Eugene M. Schwartz

尤金·M·施瓦茨

Foreword

前言

Welcome to the most sought after direct marketing masterpiece. This book was recently selling for over $900 dollars used—so I decided to re-issue it. It is a real privilege to bring Gene Schwartz’s advertising wisdom back into print. We built a wonderful business based on his wisdom.

欢迎来到最受欢迎的直销营销杰作。这本书最近的二手售价超过 900 美元——所以我决定重新发行它。能够将基因·施瓦茨的广告智慧重新印刷是我的一种真正特权。我们基于他的智慧建立了一个美好的事业。

He was a special delight and a treat to know—Gene was 6’2” and reminded me of Gary Cooper in The Fountainhead. But Gene had much more charm and wit and a fabulous, unforgettable smile.

他是一个特别令人愉快和令人享受的人——基因身高 6 英尺 2 英寸，让我想起了《源泉》中的加里·库珀。但基因更具魅力和智慧，还有一个令人难忘的美妙微笑。

Exciting sight—watching the multi-talented genius’s fingers flying over the keyboard creating another brilliant ad. And then he’d sit back with that great smile, read it over and enjoy it more and more.

令人兴奋的场景——看着这位多才多艺的天才的手指在键盘上飞舞，创作出另一则精彩的广告。然后他会微笑着坐回去，仔细阅读，愈发享受。

Gene wrote advertising copy for the best direct marketers in America. And then he published a book in 1964 titled How to Double Your Child’s Grades in School, following up with How to Double Your Power to Learn and then Breakthrough Advertising in 1966.

基因为美国最优秀的直销商撰写广告文案。然后他在 1964 年出版了一本书，名为《如何让你的孩子在学校的成绩翻倍》，接着又出版了《如何让你的学习能力翻倍》，然后在 1966 年出版了《突破性广告》。

He was very clever—he exchanged his copywriting for access to mailing list names and promoted his own books to them! But then Gene had a stroke in 1978 and he had trouble typing … for it affected his right side. But he worked and worked until he became quite proficient typing with just his left hand.

他非常聪明——他用自己的文案交换了邮件列表的名字，并向他们推广自己的书籍！但在 1978 年，基因中风了，他打字有困难……因为这影响了他的右侧。但他不断努力，直到他用左手打字变得相当熟练。

My big idea—Retain Gene as a business consultant instead of a copywriter to guarantee him a regular income. He became very important to us in that new role. He helped very much in the creation of the Bottom Line/Personal concept and of our editorial style. Awesome.

我的大想法是——将 Gene 保留为商业顾问，而不是文案撰稿人，以确保他有稳定的收入。他在这个新角色中对我们变得非常重要。他在 Bottom Line/Personal 概念的创建和我们的编辑风格方面帮助了很多。太棒了。

Then there was Gene III, the scientist, always reading the leading-edge science books and belonging to a very sophisticated group that met weekly to discuss the implications of those scientific advances on society.

然后是基因三，科学家，总是阅读前沿科学书籍，并属于一个每周聚会讨论这些科学进展对社会影响的非常复杂的团体。

Finally, there was Gene IV—an amazing talent as an art collector, together with his wife Barbara, a famous interior designer. They built a fabulous art collection betting on Hans Hoffman Morris Lewis, Frank Stella, Donald Judd and Milton Avery well before anyone else had heard of them. Their first acquisition was by the color-pioneer Hans Hoffman. It took me years to appreciate Hoffman’s work. Barbara also helped me build an incredible collection of photographs that are now at the Art Institute of Chicago. On my first gallery tour with them—I discovered a crumpled photo by the Starn twins that had two words on it—Confusion/Order. That is what I’m devoted to—bringing order from confusion. So Barbara and I built a very exciting Lessons in Life collection. I was her first art advisory client. And it is with her generous permission that we bring Gene’s classic book back into the world.

最后，有了 Gene IV——一位令人惊叹的艺术收藏家，与他的妻子 Barbara，一位著名的室内设计师。他们建立了一个令人惊叹的艺术收藏，早在其他人听说 Hans Hoffman、Morris Lewis、Frank Stella、Donald Judd 和 Milton Avery 之前就已经下注于他们。他们的第一件收藏品是色彩先锋 Hans Hoffman 的作品。我花了好几年才欣赏 Hoffman 的作品。Barbara 还帮助我建立了一个令人难以置信的摄影作品收藏，现在这些作品在芝加哥艺术学院展出。在我第一次与他们的画廊之旅中，我发现了一张 Starn 双胞胎拍摄的皱巴巴的照片，上面写着两个词——Confusion/Order。这就是我所致力的——从混乱中带来秩序。因此，Barbara 和我建立了一个非常激动人心的《生活中的课程》收藏。我是她的第一个艺术顾问客户。正是在她的慷慨许可下，我们将 Gene 的经典书籍重新带回到这个世界。

Martin Edelston

马丁·埃德尔斯顿

Founder and President. Boardroom Inc.

创始人兼总裁。Boardroom Inc.

Publisher of Bottom Line/Personal

Bottom Line/Personal 的出版商

January 2004

2004 年 1 月

Preface to the Boardroom Edition

董事会版前言

This book was first published in 1966—what seems to be three lifetimes ago. It was put out by Prentice-Hall, a marvelous house: it sold only a few thousand copies. But since it was published I have had people coming to me regularly to tell me that they directly credit reading this book with their making millions of dollars.

这本书首次出版于 1966 年——看起来像是三辈子之前。它由 Prentice-Hall 出版，这是一个了不起的出版社：它只卖出了几千本。但自从出版以来，我经常有人来告诉我，他们直接将阅读这本书归功于他们赚取数百万美元。

This is amazing enough, but even more remarkable is the fact that—when I look back on it—not a single one of these people was a copywriter. Here is a book that is called Breakthrough Advertising … and yet was used by men who were not in the business of advertising at all, to make more money than most of us ever dream of accumulating.

这已经足够惊人，但更值得注意的是——当我回顾这一点时——这些人中没有一个是文案撰稿人。这是一本名为《Breakthrough Advertising》的书……然而，它却被那些根本不从事广告行业的人使用，赚取了比我们大多数人梦寐以求的更多的钱。

How did this happen? Why was a publisher, a financier, a manufacturer of novelties, able to make so very much money with a book that is about putting sentences together? (The financier told me that, within one year after obtaining the book, he had raised his net worth from $100,000 to $10 million). Are the sentences contained in the pages that follow actually that powerful? Can they change the fortunes of men so radically? Are they far more universally adaptable than I had first thought… so they are no longer about advertising products, but literally about opening whole new markets for them?

这怎么会发生？为什么一个出版商、一个金融家、一个新奇产品的制造商，能够通过一本关于如何组合句子的书赚到如此巨额的财富？（金融家告诉我，在获得这本书的一年内，他的净资产从 100,000 美元提高到了 1,000 万美元）。接下来页面中的句子真的那么强大吗？它们能如此彻底地改变人们的命运吗？它们是否比我最初想的更具普遍适应性……所以它们不再仅仅是关于广告产品，而是字面上为它们打开全新的市场？

Therefore, eighteen years later, when Boardroom Books asked me to republish this text. I had to study it again, with the fresh eyes of a person who had not read it in all that time, to see what was the real content of my book, and its real effect on its readers. I did. I discovered the secret. And I am using this introduction now to admit my red-faced shame. What I had thought I had written those many years ago was a book on advertising; what I actually put down on these pages was an entirely different book, on a far broader theme:

因此，十八年后，当 Boardroom Books 让我重新出版这本书时，我不得不再次研究它，以一个在这段时间内没有阅读过它的人的新视角，看看我书的真实内容以及它对读者的真实影响。我做到了。我发现了秘密。现在我使用这个引言来承认我脸红的羞愧。我曾以为我多年前写的是一本关于广告的书；实际上我在这些页面上写下的是一本完全不同的书，主题要广泛得多：

There is a way to develop an entirely new market for a new or an old product. That way involves a certain number of clearly defined steps. And in this book 1 show you every single one of those steps.

