesn't have to be, there's no reason for it to be, but usually the letter is. And it says "What arthritis doctors won't tell you." Conventional, purposely conventional, Because they've had so much hitting here that I simply want to make it very soft here. And then in the next line is, "Unbelievable as it may sound, dear friends,. about 100 of our participants, fully 100 men and women who suffered for years in the agonies of arthritis no longer see a doctor, a physical therapist or any kind of practitioner for arthritis treatment. For example..."

他们把它拿出来，通常首先映入他们眼帘的是信，虽然不必如此，但没有理由如此，但通常是这样。信上写着“关节炎医生不会告诉你的事。”传统上，故意传统上，因为他们在这里遭受了太多的打击，我只想在这里让它非常柔和。然后在下一行写着，“虽然难以置信，亲爱的朋友们，我们大约 100 名参与者，全部 100 名男性和女性，多年来一直忍受着关节炎的痛苦，现在不再去看医生、物理治疗师或任何类型的关节炎治疗师。例如……”

What's In Your Copy?

你的文案里有什么？

AND THEN WE GO INTO a series of case histories and the entire six-page letter of case histories.

然后我们进入一系列案例研究和整个六页的案例研究信。

What are the case histories? A case history is a proof of someone that acted as your surrogate. They proved the product so you don't have to take a list with it. Then we have the flier. The flier is devoted to doctors proving this. Doctors - what they say about this. That's all on that and then you have the flier of the "Forever Young Premium".

案例研究是什么？案例研究是某人为你充当代理人的证明。他们证明了产品，所以你不必带着清单。然后我们有传单。传单是专门介绍医生证明这个的。医生们对这个有什么说法。所有这些都讲完了，然后你还有“永远年轻高级版”的传单。

You have to do two things in all of this material.

在所有这些材料中，你必须做两件事。

Number one, you have to pile belief upon belief upon belief, desire upon desire upon desire.

第一，你要不断积累信念，积累欲望。

Number two, you have to give them an escape route.

第二，你必须给他们一个逃生路线。

There are some people who will absolutely love to read every word, and you will have to satisfy them. There were some people who will read not that much. They don't want to.

有些人会非常喜欢读每一个字，你必须让他们满意。有些人不会读那么多。他们不想读。

And so, they will go on at that point. If you have a money-back guarantee, for a twenty-one day trial - they'll go directly into that.

所以，他们会继续下去。如果你有一个退款保证，为期 21 天试用 - 他们会直接进入那个。

That answered the question how long copy should be. The copy should be as long as you need to contain the claims – and not bankrupt the company that's sending this around.

那个问题回答了文案应该有多长。文案应该足够长，以包含所有的声明——而且不会让发送这个文案的公司破产。

But, always remember that within that copy - the person can cut out at any moment.

但是，请始终记住，在文案中，人们可以在任何时刻退出。

So you want to give him on the envelope, and in the first page of the letter, and the flier, enough to be a complete menu piece to get them to the trial.

所以你希望在信封上，以及在信件的第一页，和传单上，给人们足够的完整菜单，让他们来参加试用。

So the people can't stay with you or don't have the time or the interest to stay with you can order anyway and try it.

所以那些不能与你在一起，或者没有时间或兴趣留下来的人，也可以下单尝试。

You've also got to remember that you're never selling anything. Never ever ever ever ever sell anything. In mail order, you always ask a person to try something.

你还必须记住，你永远不卖任何东西。绝不卖任何东西。在邮购中，你总是要求人们尝试一些东西。

The book will sell itself. A lot of people know that now, and of course the return is light because if they don't like the book, and that's wonderful, but at least they tried the book. And they'll try the next one.

这本书会自己销售。现在很多人都知道这一点，当然回报很轻，因为如果他们不喜欢这本书，那真是太好了，但至少他们尝试了这本书。他们会尝试下一本。

Who Are You Writing To?

你在为谁写作？

IN CONJUNCTION WITH that, you have to ask the question "Who are you writing to?" Very important question. Absolutely essential. Are you writing to a man? Are you writing to a woman? Are you ready to an individual of both sexes? Are you writing for a mass audience? What is your audience for this? Unless you know that and can answer that, then of course you can't really direct your copy to them. The answer is very simple. But in two ways: you're writing to an individual - a single person always, who shares a problem or a desire with a huge mass of other people.

与此同时，你必须问一个问题：“你在为谁写作？”这是一个非常重要的问题。绝对必要。你是写给男人吗？你是写给女人吗？你准备好写给两种性别的人了吗？你是写给大众吗？你的受众是什么？除非你知道并能回答这个问题，那么当然你不能真正将你的文案指向他们。答案很简单。但有两种方式：你是在写一个个人——总是写一个个人，他与大量其他有相同问题或愿望的人分享。

Now, that means you identify the problem, Arthritis, very large, with the person who is getting these mailing pieces, which also leads you to the most powerful words in the English language. And the most powerful words in the English language is not "yes" and it is not "free". It's "you" and the word "you" is absolutely determinative in publishing, mail-order publishing, and mail-order marketing.

现在，这意味着你要识别出问题，关节炎，非常大，对于收到这些宣传材料的人来说，这也让你找到了英语中最有力的词语。英语中最有力的词语不是“是”也不是“免费”。它是“你”，这个“你”字在出版、邮购出版和邮购营销中是绝对决定性的。

Editorially, when I see someone say, "Take the hands and apply the cream to the face" - I go crazy. Because there are no "the" hands and there are no "the" face. There was only your hands and your face. So the first thing the copywriter has to do - the first remedy, if those things are there - the copywriter has to apply to the editorial and change all the "the's" to all the "you's".

在编辑方面，当我看到有人说，“拿起手，把乳液涂抹在脸上”——我会发疯。因为没有“那”双手，也没有“那”张脸。只有“你的”双手和“你的”脸。所以，第一件事是文案必须做——如果这些词语存在的话，文案必须对编辑进行修改，把所有的“那”都改成“你的”。

Now when you begin to work on those issues of the "you", then you'll begin to see that the "you" is highly individuated and this single person who represents this mass of people are completely unique and you have to be able to find out their uniqueness and be able to talk to it.

现在你开始处理这些问题时，“你”就会开始看到，“你”是非常个性化的，这个代表大量人群的个体是完全独特的，你必须能够找出他们的独特性，并能够与之对话。

When I did the arthritis copy, I had never met anyone intimately who had arthritis.

当我写关节炎文案时，我从来没有亲密地认识过任何患有关节炎的人。

Therefore, I didn't really know much about arthritis, but the people who wrote the book, the people who wrote the letters and wrote the book, knew intimately about arthritis. And I found that they talked a language that was completely incomprehensible to me and that's "IUDs" and "I use this kind of drug, that kind of drug".

因此，我其实对关节炎了解不多，但写这本书的人和写这些信的人，他们非常了解关节炎。我发现他们谈论的语言对我来说完全无法理解，那就是“宫内节育器”和“我使用这种药物，那种药物”。

So I determined that I would try in the copy to use many technical terms as possible because those people were familiar with both technical terms. They had been with doctors for years and failed and therefore that would make it more you-full.

所以我决定在文案中尽可能多地使用技术术语，因为那些人熟悉技术术语。他们多年来一直和医生在一起，失败了，所以那会使它更“你感”。

Not youthful but "you-full". Your copy has to be full of "you's" and the "you" has to be so the person can identify - you must be that person.

不是年轻，而是“你感”。你的文案必须充满“你”，而且“你”必须是那个人，你必须是那个人。

Success is Lonely

成功是孤独的

THAT BRINGS UP ANOTHER general thing - which is for every profession, no matter what you do. Success is extremely lonely.

这又引出了另一个普遍的事情——无论你从事什么职业。成功是非常孤独的。

And if you want to be successful you have to accept the loneliness and you have to accept the extreme modesty and humbleness that success demands. I'll tell you why: you have to know the person that you are going to ask for something. If you're a salesman, if you're a lawyer and it's the judge, etc. You have to know that person intimately. There's only one way you can learn that and that's this: the greatest asset after hard work is the ability to listen.

如果你想要成功，你必须接受孤独，你必须接受成功所要求的极端谦逊和低调。我会告诉你原因：你必须了解你要向其提出请求的人。如果你是销售员，如果你是律师，对方是法官等等。你必须深入了解那个人。你只有一种方法可以做到这一点，那就是：辛勤工作之后最大的资产是倾听的能力。

You have to listen to several different layers out there in order to be successful. You have to listen first of all to the person who has whatever you've got - the problem you're working with and trying to solve.

你必须倾听外界的多个层面才能成功。首先，你必须倾听拥有你所拥有的东西的人——你正在处理和试图解决的问题。

You have to know that person so well that you can sound like him and he will mistake you for his mirror image.

你必须非常了解那个人，以至于你可以像他一样说话，他会把你误认为是他的镜像。

You have to know the kind of society he comes from, the layer of society he comes from and finally you have to know that society.

你必须了解他来自什么样的社会，他来自社会的哪个阶层，最后你必须了解那个社会。

So when you go to a party, when you get in the taxi, when you're with somebody on a bus, or a subway - your job is to ask questions, show appreciation and listen.

所以当你去参加派对，当你坐出租车，当你和某人在公共汽车或地铁上时——你的工作就是提问、表达赞赏并倾听。

I was born in Butte Montana, and that is one of the great heritages I ever got. Because I spent 15 years in one of the smallest backward cities like the United States. I never lost - my mother used to say you could take a boy out of Montana, but you can't take Montana out of the boy.

我出生在蒙大拿州的布特，这是我最伟大的遗产之一。因为我曾在美国最偏僻的小城市之一生活了 15 年。我从未失去——我母亲常说，你可以把男孩从蒙大拿带走，但你不能把蒙大拿从男孩身上带走。

I don't want to lose that. I think and I feel just 80% of the population of this country.

我不想失去那一点。我认为和感觉这个国家的 80%人口一样。

But when I went to New York, I became extremely sophisticated, and I now hang out with extremely sophisticated people and that's horrible. And what I do is I constantly, "Get away from that, get away from that."

但是当我去了纽约，我变得非常成熟，现在我经常和非常成熟的人在一起，那太可怕了。而我做的就是不断地，“离远点，离远点。”

I would suggest that you do that too. When you reach your level of success, you are in danger. Merchandising. Merchandise, people are in love with that. You'll lose that kind of feeling and you got to keep it. You'll tend to lose all of of that environment. That's the environment you're selling into, that's the environment that feeds you, and that's the environment you must be able to breathe in.

我建议你也要这样做。当你达到你的成功水平时，你就有危险了。商品化。商品化，人们迷恋那个。你会失去那种感觉，你必须保持它。你倾向于失去所有的那种环境。那就是你销售的环境，那就是养你的环境，那就是你必须能够呼吸进来的环境。

Required Reading and Movies

必读和必看电影

THAT'S WHY I SAY THAT required reading for you is all the junk magazines in the United States. I would go out now and get a subscription to the National Enquirer and read every single word in it. That's your audience. There are your headlines. There are your people and their feelings. I would definitely get Vanity Fair. I would watch the tabloid television shows. I would and I do. I get in trouble when there's people walking through my house and see the piles of stuff - and I love it. If a movie sells a 100 million dollars or more especially, if that movie does 200 to 300 million dollars or more, I would go to it three or four times.

那就是为什么我说你必须要读美国的那些垃圾杂志。我现在就去订《美国国家询问者》杂志，并且读里面的每一个字。这就是你的读者。这就是你的标题。这就是人们和他们的感受。我肯定会订《名利场》杂志。我会看那些八卦电视节目。我确实会看，而且现在也在看。当有人在我家走动看到那些堆满东西的时候——我喜欢这样。如果一部电影卖了一亿或者更多美元，尤其是如果那部电影卖了两亿到三亿美元或者更多，我会去看三到四遍。

I especially recommend Joel Silver movies. Go out and get all the Joel Silver movies and watch them over and over again. Joel Silver did such immortal classics as Lethal Weapon one, two, and three. Death Wish 6, 7, and 8. Pretty Woman, which is the great movie anyway.

我特别推荐乔尔·西尔弗的电影。去把所有的乔尔·西尔弗的电影都找出来，一遍又一遍地看。乔尔·西尔弗制作了许多不朽的经典电影，比如《致命武器》1、2、3，《死亡愿望》6、7、8，《甜心先生》，那是一部伟大的电影。

You've got to sit in front of Lethal Weapon One. At least - I mean honestly, this is the greatest training for any merchandiser in the world, especially copy people, etc. You've got to sit in front of it three times. Preferably sit in front of it at least two to three times in one night. And you've got to be - honestly. Well let me explain.

你必须坐在《致命武器 1》的前面。至少——我是说老实说，这是世界上任何商品销售员最好的训练，尤其是文案人员等等。你必须看它三次。最好在一天晚上至少看两到三次。而且你必须——老实说。好吧，让我解释一下。

All right. Let me explain. You got to pick up the rhythm. And you gotta see how Silver, who is absolute genius - Spielberg and Silver are the two great communication geniuses of our country at this moment.

好的。让我解释。你必须掌握节奏。你必须看到西尔弗，他是绝对的天才——斯皮尔伯格和西尔弗是我们国家目前两位伟大的沟通天才。

Every time - right, take a stopwatch and time him - every three minutes equals another blast at you. There's another head being smashed against a windshield. There's another 50 people being blown out of an airplane, and then there's a few minutes of dialogue (which means nothing) and then there's there's another BAM! All right?

每次——对，拿一个秒表计时——每三分钟就等于对你的一次轰炸。又有一个头被撞在挡风玻璃上。又有 50 个人从飞机上被炸出去，然后有几分钟的对话（这毫无意义），然后又有一个 BAM！好吗？

Now, what you are doing is you are writing Joel Silver copy. You don't write - I don't write - this letter is not a series of paragraphs. This letter is a series of headlines. These paragraphs are brains smashing against windows.

现在你所做的是你在写乔尔·西尔弗的文案。你不会写——我不写——这封信不是一系列段落。这封信是一系列标题。这些段落是头被撞在窗户上。

Believe me every one of them can be taken and put up here.

相信我，每一个都可以被拿过来放在这里。

You've got to give them the punch. You asking someone to read hundreds of words, to spend 15 or 20 minutes with you on a busy day.

你必须给他们力量。你让某人读几百个字，在忙碌的一天里花上 15 或 20 分钟陪伴你。

You gotta give them that charge. Charge, charge, charge. Joel Silver movies.

你必须给他们那种冲击力。冲击，冲击，冲击。乔尔·西尔弗的电影。

You better know, really, this is an isolated group. We deal with the older audience so you'd better know all the older songs all of the great hits of the 50s -60s so you know them better. They still reverberate, they still make people feel. It might be good to know the top ten.

你最好知道，真的，这是一个孤立的小组。我们处理的是老年观众，所以你最好知道所有老年歌曲，50 年代和 60 年代的所有经典歌曲，这样你就能更好地了解它们。它们仍然在回响，它们仍然让人们感受到。知道前十名可能是个好主意。

Teenage movies. Movies and hits and songs. You have to know - people live by hidden desires. Imperative for you to know. I was at Phillips and I gave somewhat this same lecture. In the question and answer period, there was an extremely disturbed young man. Brilliant man. Put up his hand and said, "How would you sell a ninety-nine dollar investment letter? What would you research for a ninety-nine dollar investment letter? To the finest people in America." I said "Wall Street - Gecko". He said, "Gecko?" Remember, in the movie Wall Street, there was a terrible promoter called Gecko? He was a real slime. Every one of that man's readers wants to be Gecko. He wants to be square, honest, and uncut - Gecko.. You've got to know when your people are and you've got to face up to the reality that we have shameful desires - and some of the great desires - you are giving people health, but you also giving them that kind of rush.

青少年电影。电影和热门歌曲。你必须知道——人们的生活由隐藏的欲望驱动。你必须了解这一点。我曾在菲利普斯做过类似的讲座。在问答环节，有一个极度困扰的年轻人。他是个聪明人。他举手问：“你怎么会卖一份 99 美元的投资信？你会为一份 99 美元的投资信做哪些研究？给美国最顶尖的人。”我说“华尔街——格克”。他说：“格克？”记住，在电影《华尔街》中，有一个可怕的推销员叫格克？他是个真正的无赖。那个男人的每一个读者都希望成为格克。他们希望成为正直、诚实、未切割的格克……你必须知道你的受众，你必须面对现实，我们有不光彩的欲望——也是一些伟大的欲望——你在给人健康，但你也在给他们那种刺激。

Heaven and Hell

天堂与地狱

VERY INTERESTING TO think of your merchandise to presen it as - a person is here, In the center, and over here is hell and over there is heaven

非常有趣地思考你的商品，将其呈现为——这里有一个中心人物，这边是地狱，那边是天堂

What you are doing is presenting him with the opportunity to go to heaven, and escape hell. Heaven and Hell. Think in terms that dramatic. The absolute agony of arthritis versus a pain-free, healthy life for the next 50 years. Heaven and hell, you are talking in dramatic terms.

你正在向他提供去天堂、逃离地狱的机会。天堂与地狱。用戏剧性的方式去思考。想想关节炎的极度痛苦与未来 50 年无痛苦、健康的生活。天堂与地狱，你正在用戏剧性的语言交谈。

You must realize that your people are the finest people in the world. You must have that firm belief. Americans are the nicest people in the world. They are fair, they are honest, they want good things. They want good things for themselves and their children. They are very intelligent.

你必须认识到你的人民是世界上最好的人民。你必须有坚定的信念。美国人是世界上最友善的人民。他们公平、诚实，他们想要好的东西。他们为自己和孩子们想要好的东西。他们非常聪明。

It's incredible to see people that other people think are not intelligent, and really talk to them and let them open up - and make them unafraid to open up and find out how smart they are.

看到那些被认为不聪明的人，和他们交谈，让他们打开心扉——让他们无所畏惧地打开心扉，发现他们有多聪明，这真是令人难以置信。

But they are not giving you their full attention. Their fullest smartness, etc. They are giving you part-attention and you must be very dramatic to get through.

但他们没有给你全部的注意力。他们的全部聪明才智等等。他们只给你部分注意力，你必须非常戏剧化才能让他们注意到。

Just like a painting on a wall. If you make the painting very small on the wall and somebody goes over there, they can't see it. So you make it very big and with great deal of contrast and they can see it. So you have to be melodramatic and be fair and be honest and fill yourself with proof - and they will respond. They are good people.

就像墙上的画。如果你把画在墙上画得很小，有人走过去就看不见。所以你要把它画得很大，并且有很强的对比度，他们才能看见。所以你必须戏剧化、公平、诚实，并充满证据——他们就会回应。他们是好人。

We've often send out two books in my company, we send out two books to the same person. We do it all the time because they slip through. And we continually get those books back from people - and they say you sent us two books. And they paid two dollars and 50 cents to send them back to you. They're wonderful people.

在我的公司，我们经常同时寄出两本书给同一个人。我们一直这样做，因为它们会漏掉。我们不断地收到人们寄回的书——他们说你们寄了两本书给我们。他们寄回书时支付了 2 块 50 美分。他们是非常好的人。

The Engine that Moves Copy

驱动文案的引擎

AND THEN ALSO - THE engine that moves mail order copy can be summarized as a contrast between the claims and the mechanism.

此外——驱动邮购文案的引擎可以概括为声明和机制之间的对比。

You make a strong claim that's easily obtained. The claim and the mechanism. I wrote an ad for this company a long time ago called "tricks of the trade so powerful they can change your life". I think it ran a eighteen years or something like that. It was pretty strong. One of the lines was: a way to vacuum dust from drawers without removing their contents.

你提出了一个容易获得的有力主张。主张和机制。我多年前为一家公司写了一则广告，叫做“能改变你生活的强大技巧”。我想它运行了十八年或者类似的时间。它相当有力。其中有一句是：一种在不取出抽屉内容的情况下吸除抽屉灰尘的方法。

It doesn't sound possible, right? And how do we do it? So you've got a very strong claim with a very strange mechanism - so what that person has to do is, he has to go to page 71 and find out. If you get enough of these, they'll do it.

听起来不可能，对吧？那我们是怎么做到的呢？所以你有一个非常有力的主张和一个非常奇怪的机制——那么那个人必须做的是，他必须去第 71 页找出答案。如果你得到足够多的这些，它们就会起作用。

Now as you begin to develop as a company, and a person within the company, what you're going to find is - you're going to run into claim exhaustion. Claim exhaustion is the fact the claims all begin to sound the same. How many ways you can you cure arthritis? How many pounds can you tell the person they'll lose? You're getting to the point where everything looks the same, it blurs. When you get to that point, your copy is going to have to make up for the claim. The copy is going to have to give a way of doing this - or a way of achieving this - that is so strange the person will believe your claim all over again enough to try it.

现在，随着公司的发展，以及公司内部个人的成长，你会发现——你会遇到“声明疲劳”的问题。声明疲劳是指所有的声明开始听起来都一样。你能有多少种方法治愈关节炎？你能告诉别人他们能减多少磅？你到了一个一切看起来都一样，模糊不清的地步。当你到达这个地步时，你的文案必须弥补声明的不足。文案必须提供一种奇怪的方式，让人们再次相信你的声明，足以让他们尝试。

Now, the master of that is Boardroom. Boardroom has evolved a style in which the mechanism is as important as the claim. And if you look at a Boardroom piece, you'll find that the claim doesn't sound so intense. "What can never be done in an airplane?” "Bills that are OK to pay late."

现在，掌握这个技巧的是 Boardroom。Boardroom 发展了一种风格，其中机制和声明一样重要。如果你看一篇 Boardroom 的文章，你会发现声明听起来并不那么强烈。“在飞机上永远无法做到的事情是什么？” “哪些账单可以晚付。”

They're nice, but they're not alarming. And they sound very little - most copywriters can't figure out how they pull. They pull because there's an implied mechanism there, that you would like to see. One of the greatest things is "You can't cash an unsigned check right? Wrong. See Page 72.".

它们挺不错，但并不令人警觉。而且它们的声音非常小——大多数文案写作者都搞不懂它们是如何吸引人的。它们之所以吸引人，是因为其中有一个暗示的机制，让你想要看到。最棒的一点是“你无法兑现一张未签名的支票，对吧？错。参见第 72 页。”

What is this? What does this miracle way?

这是什么？这是什么奇迹的方式？

So the more your field progresses, the more the claim-density that came before you that you have to fight - even the longer stuff - the more you have to twist. Twist, twist, twist.

所以你的领域越发展，你之前需要对抗的声明密度就越大——即使是更长的内容——你就越需要扭曲。扭曲，扭曲，扭曲。

Let me see if I've got anything else, and then we'll go onto your questions. I see there's a few little things.