有一种方法可以为新产品或旧产品开发一个全新的市场。这种方法涉及若干个明确的步骤。在本书中，我将向你展示每一个步骤。

As you may know, all of us—no matter what official designation we give the industry we do business in—are actually on a deeper level, in exactly the same profession. We are all simply creating or exploiting markets for our products. When the market is born, our business is simultaneously given birth. When it grows so does our share of it. When it is mature, our sales charts develop their first aches and pains. And at that point, if we can develop a fresh new market for that old product, it is exactly as if we achieved the Faustian dream, and enabled that product to drink from the proverbial “Fountain of Youth.”

正如你所知，我们所有人——无论我们给所从事的行业什么官方称谓——实际上在更深层次上，都是同一个职业。我们都只是为我们的产品创造或开发市场。当市场诞生时，我们的业务也同时诞生。当市场增长时，我们的份额也随之增长。当市场成熟时，我们的销售图表开始出现第一次的疼痛和不适。此时，如果我们能够为那个旧产品开发一个全新的市场，就好像我们实现了浮士德的梦想，使得该产品能够饮用传说中的“青春之泉”。

We are all primarily conceptual midwives, helping give birth to new markets for our products. All the other functions we or our business, perform—the manufacturing, distribution, service, and all the rest—are simply adjuncts to this vital central process.

我们都是主要的概念助产士，帮助我们的产品诞生新的市场。我们或我们的业务所执行的所有其他职能——制造、分销、服务以及其他一切——只是这个重要核心过程的附属部分。

We are, in a single phrase, “Market-Makers.” We sense each new market in its turn. We test and evaluate its size and scope. We gauge its true potential financial strength, and then we focus all the people, all the money and all the desire that makes it up on one ultimate object: our own product.

我们可以用一句话来概括：“市场创造者。”我们感知每一个新市场的轮廓。我们测试并评估它的规模和范围。我们衡量它真正的潜在财务实力，然后将所有的人、所有的钱和所有的欲望集中在一个最终目标上：我们的产品。

Most of the time, the market exists before our product, and we simply tap its present strength. But, in this era of constant change, we ourselves may help give it its first viable financial form. We may sense that people want computers in their homes as well as their offices … or want to walk around all day with music plugged into their ears … or would like to spend three air-conditioned hours in a faraway galaxy, battling with light-swords against evil and tyranny.

大多数时候，市场在我们的产品之前就已经存在，我们只是利用它当前的力量。但在这个不断变化的时代，我们自己可能会帮助它形成第一个可行的财务形态。我们可能会感觉到人们希望在家中和办公室都有电脑……或者希望整天走动时耳朵里插着音乐……或者希望在一个遥远的星系中度过三个空调的小时，与邪恶和暴政进行光剑战斗。

Making a market, then, is not as I thought when I originally wrote this book, simply a matter of making an ad. It is also the making of a product. And it is the making of a conduit through which that product can be obtained by the people whom you have made desire it more than an equivalent sum of their money. This book outwardly talks about the sentences that make up the primary appeal of that product to that market. But its true and deeper message is found when it is interpreted as a market-diviner, and a market-intensifier. In other words, its message will show you how to find your “dream” market, and how to drive it into a national “feeding frenzy.”

因此，创造一个市场并不是我最初写这本书时所想的，仅仅是制作一个广告。这也是产品的创造。同时，它也是一个渠道的建立，通过这个渠道，您所创造的产品可以被那些比他们的钱的等值更渴望它的人所获得。这本书表面上谈论的是构成该产品对该市场的主要吸引力的句子。但它真正更深层的讯息在于，当它被解读为市场的探测器和市场的强化器时所展现的。换句话说，它的信息将向您展示如何找到您的“梦想”市场，以及如何将其推向全国的“狂热消费”。

And I have also made an equally important discovery upon reviewing this book since it was first published. The examples in its pages have grown slightly older, but the principles that these examples manifest are timeless. For example, if I were writing this book today, its examples would show more appreciation of feminism, environmental awareness, health and fitness striving—even the blessed sexual revolution. They would be more open and more frank than they could have been then.

我在回顾这本书自首次出版以来，也有了同样重要的发现。书页中的例子稍微显得陈旧，但这些例子所体现的原则是永恒的。例如，如果我今天在写这本书，它的例子会更能体现对女性主义、环境意识、健康和健身追求的欣赏——甚至是受祝福的性革命。它们会比当时更加开放和坦率。

All this is for the good—but this book is not about reviving today’s ads, but creating from scratch tomorrow’s winners! This book is about avoiding the need for copying or imitating another product or advertisement. So today’s examples are as “outdated” as those of two decades ago. This book is about what happens next, and the fundamental rules of making a fortune out of slightly redirecting that tomorrow.

这一切都是为了更好——但这本书不是关于复兴今天的广告，而是从零开始创造明天的赢家！这本书是关于避免复制或模仿其他产品或广告的需求。因此，今天的例子和二十年前的例子一样“过时”。这本书是关于接下来会发生什么，以及从稍微调整明天的方向中赚取财富的基本规则。

You see, people don’t change: only the direction of their desires do. They cannot be made to want anything, nor is it necessary to create want. All that is necessary is to be able to channel those wants into the proper products that offer legitimate satisfaction for them. It takes … ten million … fifteen million … twenty-five million … fifty million … one hundred and fifty million people … to create a vast market for your goods. But it takes only one slip of paper—or— its recitation by a series of salesmen—to direct all those millions of people to your stores, or your catalogues, or your wholesalers.

你看，人是不会改变的：只有他们欲望的方向会改变。他们无法被迫想要任何东西，也不需要创造欲望。所需要的只是能够将这些欲望引导到提供合法满足的合适产品上。需要……一千万……一千五百万……两千五百万……五千万……一亿五千万的人……来为你的商品创造一个庞大的市场。但只需要一张纸条——或者——一系列推销员的朗读——就能将所有这些数百万的人引导到你的商店、你的目录或你的批发商那里。

Not one single thing has changed in that regard since I wrote this book. Nor will it ever alter in the slightest.

自从我写这本书以来，在这方面没有任何事情发生变化。未来也不会有丝毫改变。

So this book is not about building better mousetraps. It is, however, about building larger mice, and then building terrifying fear of them in your customers. In other words, it is about helping to shape the largest and strongest market possible, and then intensifying that market’s reaction to its basic need or problem, and to the “exclusive” solution you have to offer it.

所以这本书不是关于制造更好的捕鼠器。然而，它是关于制造更大的老鼠，然后在你的客户心中建立对它们的可怕恐惧。换句话说，它是关于帮助塑造尽可能大和强大的市场，然后加剧该市场对其基本需求或问题的反应，以及对你所提供的“独特”解决方案的反应。

Ask Rodale Press—for whom I sold over twenty million dollars of a single book, The Practical Encyclopedia of Natural Healing.

问罗达尔出版社——我为其销售了超过两千万美元的单本书籍《实用自然疗法百科全书》。

Ask the publisher of this book. Boardroom Reports, Inc.—who started out with $3,500 in total working capital, and who will probably do more than 25 million dollars in gross volume next year, with I am proud to say at least a little bit of assistance from me.

请询问这本书的出版商。Boardroom Reports, Inc.—最初的总工作资本为 3,500 美元，预计明年总收入将超过 2500 万美元，我很自豪地说这其中至少有一点是我的帮助。

Ask the seventeen businesses I’ve started or helped start… (Twenty-five percent of just one of them was sold for close to a million dollars in one day.)

问问我创办或帮助创办的十七家企业……（其中一家就有百分之二十五的股份在一天内以接近一百万美元的价格出售。）

These principles work. They discover markets. They build markets. They intensify markets. They revitalize markets. They perform, in sum, the invaluable function of giving you customers for the products you want or have to sell.

这些原则有效。它们发现市场。它们建立市场。它们加深市场。它们振兴市场。总之，它们执行了一个无价的功能，为您提供您想要或必须销售的产品的客户。

And that’s what we all need, isn’t it? Customers. This, therefore, is a book full of customers—for your products.

这就是我们所有人所需要的，不是吗？客户。因此，这本书充满了客户——为你的产品。

It is really nothing else. Just customers, by the millions. Eighteen years have passed. Three lifetimes. They’ve been good years, and good lives. I hadn’t read the book since then, but some hidden part of me had remembered it, and I think it’s worth your reading now.

这真的没有别的。只是数以百万计的客户。已经过去了十八年。三辈子。这些年过得很好，生活也很好。我从那时起就没有再读过这本书，但我内心深处的某个隐藏部分记得它，我认为现在值得你去读。

If you agree with me, why not write and tell me so. I have several millionaires, and multi-millionaires, to my credit now. I’d like to make the next one YOU.

如果你同意我的观点，为什么不写信告诉我呢。我现在有几位百万富翁和多位千万富翁的成就。我希望下一个是你。

Please help me.

请帮我。

Gene Schwartz

基因·施瓦茨

Introduction

介绍

Creativity Can Be Made to Order
If You Follow This Simple Rule

创造力可以按需定制，只要你遵循这个简单的规则

If you expect a scholarly tome on advertising, stop here.

如果你期待一本关于广告的学术著作，请在这里停止。

I am a mail order copy writer who makes his living by producing results—in carefully-measured dollars of profit—from the written word.

我是一名邮购文案撰写人，通过撰写文字来获得收入——以精确计算的利润美元为标准。

My income—my standard of living—depends bluntly and directly upon my ability to sell. And I have no salesmen to help me; no store-reputation to help me: no point-of-purchase reminders, no discounts, and no friendly sales clerks to give my products a push.

我的收入——我的生活水平——直接而明确地取决于我销售的能力。而我没有销售人员来帮助我；没有商店声誉来帮助我；没有购买时的提醒，没有折扣，也没有友好的销售员来推动我的产品。

I sell, or do not sell, on the basis of one tool alone—my ad. Therefore, I have done a great deal of thinking and experimenting with these ads. And, since I have had the good fortune to own my own mail order firms for the last eleven years, I have had far greater freedom than most copy writers to put my ideas to a conclusive test and to see whether or not they really work. I believe, as do many other advertising men, that mail order is the greatest copy writing school in the world. In mail order for reasons which I’ll reveal later in this book, YOU learn techniques and approaches to copy—especially new-product and new-slant copy—that you learn in no other branch of this business.

我销售或不销售，完全基于一个工具——我的广告。因此，我对这些广告进行了大量的思考和实验。而且，由于我有幸在过去的十一年里拥有自己的邮购公司，我比大多数文案撰写者有更大的自由度来对我的想法进行最终测试，并看看它们是否真的有效。我相信，和许多其他广告人一样，邮购是世界上最伟大的文案写作学校。在邮购中，出于我将在本书后面揭示的原因，你会学习到在这个行业的其他分支中学不到的文案技巧和方法——特别是新产品和新角度的文案。

Some of these techniques I have never seen discussed in any other article or book on copy writing—and I think I’ve read most of them. I have explained these techniques in detail in the hope that they will prove as profitable to other copy writers as they’ve been for me.

这些技巧我在其他任何关于文案写作的文章或书籍中都没有见过讨论——而我认为我已经读过大部分。我详细解释了这些技巧，希望它们能像对我一样，对其他文案写作者也能带来丰厚的收益。

Can they be used by non-mail-order copy writers as well? Most assuredly. J. K. Lasker once said that mail order makes a copy writer, but his real payoff comes when he applies his mail order techniques to general advertising. I think that B.B.D. & O., Ted Bates, Ogilvy, Young & Rubicam and a dozen other agencies prove this every day.

它们也可以被非邮购文案撰写者使用吗？当然可以。J. K. Lasker 曾说过，邮购造就了一个文案撰写者，但他真正的回报是在将他的邮购技巧应用于一般广告时。我认为 B.B.D. & O.、Ted Bates、Ogilvy、Young & Rubicam 以及其他十几家广告公司每天都在证明这一点。

Therefore 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. 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.

因此，我写了这本书——不仅仅是从邮购的角度出发——而是从所有文案写作的普遍问题出发：如何写一个标题——以及随之而来的广告——能够为其产品开辟一个全新的市场。一个能够让新产品立即获利的广告；一个能够为旧产品提供全新视角的广告；一个能够为竞争对手受损的产品提供新武器的广告——不仅可以保护自己免受模仿者的侵害，还可以实际损害或摧毁他们的忠诚度。

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.

这些目标无法通过遵循他人的公式来实现——无论对他们来说有多成功。它们需要创造力。它们需要一个全新的标题；一种全新的市场方法：一个字面上的广告“突破”。因此，这本书的标题。

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. To put them to work, you start with these basic facts.

因此，这是一本实用的书，包含实用的规则，这些规则能够产生并利用创造力，并且旨在在第一则广告上就见效。要使它们发挥作用，您需要从这些基本事实开始。

Basic Facts of Life for Copy Writers

文案写作的基本事实

Writing copy is like playing the stock market, or being an atomic physicist.

写文案就像玩股票市场，或者像一名原子物理学家。

Basically all three of these professions—copy writing, speculation and science—are exactly alike. The same keys make each one of them work. And if you realize this, you can double the effectiveness of your copy overnight.

基本上，这三种职业——文案写作、投机和科学——是完全相同的。相同的关键使它们都能运作。如果你意识到这一点，你可以在一夜之间将你的文案效果翻倍。

Consider these facts: All three of them deal with immense natural forces, gargantuan forces thousands of times more powerful than the men who use them. In science, they are the fundamental energies of the universe. In speculation, they are the billion-dollar tides and currents of the market place. In copy writing they are the hopes and fears and desires of millions upon millions of men and women, all over the world.

考虑这些事实：他们三者都涉及巨大的自然力量，这些力量比使用它们的人强大数千倍。在科学中，它们是宇宙的基本能量。在投机中，它们是市场上数十亿美元的潮流和潮汐。在文案写作中，它们是全世界数以百万计的男女的希望、恐惧和欲望。

The men who use these forces did not create them; they can neither turn them on nor shut them off, they can neither diminish them nor add to them. But they can harness them! The scientist did not create the energy of the sun; hut he can direct that energy into the explosion of an atom bomb. The speculator did not create the enormous growth of the electronics industry after the war: but he can ride that growth to produce a fifty times increase in his capital. 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.