让我看看是否还有其他东西，然后我们继续回答你的问题。我看到有一些小事情。

Can't Be Done's

无法做到的

WE CALL THESE "CAN't be done's". It's a lovely way to think about it. You're trying to get yourself a mechanism and imply a mechanism for a medium-sized or very, very, vague claim. But better for a medium-sized claim, because it's more believable, and then give something that simply cannot be done. And then the person will have to send for the book see how it's done. He will even send for the book that he doesn't believe you because he wants to prove you wrong. Because it itches in his mind and he can't sleep at night..

我们称之为“无法做到的”。这是一种很美好的思考方式。你试图为自己找到一个机制，并暗示一个适用于中等规模或非常模糊的声明。但更适合中等规模的声明，因为它更可信，然后给出一些根本无法做到的事情。然后这个人就会去买书看看它是如何做到的。他甚至会去买他不相信你的书，因为他想证明你错了。因为他在心里痒痒的，晚上睡不着觉。

A lot of nice things this company has helped me do. This is something that was strictly done for this company. I mean I do other things like this. Now the company does other things like this but this is an overloaded envelope. It is not like this envelope which is beautiful and full of illustrations is a rather ugly envelope it's beautifully done by the art department board. They do indeed Miss much copy. All right. I apologize to the department. But look at the number of claims about got 30 some different claims on the front of the envelope and on the back of the envelope you've got almost 50. OK. This is a wonderful sales medium and I think it was invented here working with these people. It is a bait you are able in this company Hu a little while in copy on the envelopes I think with the first company we who copy on the go. I also want to say in closing only thing here he has a lovely hand. I can't be done.

这家公司帮助我做了很多好事。这是专门为这家公司做的。我的意思是，我确实做其他类似的事情。现在这家公司也做其他类似的事情，但这封信封太满了。它不像这个装满插图的美观信封，这个信封相当丑陋，它是艺术部门委员会精心制作的。他们确实缺少很多文案。好吧，我为部门道歉。但看看信封正面有 30 多条声明，背面几乎有 50 条。好吧，这是一个很棒的销售媒介，我认为它是和这些人一起在这里发明的。这是一个诱饵，你能在这家公司里花一点时间在信封上写文案。我还想最后说，这里他有一双漂亮的手。我做不到。

Here's another example: "Unspoken rules make or break your career." OK, how can you know its a rule when it's unspoken? It's going to make or break your career? Very good headline because people have to find out what it is.

这里是另一个例子：“不言而喻的规则让你的职业生涯成功或失败。”好吧，你怎么知道它是规则，当它是未说出口的时候？它将让你的职业生涯成功或失败？这是一个很好的标题，因为人们必须找出它是什么。

Every company comes up against the fatigue factor. The fatigue factor Is the mailing that sells like mad the first time, and then sells less the second time and after X number of these re-mails, fails to sell. What you do is absolutely right on. You simply take the product and assign new copywriters.

每家公司都会遇到疲劳因素。疲劳因素是指第一次销售火爆的邮件，而第二次销售减少，经过 X 次这些重新发送的邮件后，无法再销售。你做的事情完全正确。你只需要将产品分配给新的文案撰稿人。

The only way I could even compete against it is to go completely around and throw out everything that the previous person has done and create a new product. Now you've got to realize that a product is not a book.

我唯一能与之竞争的方法就是完全绕过它，扔掉前一个人做的一切，并创造一个新产品。现在你必须认识到产品不是一本书。

You do not sell books. You do not sell magazines. You do not sell newsletters. You sell bundles of news, functions, things that this thing will do. So that when you get a book and it gets tired, what you have to do is go in and get a whole new set of news. So I went in and did a whole new set of news - "doctors astounded by new food cures" which hadn't been played out before. And then there were quotes from doctors on the side. And it out-pulled the great piece that came before it. Of course the old piece that came before it was tired and had been around, but nevertheless it did. So never say a product is dead unless you've exhausted all it's bundles of news.

你不销售书籍。你不销售杂志。你不销售通讯。你销售的是新闻包、功能、这个东西能做什么。所以当你得到一本书，它变得疲劳时，你必须进去并获取一套全新的新闻。所以我进去做了一套全新的新闻——“医生们对新的食物疗法感到震惊”，这之前还没有人使用过。然后还有来自医生侧面的引言。它比之前那篇伟大的文章表现更好。当然，之前那篇文章已经疲劳并且存在了一段时间，但它仍然做到了。所以，除非你耗尽了它所有的新闻包，否则不要说一个产品已经死了。

Using Premiums to Sell Books

使用赠品来销售书籍

I AGREE ENTIRELY WITH the fact that every book should be offered with at least one and sometimes two premiums.

完全同意每个书籍都应该至少有一个，有时甚至有两个赠品。

People will send for the book to get the premium.

人们会为了赠品而索要这本书。

The whole reason you send this out is to get the people to try for any reason you can. People love something free.

你发送这个的整个原因是为了让人们尝试任何你能想到的理由。人们喜欢免费的东西。

You have a wonderful way of manufacturing Reunion's recycling green is absolutely irresistible. You simply take old book chapters and you put them into a printer.

你有办法让旧书章节在打印机里制造出令人难以抗拒的绿色环保产品。你只需要把旧书章节放进打印机里。

The person is happier when he gets a premium. You never sell and mail order anything once. You always are going for the next sale. You're always playing pool. You're always sinking the ball and at the same time you getting a position on the next shot. Somebody will get to the book, get a premium, likes both of them - is going to order more than someone who gets a good book.

当人们得到优质礼品时，他们会更快乐。你从不通过邮购销售任何东西。你总是追求下一笔销售。你总是打台球。你总是把球打进洞，同时你又在为下一杆做准备。有人会得到这本书，得到一个优质礼品，喜欢这两样东西——将会订购更多，而不是只得到一本好书的人。

I choose premiums not very close to the subject and others choose premiums that are quite close. I don't know which is better.

我选择的优质礼品与主题不太接近，而其他人选择的优质礼品则与主题相当接近。我不知道哪种更好。

They both seem to work enormously well again.

它们似乎都再次非常有效。

I absolutely am sold on premiums - I wouldn't sell anything without one.

我绝对相信溢价保险——没有它我不会卖任何东西。

What the Copywriter Needs to Know

文案师需要了解什么

A. Copywriting Basics

A. 文案写作基础

COPYWRITER'S NEEDED attributes:

文案师需要的属性：

1. Ability to analyze a market:

1. 分析市场的能力：

•  its stage of awareness

• 它的意识阶段

•  its stage of sophistication

• 它的成熟阶段

•  the driving emotional forces that created that market

• 创造了该市场的驱动情感力量

•  the potential for sales

• 销售的潜力

2. A Ready Intuition

2. 一种即时的直觉

•  sense a trend at its start,

•  在趋势初现时感知它，

•  gauge its force and direction,

•  测量其力度和方向，

•  determine the precise moment it becomes profitable

•  确定其变得有利可图的精确时刻

3. Verbal Creativity

3. 口语创造力

•  Give a name to the still undefined,

• 给未定义的事物起个名字

•  capture a feeling, hope, desire, fear in words

• 用文字捕捉一种感觉、希望、欲望、恐惧

•  create a catchword or slogan

• 创造一个口号或标语

•  focus emotion and give it a goal

• 专注情感并赋予其目标

Copywriting techniques are directed to the one end of building conviction, instilling the desire for your product and strengthening that desire with the belief that the product will do what the prospect wants.

广告文案技巧旨在建立信念，植入对产品的渴望，并通过相信产品能满足潜在客户的需求来强化这种渴望。

VERBALIZATION - increasing headline impact

口语化 - 增强标题冲击力

1. strengthen the claim

1. 强化主张

2. make the claim new and fresh again

2. 让主张变得新颖而新鲜

3. help the claim pull the prospect into the body of the ad

3. 帮助主张将潜在客户吸引到广告主体中

Personality

个性

Every product, store, or group of products has a distinct and complete personality to the consumer. The personality is complex, with many traits. One of these traits will always be the most effective in summarizing and expressing this personality. The personality is simplified, symbolized, and sharpened to grasp the reader.

每个产品、商店或产品系列对消费者来说都有独特而完整的个性。个性是复杂的，有很多特征。其中有一个特征将始终是最有效的，用于总结和表达这种个性。个性被简化、象征化、并锐化，以便抓住读者的注意力。

Prevention Headlines

预防性标题

Work when you enable the prospect to imagine those problems afflicting his loved ones, friends, wife and children, even his nation.

当你让潜在客户想象那些困扰他亲人、朋友、妻子和孩子甚至他国家的问题时，就开始工作吧。

Splinter Markets

细分市场

Markets are not all in one piece. There are different mechanisms that apply to subsets of a market.

市场并非完整一体。有不同的机制适用于市场的子集。

Smaller segments can be targeted, regionally or by sociology.

可以针对较小的部分，按地区或按社会学进行划分。

Focusing that appeal then affects all the parts of the campaign - selection of media and channels of distribution. When successful, that campaign can be expanded.

那么这种吸引力会影响整个活动 - 媒体选择和分销渠道。当成功时，这个活动可以扩展。

Inside Your Prospect's Head

在你的潜在客户头脑中

After the headline, your body copy does the selling. By altering your prospect's vision of reality. Your product emerges as the fulfillment of the dominant desire that caused this prospect to respond to your headline.

在标题之后，你的正文文案负责销售。通过改变潜在客户对现实的看法。你的产品成为满足这种潜在客户响应你的标题所引起的强烈欲望的解决方案。

You need to take as much copy as you need to accomplish

你需要尽可能多地使用文案来完成

a. building her desire for that product,

a. 建立她对产品的渴望，

b. make her feel both comfortable and complimented by that product, to visualize the new life structure she's built with that product in it,

b. 让她感到既舒适又受到赞美，通过产品来想象她所建立的新生活结构，

c. compensate for existing prejudices and beliefs.

c. 补偿现有的偏见和信念。

B. How to align mass desire onto your product.

B. 如何将大众欲望与您的产品对齐。

PERMANENT FORCES HAVE

永久力量

•  Mass Instinct

•  大众本能

•  Mass technological problem (lack of ease)

•  大众技术问题（缺乏便利）

The forces of change are:

变革的力量是：

•  The beginning, the fulfillment, and the reversal of a trend.

• 趋势的开始、实现和逆转。

•  Mass Education.

• 大众教育。

The copywriters job:

文案撰稿人的工作：

•  His first job therefore is to detect already-existing mass desires – inventory them – chart their force and direction.

•  他的第一份工作是发现已经存在的群体欲望——盘点它们——描绘它们的力度和方向。

•  His second job is to harness his products onto their backs.

•  他的第二份工作是让他的产品承载这些欲望。

Your ad (headline) leads your market to your product.

你的广告（标题）引导你的市场到你的产品。

How to create the ad/headline depends on:

如何创建广告/标题取决于：

1. What is the mass desire that creates this market? (Which we have already discovered.)

1. 创造这个市场的巨大欲望是什么？（我们已经发现了。）

2. How much do these people know today about the way your product satisfies this desire? (Their State of Awareness.)

2. 他们今天对产品如何满足这种欲望了解多少？（他们的认知状态。）

3. How many other products have been presented to them before yours? (Their State of Sophistication.)

3. 在你的产品之前，他们接触过多少其他产品？（他们的认知成熟度。）

How to Channel Mass Desire Onto Your Particular Product

如何将大众欲望引导到你的特定产品上

I. Choose the most powerful desire that can be applied to that product.

一。选择能适用于该产品的最强大的欲望。

Each mass desire has

每种大众欲望都有

•  Urgency, intensity, degree of demand

• 紧迫性、强度、需求程度

•  Staying power, degree of repetition, inability to get satiated.

• 持久性、重复程度、无法满足的能力。

•  Scope - number of people who share this desire.

• 范围 - 分享这种愿望的人数。

II. Acknowledge that desire, reinforce it, offer means to satisfy - in a single headline statement.

II. 承认这种愿望，加强它，提供满足它的方法 - 在一个标题声明中。

III. Show the prospect how the product performances satisfy that desire.

III. 向潜在客户展示产品性能如何满足这种愿望。

Analysis Of Your Product

您的产品分析

Any product has the physical product (features), and the product in action (benefits):

任何产品都有实体产品（特性），以及产品在使用中的表现（利益）：

•  Price

•  价格

•  Quality

•  质量

•  Continued performances

•  持续性能

•  Sharpen the reader's mental picture of that performance

•  增强读者对那次表演的脑海中画面

•  Give a fresh new basis for believability

•  给可信度提供一个全新的基础

While any ad can feature one of a dozen built-in product performances, it can only effectively tap into one mass desire at a time.

虽然任何广告都可以展示十几个内置的产品性能，但它一次只能有效地利用一种大众欲望。

It is the performance of your product, satisfying the mass desire of your market, that provides the selling power of your ad.

正是您的产品的性能，满足了您市场的大众欲望，才提供了广告的卖点。

Readers are preoccupied and will only give your headline a single glance - only one thought can penetrate that reader's indifference during that glance. If your first thought holds him, he'll read the second. If that holds him, he'll read the third - and then probably read through the rest of the ad.

读者心烦意乱，只会给你的标题一眼，只有一种想法能穿透读者的冷漠。如果你的第一个想法吸引了他，他就会读第二个。如果那个想法吸引了他，他就会读第三个——然后可能会读完整个广告。

It's the copywriter's job to get the prospect to read the whole story.

广告文案家的任务是让潜在客户读完整篇文章。

C. What Your Prospect's State of Awareness Demands From Your Headline

C. 你的潜在客户意识状态对你的标题提出的要求

1. MOST ARE AWARE OF it

1. 大多数人都知道

Prospect knows of the product, knows what it does, knows she wants it. Ad simply states the name, a bargain price (and how to get it now.)

潜在客户了解该产品，知道它有什么作用，知道她想要它。广告只需说出产品名称，一个优惠价格（以及如何立即获得它。）

2. Knows of the Product, but doesn't want it.

2. 了解该产品，但不想买它。

Your headline must

你的标题必须

a. reinforce your prospect's desire for your product

a. 强化你的潜在客户对产品的渴望

b. sharpen her image of how your product satisfies that desire

使她更清晰地认识到你的产品如何满足那种欲望

c. extend her image of when and where your product satisfies that desire

扩展她对你产品何时何地满足那种欲望的认知

d. introduce new proof of how the product satisfies that desire

引入新的证据来证明你的产品如何满足那种欲望

e. announce a new mechanism in that product which satisfies that desire even better

宣布产品中的一种新机制，它能更好地满足那种欲望

f. announce a new mechanism in that product which eliminates former limitations

宣布该产品中的一种新机制，消除了以前存在的限制

g. or completely change the image of the mechanism of that product, to remove it from competition of other products (which claim to satisfy the same desire.)

或者彻底改变该产品的机制形象，将其从与其他产品（声称满足相同需求）的竞争中排除

3. Introducing New Product

推出新产品

The prospect either knows, or recognizes immediately, that he wants what the product does; but he doesn't yet know that there is a product – your product – that will do it for him.

消费者要么知道，要么能立刻认出他们想要该产品所做的事情；但他们还不知道有一个产品——你的产品——能为他们做到这一点

•  Name the desire and/or its solution in your headline.

在你的标题中命名欲望和/或其解决方案。

•  Prove the solution can be accomplished

证明解决方案是可以实现的。

•  Show the mechanism for that accomplishment is contained in your product.

展示实现该解决方案的机制包含在你的产品中。

4. Introduce Products that Solve Needs

介绍解决需求的产品。

The prospect has – not a desire – but a need. She doesn't see the connection between the fulfillment of that need and your product.

潜在客户所拥有的——不是欲望——而是一种需求。她没有看到满足这种需求与您的产品之间的联系。

•  Dramatize the need,

•  突出需求的紧迫性，

•  Get the prospect to realize how badly she needs the solution.

•  让潜在客户意识到她多么需要这个解决方案。

•  Present your product as the inevitable solution.

•  将您的产品展示为不可避免的解决方案。

5. Open up a Completely Unaware Market

5. 打开一个完全无知的市

Each of these stages is separated from the others by a psychological wall. One side is indifference, the other side hold intense interest. A headline that works in one market in one stage of awareness won't work in another market in another stage of awareness. And it won't work in a market once that market moves to a new stage of awareness.

每个阶段都与其他阶段隔开一道心理屏障。一边是无动于衷，另一边是强烈的兴趣。在一个市场的一个意识阶段起作用的标题，在另一个市场另一个意识阶段就不会起作用。而且，一旦该市场进入新的意识阶段，它也不会起作用。

In an unaware market,

在一个无知的市

a. Price means nothing.

a. 价格毫无意义。

b. The name of your product means nothing.

b. 你的产品名称毫无意义。

c. A direct statement of what your product does, what desire it satisfies, or what problem it solves - simply won't work.

c. 直接陈述你的产品做什么，满足什么愿望，或解决什么问题——根本行不通。

What you are doing essentially in this fifth stage is calling your market together in the headline of your ad. You are writing an identification headline. It echoes an emotion, an attitude, a satisfaction that picks people out from a crowd and binds them together with a single statement.

在这个第五阶段，你实际上是在广告的标题中召集你的市场。你正在写一个身份识别标题。它回响一种情感、一种态度、一种满足感，将人们从人群中挑选出来，并用一个简单的声明将他们联系在一起。

You tell them what they are, defining them for themselves. You are giving information they need and want, about a problem so vague you are the first to put it into words.

你告诉他们他们是谁，为他们定义自己。你正在提供他们需要和想要的信息，关于一个如此模糊的问题，以至于你是第一个将其说出口的人。

The headline in this case simple sells the remainder of the ad itself. Your prospect must identify with your headline before she can buy from it. It must pick out the product's logical prospects - and reject as many people as it attracts.

这种情况下，标题直接推销广告本身。你的潜在客户必须认同你的标题才能从它购买。它必须挑出产品的逻辑客户——同时拒绝尽可能多的人。

In effective advertising, styles change while strategy doesn't.

在有效的广告中，风格会改变，而策略不会。

Desires still exist.

欲望依然存在。

A Final Word on Style in Advertising Copy

广告文案中风格的最后一段话

Markets change; desires change; fashions change. And so do the acceptable styles of advertisements change. Certain advertising styles – the form your advertising message takes – grow tired with time – then stale – then actually laughable.

市场在变；欲望在变；时尚在变。广告的接受风格也在变化。某些广告风格——即广告信息的呈现形式——随着时间的推移会变得陈旧，然后过时，甚至变得可笑。

When a new style is born, people believe it, and it reinforces the message it is carrying. When that same style grows trite, people cannot see the message for the advertisement.

当一种新风格诞生时，人们会相信它，并强化它所承载的信息。当这种风格变得陈腐时，人们无法看到广告背后的信息。

In effective advertising, though styles may change, strategy does not.

在有效的广告中，尽管风格可能会变化，但策略不会变化。

D. Know the Stages of Sophistication of your Market

了解你市场的成熟阶段

FIRST IN THE MARKET

市场领先者

If you are the first in your particular market, with your particular product – then you are dealing with prospects that have no sophistication about your product at all.

如果你是在你特定的市场中，以你的特定产品——那么你是在与对产品完全没有了解的潜在客户打交道。

Be simple, direct, state either the need or claim in your headline. Dramatize that need in your copy as powerfully as possible, then bring in the product and prove that it works.

简洁明了，在标题中陈述需求或主张。在文案中尽可能强烈地渲染这种需求，然后引入产品并证明它有效。

Second in the market

市场第二

If you're second, and the direct claim is still working – then copy that successful claim – but enlarge on it. Drive it to the absolute limit. Outbid your competition.

如果你排在第二位，而直接的声明仍然有效——那么复制那个成功的声明——但要加以扩大。将其推向极限。超越你的竞争对手。

Third Stage

第三阶段

Your prospects have now heard all the claims – all the extremes. Perhaps they have even bought one or two competitive products. Mere repetition or exaggeration won't work any more.

你的潜在客户现在已经听到了所有的声明——所有的极端。他们甚至可能已经购买了一两个竞争性产品。单纯的重复或夸张将不再有效。

Get a new mechanism to make the old promise work. The emphasis shifts from what the product does to how it works. Performance becomes dominant.

获取一个新的机制来使旧的承诺生效。重点从产品能做什么转移到它是如何工作的。性能变得主导。

Fourth stage

第四阶段

If a competitor has just introduced a new mechanism to achieve the same claim as that performed by your product, and that new-mechanism announcement is producing sales, then you counter in this way. Simply elaborate or enlarge upon the successful mechanism. Make it easier, quicker, surer; allow it to solve more of the problem; overcome old limitations; promise extra benefits.

如果竞争对手刚刚推出了一种新的机制来实现与您的产品相同的功效，并且这种新机制的宣传正在产生销售，那么您可以这样做来反击。只需阐述或扩大成功的机制。让它更容易、更快、更可靠；让它解决更多的问题；克服旧的限制；承诺额外的利益。

Fifth stage

第五阶段

In this Final Stage of Sophistication, your market no longer believes in your advertising, and therefore no longer wishes to he aware of your product. You are dealing here with the problem of bringing your prospect into your ad – not through desire – but through identification.

在这个最终的成熟阶段，您的市场不再相信您的广告，因此不再希望了解您的产品。您在这里处理的是将您的潜在客户带入您广告的问题——不是通过欲望——而是通过认同。

E. The 7 Basic Techniques of Breakthrough Advertising

E. 创意广告的七种基本技巧

I. Intensification

I. 强化

THE ART OF SALESMANSHIP is expanding existing desire - among more and more people, sharpening it and magnifying it, building it to such a pitch that it overcomes obstacles of skepticism, lethargy, price - and results in the sale.

销售艺术是扩展现有的欲望——在越来越多的人中，使其更加敏锐，更加放大，将其提升到如此程度，以至于克服了怀疑、惰性、价格等障碍，并最终促成销售。

Advertising is salesmanship in print - the literature of desire, society's encyclopedia of dreams. Advertising gives form and content to desire, providing it with a goal.

广告是印刷品中的销售技巧——欲望的文学，社会的梦想百科全书。广告赋予欲望形式和内容，为其提供目标。

Desires are indistinct, and so have only a fraction of their true potential power. Your job is to fill these vague desires with concrete images, to multiply their strength by number of satisfactions that you can suggest to achieve them.

欲望是模糊的，因此只有其真正力量的一小部分。你的工作是给这些模糊的欲望填充具体的图像，通过你能提出的满足它们的数量来增加它们的强度。

The copywriter uses imagination and enthusiasm to script the prospect's dreams. Chronicle his future and show him in minute detail all the tomorrows that your product makes possible. Translate unformulated desire into one vivid scene of fulfillment after another. The sharper you can draw your pictures, the more your prospect will demand your product and less important will seem your price.

广告文案作家运用想象力和热情来编写潜在客户的梦想。记录他的未来，并详细展示你的产品能带来的所有明天。将未明确表达的欲望转化为一个又一个生动的实现场景。你描绘的图像越清晰，潜在客户就会越渴望你的产品，价格看起来就越不重要。

Different media will need different approaches - with the strict limits of text, you either have to boil down projections and images into a few words, or run repetitive instances as a campaign with embellishments through a series of ads.

不同的媒体需要不同的方法——在严格的文本限制下，你或者必须将预测和图像浓缩成几句话，或者通过一系列带有修饰的广告作为活动进行重复展示。

Your prospect will take only a single dominant image from your ad. Every new way you can present that idea, it becomes sharper and more real and builds more emotional weight.

你的潜在客户只会从你的广告中记住一个主导图像。你每次以新的方式呈现这个想法，它就会变得更加清晰和真实，并增加更多的情感分量。

The opposing forces are the material presented by similar products in other ads, as well as your own phraseology. Repeating the same phrases will bore the prospect - you must vary your viewpoint in subsequent descriptions. You can't repeat, but you can reinforce.

对立的力量是指其他广告中呈现的类似产品的材料，以及你自己的措辞。重复相同的短语会让潜在客户感到厌烦——你必须在不同描述中变换你的观点。你不能重复，但可以加强。

This is Intensification. It has several techniques:

这是强化。它有几种技巧：

1. Your First Presentation of Your Claims

1. 你对你的主张的首次陈述

Present the product or the satisfaction it gives directly by a detailed description of the appearance or the results it gives.

直接通过详细描述产品的外观或它带来的结果来展示产品或它带来的满足感。

2. Put the Claims in Action

2. 将主张付诸行动

Expand the image - put the product into action for your reader. Show the benefits it gives the reader.

扩展图像 - 将产品对读者进行实际应用。展示它给读者带来的好处。

3. Bring In the Reader

3. 引入读者

Put the reader into an action story, a verbal demonstration of what will happen the first day she owns that product.

将读者置于一个行动故事中，一个口头演示，展示她拥有该产品后的第一天会发生什么。

4. Show Him How to Test Your Claims

4. 向他展示如何验证你的主张

Have the reader visualize herself proving the performance of your product - gaining its benefits immediately - in the most specific and dramatic way possible.

让读者想象自己立即证明你的产品性能 - 以最具体和戏剧性的方式

5. Stretch Out Your Benefits in Time

5. 在时间上延伸你的好处

Expand the reader's vision further into time, showing a continuous flow of benefits

将读者的视野进一步扩展到时间，展示好处的一个连续流动

6. Bring In an Audience

6. 引入观众

Bring other actors into the scene - testimonials of new perspectives to see the product through.

带入其他演员进入场景 - 新视角的证言来通过产品。

7. Show Experts Approving

7. 展示专家认可

Bring in excited experts. But not only celebrities and ordinary people can be used to reaffirm the product benefits.

带入兴奋的专家。但不仅名人和普通人可以用来再次确认产品优点。

8. Compare, Contrast, Prove Superiority

8. 比较和对比，证明优越性

Competition can be brought in as contrast, showcasing your advantages.

竞争可以作为一种对比，展示你的优势。

9. Picture the Black Side, Too

9. 也要考虑黑色的一面

Get naked - examine your products faults and meet these objections.

脱去外壳 - 检查你的产品缺点并解决这些异议。

10. Show How Easy It Is to Get These Benefits

10. 展示获得这些好处是多么容易

Variations are endless - price, availability, ease of use, durability, even un-boxing it - these give fresh perspectives to reemphasize its benefits.

变化是无穷的 - 价格、可用性、易用性、耐用性，甚至开箱体验 - 这些都能提供新的视角来再次强调其好处。

11. Use Metaphor, Analogy, Imagination

11. 使用比喻、类比、想象力

There are infinite opportunities for the use of imagination to present those facts in more dramatic form, outside of the rigidly realistic approach.

想象力有无限的机会来以更戏剧化的形式呈现那些事实，超越僵化的现实主义方法。

12. Before You're Done, Summarize

12. 完成前，总结

Summarize - create a catalog of specs. Or a catalog of perspectives (desires) you've presented.

总结 - 创建一个规格目录。或者一个你呈现的观点（愿望）目录。

13. Put Your Guarantee to Work

13. 让你的保证发挥作用

Call for action, with a last brief summary (PS) and guarantee.

行动号召，附上一个简短的总结（PS）和保证。

II. Identification

II. 身份识别

THE SECOND KIND OF desire could be titled the Longing for Identification. Your prospect desires to act out certain roles in his life, to define himself to the world around him, to express the qualities within himself that he values, and the positions he has attained.

第二种欲望可以称为身份认同的渴望。你的潜在客户渴望在生活中扮演某些角色，向周围的世界定义自己，表达他自身所珍视的品质，以及他所取得的地位。

1. Turn your product into an instrument for achieving these roles.

1. 将你的产品变成实现这些角色的工具。

2. Turn that product into an acknowledgement that these roles have been achieved

2. 将产品变成这些角色已经实现的认可。

Every product should offer fulfillment of a physical want or need - and offer him a particular method of fulfilling that need: that defines him to the outside world as a particular kind of human being.

Building identification starts with discovering the built-in personality of the product. It has a primary image, which is acceptable, neutral, or negative. Emphasize it or tone it down (if negative.)

1) Subordinate it while you retain it

2) Use as a logical link to bring in more favorable images. Only limit to new images is that you must include the primary image as its base - they must be logically consistent with it's broadest meaning.

Multi-image symbols broaden the size of the market by grafting on new emotional appeals, and to deepen and intensify it's emotional attraction already felt.

多图像符号通过嫁接新的情感诉求来扩大市场规模，并加深和强化其已经感受到的情感吸引力。

Answer these Questions:

回答这些问题：

1. What do people already believe about the personality of your product?

1. 人们已经对您的产品个性有什么看法？

2. What other primary image do I have to use as a believability-bridge to connect what my prospect already believes with what I want him to believe when he finishes my ad?

2. 我需要使用什么其他主要图像作为可信度桥梁，以连接我的潜在客户已经相信的东西和我希望他在看完我的广告后相信的东西？

Search for image-sources in the physical product:

在实体产品中搜索图片来源：

1. Its appearance;

1. 它的外观；

2. Its components and structure; and

2. 它的组件和结构；和

3. The technical background from which it emerged

3. 它产生的技术背景

III. Gradualization (Induction)

逐步引导（诱导）

HOW TO MAKE YOUR PROSPECT believe your claims before you state them.

如何让你的潜在客户在你陈述之前就相信你的主张。

Three Dimensions of the Mind: Desire - Identification - Belief

心灵的三个维度：欲望 - 认同 - 相信

The need to believe – and the need for secure beliefs – is just as powerful an emotional force as the strongest desire for physical satisfaction, or the most urgent search for expression.

相信的需要——以及需要安全的信念——与最强烈的身体满足欲望或最迫切的表达需求一样是一种强大的情感力量。

The basic rule of belief, then, can simply be stated as this:

那么，信念的基本规则可以简单概括如下：

If you violate your prospect's established beliefs in the slightest degree – either in content or direction – then nothing you promise him, no matter how appealing, can save your ad.

如果你哪怕在内容或方向上轻微违背了顾客既有的信念，那么，无论你承诺他什么，多么诱人，也无法挽救你的广告。

But, on the other hand, and even more important:

但是，另一方面，甚至更为重要：

If you can channel the tremendous force of his belief – either in content or direction – behind only one claim, no matter how small, then that one fully-believed claim will sell more goods than all the half-questioned promises your competitors can write for all the rest of their days.

如果你能够将他的信念的巨大力量——无论是在内容上还是在方向上——集中到一个主张上，哪怕这个主张很小，那么这个完全被相信的主张将比所有竞争对手能写的所有半信半疑的承诺在他们的余生中销售更多的商品。

As far as advertising is concerned, then, belief is immutable. But it has its function – and one of its great sources of strength – to extend them. Build a bridge between those facts as they exist in your prospect's mind and those they must believe to accept your claims.

就广告而言，信念是不可改变的。但它有其功能——也是其巨大力量之一——来扩展它们。在您潜在客户心中存在的那些事实与他们必须相信以接受您的声明之间建立一座桥梁。

This process of leading logically through a gradual succession of more remote facts is Gradualization. (Inductive Reasoning/Marketing.)

这种通过一系列更遥远的事实进行逻辑引导的过程是渐进化。（归纳推理/营销。）

The Architecture of Belief

信念的建筑

EVERY CLAIM, EVERY image, every proof in your ad has two separate sources of strength -

您广告中的每一个声明、每一个图像、每一个证据都有两个独立的力量的来源 -

1. The content of that statement itself; and

1. 该声明本身的内容；以及

2. The preparation you have made for that statement – either by recognizing that preparation as already existing in your prospect's mind, or by deliberately laving the groundwork for that statement in the preceding portion of the ad itself.

2. 你为该声明所做的准备——无论是认识到该准备已在你的潜在客户心中存在，还是通过在广告的前面部分故意为该声明打下基础。

We can strengthen the power of each of these statements in two separate ways -

我们可以通过两种不同的方式来增强每个声明的力量——

1. By increasing the intensity of its content

1. 通过增加其内容的强度

2. By changing the place or position or sequence in which that statement occurs in the ad

2. 通过改变该声明在广告中出现的地点、位置或顺序

Start your ad with an accepted statement, then build a chain of following acceptances on this first one. When a power-claim headline doesn't work – for reasons either of Awareness or Sophistication – they immediately split it against a second headline, with far fewer claims in it, but far more likely to be believed. They build a belief bridge from this second headline, to the same exact claims they had featured in the first, but now anticipated by careful preparation every step along the way.

开始你的广告用一个被接受的声明，然后在这个第一句上建立一系列后续的接受。当权力声明标题不起作用——无论是由于认知还是精致的原因——他们会立即将其与一个包含更少声明但更有可能被相信的第二标题分开。他们从第二个标题开始建立信念桥梁，到达与第一个标题中出现的完全相同的声明，但在每一步都通过仔细的准备预期。

1. The introduction of the product claim itself – may be made far more effective if it is delayed till the prospect has been prepared to accept it. And

1. 产品声明的引入本身——如果它在潜在客户准备接受它时才进行，可能会更加有效。并且

2. This willingness to believe without question can gradually be built up, layer by layer and agreement by agreement, through use of the proper structure.

2. 这种不加质疑的信任意愿可以通过适当的结构，逐层逐层、逐个协议地逐渐建立起来。

Belief ultimately depends upon structure. Just as desire depends upon promise, so belief in that promise depends upon the amount of preparation that promise has been given before your reader is asked to accept it.

信念最终取决于结构。正如欲望取决于承诺，对那个承诺的信念取决于在要求读者接受它之前，承诺所受到的准备程度。

Strengthen Believability Structure

强化可信度结构

ONE FULLY-BELIEVED promise has ten times the sales power often partially-believed promises. Instead of just piling on more promises, strengthen the believability-structure of the original promise.

一个完全被相信的承诺比一个部分被相信的承诺有十倍的销售力量。与其只是堆砌更多的承诺，不如加强原始承诺的可信度结构。

1. The Inclusion Question: permit the prospect to immediately identify with your story.

1. 包含性问题：允许潜在客户立即认同你的故事。

2. Detailed Identification: detail symptoms or problems that are your prospect's reasons for desiring your product.

2. 详细识别：详细说明你的潜在客户想要你的产品的症状或问题。

3. Contradiction of Present (False) Beliefs: used to prepare a foundation for strong claim-statements that the reader might never accept raw.

3. 现有（错误）信念的矛盾：用于为强有力的声明陈述打下基础，这些陈述读者可能永远不会直接接受。

4. The Language of Logic: They are the words we use when we reason.

4. 逻辑语言：我们用于推理时使用的词语。

5. Syllogistic Thinking: you prove that your product works, through the mechanism of logical reasoning.

5. 三段论思考：你通过逻辑推理的机制证明你的产品是有效的。

6. Other Belief Forms:

6. 其他信念形式：

•  Contingency Structures – such as "If... then ...", or "Was your., then "

• 条件结构——例如“如果…那么…”，或“如果…那么…”

•  Repetition of Proof: Echoing – such as "These experts found... . These experts found... . These experts found. ..."

• 重复证明：回响——例如“这些专家发现…。这些专家发现…。这些专家发现。”

•  Promise – Belief – Promise Variation. Where every sentence of promise is followed (ideally) with another of proof, or verification, or documentation. So that the reader never has the breathing space to question.

• 承诺——信念——承诺变化。其中每个承诺句（理想情况下）都会被另一个证明、验证或文件所跟随。这样读者就没有喘息的空间去质疑。

•  Paragraph Parallelism. Where the same word structure used in an accepted statement is then picked up exactly, and used to borrow acceptance for a fresh claim.

• 段落平行。在已接受的观点中使用相同的词结构，然后精确地拾取并用于为新的主张借用接受。

There are many more, of course. Some are words, some are chains of reasoning, some are merely the physical arrangement of the copy on the page

当然还有很多。有些是词语，有些是推理链，有些仅仅是复制在页面上的物理排列

IV. Redefinition

IV. 重新定义

1) The product which sounds too complicated. Simplify.

1) 听起来太复杂的产品。简化。

2) The product which is not important enough. Redefine - broaden the benefits of the product.

2）产品不够重要。重新定义——扩大产品的益处。

3) The product costs too much (above others in its class.) Mechanize - compare it to some other, more expensive standard (apples vs. oranges).

3）产品价格太高（比同类产品贵得多）。机械化——将其与其他更昂贵的标准进行比较（苹果与橙子）。

NOTICE HOW SIMILAR Gradualization and Redefinition are. Notice how each operates below the surface of the conscious mind. Gradualization by its structure – by its arrangement of facts and phrases. Redefinition by its rearrangement of perspective.

注意到渐进化和重新定义的相似之处。注意到它们如何运作在意识的表面之下。渐进化通过其结构——通过事实和短语的排列。重新定义通过视角的重新排列。

Each is an extremely subtle and powerful way of building belief. Each deserves much more study than we can give it here.

每一种都是建立信念的极其微妙和强大的方式。每一种都值得我们比这里能给予的更多研究。

V. Mechanization

机械化

DEMANDS BY THE PROSPECT:

潜在客户的诉求：

1. Demands for more information, more image, more desire. "Tell me more."

1. 对更多信息的诉求，更多图像，更多欲望。“告诉我更多。”

2. Demands for proof. "Oh yeah? Who says so?"

2. 对证据的诉求。“哦，真的吗？谁说的？”

3. Demands for a mechanism. "How does it work?"

3. 对机制的要求。“它是如何运作的？”

Stage One: Name the Mechanism

第一阶段：命名机制

You may now take advantage of their investment by simply naming the mechanism, and going on to beat them with your price or other features.

现在你可以通过简单地命名机制，并继续用价格或其他特性击败他们来利用他们的投资。

Stage Two: Describe the Mechanism

第二阶段：描述机制

1. Because the prospect doesn't understand their mechanism and...

1. 因为潜在客户不了解他们的机制和...

2. Because everybody else has the same mechanism, and the same promise, and the same price.

2. 因为每个人都拥有相同的机制，相同的承诺，和相同的价格。

So you have the classic situation of Promise – Reason why.

所以你面临的是典型的“承诺-原因”情况。

The first rule of mechanism copy is that it is not scientific discourse. You must never allow it to become dull, or merely factual. You must load it with promise, load it with emotion.

机制文案的第一条规则是它不是科学论述。你绝不能让它变得乏味，或仅仅是事实性的。你必须给它注入承诺，注入情感。

Stage Three: Feature the Mechanism

第三阶段：突出机制

•  If people assume that they know how your product works, sum up in a word or a phrase.

• 如果人们认为他们知道你的产品如何工作，用一句话或一个短语总结。

•  If people are not quite sure how it works, describe the mechanism until they believe you.

• 如果人们不太确定它如何工作，描述机制直到他们相信你。

•  If you have an exceptionally strong or dramatic mechanism then sell hell out of that mechanism.

• 如果你有一个特别强大或戏剧性的机制，那就把那个机制卖得火爆。

•  Our readers do not always believe the truth when we tell it to them.

•  我们的读者并不总是相信我们告诉他们的真相。

VI. Concentration

VI. 集中

SUPERIORITY OF PROMISE - dealing with competition.

承诺的优势 - 应对竞争。

As you know, in the final analysis, no successful copy ever sells a product. It sells a way of satisfying a particular desire. And its power to sell ultimately comes from the intensity of that desire.

正如你所知，最终分析下来，没有成功的文案会直接销售产品。它销售的是满足特定欲望的方式。而它的销售力量最终来源于那种欲望的强度。

Several different ways of beating competition:

击败竞争对手的几种不同方式：

•  First, of course, is superiority of product.

首先，当然，是产品的优越性。

•  Second – superiority of promise.

其次——承诺的优越性。

•  Third – the product-role.

第三——产品角色。

•  Fourth – we have response and reaction as a competitive force

• 第四——我们拥有反应和应对作为竞争力

•  And Fifth – direct attack – concentration: this careful, logical, documented process of proving ineffectual other ways of satisfying your prospect's desire. If you can only attack another product – without showing at the same time, by comparison, how your product provides what the other lacks – then say nothing at all! Never attack a weakness unless you can provide the solution to that weakness at the same time!

• 第五——直接攻击——集中：这是一个谨慎、逻辑、有据可查的过程，证明其他方式无法满足你的潜在客户的需求。如果你只能攻击另一种产品——同时不通过比较展示你的产品如何提供其他产品所缺乏的东西——那么就什么也不要说！除非你能同时提供解决这种弱点的方案，否则永远不要攻击弱点！

VII. Camouflage

VII. 伪装

HOW TO BORROW CONVICTION for your copy...

如何为你的文案借用信念...

First is Format.

第一是格式。

Second is adopting phraseology.

第二是采用措辞。

Third avoids advertising language (which produces a counter-reaction)

第三避免广告语言（这会产生反作用）

a) Understatement

a) 低调陈述

b) Deadly Sincerity

致命真诚

Four processes that determine position in your ad:

决定您广告位置的四个过程：

1. Gradualization – the development of a stream of acceptances from your reader to your statements, leading finally to an inevitable demand on the part of that reader for your product.

1. 渐进化——从读者对您陈述的接受过程，最终导致读者对您的产品产生必然的需求。

2. Redefinition – the removal of preconceived objections on the part of your prospect toward your product, by providing him with a new definition of that product.

2. 重新定义——通过向潜在客户提供一个关于产品的全新定义，消除他们对产品的先入为主的反对意见。

3. Mechanization – the verbal proof that your product works – that it does what you say it does.

3.机械化——你的产品有效的口头证明——它确实做了你所说的。

4. Concentration – the verbal proof that other alternate products do not do this essential function as well.

4.集中——其他替代产品不具备这种基本功能的口头证明。

F. Additional copywriting skills: Verification - Reinforcement – Interweaving

F. 额外文案技巧：验证——加强——交织

WE STARTED WITH THE idea that there was a definite technique that could produce better headlines than the ones you were using yesterday. And, since the headline is so vitally important to the success or failure of your ads, we devoted the first part to this creative search.

我们从这样的想法开始，即存在一种明确的技术，可以产生比你们昨天使用的好得多的标题。而且，由于标题对广告的成功或失败至关重要，我们首先致力于这种创意搜索。

Then we investigated the equally important problem of how to exploit that headline. How to lead the prospect from the feeding of interest and curiosity that your headline had aroused in him, into a constantly mounting conviction that this product has what he wants, and that it is absolutely capable of giving it to him.

那么我们研究了同样重要的问题，即如何利用这个标题。如何引导潜在客户从你的标题激发的兴趣和好奇心，逐渐建立起这种产品能满足他需求的信念，并且它绝对能够提供这种需求。

You use body copy to accomplish this second objective – perhaps a lot of it, perhaps very little. In either case, we've examined the three interlocking paths by which this effective demand is created: first, the intensification of desire; then the creation of an acceptable product personality or role with which the prospect will want to identify; and then the rather abstract structure underlying your copy arrangement that produces believability of your story.

你使用正文内容来实现这个第二个目标——可能很多，也可能很少。在任何情况下，我们已经考察了通过三个相互关联的路径来创造这种有效需求的途径：首先，增强欲望；然后，创造一个潜在客户愿意认同的可以接受的产品个性或角色；最后，你的文案结构背后的较为抽象的结构，它产生了你故事的可信度。

So now we've seen how to reach out to your prospects mind on all three emotional levels: Desire ... Identification ... and Believability.

所以现在我们已经看到了如何在三个情感层面上触及你的潜在客户：欲望……认同……和可信度。

Now, as our last problem, we have to put all these elements together. We have to take all these promises, these images, these devices, these structures – and weave them together into one cohesive unit, that holds your prospect's attention from beginning to end.

现在，作为我们的最后一个问题，我们必须把所有这些元素结合起来。我们必须把所有的承诺、这些图像、这些技巧、这些结构——并将它们编织成一个连贯的整体，从始至终吸引你的潜在客户的注意力。

In other words, having broken down the ad to analyze the elements that make it work – we now have to deal with the reverse problem: tying it together once again.

换句话说，在分析了使广告奏效的各个要素之后——我们现在必须处理相反的问题：再次将它们整合起来。

Documentation is any sort of proof – statistics, facts, tests, etc. – that your product works.

文档是指任何形式的证明——统计数据、事实、测试等——证明你的产品是有效的。

Mechanization on the other hand is the verbal and logical demonstration, and thus also proof, that your product works.

而另一方面，机械化是产品有效性的语言和逻辑证明，因此也是证明。

Verification – which is different from both of them – is the process of arranging your documentation within your copy so that it gains the greatest immediate acceptance from your reader, and has the greatest emotional effect on him.

验证——这与前两者都不同——是将你的文档安排在你的文案中的过程，以便它能从读者那里获得最大的即时接受，并对他产生最大的情感影响。

Reinforcement – how to make two claims do the work of four.

强化——如何让两个主张发挥四个的作用。

If you employ it skillfully, then the impact of one emotion, plus the impact of a second emotion, will often add up – non-mathematically – to the impact of FOUR emotions.

如果你巧妙地运用它，那么一个情感的影响力加上第二个情感的影响力，往往——非数学上——会增加到四个情感的影响力。

Interweaving – how to blend emotion, image and logic into the same sentence.

交织——如何将情感、图像和逻辑融合到同一个句子中。

The first rule of all copy, of course, is that it produce an emotional impact. As we have seen, over and over again, even in believability copy, even in documentation, every word must carry image, picture, feeling. Weave together your promise, your logic, your emotion, your image. Pack your sentences full of every one of them. Make them blend into each other, till its almost impossible to pull out the individual threads of the rich pattern of conviction and desire you're weaving.