使用这些力量的人并没有创造它们；他们既无法开启也无法关闭它们，既无法减少也无法增加它们。但他们可以利用它们！科学家并没有创造太阳的能量；但他可以将这种能量引导到原子弹的爆炸中。投机者并没有创造战后电子产业的巨大增长；但他可以利用这种增长使他的资本增加五十倍。而文案撰写者并没有创造全美数百万女性减肥的渴望；但他可以将这种渴望引导到特定产品上，使其拥有者成为百万富翁。

This, then, is the end goal—to take these gigantic natural forces and harness them to our own uses. But how do we do it? No two of these forces are alike. Each is unique; each operates in a different way. The same formula, carefully worked out to release atomic energy, fails completely to solve the problem of rocket propulsion. The same pattern of investment, that spots the upturn in electronics and makes a fortune, loses that fortune in uranium. And the same advertising appeal, that builds an industry in reducing, collapses completely when applied to health foods, even though both advertisements may reach exactly the same audience.

因此，这就是最终目标——将这些巨大的自然力量利用到我们自己的用途上。但我们该如何做到呢？这些力量没有两个是相同的。每一种都是独特的；每一种以不同的方式运作。相同的公式，经过精心设计以释放原子能，却完全无法解决火箭推进的问题。相同的投资模式，能够发现电子行业的上升并赚取巨额财富，却在铀矿中失去了那笔财富。而相同的广告诉求，能够在减肥行业建立一个产业，却在健康食品上完全崩溃，即使这两则广告可能接触到完全相同的受众。

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 memorizing theories won’t make you a scientist, or studying charts won’t make you a market wizard, or rewriting somebody else’s headlines won’t make you a copy writer.

为什么？因为没有公式能重复使用。每一个公式只是过去某个特定问题的书面解决方案。即使改变这个问题的一个部分，你也需要一个完全不同的公式。这就是为什么记忆理论不会让你成为科学家，研究图表不会让你成为市场奇才，或者重写别人的标题不会让你成为文案撰写者。

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.

什么有效？当然是创新。持续、反复的创新。源源不断的新想法——为新问题提供新解决方案。不是通过记忆的不可思议之路，而是通过分析创造的。

In a field in which the rules are constantly changing… where the forces that determine the outcome are constantly shifting… where new problems are constantly being encountered every day… rules, formulas and principles simply will not work. They are too rigid—too tightly bound to the past. They must he replaced by the only known method of dealing with the Constantly New—analysis.

在一个规则不断变化的领域……在决定结果的力量不断转移的地方……在每天都不断遇到新问题的情况下……规则、公式和原则根本无法奏效。它们太僵化——与过去的束缚太紧。它们必须被处理不断新事物的唯一已知方法——分析所取代。

And what is analysis? It is a series of measuring rods, check-points, signpost questions that show you where a particular force is going, and enable you to get there first. It is a series of rough guesses, based on past successes, that enables you to cut through the surface of a problem to see what makes it tick. 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.

分析是什么？它是一系列测量标准、检查点、指示性问题，显示出某种特定力量的走向，并使你能够率先到达那里。它是一系列基于过去成功的粗略猜测，使你能够穿透问题的表面，看到其运作的本质。分析是提出正确问题的艺术，让问题决定正确答案。它是突破的技巧。而且它是可以学习的——就像语法、数学或拼写一样。

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，应用于文案写作这一职业。其基本论点是：

Every new market—every new product—every new advertisement is a fresh new problem that never existed before on the face of this earth. Past advertising successes [Original scanned text ends here. The rest of this chapter is lost.]

每一个新市场——每一个新产品——每一个新广告都是一个在这个世界上从未存在过的新问题。过去的广告成功【原始扫描文本到此结束。本章其余部分丢失。】

Contents

内容

Foreword

前言

Preface to the Boardroom Edition

董事会版前言

Introduction

介绍

Contents

内容

Part I - The Basic Strategy of Persuasion

第一部分 - 说服的基本策略

1 - Mass Desire: The Force That Makes Advertising Work —And How to Focus It Onto Your Product

1 - 大众欲望：使广告有效的力量——以及如何将其集中于您的产品上

2 - Your Prospect’s State of Awareness —How to Capitalize On It When You Write Your Headline

2 - 你潜在客户的意识状态 — 如何在撰写标题时利用它

3 - The Sophistication of Your Market:  How Many Products Have Been There Before You?

3 - 你市场的复杂性：在你之前有多少产品？

4 - 38 Ways to Strengthen Your Headline  Once You Have Your Basic Idea

4 - 38 种在有了基本想法后加强标题的方法

5 - Summary: The Art of Creative Planning — How to Make an Idea Grow

5 - 摘要：创造性规划的艺术——如何让一个想法成长

Part II - The Seven Basic Techniques of Breakthrough Advertising

第二部分 - 突破性广告的七种基本技巧

6 - Inside Your Prospect’s Mind—What Makes People Read, Want, Believe

6 - 进入您潜在客户的思维——是什么让人们阅读、渴望、相信

7 - The First Technique of Breakthrough Copy: Intensification

7 - 突破性文案的第一种技巧：强化

8 - The Second Technique of Breakthrough Copy: Identification

8 - 突破性文案的第二种技巧：识别

9 - The Third Technique of Breakthrough Copy: Gradualization

9 - 《突破性广告》的第三种技巧：渐进化

10 - The Fourth Technique of Breakthrough Copy: Redefinition

10 - 突破性文案的第四种技巧：重新定义

11 - The Fifth Technique of Breakthrough Copy: Mechanization

11 - 《突破性广告》的第五种技巧：机械化

12 - The Sixth Technique of Breakthrough Copy: Concentration

12 - 《突破性广告》的第六种技巧：集中注意力

13 - The Seventh Technique of Breakthrough Copy: Camouflage

13 - 《突破性广告》的第七种技巧：伪装

14 - The Final Touches

14 - 最后的润色

Epilogue: A Copy Writer’s Library

后记：文案写作人的图书馆

Part I - The Basic Strategy of Persuasion

第一部分 - 说服的基本策略

HOW TO WRITE A WINNING HEADLINE

如何写出一个成功的标题

THAT NO ONE HAS EVER WRITTEN BEFORE

没有人曾经写过的内容

1 - Mass Desire: The Force That Makes Advertising Work—And How to Focus It Onto Your Product

1 - 大众欲望：使广告有效的力量——以及如何将其集中于您的产品上

Let’s get right down to the heart of the matter. The power, the force, the overwhelming urge to own that makes advertising work, comes from the market itself, and not from the copy. Copy cannot create desire for a product. It can only 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. This is the copy writer’s task: not to create this mass desire—but to channel and direct it. Actually, it would be impossible for any one advertiser to spend enough money to actually create this mass desire. He can only exploit it. And he dies when he tries to run against it.

让我们直接进入问题的核心。使广告有效的力量、冲动和强烈的拥有欲，来自于市场本身，而不是文案。文案无法创造对产品的渴望。它只能将已经存在于数百万人民心中的希望、梦想、恐惧和渴望，聚焦到特定的产品上。这是文案撰写者的任务：不是创造这种大众渴望，而是引导和指引它。实际上，任何一个广告商都不可能花费足够的资金来真正创造这种大众渴望。他只能利用它。而当他试图与之对抗时，他就会失败。

This has been shown time and time again in the automotive field, for example. In 1948, in order to display their rising standard of living, the American public decided they wanted a longer, lower, wider car. Chrysler chose to buck the trend; and offered a fine, functional car—with more head, leg and shoulder room on the inside—but shorter and squatter on the outside. A multi-million dollar campaign was prepared by one of the most creative agencies in America. But the results—against the tide of mass desire—were catastrophic.