当然，所有文案的第一条规则是它必须产生情感冲击。正如我们一次又一次看到的，即使在可信度文案中，即使在文档中，每个字都必须承载图像、画面、感觉。将你的承诺、你的逻辑、你的情感、你的图像交织在一起。让你的句子充满它们中的每一个。让它们融合在一起，直到几乎不可能分开你正在编织的信念和欲望的丰富图案的个别线索。

Sensitivity – how to give your reader what he demands step in step throughout the copy.

敏感度——如何一步步满足读者在文案中的需求。

Here you are relying on your own powers of empathy You must be, at the same time, not only the writer of your ad but its reader. You must anticipate that point in the copy flow-as it is transformed into a series of impressions in your readers mind where he is going to say: "I've read enough about this. Give me this instead."

这时你依赖的是你自己的同理心，你必须是你的广告的作者，同时也要是它的读者。你必须预见到文案流程中，在他脑海中转化为一系列印象的那个点，他会说：“我读够了关于这个的内容。给我这个吧。”

And then you must shift the direction of the copy to meet his new direction of interest.

然后你必须改变文案的方向，以迎合他新的兴趣方向。

Momentum – how to draw your reader deeper and deeper into your copy.

势头——如何一步步将读者更深地引入你的文案。

There are two types:

有两种类型：

1. Actual momentum phrases; and

1. 实际的势头短语；和

2. Incomplete statements, or teasers, that draw the reader further into the copy in order to complete them.

2. 不完整的陈述，或悬念，以吸引读者进一步进入文案以完成它们。

In other words, you are continually throughout the copy:

换句话说，你整篇文章都在：

1. Creating interest in a specific point;

1. 在特定点上制造兴趣；

2. Raising a question in his mind about that point; and

2. 在他心中就那个点提出问题；并且

3. Implying an answer to that question later in the copy.

3. 在文案的后面暗示那个问题的答案。

Mood – how to pack your copy with drama, excitement, sincerity or any other emotion you wish.

心情——如何让你的文案充满戏剧性、兴奋、真诚或其他你想要的任何情感。

Words and rhythms. They are to the copy writer what line and color are to the painter. They set the mood of your story – carry the emotion so subtly that your reader never really realizes where the excitement or the image or the conviction is actually coming from.

文字和韵律。它们对文案撰稿人来说，就像线条和色彩对画家一样。它们设定了故事的氛围——微妙地承载着情感，以至于读者永远不会真正意识到兴奋、图像或信念实际上是从哪里来的。

Mood-building is deliberate on the part of the copywriter – unnoticed on the part of his reader. As with so much of the rest of the ad, it lies underneath the surface, to do its work imperceptibly.

氛围营造是文案撰稿人的刻意为之——对读者来说却是不知不觉。就像广告的其余部分一样，它隐藏在表面之下，不为人察觉地发挥作用。

What Forms the “Mass Desires?”

“大众欲望”由什么构成

VARIOUS PEOPLE HAVE different explanations for these. There are literally an infinite variety of names to call them. This doesn't mean that the mass desires themselves are any but a few – but with countless variations. The trick is to find authorities who have done the honest research into humankind's actual emotional motivations.

人们对这些有不同的解释。有无数种不同的名称可以称呼它们。这并不意味着大众欲望本身只有少数几种——但有许多变化。关键是找到那些对人类实际情感动机进行了深入研究的有权势的人。

Note: the scammers and spammers who “teach” copywriting give long lists of “triggers” away with their massive “cheat sheets” of compiled headlines along with “formulas” for writing sales pages.

注意：那些“教授”文案写作的骗子和垃圾邮件发送者会免费提供大量的“触发器”，以及他们大量汇编的标题的“作弊表”和写作销售页面的“公式”。

Triggers don't mean you have a mass desire. The elements below list positive and negative motivations for people. These also are not mass desires. Review the Schwartz material above and his masterwork to find each individual “public spread of a private want.” You'll still have to tailor your product and your marketing to these when you find actual mass desires, but you'll have your hardest work behind you.

触发器并不意味着你有大众欲望。下面列出的元素是人们的正面和负面动机。这些也不是大众欲望。回顾上述的施瓦茨材料和他的杰作，以找到每个“私人欲望的公共传播”。当你找到实际的大众欲望时，你仍然必须根据这些来调整你的产品和你营销，但你会完成你最难的工作。

I've narrowed them down to 4 authors who have studied these motivations with no personal profit to make by teaching copywriters and marketers. They are also not academics, but have actively worked to solve humankind's problems.

我已经将他们缩小到 4 位研究这些动机的作者，他们没有通过教导文案撰稿人和营销人员来获取个人利益。他们也不是学者，而是积极工作以解决人类问题的人。

Most of the rest of descriptions I've found are marketers selling to marketers – which is also compared to the “blind leading the blind.”

我找到的大多数其他描述都是营销人员向营销人员销售——这也被比作“盲人引路盲人”。

Again, the bulk of these descriptions are metaphors. What you call them is up to you. Your own research will determine what is the actual strongest mass desire to use. And your conversations with your audience will tell you how they call it and refer to it.

同样，这些描述的大部分都是隐喻。你称它们为什么取决于你。你自己的研究将决定使用实际最强的群体欲望是什么。而你与受众的对话将告诉你他们如何称呼和提及它。

The below authors – Cialdini, Maslow, Hill and Levenson – have each their own descriptions of how they understand the motivations humankind uses.

以下作者——西奥迪尼、马斯洛、希尔和莱文森——每个人都对他们如何理解人类使用的动机有自己的描述。

6 Key Principles Of Influence By Robert Cialdini

罗伯特·西奥迪尼的六大影响力原则

SOURCE: WIKIPEDIA

来源：维基百科

Reciprocity – People tend to return a favor, thus the pervasiveness of free samples in marketing. In his conferences, he often uses the example of Ethiopia providing thousands of dollars in humanitarian aid to Mexico just after the 1985 earthquake, despite Ethiopia suffering from a crippling famine and civil war at the time. Ethiopia had been reciprocating for the diplomatic support Mexico provided when Italy invaded Ethiopia in 1935. The good cop/bad cop strategy is also based on this principle.

互惠——人们倾向于回报他人，因此营销中免费样品的普遍性。在他的会议上，他经常使用埃塞俄比亚在 1985 年地震后向墨西哥提供数万美元的人道主义援助的例子，尽管当时埃塞俄比亚正遭受毁灭性的饥荒和内战。埃塞俄比亚一直在回报墨西哥在 1935 年意大利入侵时提供的外交支持。好警察/坏警察策略也是基于这一原则。

Commitment and Consistency – If people commit, orally or in writing, to an idea or goal, they are more likely to honor that commitment because of establishing that idea or goal as being congruent with their self-image. Even if the original incentive or motivation is removed after they have already agreed, they will continue to honor the agreement. Cialdini notes Chinese brainwashing on American prisoners of war to rewrite their self-image and gain automatic unenforced compliance. See cognitive dissonance.

承诺和一致性——如果人们口头上或书面承诺某个想法或目标，他们更有可能遵守该承诺，因为他们将该想法或目标确立为与他们的自我形象一致。即使在他们已经同意后，最初的激励或动机被移除，他们也会继续遵守协议。西奥迪尼指出，中国对美国战俘进行洗脑，让他们改写自我形象，以获得自动的、未经强制执行的遵守。参见认知失调。

Social Proof – People will do things that they see other people are doing. For example, in one experiment, one or more confederates would look up into the sky; bystanders would then look up into the sky to see what they were seeing. At one point this experiment aborted, as so many people were looking up that they stopped traffic. See conformity, and the Asch conformity experiments.

社会认同——人们会做他们看到其他人做的事情。例如，在一个实验中，一个或多个同谋会抬头看天空；旁观者随后会抬头看天空，看看他们在看什么。有一次这个实验被中止了，因为抬头看的人太多了，导致交通堵塞。参见从众，以及阿希从众实验。

Authority – People will tend to obey authority figures, even if they are asked to perform objectionable acts. Cialdini cites incidents such as the Milgram experiments in the early 1960s and the My Lai massacre.

权威——人们倾向于服从权威人物，即使他们被要求做可憎的行为。西奥迪尼引用了 20 世纪 60 年代初的米尔格拉姆实验和 My Lai 大屠杀等事件。

Liking – People are easily persuaded by other people that they like. Cialdini cites the marketing of Tupperware in what might now be called viral marketing. People were more likely to buy if they liked the person selling it to them. Some of the many biases favoring more attractive people are discussed. See physical attractiveness stereotype.

喜好——人们很容易被他们喜欢的人说服。西奥迪尼引用了 Tupperware 的营销，现在可能被称为病毒式营销。如果他们喜欢卖东西的人，人们更有可能购买。讨论了许多有利于更有吸引力的人的偏见。参见外貌吸引力刻板印象。

Scarcity – Perceived scarcity will generate demand. For example, saying offers are available for a "limited time only" encourages sales.

稀缺——感知到的稀缺性会产生需求。例如，说“限时优惠”会促进销售。

Maslow's Hierarchy of Needs

马斯洛需求层次理论

INSTEAD OF STUDYING the insane (as Freud and his followers), Abraham Maslow studied the exceptional – those people who accomplished great things. His work is comparable to the 20 years Napoleon Hill spent interviewing over 500 of the greatest movers and shakers of our culture in order to distill his common sense philosophy of success. (Law of Success, Think and Grow Rich)

与其研究疯子（如弗洛伊德及其追随者），亚伯拉罕·马斯洛研究的是那些成就伟大事业的人。他的工作与拿破仑·希尔花费 20 年时间采访我们文化中 500 多位最杰出的人物，以提炼他的常识成功哲学（成功法则，致富思维）的工作相媲美。

Source: Wikipedia

来源：维基百科

Hierarchy

层次

Maslow's hierarchy of needs is often portrayed in the shape of a pyramid with the largest, most fundamental levels of needs at the bottom and the need for self-actualization at the top. While the pyramid has become the de facto way to represent the hierarchy, Maslow himself never used a pyramid to describe these levels in any of his writings on the subject.

马斯洛需求层次理论通常被描绘成一个金字塔形状，最底层和最基本的需求位于底部，而自我实现的需求位于顶部。虽然金字塔已成为描述该层次结构的实际方式，但马斯洛本人从未在任何关于该主题的著作中使用金字塔来描述这些层次。

The most fundamental and basic four layers of the pyramid contain what Maslow called "deficiency needs" or "d-needs": esteem, friendship and love, security, and physical needs. If these "deficiency needs" are not met – with the exception of the most fundamental (physiological) need – there may not be a physical indication, but the individual will feel anxious and tense. Maslow's theory suggests that the most basic level of needs must be met before the individual will strongly desire (or focus motivation upon) the secondary or higher level needs. Maslow also coined the term Meta-motivation to describe the motivation of people who go beyond the scope of the basic needs and strive for constant betterment.

金字塔最底层和最基本的四个层次包含了马斯洛所说的“缺失需求”或“D 需求”：尊重、友谊和爱、安全以及生理需求。如果这些“缺失需求”得不到满足——除了最基本的（生理）需求之外——可能没有明显的身体迹象，但个体会感到焦虑和紧张。马斯洛的理论表明，在个体强烈渴望（或专注于）二级或更高层次的需求之前，必须满足最基本的需求。马斯洛还创造了“元动机”这一术语来描述那些超越基本需求范围并追求持续进步的人的动机。

The human mind and brain are complex and have parallel processes running at the same time, thus many different motivations from various levels of Maslow's hierarchy can occur at the same time. Maslow spoke clearly about these levels and their satisfaction in terms such as "relative," "general," and "primarily." Instead of stating that the individual focuses on a certain need at any given time, Maslow stated that a certain need "dominates" the human organism. Thus Maslow acknowledged the likelihood that the different levels of motivation could occur at any time in the human mind, but he focused on identifying the basic types of motivation and the order in which they should be met.

人类的大脑和思维是复杂的，同时进行着并行的处理过程，因此，来自马斯洛需求层次理论中不同层次的各种动机可以同时发生。马斯洛明确地阐述了这些层次及其满足方式，例如“相对的”、“一般的”和“首要的”。他并没有说个体在任何时候都专注于某个特定的需求，而是说某个需求“主导”着人类有机体。因此，马斯洛承认不同层次的动机可能在人类思维中随时发生，但他专注于识别基本类型的动机以及它们应该被满足的顺序。

Physiological needs

生理需求

Physiological needs are the physical requirements for human survival. If these requirements are not met, the human body cannot function properly and will ultimately fail. Physiological needs are thought to be the most important; they should be met first.

生理需求是人类生存的物理需求。如果这些需求得不到满足，人体就无法正常运作，最终会失败。生理需求被认为是最重要的；它们应该首先得到满足。

Air, water, and food are metabolic requirements for survival in all animals, including humans. Clothing and shelter provide necessary protection from the elements. While maintaining an adequate birth rate shapes the intensity of the human sexual instinct, sexual competition may also shape said instinct.

空气、水和食物是所有动物，包括人类的生存代谢需求。衣服和住所提供必要的保护，以抵御自然界的侵袭。维持适当的出生率会塑造人类性本能的强度，而性竞争也可能塑造这种本能。

Safety needs

安全需求

With their physical needs relatively satisfied, the individual's safety needs take precedence and dominate behavior. In the absence of physical safety – due to war, natural disaster, family violence, childhood abuse, etc. – people may (re-)experience post-traumatic stress disorder or trans-generational trauma. In the absence of economic safety – due to economic crisis and lack of work opportunities – these safety needs manifest themselves in ways such as a preference for job security, grievance procedures for protecting the individual from unilateral authority, savings accounts, insurance policies, reasonable disability accommodations, etc. This level is more likely to be found in children because they generally have a greater need to feel safe.

当生理需求相对得到满足时，个体的安全需求就会成为优先事项并主导行为。由于战争、自然灾害、家庭暴力、儿童虐待等原因，缺乏生理安全时，人们可能会（重新）经历创伤后应激障碍或跨代创伤。由于经济危机和工作机会缺乏等原因，缺乏经济安全时，这些安全需求会以诸如偏好工作保障、保护个人免受单方面权威的申诉程序、储蓄账户、保险政策、合理的残疾便利措施等方式表现出来。这个层次更可能在儿童身上找到，因为他们通常有更大的安全感需求。

Safety and Security needs include:

安全和保障需求包括：

•  Personal security

• 个人安全

•  Financial security

• 财务安全

•  Health and well-being

• 健康与福祉

•  Safety net against accidents/illness and their adverse impacts

• 防范意外/疾病及其不利影响的保障

Love and belonging

爱 和 归属

After physiological and safety needs are fulfilled, the third level of human needs is interpersonal and involves feelings of belongingness. This need is especially strong in childhood and can override the need for safety as witnessed in children who cling to abusive parents. Deficiencies within this level of Maslow's hierarchy – due to hospitalism, neglect, shunning, ostracism, etc. – can impact the individual's ability to form and maintain emotionally significant relationships in general, such as:

在 生理 和 安全 需求 得到 满足 后， 人类 需求 的 第三 层级 是 人际关系， 并 涉及 到 归属感。 这 种 需求 在 童年 时期 尤为 强烈， 并 可 能 覆盖 对 安全 的 需求， 就像 看到那些 依偎 在 暴力 家长 身边 的 儿童 一 样。 在 马斯洛 的 层级 理论 中， 这 个 层级 的 缺乏 – 由于 住院 病态、 忽视、 排斥、 被排斥 等 – 可 能 影响 个 体 建立 和 维持 情感 上 重 要 关系的 能力， 诸如：

•  Friendship

•  友谊

•  Intimacy

•  亲密

•  Family

• 家庭

According to Maslow, humans need to feel a sense of belonging and acceptance among their social groups, regardless if these groups are large or small. For example, some large social groups may include clubs, co-workers, religious groups, professional organizations, sports teams, and gangs. Some examples of small social connections include family members, intimate partners, mentors, colleagues, and confidants. Humans need to love and be loved – both sexually and non-sexually – by others. Many people become susceptible to loneliness, social anxiety, and clinical depression in the absence of this love or belonging element. This need for belonging may overcome the physiological and security needs, depending on the strength of the peer pressure.

根据马斯洛的理论，人类需要在社会群体中感受到归属感和接纳，无论这些群体是大是小。例如，一些大的社会群体可能包括俱乐部、同事、宗教团体、专业组织、运动队和帮派。一些小的社会联系包括家庭成员、亲密伴侣、导师、同事和密友。人类需要被爱并且去爱他人——无论是性方面还是非性方面。当缺乏这种爱或归属感时，许多人容易变得孤独、社交焦虑和临床抑郁症。这种对归属的需求可能会超越生理和安全需求，这取决于同伴压力的强度。

Esteem

尊重

All humans have a need to feel respected; this includes the need to have self-esteem and self-respect. Esteem presents the typical human desire to be accepted and valued by others. People often engage in a profession or hobby to gain recognition. These activities give the person a sense of contribution or value. Low self-esteem or an inferiority complex may result from imbalances during this level in the hierarchy. People with low self-esteem often need respect from others; they may feel the need to seek fame or glory. However, fame or glory will not help the person to build their self-esteem until they accept who they are internally. Psychological imbalances such as depression can hinder the person from obtaining a higher level of self-esteem or self-respect.

所有人类都有被尊重的需求；这包括拥有自尊和自重的需求。自尊体现了典型人类被他人接纳和重视的愿望。人们常常从事某种职业或爱好以获得认可。这些活动给人带来一种贡献感或价值感。在等级制度的这一层级中，失衡可能导致低自尊或自卑感。自尊低下的人往往需要他人的尊重；他们可能感到需要寻求名声或荣耀。然而，名声或荣耀并不能帮助人建立自尊，直到他们内心接受自己。抑郁症等心理失衡会阻碍人获得更高水平的自尊或自重。

Most people have a need for stable self-respect and self-esteem. Maslow noted two versions of esteem needs: a "lower" version and a "higher" version. The "lower" version of esteem is the need for respect from others. This may include a need for status, recognition, fame, prestige, and attention. The "higher" version manifests itself as the need for self-respect. For example, the person may have a need for strength, competence, mastery, self-confidence, independence, and freedom. This "higher" version takes precedence over the "lower" version because it relies on an inner competence established through experience. Deprivation of these needs may lead to an inferiority complex, weakness, and helplessness.

大多数人都有稳定自尊和自我价值感的需要。马斯洛指出了两种自尊需要版本：一个“较低”版本和一个“较高”版本。“较低”版本的自尊需要来自他人的尊重。这可能包括对地位、认可、名声、声望和关注的需要。“较高”版本表现为对自我尊重的需要。例如，这个人可能需要力量、能力、精通、自信、独立和自由。这个“较高”版本优先于“较低”版本，因为它依赖于通过经验建立起来的内在能力。这些需要的缺乏可能导致自卑感、软弱和无助。

Maslow states that while he originally thought the needs of humans had strict guidelines, the "hierarchies are interrelated rather than sharply separated". This means that esteem and the subsequent levels are not strictly separated; instead, the levels are closely related.

马斯洛指出，虽然他最初认为人类的需求有严格的规范，但“层次是相互关联而不是严格分开的”。这意味着自尊和随后的层次并不是严格分开的；相反，这些层次是紧密联系的。

Self-actualization

自我实现

"What a man can be, he must be.” This quotation forms the basis of the perceived need for self-actualization. This level of need refers to what a person's full potential is and the realization of that potential. Maslow describes this level as the desire to accomplish everything that one can, to become the most that one can be. Individuals may perceive or focus on this need very specifically. For example, one individual may have the strong desire to become an ideal parent. In another, the desire may be expressed athletically. For others, it may be expressed in paintings, pictures, or inventions. As previously mentioned, Maslow believed that to understand this level of need, the person must not only achieve the previous needs, but master them.

“一个人能成为什么，他就必须成为什么。”这句话构成了自我实现需求的基础。这种需求层次指的是一个人全部潜能是什么，以及这种潜能的实现。马斯洛将这一层次描述为一个人想要完成他所能做的一切，成为他所能成为的最优秀的人。个人可能会非常具体地感知或关注这种需求。例如，一个人可能强烈渴望成为理想的父母。在另一个人身上，这种渴望可能表现为体育运动。对其他人来说，它可能表现为绘画、图片或发明。如前所述，马斯洛认为要理解这一层次的需求，一个人不仅必须实现之前的需求，还必须掌握它们。

Later research

后续研究

Maslow's later research showed a level above self-actualization, which he called self-transcendence.

马斯洛的后续研究表明，在自我实现之上还有一个层次，他称之为自我超越。

Per the New World Encyclopedia:

根据新世界百科全书：

Self-transcendence

自我超越

Maslow also proposed that people who have reached self-actualization will sometimes experience a state he referred to as "transcendence," or "peak experience," in which they become aware of not only their own fullest potential, but the fullest potential of human beings at large. Peak experiences are sudden feelings of intense happiness and well-being, the feeling that one is aware of "ultimate truth" and the unity of all things. Accompanying these experiences is a heightened sense of control over the body and emotions, and a wider sense of awareness, as though one was standing upon a mountaintop. The experience fills the individual with wonder and awe. He feels one with the world and is pleased with it; he or she has seen the ultimate truth or the essence of all things.

马斯洛还提出，达到自我实现的人有时会经历一种他称之为“超越”或“高峰体验”的状态，在这种状态下，他们不仅意识到自己最充分的潜力，而且意识到全人类最充分的潜力。高峰体验是突然感到极度的幸福和满足，感觉意识到“终极真理”和万物的统一。伴随着这些体验的是对身体和情绪的高度控制，以及更广泛的意识，仿佛站在山顶上。这种体验充满了个人的惊奇和敬畏。他感到与世界合一，并喜欢它；他或她看到了终极真理或万物的本质。

The Nine Motives

九种动机

BY NAPOLEON HILL

肖恩·山德士

(From “PMA: Science of Success” Course)

（来自“PMA：成功科学”课程）

All individual achievements are the result of a motive or a combination of motives. The ten basic motives which inspire all voluntary action are discussed here.

所有个人成就都是某种动机或多种动机的结果。这里讨论了激发所有自愿行动的十种基本动机。

The desire for self-preservation

自我保存的欲望

The emotion of love

爱的情感

The emotion of fear

恐惧的情绪

The emotion of sex

性的情绪

The desire for life after death

对死后生命的渴望

The desire for freedom of body and mind

对身心自由的渴望

The desire for revenge

复仇的欲望

The emotion of hate

恨的情绪

The desire for self-expression and recognition

自我表达和认可的欲望

The desire for material gain

对物质利益的欲望

These ten motives constitute the alphabet of success in dealing with other people, for all sane people are engaged in voluntary action because of a motive. Unless you are familiar with the ABC’s of success, you will not learn to live very well. You must have them.

这些十个动机构成了与他人交往的成功字母表，因为所有理智的人都是因为动机而进行自愿行动。如果你不熟悉成功的 ABC，你将不会学会很好地生活。你必须拥有它们。

Not only are they important to an understanding of other people and what makes them tick, but you, yourself, as a fellow human being, respond to these same motives. And you will ﬁnd that unless speciﬁc goals of your life, no matter how small, are supported with a proper number of these motives, you are not going to be interested in carrying out those plans to a successful conclusion.

它们不仅对于理解他人以及是什么让他们运作起来很重要，而且你自己，作为一个同样的人类，也对这些相同的动机做出反应。你会发现，除非你生活中具体的、无论多么小的目标，得到适当数量的这些动机的支持，否则你将不会对执行这些计划到成功结束感兴趣。

The Four Wants Which Glue Human Experience Together

将人类经验粘合在一起的四个需求

LESTER LEVENSON ACHIEVED a high personal state out of necessity, after having been told he was going to die of heart failure in just a few weeks – leaving him only his mind to sort out his condition.

LESTER LEVENSON 通过必要性达到了一种高个人状态，在被告知他将在几周内死于心力衰竭后——只留下他的头脑来整理他的状况。

After his breakthrough, it took him nearly two decades of study to figure out what he had accomplished. Levenson worked out that there were really holding all the humankind experience in place:

在他取得突破之后，他花了近二十年的时间才弄清楚自己究竟取得了什么成就。利文森发现，其实有一种东西一直在支撑着整个人类经验：

- Wanting Control

- 想要控制

- Wanting Approval

- 想要认可

- Wanting Security

- 想要安全

- Wanting Separation and/or Oneness

渴望分离和/或合一

Wanting Control is often typified by frustration or impatience with people around us, as they simply aren't doing what we want them to do - or vice-versa. Like wanting a slow driver in front of you to speed up, for instance. Or talking to the TV and telling someone how they should change some behavior you noticed them doing.

渴望控制常常表现为对周围的人感到沮丧或没有耐心，因为他们并没有做我们想让他们做的事情——或者反之亦然。比如，希望前面的慢车能加速，或者对着电视说话，告诉某人他们应该如何改变一些你注意到的行为。

Wanting Approval is a very common scene - popularity contests, or resentment at not being chosen for a team - any of these keep us stuck to behaviors where we are acting to please someone, or that we think others should get our OK before they do anything.

渴望认可是一个非常普遍的场景——受欢迎的比赛，或者因为没有被选入团队而感到怨恨——所有这些都会让我们停留在那些我们为了取悦别人，或者我们认为别人在做什么之前应该得到我们认可的行为中。

Wanting Security is far more basic. And needing to control or get approval is held in place by this. This unease is present with any time we are job hunting, or our position with a company or in life is threatened. Of course, this brings a lot more stress into our lives where we aren't in a peace-time activity. But it can also be the annoyance of a power outage, or bills you have to pay.

渴望安全要基本得多。而需要控制或获得认可是由这一点支撑的。这种不安感在我们找工作的时候，或者我们的工作职位或生活中的地位受到威胁的时候都存在。当然，这给我们的生活带来了更多的压力，因为我们没有在从事和平时期的活动。但它也可能是停电的烦恼，或者你必须支付的账单。

Wanting Separation / Oneness (also understood as Belonging) is ever present, but we are not usually aware of it. Wanting to be part of a group is of course a factor in wanting approval, but more basic. Wanting to "get away from it all" is the reverse - but is very basic. And might be the reason we have to have vacations at all. It's also the point of having people recognize your individuality.

渴望分离/合一（也理解为归属感）始终存在，但我们通常没有意识到这一点。想成为群体的一部分当然也是渴望认可的因素，但更基本。想“远离一切”是相反的——但同样非常基本。也许这就是我们需要度假的原因。这也是人们认识你个性的要点。

These four wants are themselves held in place by the Fear of Death, which is really the fear of losing one's individuality – which gets into another long study quite beyond marketing. (Just know that most people cannot approach their own fear of death without physical pain and distress.)

这四种渴望本身是由对死亡的恐惧所维持的，对死亡的恐惧实际上是失去个性的恐惧——这涉及到另一个超出营销范围的长篇研究。（只需知道大多数人无法在不经历身体痛苦和困扰的情况下接近他们自己对死亡的恐惧。）

Postscript – What This Series Has To Do With You

后记——这个系列与你有什么关系

Preamble

前言

LET'S LAY OUT SOME basics.

让我们来梳理一些基础知识。

When you understand marketing and copywriting, you can achieve, acquire, and accomplish anything you want – by helping everyone around you get what they want. That's why this book was created – to help you do just that.

当你理解营销和文案写作时，你可以实现、获得和完成你想要的一切——通过帮助你周围的人得到他们想要的东西。这就是这本书被创作的原因——帮助你做到这一点。

People are living a story that they are very serious about, for the most part. They think they have no choice in this matter. People actually choose by their many decisions – all day long, for all their lives.

人们基本上过着他们非常重视的故事，他们认为自己在这方面没有选择。人们实际上是通过他们的一天天、一生中的许多决定来做出选择的。

What they don't understand, mostly, is that story they are living is being created by them and lasts as long as they want it to.

他们大多不明白，他们所过的故事实际上是由他们自己创造的，并且只要他们愿意，它就会持续下去。

Your job as a marketer or copywriter, accept it or not, is to help them with their story by describing offers to them that they can use to push their story along.

作为营销人员或文案人员的你的工作，接受与否，就是通过向他们描述他们可以用来推动故事发展的提议来帮助他们讲述他们的故事。

The reason for this series of books is to bring you a collection of stories lived by some of the world's greatest copywriters and sales-persons. When you study their stories, you'll then understand how marketing is actually done – not the way it's been sold as a subject since just before the Internet was invented.

这一系列书籍的原因是为你带来一些世界上伟大的文案人员和销售人员所经历的故事。当你研究他们的故事时，你将理解营销实际上是如何进行的——不是自互联网发明之前就被当作一个学科来销售的方式。

Humankind hasn't changed much, if any, since we started writing down our histories. Our markets are the same as when they were bazaars in the local village square. What people want hasn't changed, their motivations haven't changed. Only our current circumstances.

自我们从开始记录历史以来，人类并没有发生多少变化。我们的市场与当地村庄广场上的集市相同。人们的需求没有改变，他们的动机也没有改变。只有我们当前的环境发生了变化。

We are each on a journey through the life we live out on this planet. High-tech or primitive, the basic human reactions are the same as they always have been, regardless of what we encounter on this journey.

我们每个人都在这个星球上生活的旅程中前行。无论是高科技还是原始，基本的人类反应始终如一，无论我们在旅程中遇到什么。

The idea of a journey-story is what starts to tie up all the loose ends of marketing into a cohesive approach – an underlying system which explains all, resolves all. If you understand what motivates every person on Earth, then you can form your offer to help them along on that journey they are on. And they'll pay you well for this – which helps you on your own journey.

旅程故事的概念开始将所有市场营销的松散环节整合为一个连贯的方法——一个解释一切、解决一切的潜在系统。如果你了解地球上每个人的动机，那么你可以形成你的提议来帮助他们继续他们所经历的旅程。他们会为此支付你良好的报酬——这也会帮助你自己的旅程。

Life-journeys were defined years ago by a professor named Joseph Campbell. He wrote several books about how there is one common plot to all myths and legends. Campbell found that the stories which resonated through history, that were retold time and time again, were the ones which fit a certain pattern.

生命旅程多年前由一位名叫约瑟夫·坎贝尔的教授定义。他写了几本书，讲述所有神话和传说中有一个共同的情节。坎贝尔发现，在历史上引起共鸣、一次又一次被重述的故事，是那些符合某种模式的故事。

Campbell told of this story as a journey which every hero (or heroine) undertook. And this common journey-story can be as complicated or as simple as you'd like.

坎贝尔讲述了一个每个英雄（或女英雄）都经历的旅程故事。这个普遍的旅程故事可以复杂或简单，就像你想要的。

The very simplest is this:

最简单的是这样：

Departing on the Journey

开始旅程

•  The call to adventure, perhaps rejected at first

•  接受冒险的召唤，可能最初被拒绝

•  Meeting a mentor or guide.

•  遇见导师或引路人。

•  Point of no Return, where the world transforms

•  无路可退，世界转变

Life-Changes

人生转折

•  A series of trials, temptations, and resolutions

•  一系列考验、诱惑和决心

•  Atonement and rebirth – total paradigm shift

• 赎罪与重生——彻底的范式转变

•  Goal achievement

• 目标达成

Returning

返回

•  Flight with the goal-solution

• 带着目标解决方案的飞翔

•  Rescue by companions

•  同伴救援

•  Recrossing back into normal life with new freedoms

•  带着新的自由重新回归正常生活

The common players in every story:

每个故事中的常见角色：

•  Hero or Heroine

•  英雄或女主角

•  Helpers

•  辅助者

•  Goal or object being attained.

•  所追求的目标或对象。

Marketers do their pitch to help a person along at one stage or another of their journey. Pitches all aren't all calls to adventure. You are offering products which symbolize something that is vital to that journey progress. Your pitch is another helper for whatever they are facing. It's up to you to know your potential customer or client to see what they need so you can fill it.

市场营销人员会在客户或潜在客户旅程的某个阶段进行推销。并非所有的推销都是号召冒险。你提供的产品象征着对旅程进展至关重要的事物。你的推销是面对他们所面临问题的另一种辅助。你需要了解你的潜在客户或客户，以便知道他们的需求，从而满足这些需求。

As you study Campbell (recommended) and those who wrote about him (Chris Vogler has a good study in this area) you'll see this above description is pretty watered down. I've kept it simple so you can apply it in our “non-heroic” times.

当你研究坎贝尔（推荐）以及那些写关于他的人（克里斯·沃勒在这个领域有很好的研究）时，你会发现上述描述非常简化。我保持简单，以便你可以在我们的“非英雄”时代应用它。

It is the single story which is told over and over, regardless of circumstance. While there are as many variations as there are individuals on this planet, the basic plot is the same for everyone.

这是一个无论在任何情况下都会被不断讲述的单一故事。虽然这个星球上有多少个人就有多少种变体，但每个人的基本情节都是相同的。

This is what I found to be the common thread through all Marketing and copywriting as well. If you go back to find the all-time great advertisements and marketing campaigns, you'll see that they tell a story.

这也是我在市场营销和文案写作中发现的共同线索。如果你回过头去寻找所有时代的伟大广告和营销活动，你会发现它们都在讲述一个故事。

•  “Do You Make These Mistakes in English?”

• “你在英语中犯这些错误吗？”

•  “They laughed when I sat down at the piano – but when I began to play...”

• “他们嘲笑我坐在钢琴前——但当我开始弹奏时……”

•  “At 60 miles an hour the loudest noise in this new Rolls-Royce comes from the electric clock."

“时速 60 英里时，这辆新款劳斯莱斯最响亮的声音来自电子钟。”

These are stories which sold over and over. Why? Because they help a person on their journey.

这些故事一次又一次地畅销。为什么？因为它们帮助人们在他们的旅程中前行。

The products they buy are symbols which help them on their journey. Clothes tell the status of a person, they are the costume which helps that person get into or stay in character during the journey. Vehicles, electronic gadgets, houses – all these things make the journey easier or are tools which make that achievement possible.

他们购买的产品是帮助他们前行旅程的象征。衣服表明一个人的地位，它们是帮助那个人在旅程中进入或保持角色 costume。车辆、电子小玩意儿、房子——所有这些事情让旅程更容易或使成就成为可能的工具。

You also have the reverse – where people are desperately working to avoid the journey in front of them, and seek continual distraction from what they know to be true.

你也有相反的情况——人们拼命地工作以避免他们面前的旅程，并寻求持续的逃避，从他们知道的真实中。

The copywriter or marketer who knows these and a few other facts will be able to make sense of all the various “schools” and “brands” of marketing, as well as all the “guru-speak” which is out there.

知道这些以及其他一些事实的文案或营销人员将能够理解所有各种“学派”和“品牌”的营销，以及所有“大师行话”。

What follows next are a few short essays which expand on this concept. I've left them as originally written – some of the points repeat what I've just told you. All I'm telling you here is simply a metaphor, a tool-set. Do with it what you will.

接下来是一些简短的论文，扩展了这个概念。我保留了它们原来的样子——其中一些观点重复了我刚才告诉你的内容。我在这里告诉你的只是一个隐喻，一个工具集。你可以用它来做什么都行。

Test all this for yourself and throw away everything which doesn't work for you. Only then will you be able to use it effectively in your own marketing.

亲自测试一下这些，扔掉那些对你不适用的一切。只有这样，你才能在自己的营销中有效地使用它。

What Story are YOU Living?

你在过着什么样的故事？

PEOPLE LIVE IN THEIR own story. And that story controls their life.

人们生活在自己的故事里。而那个故事控制着他们的生活。

People are preoccupied with that story – how it will turn out, plot twists, happy or tragic ending, their story that runs their life. They listen to this story more than they listen to the people who are trying to talk to them in real life.

人们沉浸在这个故事里——它将如何发展，情节转折，是幸福还是悲剧的结局，是他们掌控着生活的故事。他们更愿意听这个故事，而不是听现实生活中试图与他们交谈的人。

And, as the old phrase, they write their story as they go along, much as Shakespeare would write the play even as the actors rehearsed it.

而且，正如那句老话所说，他们一边经历一边书写自己的故事，就像莎士比亚在演员排练时写剧本一样。

People get their inspiration for that story from the other stories around them.

人们从周围的其他故事中获得灵感，来构建他们的故事。

Their story is continually running in every person's head, constantly refined and improved by the stories they compare with it.

他们的故事在每个人的脑海中不断上演，不断通过与比较的故事来完善和改进。

This comparing is what can get people into trouble. Or saves their bacon. It's truly a life or death scene from day to day. This explains the drama so many people go through, while others lead calm and cheerful lives. It's the story-line they follow.

这种比较可能会让人陷入麻烦。或者保住他们的生计。这真的是每天生死攸关的场景。这也解释了为什么那么多人经历戏剧性，而其他人过着平静快乐的生活。这是他们所遵循的故事线。

People are in search of the perfect story. One that explains their life so far and gives them direction to follow.

人们在寻找完美的故事。一个能够解释他们迄今为止的生活并给他们方向的故事。

The person who influences their story controls them - by their own choice. Any politician knows this. The really effective ones (like FDR, and similar) leave a feel-good “legacy” which takes decades to unravel the factual truth from the fictional story they wove. (The Great Depression was made worse and longer than it should have been.)

影响他们故事的人控制着他们——这是他们自己的选择。任何政治家都知道这一点。那些真正有效的人（比如罗斯福，以及类似的人）留下了一种让人感觉良好的“遗产”，这种遗产需要几十年才能从他们编织的虚构故事中揭示出事实真相。（大萧条被人为地变得更糟，持续时间也更长了。）

The bad politicians (Hitler, Mussolini, Stalin) weren’t bad because of what they did (well, yes - but that’s another story.) Let me rephrase that: They weren’t bad according to the people in their own country – even for years after they were driven from power – because they consistently told a story which with their people wanted.

那些糟糕的政治家（希特勒、墨索里尼、斯大林）并不是因为他们的所作所为而糟糕（嗯，是的——但那又是另一个故事了。）让我换种说法：他们并不是根据他们自己国家的人的看法而糟糕——即使在他们被赶下权力之后好几年——因为他们始终如一地讲述着他们的民众想要的故事。

Hitler was going to return Germany to a level of prominence in the world that was unjustly taken away from them, back to global approval.

希特勒将要把德国带回世界上的一个地位，那个地位是他们被不公平地剥夺的，回到全球的认可。

Some people in Russia even today long for a return to the “good old days” of Stalin and complete control over their lives – stable security.

有些人甚至在今天仍然渴望回到斯大林“好日子”和对自己生活的完全控制——稳定的安全。

People live a certain story in their life.

人们在生活中过着某种故事。

They compare the stories they hear and see with that internal story to see if they are living their life the right way - are they following the plot right, are they being the right character?

他们会将听到的和看到的故事与内心的故事进行比较，以看看他们是否正在以正确的方式生活——他们是否在遵循正确的情节，是否在扮演正确的角色？

So when you tell a good story, you get elected. If you keep telling a good story (like FDR’s “it was all the earlier guy’s fault...”) then people continue to like you and you stay in power. That’s why U.S. Presidents are limited to two terms ever since.

所以当你讲述一个好故事时，你就能当选。如果你继续讲述一个好故事（就像富兰克林·罗斯福的“……都是前任的错……”），人们就会继续喜欢你，你就能继续掌权。这就是为什么美国总统被限制为两届的原因。

Some people can tell a story too well for our own good.

有些人讲故事讲得太好了，对我们来说也太多了。

Seriously. That’s the way things are.

说真的。事情就是这样。

But let’s back up.

但让我们退一步说。

I’m not counting on you believing me. In fact, I’m counting on you disbelieving me. Because until you start listening to the stories around you with a critical ear and eye, you will continue to live a life which takes all the money you make and leaves you nothing in return (except some expensive doo-dads, bumper stickers and yard signs.)

我不指望你相信我。事实上，我指望你不相信我。因为直到你开始用批判性的耳朵和眼睛倾听你周围的故事，你将继续过着一种生活，这种生活花光你所有的钱，却什么也留不下（除了昂贵的摆设、保险杠贴纸和院子里的标语牌。）

The old saying is true: out of 100 people graduating, 5 will retire wealthy, 10 will be able to retire at all, and the rest will be broke and dependent on the government or charity to keep them alive.

老话说得没错：100 个人毕业，5 个会退休富有，10 个能退休，其余的会一贫如洗，依赖政府或慈善机构来维持生计。

The difference is their story and who they let influence its outcome.

区别在于他们的故事以及他们让谁影响故事的结局。

We aren’t here to talk about politics. (It’s just that they make such good punching bags, er... examples - when they are no longer around.)

我们这里不是来谈论政治的。（只是他们当不在的时候，是很好的出气筒，呃……例子。）

The only difference between the people writing the ads which make you buy their stuff and the speech writers that make you vote for a certain young, good-looking politician is... Nothing.

促使你购买他们东西的广告写作者和让你投票给某个年轻、英俊的政治家的演讲撰稿人之间的唯一区别是……什么都没有。

They both use your emotions to get what THEY want.

他们都利用你的情绪来得到他们想要的东西。

Not what YOU want.

不是你想要的东西。

Yes, you have it all rationalized out that you did the right thing. But funny enough, when enough things break on that gorgeous chunk of metal in your driveway - you’ll trade it in for another of the same brand.

是的，你已经把事情合理化了，认为自己做对了。但有趣的是，当你的车库里那漂亮的金属块出问题时——你将会把它换成交同品牌的另一辆。

The really good marketers find out what you want and offer it to you in a way that's natural for you to accept. The great copywriters hep you live your life the way you already think you want it.

真正优秀的营销者会了解你的需求，并以你自然接受的方式提供给你。伟大的文案作家帮助你按照你认为自己想要的生活方式生活。

People disagree on who the all-time legendary copywriters are. There are huge long lists of people you’ve never heard of, and how these people were Kings of their Heaps.

人们对于谁是史上传奇的文案作家有不同的看法。有很长的名单上都是你从未听说过的人，以及这些人如何成为他们领域的王者。

What I’ve done is to take all these lists and boil them down the the same few names which keep coming up.

我做的是把所有这些名单都简化为几个反复出现的人名。

Then I’ve studied those authors to see what they said worked for them - and found a few other authors to study.

那我就研究了那些作者，看看他们说了什么对他们有效——还找到了几个其他作者来研究。

Meanwhile, I took the same key datums all these authors said and boiled them down. (And decided to reproduce those I could as the simplest way of getting these books to you – in its own series.)

与此同时，我采用了这些作者所说的相同的关键数据，并将它们简化了。（并且决定以最简单的方式将那些书籍呈现给您——以自己的系列形式。）

The final step was to boil even those down until when the steam cleared, there was just one nugget left in the bottom of that huge pot.

最后一步是将它们简化，直到蒸汽散去，那个巨大的锅里只剩下一点宝藏。

You’ve already been introduced to it:

你已经介绍过它了：

Life is a journey-story.

生活是一场故事。

The person can only figure out if their story is a good one if they compare it to other stories around them.

只有将他们的故事与其他故事进行比较，人们才能判断他们的故事是否好。

People who tell them stories which are similar to theirs can get them to do what they want.

讲述与他们相似故事的人可以让他们做他们想做的事。

This is called copywriting.

这就是文案写作。

It is part of a subject called “marketing” - which is really just communication.

它是“营销”这一学科的一部分——而“营销”实际上只是沟通。

People who are known as “good talkers” or “good salespeople” or “great communicators” are all just marketing their own story in a way people want to hear it.

被称为“能言善辩者”或“优秀的销售员”或“出色的沟通者”的人，实际上都是在以一种人们想听的方式营销自己的故事。

When you buy their stuff (or vote their way) you’ve decided that your story would be better if you took the action they told you to.

当你购买他们的东西（或投票支持他们）时，你就决定了自己的故事如果采取了他们告诉你的行动会更好。

We are going to get to the main way these people get away with ordering you around.

我们将进入这些人得以指挥你行动的主要方式。

But all these copywriters and speech writers know one thing:

但所有这些文案撰稿人和演讲撰稿人都知道一件事：

Your life-story is built from emotion.

你的生命故事是由情感构建的。

In fact, all communication is built from emotion. Every word has some emotional connotation by itself, weak or strong. They draw their power from the words on either side. This is what gives poetry it's strength – and why Shakespeare is still so powerful, even though no one speaks that version of English these days.

实际上，所有沟通都是由情感构建的。每个词本身都有某种情感色彩，无论强弱。它们的力量来自于两边的词语。这就是诗歌的力量所在——这也是为什么莎士比亚的作品至今仍然如此有力量，尽管现在没有人说那种版本的英语。

Every good story involves you emotionally in the outcome. You sit in that theater, or in front of that TV, or in a “good” book - completely oblivious to everything around you - until it ends.

每个好故事都涉及你在结果中的情感投入。你坐在那个剧院里，或者坐在电视前，或者在一本“好”书里——完全无视周围的一切——直到故事结束。

And then for days afterwards, you are still hearing that story go around in your thoughts.

那么在接下来的日子里，你仍然会在脑海中不断回响那个故事。

If they told you a good enough story, you will hear it for years. You’ll even change your life so that you are constantly reminded of their story by the various doo-dads you have around you.