这在汽车领域一次又一次地得到了证明。例如，在 1948 年，为了展示他们日益提高的生活水平，美国公众决定他们想要一辆更长、更低、更宽的汽车。克莱斯勒选择逆潮流而行；并提供了一款优秀、实用的汽车——内部空间更大，头部、腿部和肩部空间更多——但外观更短、更矮。美国最具创意的广告公司之一准备了一场数百万美元的宣传活动。但结果——与大众的渴望背道而驰——是灾难性的。

In 1954, cars had become universally long; and drivers were appraising each other’s car in terms of horsepower. Here was the rise to dominance of a vast new public demand. The Twin-H Hudson Hornet, the twin-exhaust Cadillac, the Chrysler 300—all in turn exploited this trend, and rode it to gain millions of dollars in extra sales. The Ford Company decided to play it down, and devoted millions of advertising dollars to sell safety. Again, the advertising ran into a wall of disinterest: results were non-existent; and the next year Ford produced, and advertised, the highest-horsepower engines in their history.

在 1954 年，汽车普遍变得很长；司机们在评估彼此的汽车时以马力为标准。这是一个巨大的新公共需求崛起的标志。Twin-H Hudson Hornet、双排气的凯迪拉克、克莱斯勒 300——这些车型都利用了这一趋势，并借此获得了数百万美元的额外销售。福特公司决定淡化这一趋势，并投入数百万广告费用来宣传安全。然而，广告再次遭遇了冷漠的墙壁：结果毫无成效；而在接下来的一年，福特生产并宣传了他们历史上马力最高的发动机。

But perhaps the most painful proof was the Edsel. Here was a good car, backed by a deluge of fine advertising, which died trying to fight the overwhelming switch in demand to a cheap, simple, inexpensive-to-run compact car.

但也许最痛苦的证明就是 Edsel。这是一款好车，得到了大量优秀广告的支持，但在试图应对对廉价、简单、经济实用的小型车的需求激增时却失败了。

Let me repeat. This mass desire must already be there. It must already exist. You cannot create it, and you cannot fight it. But you can—and must—direct it, channel it, focus it onto your particular product.

让我再说一遍。这种大众欲望必须已经存在。它必须已经存在。你无法创造它，也无法与之对抗。但你可以——并且必须——引导它、引导它，将其集中到你的特定产品上。

What Is This Mass Desire—and How Is It Created?

这种大众欲望是什么——它是如何产生的？

We can define this Mass Desire quite simply. It is the public spread of a private want.

我们可以很简单地定义这种大众欲望。它是私人需求的公共传播。

Advertising is a business of statistics. We deal with percentages of population. We address our ads to individuals; and yet the success of our advertising depends on thousands, or even millions, of these individuals sharing the same response to these ads—the response of wanting our product enough to pay us the price we ask for it.

广告是一门统计学的生意。我们处理的是人口的百分比。我们将广告针对个人；然而，我们广告的成功依赖于成千上万，甚至数百万个这样的个体对这些广告产生相同的反应——渴望我们的产品到愿意支付我们所要求的价格。

Before these individuals can share this buying response, they must first share the desire upon which our ad is based. Privately, each of them wants the same thing. Publicly there are enough of them to repay us the cost of advertising, manufacturing and selling, plus a profit. It is the moment when a private desire is shared by a statistically significant number of people, large enough to profitably repay selling these people, that a market is born. This market may consist of a desire shared by only a few thousand people, such as the urge to own fine antiques. Or it may be shared by tens of millions, as the desire to lose weight. But it is there, demanding to be satisfied, waiting only for the information that will direct it onto a particular product.

在这些人能够分享这种购买反应之前，他们必须首先分享我们广告所基于的欲望。私下里，他们每个人都想要同样的东西。公开场合中，他们的人数足以偿还我们广告、制造和销售的成本，以及获得利润。正是在一个私人欲望被足够多的人以统计学上显著的方式分享时，市场就诞生了。这个市场可能只由几千人共享一个欲望，比如拥有精美古董的冲动。或者它可能被数千万的人共享，比如减肥的欲望。但它确实存在，渴望被满足，只等待能够将其引导到特定产品的信息。

Since these mass desires are shared by millions of people, they take years to develop, and they are created by social, economic and technological forces far greater than advertising itself can command. It is this fact, when used correctly that gives advertising its enormous potential for profit. By simply directing this gigantic, already-existing mass desire—rather than being required to create it—advertising thus commands an economic force hundreds of times more powerful than the mere number of dollars that the advertiser can spend on it. This is the Amplification Effect of successful advertising—the reason that $1 spent on such advertising can create $50 or even $100 in sales.

由于这些大众欲望是数百万人共同拥有的，它们的形成需要多年时间，并且是由远远超过广告本身所能控制的社会、经济和技术力量所创造的。正是这一事实，在正确使用时，赋予了广告巨大的盈利潜力。通过简单地引导这种巨大的、已经存在的大众欲望——而不是被要求去创造它——广告因此指挥着一种经济力量，这种力量比广告商可以在其上花费的美元数量强大数百倍。这就是成功广告的放大效应——花费 1 美元在这样的广告上可以创造出 50 美元甚至 100 美元的销售额的原因。

But this Amplification Effect takes place only when advertising exploits already-existing desire. When it tries to create this desire, it is no longer advertising but education. And, as education, it can produce at best only one dollar in sales for every dollar spent on advertising. No single advertiser can afford to educate the American public. He must rely on forces far greater than any advertising budget to build this mass desire. And then he can make those forces work for him—by directing that desire onto his particular product.

但这种放大效应仅在广告利用已有的欲望时发生。当它试图创造这种欲望时，它就不再是广告，而是教育。作为教育，它最多只能为每花费一美元的广告产生一美元的销售。没有任何单一的广告商能够负担得起教育美国公众。他必须依靠比任何广告预算都要强大的力量来建立这种大众欲望。然后，他可以通过将这种欲望引导到他的特定产品上来使这些力量为他服务。

What are these nationwide forces that create this mass desire? There are many of them. But they fall into two general categories—each presenting its distinct problem to the copy writer. Here are these two categories, with a few specific examples of each.

这些创造这种大众欲望的全国性力量是什么？它们有很多。但它们可以分为两大类——每一类都给文案撰写者带来了独特的问题。以下是这两类及每类的一些具体例子。

1. Permanent Forces

1. 常备部队

Mass Instinct. The desire of women to be attractive, or men to be virile, or men and women both to keep their health. In this case, the instinct never fades—the desire never changes. The copy writer’s problem here is not to pick out the trend—it is there for everyone to see. His job is to distinguish his product from the others that were there before it—to create a fresh appeal—to build a stronger believability—to shift desire from the fulfillment offered by one product to that offered by another. How this is done, we shall see in a moment.

大众本能。女性渴望吸引力，男性渴望阳刚之气，或男女双方都渴望保持健康。在这种情况下，本能从未消退——渴望从未改变。文案撰写者面临的问题不是挑选趋势——这一点人人皆知。他的工作是将自己的产品与之前的其他产品区分开来——创造一种新鲜的吸引力——建立更强的可信度——将渴望从一个产品所提供的满足转移到另一个产品所提供的满足。我们稍后将看到这是如何做到的。

A mass technological problem. Bad television reception, or corroding automobile mufflers, or the time it takes for aspirin to bring relief. Until the problem is finally solved, the customers will buy and try—buy and try again. And here the copy writer has the same problem—to offer the same claim of relief as his competitors, but offer it in a new way.