如果他们给你讲了一个足够好的故事，你将会听它很多年。你甚至会改变你的生活，以至于你周围的各种小玩意儿不断提醒你他们的故事。

It’s not just buying the book or DVD or downloading that TED talk. (Or for some, playing that game over and over and over until you figure out how to win all the levels - or until the next version comes out...)

这不仅仅是购买书或 DVD，或者下载那个 TED 演讲。（或者对一些人来说，一遍又一遍地玩那个游戏，直到你弄清楚如何赢得所有关卡——或者直到下一个版本出来……）

It’s the story in it. Something in their story makes you want to have that outcome in your own story.

是故事中的故事。他们故事中的某件事让你想在自己的故事中拥有那个结果。

The emotions they used to tell their story is one you like to experience. So you keep coming back over and over.

他们过去用来讲述他们故事的情感是你喜欢去体验的。所以你一次又一次地回来。

Or you buy their products over and over. Or vote for that party over and over. Or watch that actor or actress over and over.

或者你一次又一次地购买他们的产品。或者一次又一次地为那个政党投票。或者一次又一次地观看那个演员或女演员。

You have become one of the highest prizes. You’re a client. Also known as a devoted fan.

你已经成为其中最高的奖赏。你是客户。也被称为忠实粉丝。

But all is good. All stories are good ones.

但一切都很好。所有的故事都是好故事。

Because you are just following your emotions. And you’re always right.

因为你只是在追随你的情绪。而且你总是对的。

That’s the way you and I and everyone are wired.

那就是你和我以及每个人的天性。

Practically no one is immune. Well, statistically, it’s between one in a million and one in ten billion. Those people are called “enlightened” and not much marketing works on them. (They already have everything they could ever need or want anyway - but that’s another story.)

几乎没有人能免疫。嗯，从统计学上来说，概率在百万分之一到十亿分之一之间。那些人被称为“开悟者”，对他们的营销效果不大。（他们已经拥有了他们可能需要或想要的一切——但那是另一个故事了。）

What you are probably wanting to know next is: how do I learn to write like this? Or - how do I learn to write my own story?

你接下来可能想知道的是：我该如何学会像这样写作？或者——我该如何学会写自己的故事？

What’s The Difference Between A Good And Bad Copywriter?

好的文案和坏的文案有什么区别？

I WAS WANDERING AROUND reading tons of material on writing sales pages, landing pages, scripts. I was studying headlines, subheadings, bullet points. I was absorbing the details of graphics and type-styles and colors.

我在阅读大量的关于销售页面、着陆页面、脚本的资料。我正在研究标题、副标题、项目符号。我正在吸收图形、字体风格和颜色的细节。

I was trying to absorb all these details about the perfect marketing approach - and it was going nowhere. Just filling up my hard-drives and filling up my book-cases.

我试图吸收关于完美营销方法的全部细节——但这毫无进展。只是填满了我的硬盘和书架。

But I thought the next book or video or webinar would tell me the key point I was missing.

但我想下一本书或视频或网络研讨会会告诉我我所遗漏的关键点。

Bob Bly was the one to finally bust my balloon.

鲍勃·布莱终于戳破了我的气球。

He said it was simple:

他说这很简单：

A good copywriter gets the sale.

好的文案能促成销售。

Joe Sugarman said the same thing. So did most of the others when you look for it.

乔·休尔曼也说过同样的话。当你寻找时，大多数人也这么说。

All these details about how to build the sales page were only valuable if they helped the ad do that one thing.

关于如何构建销售页面的所有这些细节，只有当它们帮助广告做到那件事时才有价值。

Some ad that is considered good copywriting helps the reader buy. More than just “wanting” to buy - they actually buy the stuff being talked about.

被认为优秀的广告文案能够帮助读者购买。不仅仅是“想要”购买——他们实际上会购买所谈论的东西。

A good copywriter will make the person buy—by pushing the right emotional buttons.

优秀的文案作者会通过推动正确的情感按钮，让 사람购买。

The whole point of copywriting is to get the person to act. To take out their credit card and buy whatever is being talked about.

文案写作的整个目的是让 사람采取行动。拿出他们的信用卡购买所谈论的东西。

A good copywriter tells the story that reader wants to hear.

好的文案写手讲述读者想要听到的故事。

Yes, we see a problem with this.

是的，我们看到了这个问题。

How do you keep someone like Hitler getting in charge again?

你如何防止像希特勒这样的人物再次掌权？

Practically, the only way you can do this is like the joke:

实际上，你唯一能做到的方法就像这个笑话一样：

Q. How do you get down from an elephant?

你怎么从大象上下来？

A. You don’t. You get down from a goose.

你不用下来。你从鹅上下来。

Get it? Goose down.

明白了吗？鹅下来。

You change the world by changing your own story.

你通过改变自己的故事来改变世界。

You can proof yourself up against those who only want you following their story. Then you can decide if it’s somewhere you want to go.

你可以证明自己不屈服于那些只想让你跟随他们故事的人。然后你可以决定是否想去那里。

Reading this and deciding for yourself if it works for you is the one way you can take charge over your own story.

阅读这篇文章并决定它是否适合你，是你能够掌控自己故事的一种方式。

I’ll give you a lot of other books you can read, mostly about copywriting. The rest is up to you.

我会给你推荐很多其他你可以阅读的书，大多是关于文案写作的。剩下的由你自己决定。

The next question is almost the same:

下一个问题几乎是一样的：

How do you start telling stories which will help people around you to live better lives?

你如何开始讲述那些能帮助周围人过上更好生活的故事？

And that is what the good copywriters are doing every day, with every ad or article.

而这就是优秀文案撰稿人每天都在做的一件事，无论是在广告还是文章中。

They are telling people stories which enable them to take action and make their own life better in some way.

他们讲述的故事使人们能够采取行动，以某种方式改善自己的生活。

You see, good copywriting makes people feel better - and act.

你看，优秀的文案写作让人们感觉更好——并采取行动。

Bad copywriting makes people feel worse - and act.

坏的文案让人感觉更糟——并促使行动。

Poor copywriting doesn’t get a person to act either way. And usually isn’t read after the headline.

差劲的文案既不能让人行动，通常在标题之后也不被阅读。

There are good emotions and bad emotions. Either type can get a person to act.

有好情绪和坏情绪。任何一种情绪都能促使人行动。

Constantly following bad emotions will wreck your life, however. This is why people who are constantly critical have few true friends.

但不断追随坏情绪会毁掉你的生活。这就是为什么那些总是批评别人的人很少有真正的朋友。

Critical people look for stories which have a critical storyline in them. Because they need reasons to explain the actions they take.

重视故事情节的人会寻找具有关键故事情节的故事。因为他们需要理由来解释他们采取的行动。

People decide emotionally and excuse it logically.

人们是凭情感做决定，然后才用逻辑来为它找借口。

Good copywriting will give the logical explanation for buying. These are known as “features.” But the person decides to buy based on the “benefits” which are always emotional.

好的文案会为购买行为提供逻辑解释，这些被称为“特性”。但人们购买是基于“利益”，而利益总是情感驱动的。

Perry Marshall is known for a phrase, “Nobody who bought a drill actually wanted a drill, they wanted a hole.”

Perry Marshall 以一句名言而闻名：“购买钻头的人实际上想要的是一个洞。”

(He isn’t the first one to notice it, but he’s the one known for saying it.)

（他不是第一个注意到这一点的人，但他却是那个说出这句话的人。）

“Wanting” is emotional. And there is some sort of emotion behind and before that “want.”

“想要”是情感化的。而且在那“想要”之前和之后，都有某种情感。

You want a hole because

你想要一个洞，因为

•  people will look up to you,

•  人们会仰慕你，

•  you’ll have better control in your life,

你将更好地掌控你的生活，

•  it will make you a more secure future,

它将为你带来更安全的未来，

•  you’ll finally be part of an exclusive group,

你将终于成为 exclusvie 团体的成员，

•  etc.

•等等。

•  etc.

•等等。

Meanwhile, you buy that expensive drill you are going to use once or twice and store in your shop for years later. Like most power tools owned by consumers. (Professionals are different - they’ll own several. Some are called “backups.”)

同时，你买那个昂贵的钻头，你只打算用一两次，然后放在你的商店里，几年后才使用。像大多数消费者拥有的电动工具一样。（专业人士不同——他们会拥有几个。有些被称为“备用件。”）

As you read down the sales page, you’ll go through all the emotional reasons for buying, and then they’ll tell you the logical reasons why you’re right.

当你阅读销售页面时，你会经历所有购买的情感原因，然后他们会告诉你你为什么是对的逻辑原因。

Right down to the P.S. - which tells you again to buy that item right now.

甚至在 P.S.中——它再次告诉你立即购买该商品。

Valuable Copywriters Are Different.

有价值的文案作者与众不同。

VALUABLE COPYWRITERS are there to improve their own lives by improving the lives of people they talk to.

有价值的文案作者旨在通过改善他们与之交谈的人的生活来改善自己的生活。

They are not good copywriters or bad copywriters - they are not poor, if they are valuable to others.

他们不是好文案作者或坏文案作者——如果他们对他人有价值，他们就不是贫穷的。

People will follow you to the end of the earth if you are consistently handing out valuable stuff.

如果你始终如一地提供有价值的东西，人们会跟随你到地球的尽头。

While value is just a matter of perception, there is an underlying principle older than written history which haunts copywriters who try to short-cut this process:

虽然价值只是感知的问题，但有一个比书面历史更古老的原则，困扰着试图走捷径的文案撰稿人：

You can’t get without giving. You’ll only get according to what you give.

不付出就没有收获。你只能得到你付出的东西。

This is known as the “Golden Rule” - among other things.

这被称为“黄金法则”——等等。

Zig Ziglar said it this way, “You can get all you want in life if you help enough other people get what they want.”

锡 Zig Ziglar 这样说：“如果你帮助足够多的人得到他们想要的东西，你就能得到你想要的一切。”

Look this over carefully.

仔细看看。

People run their lives by emotion. So a person who is able to influence their emotions can take over running all these lives. Or so some people think.

人们的生活由情感驱动。所以，能够影响他们情感的人就可以掌控所有这些生活。或者说，有些人这么认为。

Actually, you can only get and keep a following if you are always giving valuable stuff out.

实际上，你只能得到并保持追随者，如果你总是提供有价值的东西。

Yes, they’ll pay you ungodly sums for this stuff.

是的，他们会为这些东西支付天文数字般的费用。

But only if it’s valuable - and continues to be so.

但只有当它有价值——并且持续有价值时。

Even if you talk to other people’s emotions - you’ll only get what you give out. To the degree you honestly help others is the degree you’ll get the help you need.

即使你触动别人的情感——你最终得到的也只会是你付出的。你真诚地帮助他人的程度，就是你将得到所需帮助的程度。

Right about now is the point where you realize I’m ruining everything.

正是现在，你意识到我在毁掉一切。

Because from here on out, you are going to see through all the sales pages you read, all the commercials you hear or watch, every story you pick up.

因为从现在开始，你将看穿你读的所有销售页面，你听到的或看到的所有广告，你拿到的每一个故事。

You’re going to look to see whether that person is giving something that’s actually valuable. To you.

你将要看那个人是否提供对你真正有价值的东西。

You’re going to pull back the curtains and watch that “Wizard of Oz” do their stuff.

你将拉开帷幕，看那个“奥兹大法师”做什么。

Doesn’t mean you aren’t going to buy. But it does mean what you will be in better control over what you buy and the actual “why” you are buying.

这并不意味着你不会购买。但它意味着你将更好地控制你购买的东西和你实际购买的原因。

Doesn’t mean you aren’t emotionally involved.

这并不意味着你不会情绪化。

But it does mean that you are going to start writing your own story.

但这意味着你要开始写自己的故事了。

How do you tell what’s a “good” story?

你怎么判断一个“好”的故事？

Again, you’re looking for the “goose down.”

同样，你正在寻找“鹅毛”。

Work it backwards:

逆推：

•  You’re trying to succeed every day you live.

•  你每天都在努力成功。

•  The storyline you are following has certain goals to be successful.

•  你所遵循的故事线有成功的目标。

•  Some activities and people you meet won’t help you make your goals.

•  你会遇到一些活动和人，他们不会帮助你实现目标。

•  You’ll attract what you need to achieve those goals (or get what you want) by helping others achieve similar goals.

•  你会通过帮助他人实现类似的目标来吸引你需要实现的目标（或得到你想要的东西）。

How A Story “Works”

一个故事是如何“运作”的

THERE ARE MANY, MANY forms of stories. They are called by many names - “meme”, legend, icon, quest, journey...

故事有很多种形式。它们被称为许多名字 - “迷因”，传说，标志，任务，旅程...

A story works because of the emotion it contains and how its presented.

一个故事之所以能运作，是因为它所包含的情感以及它被呈现的方式。

This is the sole reason for the success of bestseller books, movies, songs, brands.

这就是畅销书、电影、歌曲、品牌成功的原因。

Sole reason.

唯一原因。

Stories are alive to the degree they allow people to participate in the emotion they hold. Stories grow as people spread them.

故事在多大程度上允许人们参与其中所包含的情感，故事就是活的。故事随着人们的传播而成长。

Stories are tuned, like any music or instrument, to reach a certain audience, wide or narrow.

故事像任何音乐或乐器一样被调谐，以触及特定的受众，无论是广泛的还是狭窄的。

They become a “classic” when they are tuned so that generations later they are still being told – even though the language and even their model has changed.

当它们被调谐到足以让几代人之后仍然被讲述时，它们就成为了“经典”——即使语言甚至它们的模式都发生了变化。

Shakespeare's “Romeo and Juliet” became West Side Story. The Gospel of Jesus has continued to reach wide audiences in all the various ways it's been told – more recently, “The Robe,” “The Greatest Story Ever Told,” and “The Passion of the Christ” are several notable recent ones. Wikipedia lists 29 English ones, and five other languages.

莎士比亚的《罗密欧与朱丽叶》演变成了《西城故事》。耶稣福音通过各种方式持续地触达广大受众——最近，《圣袍》、《最伟大的故事》和《基督受难记》是几个值得注意的例子。维基百科列出了 29 部英文版本，还有 5 个其他语言版本。

Christopher Vogler wrote one of the best guidebooks to understanding Joseph Campbell's works. Called “The Writer's Journey,” it tells how successful films were created (the “Star Wars” series for one) based on that singular “monomyth” plot.

克里斯托弗·沃格勒写了一本最好的理解约瑟夫·坎贝尔作品的书，名为《作者的旅程》，它讲述了如何根据那个独特的“单一神话”情节创作出成功的电影（例如“星球大战”系列）。

In the introduction to the Third Edition, he also points out that a “tuned” story will actually create a physical response in the body:

在第三版的引言中，他还指出一个“调谐”的故事实际上会在身体上产生反应：

I learned... to listen to my body as a judge of a story's effectiveness. I realized that the good stories were affecting the organs of my body in various ways, and the really good ones were stimulating more than one organ. An effective story grabs your gut, tightens your throat, makes your heart race and your lungs pump, brings tears to your eyes or an explosion of laughter to your lips. If I wasn't getting some kind of physiological reaction from a story, I knew it was only affecting me on an intellectual level and therefore it would probably leave audiences cold.

我学会了……用身体来评判故事的效果。我意识到好的故事以各种方式影响着我的器官，而真正好的故事则刺激了不止一个器官。一个有效的故事会抓住你的胃，收紧你的喉咙，让你的心跳加速，让你的肺呼吸，让你流泪或让你嘴角爆发出笑声。如果我从故事中得不到某种生理反应，我就知道它只影响了我理智层面，因此它可能会让观众感到冷漠。

Vogler then went on to write an entire chapter on that very subject at the end of that edition.

然后沃勒在那本书的结尾写了一整章关于这个主题的内容。

Stories are that powerful.

故事是如此有力量。

Marketing stories which were well-crafted have won awards even through they sold no product. The industry award for advertising, the Clio, used to have this “curse” attached to it – agencies which had won the award were usually not in business by the following year.

制作精良的营销故事即使没有销售任何产品也赢得了奖项。广告行业的奖项“克利奥”曾有一个“诅咒”——获得该奖项的机构通常在次年就不再经营。

You have to tell your marketing story in the way that gets action.

你必须以能引起行动的方式讲述你的营销故事。

Bottom line.

总之。

Emotions are used to forward that goal. People “think” with their emotions, true. But no ad is worth anything to anyone unless it achieves and improves sales.

情感被用来达成那个目标。人们确实是用情感“思考”，但没有任何广告对任何人来说有价值，除非它能实现并改善销售。

Wherever you are influencing people to continue with their journey-story, you have to end up actually getting them to do something.

无论你在哪里影响人们继续他们的旅程故事，你最终都必须让他们采取行动。

This is when the story “works.”

故事“有效”的时候。

When Is a (Marketing) Story “Sensible?”

何时一个（营销）故事“合理”？

WHEN IT BALANCES LOGIC and emotion.

当它平衡逻辑和情感时。

Let's jump way out there: There is no time, there is only Now. (This is the core secret hidden in plain site in all philosophies, if you dig far enough.) And we keep track of incidents that make up our “time-track” in order to make sense of what we are doing Now.

让我们大胆地跳跃：没有时间，只有现在。（这是所有哲学中隐藏的核心秘密，如果你挖掘得足够深的话。）我们跟踪构成我们“时间轨迹”的事件，以便理解我们现在正在做什么。

This is why any two people don't see the same accident in front of them. They both are recording and accepting the recording which balances both their logic and their emotion.

这就是为什么两个不同的人在面对同一场事故时会有不同的看法。他们都在记录并接受记录，这使得他们的逻辑和情感都得到了平衡。

This is why history is constantly being re-written – by historians and individuals.

这就是为什么历史不断被重写——由历史学家和个人。

History is never pat, set, or definite. Like the old saying, “the only thing constant is change.”

历史从来不是一成不变、固定或确定的。就像那句老话，“唯一不变的就是变化。”

What “makes sense” is when you have that balance of logic and emotion.

当你拥有逻辑和情感的平衡时，“有道理”的事情才会发生。

Emotion is created. It literally means “move out.” It isn't perception, it's your own patterned response to what you see or hear, or taste, etc.

情感被创造。它字面意思是“移动出去”。这不是感知，而是你对所见、所闻或所尝等事物的模式化反应。

Feelings are a closer description of what you perceive. Of course, that's booby-trapped by our language as well.

感觉更准确地描述了你感知到的事物。当然，这也被我们的语言所设下了陷阱。

Mostly, you can only feel stuff that happens to you. You can feel peace. You can feel happy. You can feel good. Most feelings, if not all, are nouns, not verbs.

大多数情况下，你只能感受到发生在你身上的事情。你可以感受到和平。你可以感受到快乐。你可以感受到良好。大多数感觉，如果不是全部，都是名词，而不是动词。

The one exception that comes to mind is “love”. You can feel love, and you can love someone else.

想得起来唯一的一个例外是“爱”。你可以感受到爱，你也可以爱另一个人。

But there's a trick to that word. It's not a feeling or emotion. It creates feelings and emotions. Love is creation. This again is one of these oldest traditions from pre-history beliefs.

但这个词有个诀窍。它不是一种感觉或情绪。它创造感觉和情绪。爱是创造。这又是史前信仰中最古老的传统之一。

Love even created hate.

爱甚至创造了恨。

Hate is only an emotion. It's out-facing. You can hold onto hate, even “hate” yourself – but the meaning just means “trying to destroy.”

恨只是一种情绪。它是外向的。你可以抓住恨，甚至“恨”自己——但它的意思只是“试图摧毁。”

But in this universe, nothing is truly destroyed. Only Love can dissolve things back to their original elements.

但在这个宇宙中，没有什么真正被摧毁。只有爱能将事物溶解回它们最初的原素。

Look back on your own life and you should be able to find enough examples of this to prove it to yourself.

回顾你自己的生活，你应该能够找到足够的例子来证明这一点给自己看。

Hate and negative emotions only work to physically re-arrange the shape of things around you. They'll make someone sick instead of healing them. They'll wreck relationships instead of building them.

恨和负面情绪只会使你周围事物的形状发生物理上的改变。它们会让人生病而不是治愈他们。它们会破坏关系而不是建立关系。

Negative emotions are never sensible. Because they're too emotional.

负面情绪从来都不是明智的。因为它们太情绪化了。

Before we go too far down this line, let me point out that feelings are also created – by Love.

在我们继续沿着这条线走之前，让我指出，感觉也是由爱创造的。

Love makes sense more times than not. Of course you can have a head-over-heels “true love” which won't logically make much sense. However, the people who work to make sense out of this will create a new world where their attraction to each other does make sense – and the new world they create (as long as they continue to create it) will be in perfect harmony and give them all the success they want.

爱情在大多数时候都有道理。当然，你可以遇到头昏脑胀的“真爱”，这在逻辑上可能没什么道理。然而，那些努力从这种感情中找到意义的人，会创造一个全新的世界，在这个世界中，他们彼此的吸引力是有道理的——只要他们继续创造这个新世界，它就会与他们的愿望完美和谐，并给他们带来他们想要的成功。

- - - -

IN SALES COPYWRITING, you have to achieve this balance.

在销售文案写作中，你必须达到这种平衡。

People will decide emotionally and justify logically.

人们会凭情感做决定，并凭逻辑来辩护。

Your sales copy has to enable the reader to become the hero of the piece.

你的销售文案必须让读者成为故事的主角。

Hero's make sense out of nonsensical situations.

英雄总能在混乱中找到意义。

They triumph over evil to create a new reality.

他们战胜邪恶，创造新的现实。

Study Joseph Campbell's various books (“Hero With a Thousand Faces”, “The Power of Myth”) and you'll see that all the myths, legends, psychologies, and stories through the ages really boil down to a single plot (sequence).

研究约瑟夫·坎贝尔的各种著作（《千面英雄》、《神话的力量》），你会发现所有年代、神话、传说、心理学和故事都归结为同一个情节（序列）。

It's this plot which also runs through all copywriting. Well, all good copywriting.

这个情节也贯穿于所有优秀的文案写作中。

Bad copywriting doesn't tell a complete story or get even close.

糟糕的文案不能讲述一个完整的故事，甚至差得远。

You get involved with some simple ad and then they pitch something which is unrelated.

你接触到一个简单的广告，然后他们推销一些无关的东西。

They are talking about a hero surviving a war, and then try to have you buy a refrigerator.

他们谈论一个英雄在战争中幸存，然后试图让你买一台冰箱。

Because those copywriters don't understand what they are doing. They think they do. And they get some sales to prove it. But what they are doing is only repeating something they saw somewhere else and changing it.

因为那些文案作者不知道自己在做什么。他们认为自己知道。而且他们有一些销售业绩来证明这一点。但他们所做的是仅仅重复他们在别处看到的东西，并进行了一些改动。

Not improving it – changing it.

不去改进它——而是改变它。

They don't understand how to make something make sense.

他们不明白如何让某事有意义。

Heroes decide and act emotionally. But think logically. It will always be a surprise.

英雄们凭情感做决定并行动，但逻辑思考。这总会让人感到意外。

Logic isn't surprising, usually. Emotions aren't surprising. But the solution which is sensible can be very surprising.

逻辑通常不令人意外，情感也不令人意外。但一个明智的解决方案可能会非常令人意外。

This is your (the reader's) “Ah-ha!” moment.

这是你的“啊哈！”时刻。

And that is where the sale is made.

而这就是销售成交的地方。

Because that is where they decide to act.

因为这就是他们决定行动的地方。

When it makes perfect sense.

当它完全有道理时。

Versions of AIDA – the Song Sung Forever.

AIDA——永恒之歌的不同版本。

AIDA MEANS ATTRACT, Interest, Desire, Action.

AIDA 代表吸引、兴趣、欲望、行动。

There are as many versions of this as there are fish in the ocean.

关于这个，版本之多，如同海洋中的鱼一般。

They all sing the same song with different verses. But the hero always wins.

它们用不同的诗句唱着相同的歌曲。但英雄总是获胜。

When you take apart the conventional sales page, it's just the Hero's Journey again:

当你拆解传统的销售页面时，它其实又是英雄之旅：

Call to Adventure – Threshold – Transformation – Return

冒险召唤——阈限——转变——回归

- or -

- 或 -

Adventure Invitation (Headline)

冒险邀请（标题）

Threshold is passed (Subheading, emotional benefits, “USP”)

通过门槛（小标题，情感利益，“独特销售主张”）

Hero is transformed (logical reasons, features, objections answered)

英雄被转化（逻辑理由，功能，回答异议）

Hero Returns with a Gift (CTA)

英雄带着礼物回归（行动号召）

Bob Bly had it this way:

鲍勃·布莱就是这样说的：

The successful ad...

成功的广告...

Gains attention

吸引注意力

Focuses on the customer

关注客户

Stresses benefits

强调利益

Differentiates you from the competition

使您区别于竞争对手

Proves its case

证明其观点

Establishes credibility

建立信誉

Builds value

增加价值

Closes with a call to action

以号召行动结束

Victor Schwab wrote this over 70 years ago:

维克多·施瓦布七十多年前写了这句话：

1. Get Attention

1. 引起注意

2. Show People An Advantage

2. 向人们展示优势

3. Prove It

3. 证明它

4. Persuade People To Grasp This Advantage

4. 说服人们抓住这个优势

5. Ask For Action

5. 要求行动

These are all the same, really.

这些其实都一样。

Just telling a story people want to hear.

告诉人们想听的故事。

And the success of that sales story is how well the copywriter tells it.

那个销售故事的成功，取决于文案如何讲述。

You need to know why as well as how to write good copy.

你需要知道为什么以及如何写出好的文案。

That's what this book is here for.

这就是这本书存在的意义。

A good engineer bases his designs on proved principles, but listens to his intuition, too. The Wright Brothers combining their bicycle weight-lightening principles with aerodynamics they learned as children sledding – were able to get their machines off the ground with the inefficient motors of that day.

一个好的工程师以经过验证的原则为基础进行设计，但也会倾听自己的直觉。莱特兄弟将他们从童年滑冰中学到的空气动力学原理与自行车轻量化原则相结合，从而能够用当时效率低下的发动机让他们的机器腾空而起。

Copywriters won't just copy other's work, but will understand why these worked and then convert that success to their own product-push.

广告文案不会简单地复制他人的作品，而是会理解为什么这些作品成功，并将这种成功转化为他们自己的产品推广。

For me, once I was finally persuaded that I needed to learn this material to really make my sales take off, I then found myself surrounded by wannabe's – who were simply parroting people who had done the in-depth training in this subject.

对我来说，一旦我最终被说服需要学习这些材料以真正推动我的销售增长，我就发现自己被一些只想重复那些接受过深入培训的人所包围。

I learned early to follow those people who had tested what actually produced sales and then slightly varied the text to see if this could be tweaked.

我很早就学会了跟随那些测试过实际能产生销售的人，然后稍微改变文本，看看是否可以进行调整。

From this we got “Do You Make These Mistakes in English?” which ran for 40 years. And “They laughed when I sat down at the piano – but when I began to play...” which ran for 20 years. Also, this modern one: “At 60 miles an hour the loudest noise in this new Rolls-Royce comes from the electric clock."

从中我们得到了“你在英语中犯这些错误吗？”这本书，它持续了 40 年。还有“他们嘲笑我坐在钢琴前——但当我开始弹奏时…”这本书持续了 20 年。还有这个现代的例子：“在每小时 60 英里的速度下，这辆新的劳斯莱斯汽车最大的噪音来自电子钟。”

Proved headlines, copy, pitches. That's what you should be studying. Not just having huge “swipe files” you can copy and use. Because they won't do you any good until you actually know how they work.

证明标题、文案、推销。这才是你应该学习的。不要只是拥有巨大的“可复制文件”，你可以复制和使用。因为直到你真正知道它们是如何运作的，它们才对你有任何好处。

AIDA is a song which was known to the bazaar merchants in times before history. The successful ones anyway.

AIDA 是一首在史前时代就为市集商人所熟知的歌曲。当然，是那些成功的商人。

To learn to sing this song effectively, you need to study those who studied why.

要有效地学会唱这首歌，你需要研究那些研究过为什么的人。

Are You Really Real?

你真的真实吗？

THE WORST FAILURES and best successes I've seen were those where the story matched up - or didn't – with the writer-teller.

我所见过最糟糕的失败和最好的成功，都是故事与讲述者是否相符——或不相符的情况。

You can read these Internet Marketing pitches and wonder how they made all this money they claimed. Because they're selling junk – over and over and over.

你可以阅读这些互联网营销的推销文案，并想知道他们是如何赚到他们声称的所有钱。因为他们卖的是垃圾——一次又一次，一次又一次。

Sure, most of them don't really make it big.

当然，他们大多数人并没有真正取得成功。

But I was studying someone who had actually made himself a huge hit in his industry. Said to be an expert on copywriting. Yet he really didn't know what he was doing. Made millions. Almost accidentally.

但是我研究过一个人，他在自己的行业内取得了巨大的成功。据说是一位文案写作专家。然而他其实并不知道自己在做什么。赚了数百万。几乎是偶然的。

His real story was more interesting than the one he pitched.

他的真实故事比他推销的那个更有趣。

Because it was real.

因为它很真实。

Yes, there are flukes out there. People who get rich when there was no reason they did – or the rules were changed later so no one could really follow their model and make the same success.

是的，世界上存在一些意外。有些人莫名其妙地变得富有——或者后来规则改变了，所以没有人能真正效仿他们的模式并取得同样的成功。

So his name isn't one of the ones to study.

他的名字不是我们要研究的那一类。

He's the realest fake I've seen. And almost lost the millions he'd made. (He met an advisor to saved his money. But couldn't save his marriage.)

他是我所见过最真实的假货。而且几乎失去了他赚来的数百万。 （他遇到了一位顾问来存钱。但没能挽救他的婚姻。）

And when you tear apart his sales pitches to find out why they're successful – you'll see that they follow “the pattern”, but have gaping holes in them.

而当你拆解他的销售演讲，找出它们为什么成功——你会发现它们遵循“模式”，但存在巨大的漏洞。

They aren't stories you could follow. Because he told his own rag-to-riches story of bringing one book to a bunch of marketers where the whole industry didn't have a clue. And people followed him, bought his book, because it was definite and preached success.

它们不是你可以跟随的故事。因为他讲述了自己的白手起家的故事，将一本书带给了一群营销人员，整个行业对此一无所知。人们跟随他，购买他的书，因为它是明确的，宣扬成功。

He was determined to succeed. He persisted. After a dozen years, he became an “overnight” success. The idea he pitched was that he had become a millionaire in a little over 1 ½ years.

他决心要成功。他坚持不懈。十几年后，他成了所谓的“一夜成名”。他提出的想法是他一年半多一点的时间里就变成了百万富翁。

But he didn't. It took him a couple of decades of persistently learning from failures. He wasn't being honest. Unreal.

但他并没有。他花了几个十年的时间，坚持不懈地从失败中学习。他并不诚实。不真实。

When you tear apart his book, it's filled with partial truths – not those which would make anyone but him actually rich.

当你拆开他的书，你会发现里面充满了片面的真理——不是那些能让除了他之外任何人真正变富的真理。

Because he wasn't really interested in making others rich, just himself.

因为他并不是真的对让其他人变富感兴趣，只是对自己感兴趣。

When you see someone who is arrogant, and preaches arrogance as a success route, you know he's ready to fail and take you with him. Because arrogance won't make any long-term success.

当你看到有人傲慢，并宣扬傲慢是成功的道路时，你就知道他准备好失败，并带你一起失败。因为傲慢不会带来任何长期的成功。

Success is built on making everyone around you successful. Ray Kroc (McDonald's) and Sam Walton (Wal-Mart) made more people into millionaires than they could count. So did Napoleon Hill.

成功建立在使你周围的人成功的基础上。雷·克罗克（麦当劳）和山姆·沃尔顿（沃尔玛）使无数人成为百万富翁。拿破仑·希尔也是如此。

They aren't the only ones. You can just see their backstory easier.

他们不是唯一的人。你可以更容易地看到他们的背景故事。

Being the best of the best – and not letting anyone else shine as bright as you – is the sure route to failure.

成为最优秀的人——并且不让任何人像你一样闪耀——是通往失败的确定之路。

When you can take a person apart and see the brilliant facade built on fakery – that's when you know that everyone that person mentions is just another fake.

当你能够将一个人拆解开来，看到建立在伪装上的华丽外表时——那就是你知道这个人提到的每个人都是另一个假货的时候。

You'll also see that those referenced guys are also fakes.

你也会看到那些被提到的人也是假的。

Blind leading the blind. And you can't trust anything they say.

盲人引着盲人。你不能相信他们说的任何话。

What you'll see written here is from the people who honestly want to help you succeed.

你会看到这里写的是那些真诚地想要帮助你成功的人。

“Accidental Millionaires who lose it all” is not what we want to study. “Millionaires who make millionaires” is.

“意外暴富却失去一切”不是我们想要研究的。 “创造百万富翁的百万富翁”才是。

Real is being useful. Real is making sense.

真实在于有用。真实在于有意义。

Building a backstory from deceit won't make a solid foundation for any business.

从欺骗中建立背景故事不会为任何业务打下坚实的基础。

Really real is being transparent down to your core and giving away far more value than you actually sell in goods.

真正的真实在于透明到你的核心，并且提供远比实际销售的商品更多的价值。

The Golden Rule works all the time, all day (and night) long. How you treat others is how you'll be treated. Keep looking down on people from “on-high” based on a false route no one else can follow - and you'll eventually and rightfully be shown up as a fake.

黄金法则时时刻刻都起作用。你如何对待他人，就会如何被他人对待。始终高高在上地鄙视他人，基于一条只有你才能走的错误道路——最终你将理直气壮地被揭穿是个骗子。

Money made by selling drugs which ruin people's lives won't stay with you. Any criminal is ultimately brought to justice – by their own hands.

通过贩卖毁掉人们生活的毒品赚来的钱不会留在你身边。任何罪犯最终都会受到正义的审判——由他们自己的手。

Here's the secret that made this one person rich:

这里是让这个人变得富有起来的秘密：

In any area, you can sell more training than you can anything else.

在任何领域，你都可以比卖任何其他东西卖出更多的培训。

Because most people won't carry through on your lessons – and will be buying book after book, course after course, webinar after webinar.

因为大多数人不会坚持你的课程——他们会一本接一本地买书，一个接一个地买课程，一个接一个地参加网络研讨会。

That's where the real money is. That's what made this guy rich.

那才是真正的钱所在。那就是让这个人变得富有的人。

When you read this guy's book, you see him tell this right in the pages and his videos about it.

当你读这个人的书时，你看到他在书页和视频中直接讲述了这一点。

But he's not the only one. There are several fakes in the industry he came from.

但他不是唯一一个。他来自的行业中有好几个骗子。

The reason: that industry (multi-level-marketing) depends to a great deal on “fake it to make it.” To succeed in any MLM, you nearly have to join a cult. (There are some few network marketing organizations which are decent and don't depend on this.)

原因在于：这个行业（多层次营销）在很大程度上依赖于“伪装成成功”。要在任何 MLM 中取得成功，你几乎必须加入一个邪教。（有一些网络营销组织是不错的，并不依赖于此。）

Up to this point, it's meant a personal belief system which you “infect” others to believe in as much as you. And then get them to infect others the same way. Starting with friends and family.

到目前为止，这意味着一个个人信念体系，你“感染”其他人尽可能多地相信它。然后让他们以同样的方式感染其他人。从朋友和家人开始。

Nothing has the failure rate that MLM has as a single industry. Because the few who can really motivate masses to follow their lead are just one in a million.

没有一个单一行业的失败率像 MLM 那样高。因为那些真正能够激励大众跟随他们领导的人只是百万分之一。

Network Marketing is built on the backs of people who want to start a home business, but don't have a clue. (Not that it can't be done, but this industry is led by the blind.)

网络营销是建立在那些想要开始家庭生意但没有头绪的人的背上。（并不是说它不能成功，但这个行业是由盲人领导的。）

The Internet has both been the blessing and downfall of these schemes. Because MLM can now reach people easier than ever, they now have a faster turnover and higher failure rate than ever before.

互联网既给这些计划带来了祝福，也带来了毁灭。由于多层次营销现在可以比以往任何时候都更容易地接触到人们，它们现在比以往任何时候都有更快的周转率和更高的失败率。

It's taken this deep study of copywriting to separate out these facts from the fluff.

正是通过深入研究文案写作，我们才能从这些事实中分离出这些花言巧语。

There are a huge number of people out there who are wannabe's. They make their living putting on a show, because they know the bulk of the people out there won't spend the time they need to invest to really learn and apply this or any subject. Such marketers are the ones who popularize the “get rich quick concept,” even though they know it's false. They also tell you marketing is just a numbers racket – and build spam empires from short-cuts.

有大量的人是渴望成功的人。他们以此为生，因为他们知道大多数人不会花时间去真正学习和应用这个或任何主题。这样的营销者推广“快速致富”的概念，尽管他们知道这是假的。他们还告诉你营销只是一个数字游戏——并从捷径中建立垃圾邮件帝国。

Those who win in copywriting study the leaders who have done the testing and found what really works, every time.

在文案写作中获胜的人研究那些做过测试并每次都找到真正有效方法的市场领导者。

Those who are the effective trainers have built courses based on people who have done the testing to prove what works – hundreds, if not thousands of cases.

那些有效的培训师已经根据做过测试的人建立了课程，以证明什么有效——数百个，甚至数千个案例。

Follow the really real, the ones that make sense.

跟随真正真实的，那些有意义的。

Follow the ones who have tested and know.

跟随那些测试过并了解的人。

How to Use this Book to Get Everything You Could Possibly Want

如何使用这本书来得到你可能想要的一切

THERE IS A SIMPLE REASON this postscript is at the back of every book in this series:

每本书的后记都放在这里有一个简单的原因：

You need to study all these books to become the best marketer you can.

你需要学习这些书才能成为最好的营销人员。

Because, even mediocre and mis-trained copywriters writing for cheesy products can become millionaires with a few hackneyed, trite “formulas.”

因为，即使是平庸且未经训练的文案撰稿人为劣质产品写作，也可以通过一些陈词滥调的“公式”成为百万富翁。

The reason I undertook this study was that one example I used earlier – the marketer who was more fake than real. All he really did was to succumb to the easy money being made in Internet Marketing, when you have these “guru's” who have amassed huge lists selling essentially junk to people who would buy it on hope. Then they would cross-sell each other's products to their lists and the cycle would continue with any new product any of them came out with.

我进行这项研究的原因是，我之前使用的一个例子——那个比真实还假的营销人员。他真正做的只是屈服于互联网营销中的轻松赚钱，当你有这些“大师”的时候，他们已经积累了庞大的名单，向人们销售本质上是无用的产品，人们会基于希望购买它们。然后他们会相互向自己的名单推销产品，这个循环会继续，他们中的任何一个人推出任何新产品。

Problem was – they weren't actually helping anyone really improve their life.

问题在于——他们实际上并没有真正帮助任何人改善他们的生活。

Here's the proven breakdown of what happens with a training product “guaranteed to make you a millionaire from your own home business” -

这里是“保证让你在家创业成为百万富翁”的训练产品已被证实的分解情况——

•  Only 3% of the people who buy the product will actually finish the course.

• 只有 3%购买产品的人会真正完成课程。

•  3% of those will actually apply what they learned to break even.

• 这 3%中实际上只有一部分会将所学应用到收支平衡。

•  3% of those will become an outrageous success – usually due to having already been trained by several previous training courses they took, not just this one.

• 3%的人将成为惊人的成功——通常是因为他们之前已经参加过几次培训课程，而不仅仅是这个。

The result – 1 in 1,000 will make their money back. 1 in 10,000 will become an flaming success and wind up as an example on infomercials. (With 9,999 chances for refunds.)

结果——1 千分之 1 的人会收回成本。1 万分之一的人将成为一个火爆的成功，并最终成为电视购物节目中的典范。（有 9999 次退款的机会。）

But you are different.

但是你不同。

In just this short postscript, I've told you everything you need to know in order to make very successful copywriting. The motivations and explanations for why humankind think and act as they do isn't found in any other book. (Well, just the one I wrote on “Get Your Self Scam Free.”)

在这简短的附言中，我已经告诉你了一切你需要知道的，以便做出非常成功的文案写作。人类思考和行动的动机和解释在没有任何其他书中找到。（嗯，只有我写的“如何避免自己被骗”那本书。）

Because I wrote that book after I'd gotten scammed and wanted to find out why so it never happened again.

因为我在写那本书之后才遇到了诈骗，想要找出原因，以防止再次发生。

Scammers use the same techniques as honest marketers. It's just how they go about it.

诈骗者使用的技巧和诚实营销者一样。只是他们处理的方式不同。

An old adage about advertising says that great advertising with a poor product will run that company out of business. Mediocre advertising with a great product will make incredible amounts of money.

关于广告的一个古老的谚语说，好的广告但产品差会把这个公司拖垮。平庸的广告但产品好会赚得盆满钵满。

You can have everything you ever wanted if you

如果你

•  Have a great product,

• 拥有一个好的产品，

•  Market it honestly,

• 诚实地进行营销，

•  Write your copy brilliantly.

• 出色地撰写文案。

The copywriter's job is to get that product repaired if it's flawed.

文案撰稿人的工作就是如果产品有缺陷，要将其修复。

Otherwise, you are going to have to find another client – that company isn't going to be around for very long once people find out that the product sucks.

否则，你将不得不找另一个客户——一旦人们发现这个产品很糟糕，这家公司很快就会消失。

Know what you want out of your own journey-story before you start down that path with any old company willing to hire you.

在你加入任何愿意雇佣你的公司之前，先了解你想要从自己的故事旅程中得到什么。

Get an honest company with a great product and then promote it to the heavens – then watch whatever you really want in life show up.

找到一个诚实且产品优秀的公司，然后将其推广到天际——然后，你真正想要的生活就会出现。

Too simple. It's the reason that “Honesty is the Best Policy” is still retold today.

太简单了。这就是为什么“诚实是最好的政策”至今仍被传颂的原因。

You have a right to everything you earn.

你有权利获得你挣到的所有东西。

Do good – and earn everything you could want.

做好事——就能得到你想要的一切。

A Final Word from Eugene Schwartz

尤金·施瓦茨的最终话

EVERY NEW MARKET – every new product – every new advertisement is a fresh new problem that never existed before on the face of this earth.

每个新市场——每个新产品——每个新广告都是地球上前所未有的全新问题。

Past advertising successes – no matter how brilliant – can provide no answers for this new problem. They can only furnish jump-off points, yardstick questions, approximate solutions to lead you into the right direction.

过去的广告成功——无论多么出色——都无法为这个新问题提供答案。它们只能作为起点、衡量标准问题、近似解决方案，引导你走向正确的方向。

The correct solution, the right headline, the perfect ad lies buried in the problem itself. It has never been written before. It cannot be produced by rote, carbon-copying or mutations.

正确的解决方案、合适的标题、完美的广告都隐藏在问题本身之中。它以前从未被写过。它不能通过死记硬背、复制粘贴或变异来产生。

But it can be sprung to the surface – automatically – by asking the right questions.

但它可以被自动地浮出水面——通过提出正确的问题。

Here, I believe, are at least some of these questions ... some of these guide-posts. They are presented in the first section of this book. They are asked – and answered – before you set down at your typewriter; and they comprise the first part of your ad – its headline – the few simple words that startle your prospect into attention.

在这里，我相信，至少是一些这些问题……一些这些路标。它们在本书的第一部分提出。在您开始打字之前，它们被提出——并回答——它们构成了广告的第一部分——它的标题——几个简单的字词，让您的潜在客户注意到。

The remainder of that ad – the body copy – the techniques that lead your prospect from agreement to desire to identification to the conviction that he must own your product – are presented in the second section.

广告的其余部分——主体文案——引导您的潜在客户从同意到欲望到认同到确信他必须拥有您的产品的技巧——在第二部分介绍。

One cannot do its work without the other. Both are vital. Harnessed together, they can earn you a vice-presidency if you are security-minded, or a million dollars if you like to take a chance.

没有另一个就无法完成其工作。两者都是至关重要的。结合起来，如果您注重安全，它们可以为您赢得一个副总裁职位；如果您喜欢冒险，它们可以为您赢得一百万美元。

Bibliography

参考书目

FIRST, GET YOUR OWN hardback copy of Eugene M. Schwartz' “Breakthrough Advertising” here: https://www.breakthroughadvertisingbook.com/

首先，请在这里获取尤金·M·施瓦茨的《突破性广告》的精装版：https://www.breakthroughadvertisingbook.com/

- - - -

THE BELOW AUTHORS ROUTINELY got results and wrote books about them. And people who studied them got results. Still do.

以下作者经常取得成果并撰写了相关书籍。研究他们的人也取得了成果。至今仍然如此。

Some are fairly unknown today, not their fault. However, if you boil down all the books here, you'd see how the ones which are now almost unknown could be revived...

其中一些人如今相当无名，这不是他们的错。然而，如果你把这里所有的书都概括一下，你会看到那些现在几乎无名的书如何能够被复兴……

•  Scientific Advertising and My Life in Advertising– Claude Hopkins was the first to test the effectiveness of his ads by actual sales. He was the first to use coupons to do “split-testing” on two or more different versions of copy.