一个大规模的技术问题。糟糕的电视接收，或腐蚀的汽车消声器，或阿司匹林带来缓解所需的时间。在问题最终解决之前，顾客会不断购买和尝试——再买再试。在这里，文案撰写者面临同样的问题——提供与竞争对手相同的缓解主张，但以新的方式呈现。

2. The Forces of Change

2. 变革的力量

The beginning, the fulfillment, and the reversal of a trend. Style. The sudden mass decision to show off a pay raise by installing a swimming pool in the back yard, instead of buying a bigger car. The horsepower appeal of the Fifties, and its sudden subordination to gas economy. Here the copy writer is dealing with the straws in the wind that may indicate a hurricane. Here he needs sensitivity, foresight, intuition. He must be able to see and catch the rising tide when it’s almost imperceptible—sense which of the several appeals that are built into his product he should stress at any particular moment, and when to shift to another—and, always, how to be there first.

趋势的开始、实现和逆转。风格。突然间，大家决定通过在后院安装游泳池来炫耀加薪，而不是买一辆更大的车。五十年代的马力吸引力，以及它突然屈从于燃油经济性。在这里，文案撰写者正在处理可能表明飓风的风向标。在这里，他需要敏感性、前瞻性和直觉。他必须能够在几乎察觉不到的时候看到并捕捉到上升的潮流——感知在特定时刻应该强调产品内置的多个吸引力中的哪一个，以及何时转向另一个——并且，总是要做到走在前面。

Mass Education. The school primer and the movie screen. The tastes and appearances of society women, television stars, presidential candidates, trickling down to every hamlet in America. Group pressure; backyard gossip; community product pioneers. And equally important, the sum total of all advertising—in its unconscious, unplanned and overall effect of multiplying people’s dreams and desires, and thus raising their standard of living. Here again the problem is timing. When does the shift become statistically significant? When do enough people make the change? When should the automotive powerhouse, for example, change its image to become the common man’s gas saver? The copy writer is faced with a society containing dozens—even hundreds—of these already-existing mass desires. His first job therefore is to detect them—inventory them—chart their force and direction. This is a study that will occupy part of every working day for the rest of his life.

大众教育。学校的启蒙书和电影银幕。社会女性、电视明星、总统候选人的品味和外貌，渗透到美国的每一个小村庄。群体压力；后院闲聊；社区产品先锋。同样重要的是，所有广告的总和——在其无意识、无计划和整体效果中，乘以人们的梦想和欲望，从而提高他们的生活水平。在这里，问题再次是时机。何时转变变得在统计上显著？何时足够多的人做出改变？例如，汽车巨头何时应该改变形象，成为普通人的省油车？文案撰写者面临着一个包含数十甚至数百种已存在的大众欲望的社会。因此，他的首要任务是发现它们——清点它们——绘制它们的力量和方向。这是一项将占据他余生每个工作日一部分的研究。

His second job is to harness his products onto their backs. He does this in this way:

他的第二个工作是将他的产品装载到他们的背上。他是这样做的：

How to Channel Mass Desire Onto Your Particular Product

如何将大众欲望引导到您的特定产品上

The copy writer in his work uses three tools: his own knowledge of people’s hopes, dreams, desires and emotions; his client’s product; and the advertising message, which connects the two.

文案撰写者在工作中使用三种工具：他自己对人们的希望、梦想、欲望和情感的了解；客户的产品；以及将两者连接起来的广告信息。

The copy writer performs his work in three stages. In general, they go something like this:

文案撰写者的工作分为三个阶段。一般来说，它们大致如下：

1. Choose the most powerful desire that can possibly he applied to your product.

选择可以应用于您产品的最强烈的欲望。

Every mass desire has three vital dimensions. The first is urgency, intensity, degree of demand to be satisfied. For example, constant arthritic pains compared to a minor headache. The second dimension is staying power, degree of repetition, the inability to become satiated. For example, raw hunger compared to a craving for gourmet foods. And the third dimension is scope—the number of people who share this desire. For example, the number of men willing to pay $10 for an automotive accessory that saves gas—as compared to those willing to pay the same price for one that merely prevents future repair bills.

每种大众欲望都有三个重要维度。第一个是紧迫性、强度、满足需求的程度。例如，持续的关节炎疼痛与轻微的头痛相比。第二个维度是持久性、重复的程度、无法满足的状态。例如，生理饥饿与对美食的渴望相比。第三个维度是范围——有多少人分享这种欲望。例如，愿意支付 10 美元购买节省燃油的汽车配件的男性数量，与愿意支付同样价格仅仅是为了防止未来维修费用的配件的男性数量相比。

Every product appeals to two, three or four of these mass desires. But only one can predominate; only one can reach out through your headline to your customer. Only one is the key that unlocks the maximum economic power at the particular time your advertisement is published. Your choice among these alternate desires is the most important step you will take in writing your ad. If it is wrong, nothing else that you do in the ad will matter. This choice is embodied in your headline. It is for this reason that we spend so many chapters on headlines later on.

每个产品都吸引这几种大众欲望中的两种、三种或四种。但只有一种欲望可以占主导地位；只有一种欲望可以通过你的标题传达给客户。只有一种是解锁你广告发布时最大经济潜力的关键。你在这些替代欲望中的选择是你撰写广告时最重要的一步。如果这个选择错误，那么你在广告中所做的其他任何事情都将无关紧要。这个选择体现在你的标题中。正因如此，我们在后面的章节中花了很多篇幅讨论标题。

To sum up the first stage then, you try to choose the mass desire that gives you the most power in all three dimensions. You try to tap a single overwhelming desire existing today in the hearts and minds of millions of people who are actively seeking to satisfy it at this very moment.

总之，在第一阶段，你试图选择在所有三个维度中赋予你最大力量的群众欲望。你试图挖掘今天在数百万积极寻求满足这一欲望的人们心中存在的单一压倒性的欲望。

2. Acknowledge that desire—reinforce it—and/or offer the means to satisfy it—in a single statement in the headline of your ad.

2. 承认欲望——强化它——和/或在广告标题中以单一陈述提供满足它的手段。

This headline is the bridge between your prospect and your product. It touches your prospect at the point of awareness that he has arrived at today.

这个标题是你潜在客户与产品之间的桥梁。它触及了你的潜在客户今天所达到的意识点。

If he is aware of your product, and realizes that it can satisfy his desire, your headline starts with your product.

如果他知道你的产品，并意识到它可以满足他的需求，那么你的标题就以你的产品开始。

If he is not aware of your product, but only of the desire itself, your headline starts with the desire.

如果他对你的产品没有了解，而只是对欲望本身有所意识，那么你的标题就应该从欲望开始。

And, if he is not yet aware of what he really seeks, but is concerned only with a general problem, your headline starts with that problem and crystalizes it into a specific need.

而且，如果他还没有意识到自己真正追求的是什么，而只是关心一个一般性的问题，那么你的标题就从这个问题开始，并将其具体化为一个特定的需求。

In any case, your headline—though it may never mention your product—is the first vital step in recognizing this mass desire—justifying and intensifying it—and directing its solution along one specific path.

无论如何，你的标题——尽管它可能从未提及你的产品——是识别这种大众欲望的第一步，证明并强化它，并将其解决方案引导沿着一条特定的路径。

3. And then you take the series of performances that are built into your product—what your product does—and you show your prospect how these product performances inevitably satisfy that desire.