• 《科学广告》和《我的广告生涯》——克劳德·霍普金斯是第一个通过实际销售来测试广告效果的人。他是第一个使用优惠券对两个或多个不同版本的文案进行“分裂测试”的人。

•  The Untold Story Behind Advertising – Albert D. Lasker ran the most successful advertising office on the planet for over 40 years. He hired Claude Hopkins and paid him more than anyone in history for his copywriting skills. This book tells how Advertising came of age and the changes it went through.

• 广告背后的不为人知的故事——阿尔伯特·D·拉斯克在 40 多年的时间里运营着世界上最成功的广告公司。他雇佣了克劳德·霍普金斯，并为他支付了历史上最高的文案写作费用。这本书讲述了广告是如何成熟起来的以及它所经历的变化。

•  Tested Sentences That Sell – Elmer Wheeler was a testing pioneer – having tested 105,000 selling statements for 5,000 products. He invented the phrase, “Sell the Sizzle, not the Steak” and summed up his philosophy as “Don’t think so much about what you want to say as about what the prospect wants to hear– then the response you will get will more often be the one you are aiming for.”

• 经测试的能卖东西的句子——埃尔默·惠勒是一位测试先驱——他为 5000 种产品测试了 105000 个销售声明。他发明了“卖香肠，不要卖牛排”这句话，并将他的哲学总结为“不要想得太多你想要说什么，而要想想潜在客户想要听什么——那么你将得到你想要的结果。”

•  How to Write a Good Advertisement – Victor Schwab was known for his testing with coded coupons. This book gives examples of 100 all-time winning headlines and tells why they work.

• 如何写一则好广告——维克多·施瓦布以其使用编码优惠券的测试而闻名。这本书给出了 100 个永恒的获胜标题的例子，并解释了它们为什么有效。

•  Robert Collier Copywriting Course – Robert Collier was known as a highly successful copywriter long before his success in Self-Help books. He still ranks to day as one of the premier copywriters. This excerpts the key chapters from his famous “Letter Book.”

• 罗伯特·科利尔文案课程——罗伯特·科利尔在成功撰写自助书籍之前，就已经是一位非常成功的文案撰稿人。他至今仍被视为顶尖文案撰稿人之一。这里节选了他著名《信函集》中的关键章节。

•  Reason Why Advertising and Intensive Advertising – John E. Kennedy revolutionized marketing when he first defined advertising as Salesmanship in Print.

• 理由为何广告和密集广告——约翰·E·肯尼迪在首次将广告定义为“印刷中的推销”时，革新了市场营销。

•  Reality in Advertising by Rosser Reeves – explains his U.S.P. concept.

• 罗斯·里斯《广告中的现实》——解释了他的 USP（独特销售主张）概念。

These books are available at: https://livesensical.com/go/marketing-masters/

这些书籍可以在以下网址购买：https://livesensical.com/go/marketing-masters/

Also recommended by Eugene Schwartz:

也推荐由尤金·施瓦茨推荐：

•  “The 100 Greatest Advertisements” by Julian Watkins,

•  “100 个最佳广告” by 朱利安·沃特金斯，

•  “Confessions of an Advertising Man” by David Ogilvy

•  “一个广告人的自白” by 大卫·奥格威

•  “Writing Non-Fiction” by Walter S. Campbell

•  “非虚构写作” by 沃尔特·S·坎贝尔

Also recommended by Gary Halbert:

也推荐由加里·哈伯特推荐：

•  “Tested Advertising Methods” by John Caples

•  “测试广告方法”由约翰·卡普莱斯编写

•  “7-Steps to Freedom” by Ben Suarez

•  “自由七步法”由本·苏雷斯编写

•  “The Lazy Man's Way to Riches” by Joe Karbo

•  “懒人的致富之路”由乔·卡博编写

Once you have all the above down, you can then compare what has worked for centuries to how modern marketers have modernized them.

一旦你掌握了以上所有内容，你就可以将经过数百年验证的有效方法与现代营销者的创新方式进行比较。

Do review the “How to Study This Book” section at the beginning of this book to get the most out of studying these classics. Just 3 steps...

请回顾本书开头的“如何学习本书”部分，以充分利用这些经典的学习价值。只需三个步骤……

YOUR WORLD IS FILLED WITH STRANGE SECRETS

你的世界充满了奇妙的秘密

...that are hidden in plain sight.

...那些秘密就隐藏在明处。

- - - -

THEY ARE STRANGE BECAUSE they are commonly known in our literature and history. 

它们之所以奇妙，是因为它们在我们的文学和历史中广为人知。

Solutions to poverty, lack, disappointment.

贫困、匮乏、失望的解决方案。

And people who discover them think they are the first to figure them out. 

人们发现它们时，总以为自己是第一个发现它们的人。

There are tons of books out there that essentially say the same thing. And have existed through all our long written history and literature.

书店里有很多书，本质上都在说同样的事情。它们在我们的漫长书写历史和文学中一直存在。

This is what Earl Nightingale found when he wrote and recorded his 78RPM LP record in 1957. And it was such a breakthrough that it became the first Gold record of its kind - all without any advertising. 

这就是厄尔·尼丁格尔在 1957 年录制他的 78 转速 LP 唱片时发现的。它如此突破性，以至于成为了同类中的第一张金唱片——而且没有任何广告宣传。

Because he struck a common chord that explains all success.

因为它触动了所有成功的共同音符。

It's time for you to get everything you want out of life.

是时候让你得到你想要的生活了。

Let me give you a small book that tells you exactly how this works.

让我给你一本小书，告诉你这一切是如何运作的。

To help you, I've taken Nightingale's original recording and made its transcript available for you, along with short versions of the books he recommends on that recording. Plus some other related essays and articles. All slim enough to fit on your smartphone for ready review - anywhere, any time.

为了帮助你，我使用了夜莺的原始录音，并提供了其文本，以及他在录音中推荐的那几本书的简短版本。还有一些其他相关的文章和论文。所有内容都足够精简，可以放在你的智能手机上随时查阅——无论何时何地。

All at no-charge, no cost. 

所有这一切都不收取任何费用。

It doesn't cost you even a penny to kickstart your success.

启动你的成功甚至不需要花一分钱。

To get what you want. Everything you want. 

为了得到你想要的。你想要的一切。

Limited Time Offer

限时优惠

You can download your own copy of this book – as long as still  available.

你可以下载这本书的自己的副本——只要仍然可用。

Visit: https://calm.li/SSC-NF

RELATED BOOKS YOU MAY LIKE

你可能喜欢的相关书籍

All our Latest Releases

我们最新的发布

BOTH FICTION AND NON-fiction – each with links to major online book outlets as well as author discounts.

小说和非小说——每个都有链接到主要的在线书店以及作者折扣。

Speculative Fiction Modern Parables

科幻小说 现代寓言

OUR SHORT STORIES AND anthologies – all in order of most recent release.

我们的短篇故事和文选——按最新发布顺序排列。

Classic Fiction

经典小说

OUR EVER-EXPANDING collection of fiction stories that are hard to find, yet their stories never grow old. Perfect entertainment when the too-modern world becomes stale...

我们不断扩大的小说收藏，虽然难以找到，但它们的故事永远不会过时。当过于现代的世界变得乏味时，这是完美的娱乐方式...

The Strangest Secret Library

最奇特的秘密图书馆

ALL THE FULL REFERENCES mentioned in Earl Nightingale's Strangest Secret Library available for instant download – through your online book outlet of choice or with our publisher's discount.

Earl Nightingale《最奇妙的秘密》图书馆中提到的所有完整参考资料均可即时下载——通过您选择的在线书店或使用出版社折扣。

Books on Writing & Publishing

写作与出版书籍

OUR COLLECTION OF MODERN and classic references on how to improve your writing in our modern self-publishing age.

我们现代和经典的参考资料系列，教你如何在现代自出版时代提高写作技巧。

Books on Success and Goal Achievement

成功与目标达成书籍

OUR COLLECTION OF MODERN and classic references on how you can become a personal success and achieve your own goals – to get everything you want out of life.

我们关于如何成为个人成功并实现你自己的目标——获得你想要的生活的一切的现代和经典参考书籍系列。

DID YOU LIKE THIS BOOK?

你喜欢这本书吗？

HOW ABOUT LEAVING A review with the vendor?

要不要给卖家留个评论？

Otherwise (or in addition) you can leave your recommendations on:

否则（或此外），你也可以在以下地方留下你的推荐：

•  Bookbub

The whole point is to enable others to find books that you liked reading.

整个目的就是让其他人能够找到你喜欢的书籍。

Which then helps you find more great books to read.

然后这有助于你找到更多好书来读。

And...

继续...

Feel free to share this book!

欢迎分享这本书！

Related Books of Interest

感兴趣的相关书籍

BY EARL NIGHTINGALE:

艾尔·尼格莱姆：

How to Completely Change Your Life in 30 Seconds

如何在 30 秒内彻底改变你的生活

Why Ninety-Five Fail, Only Five Succeed

为什么 95%的人失败，只有 5%的人成功

How to Prevent Stress From Ruining Your Life

如何防止压力毁掉你的生活

How to Mine Your Own Acres of Diamonds

如何开采你自己的钻石矿

How Creative People Win

创意人士如何获胜

2 Amazing Ways to Solve Your Problems

解决你问题的两种神奇方法

7 Strange Secrets to Winning Big

赢大钱的 7 个奇怪秘诀

The $25,000 Idea

2.5 万美元的点子

Earl Nightingale's Strangest Secret Library

埃尔·尼丁格尔最奇怪的秘诀图书馆

-

BY NAPOLEON HILL:

由拿破仑·希尔：

The Updated and Complete Think and Grow Rich

新版和完整的《思考致富》

The Master Key to Riches

《致富的钥匙》

The Magic Ladder to Success

《成功的魔法阶梯》

10 Easy Lessons in Cosmic Habitforce

《宇宙习惯力的 10 个简单课程》

The Law of Success

成功法则

-

BY J. B. JONES:

由 J. B. 琼斯著：

If You Can Count to Four...

如果你数到四...

How to Get Everything You Want Out of Life

如何获得你想要的一切人生

-

BY CLAUDE M. BRISTOL:

由 克劳德·M·布里斯托尔撰写：

Magic of Believing – the Science of Goal Achievement

相信的魔力——实现目标的科学

The Magic of Believing Collection

相信的魔力系列

-

BY DOROTHEA BRANDE:

由 多萝西娅·布兰德撰写：

Wake Up and Live!

醒来并生活！

-

BY WALLACE D. WATTLES:

由 威拉德·D·沃特尔斯：

Science of Getting Rich

财富的科学

-

BY DR. ROBERT C. WORSTELL:

由 罗伯特·C·沃斯特尔博士：

Freedom Is - period

自由是 - 顿号

Winning Your Infinite Freedom

赢得你的无限自由

Make Yourself Great Again!

再次让自己变得伟大！

The Art of Wonk

胜任的艺术

-

OR VISIT OUR ONLINE bookstore at:

或访问我们的在线书店：

https://calm.li/LivingSensical

––––––––

Did You Like This Book?

你喜欢这本书吗？

HOW ABOUT LEAVING A review with the vendor?

要不要给卖家留个评论？

Otherwise (or in addition) you can leave your recommendations on:

否则（或此外），你也可以在以下地方留下你的推荐：

•  Bookbub

The whole point is to enable others to find books that you liked reading.

整个目的就是让其他人能够找到你喜欢的书籍。

Which then helps you find more great books to read.

然后这有助于你找到更多好书来读。

And...

继续...

Feel free to share this book!

欢迎分享这本书！

BUSINESS GUIDE LIBRARY

商业指南图书馆

Get No-Charge Access to

免费获取

Our Library of Marketing and Business References and Reports

我们的营销和商业参考资料及报告库

Instant Access – Join Here

立即访问 – 点击加入

Click or type into your browser:

点击或键入您的浏览器：

http://livesensical.com/go/byob/

Don't miss out!

不要错过！

Click the button below

and you can sign up to receive emails whenever Dr. Robert C. Worstell publishes a new book. There's no charge and no obligation.

点击下面的按钮，您可以注册接收电子邮件，每当罗伯特·C·沃斯特博士出版新书时。不收费，也不强制。

https://books2read.com/r/B-A-GDXD-ZRRW

Connecting independent readers to independent writers.

连接独立的读者与独立的作家。

Did you love Breakthrough Copywriter 2.0: An Advertising Field Guide to Eugene M. Schwartz' Classic? Then you should read Make Yourself Great Again - Complete Collection by Dr. Robert C. Worstell!

你喜欢《突破文案 2.0：尤金·M·施瓦茨的经典广告领域指南》吗？那么你应该读读罗伯特·C·沃斯特博士的《再次让自己变得伟大——完整合集》！

You're Already Wired for Exceptional Success

你已经为卓越成功做好了准备

BUT: Those same programs also have given you your greatest failures.

但是：那些相同的程序也给你带来了最大的失败。

If you've ever had a complete melt-down, a real failure of your mindset, where the world has seemingly gone to hell and stayed there, you're not alone.

如果你曾经有过彻底的崩溃，一种真正的思维失败，感觉世界似乎已经崩溃并且停留在了那里，你并不孤单。

it's just sad to tell you that it's your own damned fault.

很遗憾地告诉你，这完全是你的错。

What makes it worse is to find out that all you need to succeed was already programmed into you – and has been since you were born.

更糟糕的是，你发现你成功所需的一切早已被编程进你体内——而且从你出生起就一直如此。

Then how did you get into that mess?

那你是怎么陷入那困境的？

By believing what people told you- as you were raised,- and in every school you went to,- all your on the job training,- every movie you ever saw,- or song you ever heard.

是因为你相信了别人告诉你的话——就像你被抚养长大一样，以及你去的每一所学校，所有的在职培训，你看到的每一部电影，或你听到的每一首歌。

All those lessons and examples just helped you believe in something other than your own ability to become great.

所有那些课程和例子都帮助你相信了除了你自己的能力之外，你能够变得很伟大。

Most of what we are told these days are that the environment makes the individual. However, this has only really been taught since just after World War II. Long, long before that, there were many schools of thought which held that the individual creates their own success in this world, or lack of it.

如今我们被告知的许多事情都是环境造就了个人。然而，这实际上只是在第二次世界大战后才开始被教授。在那之前很久，就有许多思想流派认为个人是自己在这个世界上的成功或失败的决定者。

And that is a far longer tradition, across our 10,000 years of culture, back through our verbal traditions and storytellers.

那是一个更长的传统，跨越了我们一万年的文化，回溯到我们的口头传统和故事讲述者。

Some of our oldest traditions, such as the Tibetan Book of the Dead, say that as children we have complete access to all the world's knowledge – up to the point we learn to talk. And other traditions say that we can each still tap into unlimited knowledge. Some studies begun in the 1950's and verified through testing, have shown this to still be true.

我们的一些最古老的传统，比如《西藏死书》，说我们在儿童时期可以完全接触到世界上所有的知识——直到我们学会说话的时候。其他传统则说我们仍然可以接触到无限的知识。一些始于 20 世纪 50 年代并通过测试验证的研究表明，这仍然是真的。

Unfortunately, this isn't what Conventional Wisdom says. Most Science disagrees. And it isn't what any government or school wants you to believe. All the best authorities...

遗憾的是，这并非传统智慧所说的。大多数科学都不同意。而且这也不是任何政府或学校希望你相信的。所有最好的权威...

However, one of the oldest phrases, published in books in various formats throughout all of our recorded works, says the same thing in various ways:

然而，最古老的短语之一，在各种形式的书籍中出版，以各种方式表达了同样的意思：

We Become What We Think About.

我们成为我们所思考的。

What you think and how you think is up to you. How you think consistently, the mental habits you've developed, are those you chose for yourself.

你想什么以及你如何思考都取决于你自己。你如何持续思考，你已养成的心智习惯，是你为自己选择的。

If you build those mental habits stacked on top of unproved, untested data, then you risk your sanity because you listened to all these sources and chose to think that way.

如果你建立在未经证实、未经测试的数据之上的那些思维习惯，那么你就有风险，因为你就听了所有这些来源，选择那样去思考。

The economic crash of 2008 affected a lot of people adversely. But a lot more people survived.

2008 年的经济危机对很多人产生了不利影响。但更多的人幸存了下来。

The U.S. election of 2016 affected a lot of people adversely. But a lot more people survived.

2016 年的美国大选对很多人产生了不利影响。但更多的人幸存了下来。

There will always be more adverse situations ahead. Because that's the cyclical history of this mudball we live on.

在我们居住的这个泥球上，总会发生更多的不利情况。因为这就是这个球体的循环历史。

But you don't have to repeat these failures, these crashes.

但是你不必重复这些失败，这些崩溃。

And now, this story is complete.

现在这个故事已经完整了。

This complete series of 4 books now answers all the questions and takes you right back to the beginning to learn even more. Because this subject is as deep as you want to take it. You are referenced to current newsmakers as examples as well as principles back before our 10,000 years of history started.

这套完整的 4 本书现在回答了所有问题，并带你回到起点学习更多。因为这个主题可以深到你想去的地方。你还将参考当前的新兴人物以及我们一万年前历史开始前的原则。

This is a landmark volume you'll want as a reference, along with its sister handbook, The Strangest Secret Library. And your life is guaranteed to never be the same...

这是一套标志性的参考书，以及它的姐妹手册《最神秘的秘密图书馆》。你的生活将永远不再相同...

Get Your Copy Now.

立即获取您的文案。

Read more at Dr. Robert C. Worstell’s site.

在罗伯特·C·沃斯特博士的网站上阅读更多。

Also by Dr. Robert C. Worstell

也由罗伯特·C·沃斯特博士撰写

Becoming A Writer

成为一名作家

Dorothea Brande's Becoming A Writer Collection

多萝西娅·布兰德《成为一名作家》系列

PLOTTO Genie: The Endless Story

PLOTTO 精灵：无尽的故事

Change Your Life

改变你的生活

How to Completely Change Your Life in 30 Seconds, Second Edition

如何在 30 秒内彻底改变你的生活 第二版

If You Can Count to Four: How To Get Everything You Want Out Of Life - Second Edition

如果你数到四：如何得到你想要的生活 - 第二版

How to Get Everything You Want Out of Life - Second Edition

如何得到你想要的生活 - 第二版

Change Your Life Toolset

改变你生活的工具集

Get Your Self Scam Free

让你自己免受诈骗

Make Yourself Great Again Library

让自己再次变得伟大图书馆

Why You Got All That Stuff

你为什么会有所有这些东西

The Art of Wonk, Compleat

胜任之艺，全备

Masters of Copywriting

写作大师

Breakthrough Copywriter 2.0: An Advertising Field Guide to Eugene M. Schwartz' Classic

突破型文案 2.0：尤金·M·施瓦茨的经典广告领域指南

Claude C. Hopkins' Scientific Advertising With My Life in Advertising

克劳德·C·霍普金斯科学广告与我的广告生涯

The Robert Collier Copywriting Course: Second Edition

罗伯特·科利尔文案课程：第二版

How to Write a Good Ad: A Short Course in Copywriting - Second Edition

如何写一则好广告：文案短期课程 - 第二版

Tested Sentences That Sell - Second Edition

经测试的销售句子 - 第二版

Rosser Reeves' Reality In Advertising - Second Edition

罗斯·里斯的广告现实 - 第二版

Mindset Stacking Guides

心态叠加指南

Make Yourself Great Again Part 1

再次成为伟大的人 第一部分

Make Yourself Great Again Part 2

再次成为伟大的人 第二部分

Make Yourself Great Again Part 3

再次成为伟大的人 第三部分

Make Yourself Great Again Part 4

再次让自己变得伟大部分 4

Choose. Believe. Win.

选择。相信。胜利。

Make Yourself Great Again - Complete Collection

再次让自己变得伟大 - 完整合集

Go Thunk Yourself, Again!

再一次用 Go Thunk 自己！

The Strangest Secret Collection 2.0

最奇妙的秘密收藏 2.0

Think Less and Grow Richer

少想多赚

Freedom Is (Period.) 2.0

自由就是（句号。） 2.0

Uncovering Truth

揭露真相

PMA Science of Success

PMA 成功科学

Napoleon Hill's PMA: Science of Success Course - An Introduction

拿破仑·希尔 PMA 成功科学课程 - 简介

Really Simple Writing & Publishing

真正简单的写作与出版

How To Write And Publish For Free

如何免费写作与出版

Backwards Book Publishing: Save Time, Earn More, Work Less

逆向出版：节省时间，赚取更多，减少工作

Writing-Publishing Survival Guide

写作-出版生存指南

Author Freedom Guidebook

作家自由指南

How to Stop Feeding the Beast

如何停止喂养怪兽

How I Survived My First Year of Fiction Writing

我如何度过了我的第一年小说写作

Learning from the Pulp Masters: 2nd Edition

向 pulp 大师学习：第二版

How to Become an Instant Author in 30 Seconds

如何在 30 秒内成为即时作家

Carolyn Wells' Mystery Story Technique for Writers, Second Edition

卡罗琳·韦尔斯的悬疑故事技巧，第二版

Becoming a Wealthy Writer

成为一名富有的作家

Marketers & Writers - Scammers & Dupes

市场营销人员与作家 - 骗子与受骗者

How to Write Less and Profit More - Version 2.0

如何写得更少，利润更多 - 版本 2.0

Writing Serial Fiction In the Real World 2.0

在现实世界中创作系列小说 2.0

Regenerative Agriculture

再生农业

Grass Productivity: Rational Grazing, Second Edition

牧草生产力：理性放牧，第二版

Thrive Learning Life Improvement

蓬勃学习，生活改善

Avoiding Online Dating Pitfalls

避免在线约会陷阱

Standalone

独立

Farm Less, Profit More: Lessons in Regenerative Grazing

少耕多利：再生放牧的教训

Watch for more at Dr. Robert C. Worstell’s site.

请关注罗伯特·C·沃斯特博士的网站。

About the Publisher

关于出版商

"Finding you books that continue to change your life."

"为您找到那些继续改变您生活的书籍。"

A veteran publishing imprint and a practical philosophy for life, Midwest Journal Press has been active publishing new and established authors since 2006.

中西期刊出版社是一家经验丰富的出版品牌，以及一种实用的生活哲学，自 2006 年以来一直积极出版新晋和知名作家。

We take advantage of the new Print on Demand and ebook technologies to enable wider discovery for authors.

我们利用新的按需印刷和电子书技术，帮助作家实现更广泛的发现。

We publish in most of the major genres of fiction and non-fiction.

我们出版大多数主要的虚构和非虚构类别。

Our current emphasis is in speculative fiction modern parables.

我们目前的重点是科幻小说现代寓言。

Find out about our new releases, publisher discounts, and special offers...

了解我们的新发布、出版社折扣和特别优惠...

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立即注册：

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