然后你展示你产品中内置的一系列表现——你的产品能做什么——并向你的潜在客户展示这些产品表现如何不可避免地满足他们的需求。

Here’s how:

方法如下：

The Analysis of Your Product: What It Is—and What It Does

您产品的分析：它是什么——以及它的功能

In reality, every product you are given to sell is actually two products. One of them is the physical product—the steel, glass, paper or tobacco that the manufacturer has shaped into a particular pattern, of which he is justly proud. The other is the functional product—the product in action—the series of benefits that your product performs for your consumer, and on the basis of which he buys your product.

实际上，您被要求销售的每个产品实际上是两个产品。其中一个是实物产品——制造商将钢、玻璃、纸或烟草塑造成特定形状的产品，他对此感到自豪。另一个是功能产品——产品的实际作用——您的产品为消费者提供的一系列好处，消费者正是基于这些好处购买您的产品。

The physical product does not sell. People do not buy the steel in a car, the glass in a vase, the tobacco in a cigarette, or the paper in a book.

实体产品并不销售。人们并不购买汽车中的钢铁、花瓶中的玻璃、香烟中的烟草或书本中的纸张。

The physical part of your product is of value only because it enables your product to do things for people. The important part of your product is what it does. The rest—the steel skeleton—the chrome or metal case that you actually deliver to your customer—is only your excuse for charging them your price. What they are really paying you for is what the product will do.

您产品的物理部分之所以有价值，仅仅是因为它使您的产品能够为人们做事情。您产品的重要部分是它的功能。其余的——钢铁骨架——您实际交付给客户的铬或金属外壳——只是您向他们收取价格的借口。他们真正为您支付的，是产品将要实现的功能。

No physical part of your product can ever become a headline. No one will buy the size of your client’s plant, the weight of your client’s steel, the care of your client’s construction. All these facts can only be used, later on, to document and reinforce the primary performance that you promise your reader in your headline, in the following ways:

您产品的任何物理部分都无法成为标题。没有人会购买您客户工厂的规模、您客户钢材的重量、您客户施工的细致程度。所有这些事实只能在后续中用于记录和强化您在标题中向读者承诺的主要表现，具体方式如下：

By justifying your price. This is the common-sense theory that the longer the car, the more tubes in the television set, the more stitches per inch in the suit, then the greater the number of dollars your product can command—if that product first delivers the performance that your prospect demands.

通过为你的价格辩护。这是一个常识理论：汽车越长，电视机中的管子越多，西装每英寸的缝合越多，那么你的产品能够要求的美元数量就越大——前提是该产品首先能够提供你的潜在客户所要求的性能。

By documenting the quality of your performance. Tell your prospect the weight of steel in your car’s door, and he’s more likely to believe that your car will protect his life if he should have an accident on the highway. Tell your prospect the number of times your plant removes the impurities in your face cream, and she’s more likely to believe that your cream will remove the impurities in her skin.

通过记录您表现的质量。告诉您的潜在客户您汽车车门的钢材重量，他更有可能相信如果他在高速公路上发生事故，您的汽车会保护他的生命。告诉您的潜在客户您的工厂去除面霜中杂质的次数，她更有可能相信您的面霜会去除她肌肤中的杂质。

By assuring your prospect that that performance will continue throughout the years. Ceramic mufflers mean no repair bills for the life of your car. Chemically-protected paper means you can hand your prize books down to your children. Quick-frozen food means you can retain taste and vitamins for months after your purchase.

通过向您的潜在客户保证这种性能将持续多年。陶瓷消声器意味着在您汽车的整个使用寿命内无需维修费用。化学保护纸意味着您可以将珍贵的书籍传给您的孩子。速冻食品意味着您可以在购买后几个月内保持味道和维生素。

By sharpening the reader’s mental picture of that performance. The Rolls-Royce must give you perfect riding silence because every metal part of the chassis is shielded from every other metal part by a protective coat of rubber. Helena Rubenstein’s new face cream must make your skin look younger because it contains the placenta of living animals.

通过增强读者对该表现的心理印象。劳斯莱斯必须为您提供完美的静音体验，因为底盘的每个金属部件都被一层橡胶保护涂层隔离开来。海伦·鲁宾斯坦的新面霜必须让您的肌肤看起来更年轻，因为它含有活体动物的胎盘。

And, above all, by giving your product’s claim of performance a fresh new basis for believability. This is the most important use of the physical product in fields where a new firm or product is attempting to invade an established Mass Instinct field. Others have made the same claim before. Your product, in order to pull sales away from them, must introduce a new mechanism that performs the claim, or a new quality that assures its performance, or a new freedom from old limitations that improves the performance. This is the point of difference—often conceived by the copy writer, and built by the manufacturer into the product at his recommendation. We shall discuss this point of difference quite thoroughly in the next few chapters.

而且，最重要的是，为您的产品性能的声明提供一个全新的可信基础。这是在一个新公司或产品试图进入一个已建立的群体本能领域时，物理产品最重要的用途。其他人之前也曾做出过同样的声明。为了从他们那里抢占销售，您的产品必须引入一个新的机制来实现该声明，或者一种新的质量来确保其性能，或者一种摆脱旧限制的新自由来改善性能。这就是差异点——通常由文案撰写者构思，并由制造商根据他的建议将其融入产品中。我们将在接下来的几章中详细讨论这个差异点。

So much for the physical product. It is always subordinated to the functional product—the product in action—what the product does.

至于实体产品就到此为止。它总是服从于功能产品——产品的实际运作——产品的作用。

It is the performance of your product, satisfying the mass desire of your market, which provides the selling power of your ad.

是您产品的表现，满足市场的大众需求，这为您的广告提供了销售力。

Your first task, then, in studying your product, is to list the number of different performances it contains—to group these performances against the mass desires that each of them satisfies—and then to feature the one performance that will harness the greatest sales power onto your product at that particular time. Take the automobile, for example. Every automobile offers its prospective owner several different and distinct sets of performances:

因此，在研究您的产品时，您的第一项任务是列出它包含的不同性能的数量——将这些性能与每个性能所满足的大众需求进行分组——然后突出显示在特定时间内能够为您的产品带来最大销售力的那一项性能。以汽车为例。每辆汽车都为其潜在车主提供几种不同且独特的性能组合：

It offers him transportation. The ability to carry himself, his family, his luggage, and perhaps (in the case of station wagons) his pets and his furniture from place to place.

它为他提供了交通工具。能够将自己、家人、行李，甚至（在旅行车的情况下）宠物和家具从一个地方运送到另一个地方。

It offers him dependability. The freedom from breakdown, stalling, poor performance, repair bills, embarrassment and inconvenience.

它为他提供了可靠性。摆脱故障、熄火、性能差、维修费用、尴尬和不便的自由。

It offers him economy. Inexpensive transportation: savings in both gas and oil; freedom from repair bills, seen this time from the point of view of the pocket book: durability high trade-in value, low insurance cost.

它为他提供了经济性。便宜的交通：在汽油和机油上的节省；免于维修费用，从钱包的角度来看：耐用性高，折价高，保险费用低。

It offers him power. Number of horses at his command; take-off at the lights: acceleration on hills and in traffic; top speed, even if he never uses it. All adding up to a feeling of dominance on the highway.

它给了他权力。可以指挥的马匹数量；在红绿灯前起步：在山坡和交通中的加速；最高速度，即使他从未使用过。所有这些都汇聚成一种在高速公路上主宰的感觉。

It offers him recognition. Admiration, status, subtle and accepted bragging, envy, the feeling of having arrived. The oohs and ahhs of his neighbors, the first ride, the very smell of a new car.

它给了他认可。钦佩、地位、微妙而被接受的炫耀、嫉妒、到达的感觉。邻居们的惊叹声、第一次驾驶、新车的气味。

It offers him value. The number of feet of steel he can command for the price. High trade-in value over the years. The fact that the car can last for 100,000 miles, even if he can afford to trade it in every year.

它为他提供了价值。他可以以这个价格获得的钢材的数量。多年来的高折旧价值。即使他每年都能负担得起换车，这辆车也能使用 10 万英里。

It offers him novelty. Power steering five years ago—electric door locks today. Three-tone paint jobs yesterday—iridescent paints now. The thrill of being the leader, the pace-setter, the proven pioneer.

它为他提供了新奇感。五年前的动力转向——今天的电动门锁。昨天的三色喷漆——现在的彩虹涂料。成为领导者、引领者、经过验证的先驱的刺激感。

And many more. Some of them hidden, never admitted, discovered only recently by motivation research. Dozens of different performances, built into the same product, each of them reaching out and tapping a different desire—a distinct public.

还有很多。其中一些是隐藏的，从未被承认，最近才通过动机研究被发现。数十种不同的表现，融入同一产品中，每一种都触及并满足不同的欲望——一个独特的公众。

And yet your ad can feature only one of these performances; can effectively tap only one mass desire at a time.

然而，您的广告只能展示这些表现中的一种；一次只能有效地满足一种大众欲望。

Your headline is limited by physical space. You have only one glance of the reader’s eye to stop him. He is preoccupied; he is not looking for your product or your message—the span of his attention will admit only one thought to penetrate his indifference during that glance.

你的标题受到物理空间的限制。你只有一次机会吸引读者的目光。他心不在焉；他并不是在寻找你的产品或你的信息——在那一瞬间，他的注意力只能容纳一个想法来打破他的冷漠。

If your first thought holds him, he will read the second. If the second holds him, he will read the third. And if the third thought holds him, he will probably read through your ad.

如果你的第一想法吸引了他，他会阅读第二个。如果第二个吸引了他，他会阅读第三个。如果第三个想法吸引了他，他可能会读完你的广告。

Every product gives you dozens of keys. But only one will fit the lock. Your job is to find that one dominant performance, squeeze every drop of power out of it in your presentation—and then convince your reader that that performance and that satisfaction can come only from your product.

每个产品都给你提供了数十把钥匙。但只有一把能打开锁。你的任务是找到那一个主导性能，在你的展示中榨取它的每一滴力量——然后说服你的读者，只有你的产品才能带来那种性能和满足感。

The next four chapters will show you how to locate that one dominant performance, and how to fashion it into your headline. Once you have written that headline, then even other performance contained in your product simply reinforces and documents that main appeal, in exactly the same way as the physical product facts listed above.

接下来的四章将向您展示如何找到那个主导表现，以及如何将其塑造成您的标题。一旦您写下了这个标题，那么您产品中包含的其他表现就会以与上述物理产品事实完全相同的方式强化和记录这一主要吸引力。

2 - Your Prospect’s State of Awareness—How to Capitalize On It When You Write Your Headline

2 - 你潜在客户的意识状态——如何在撰写标题时利用它

You have now completed the first two stages in writing your ad. You have defined the mass desire that makes up your market—for example, the desire to lose weight, shared by millions of women all over America. And you have selected the one performance in your product that satisfies that desire most deeply—for example, a liquid meal in a glass, delicious, filling, already measured for you… as easy and pleasant to drink as a chocolate malted.

您现在已经完成了撰写广告的前两个阶段。您已经定义了构成您市场的大众欲望——例如，数百万美国女性共同拥有的减肥欲望。您还选择了您产品中最能满足该欲望的一个性能——例如，一杯液体餐，既美味又饱腹，已经为您测量好……喝起来就像巧克力麦芽饮料一样简单愉快。

This definition of your market, and the selection of the product performance most likely to capture that market, forms the core concept, or theme, of your ad. You now know where you are going to start—with your market; and where you are going to end—with your product. The bridge between these two—their meeting place—is your ad.

您对市场的定义，以及选择最有可能吸引该市场的产品性能，构成了您广告的核心概念或主题。您现在知道您将从哪里开始——从您的市场；以及您将在哪里结束——与您的产品。这两者之间的桥梁——它们的交汇点——就是您的广告。

Your ad always begins with your market, and leads that market inevitably into your product. The beginning of your ad—your headline—is the first step in this process. Therefore it concerns itself entirely with your market. It may never even mention your product or its performance. It is based entirely on the answer to these three questions:

您的广告总是以您的市场开始，并不可避免地将该市场引导到您的产品。您广告的开头——您的标题——是这个过程的第一步。因此，它完全关注于您的市场。它甚至可能从未提及您的产品或其性能。它完全基于对以下三个问题的回答：

1. What is the mass desire that creates this market? (Which we have already discovered.)

1. 产生这个市场的主要需求是什么？（我们已经发现了这一点。）

2. How much do these people know today about the way your product satisfies this desire? (Their State of Awareness.)

2. 这些人今天对你的产品如何满足这种需求了解多少？（他们的意识状态。）

3. How many other products have been presented to them before yours? (Their State of Sophistication.)

3. 在您之前，他们已经接触过多少其他产品？（他们的成熟度状态。）

The answer to question 1 gives you the nationwide force that creates your market. The answer to questions 2 and 3 gives you the location of that market in relation to your product. Your strategy for exploiting or overcoming the answers to these last two questions will give you the content of your headline. Let’s first re-define the job we are going to ask our headline to do, and then see how each of these last two questions tells us what that headline should—and should not—say.

问题 1 的答案给出了创造您市场的全国性力量。问题 2 和 3 的答案则告诉您该市场与您的产品的关系。您利用或克服这两个问题答案的策略将为您提供标题的内容。让我们首先重新定义我们要让标题完成的任务，然后看看这两个问题如何告诉我们标题应该说什么——以及不应该说什么。

Your Headline’s Real Job

你的标题的真正工作

There has been much confusion about how much of a selling job your headline should be required to do. Actually, your headline does not need to sell at all. It does not have to mention your product. It does not even have to mention your main appeal. To demand that a headline should do any of these is to place the full selling burden on approximately 10% to 20% of the total physical space of your ad … that physical space taken up by the headline itself.

关于你的标题应该承担多少销售工作的混淆很多。实际上，你的标题根本不需要进行销售。它不必提及你的产品。它甚至不必提及你的主要吸引力。要求一个标题做任何这些事情，就是将大约 10%到 20%的广告总物理空间的全部销售负担放在标题本身上……这个物理空间就是标题所占据的。

Your headline has only one job—to stop your prospect and compel him to read the second sentence of your ad. In exactly the same way, your second sentence has only one job—to force him to read the third sentence of your ad. And the third sentence—and every additional sentence in your ad—has exactly the same job.

你的标题只有一个任务——让你的潜在客户停下并吸引他阅读你广告的第二句话。以完全相同的方式，你的第二句话只有一个任务——迫使他阅读你广告的第三句话。而第三句话——以及你广告中的每一句额外句子——都有完全相同的任务。

It is simply common sense that the more of your story you can force your prospect to read, the more thoroughly you can sell him. To attempt to do the same selling job in ten words, instead of a hundred, or a thousand, is to shoot craps with your client’s money. You might as well buy only enough space to print your headline, and use the rest of the budget for repeat insertions.

显然，常识告诉我们，你能让潜在客户阅读的故事越多，你就能越彻底地销售给他。试图用十个词而不是一百个或一千个词来完成同样的销售工作，就等于在和客户的钱打赌。你不如只购买足够的空间来打印你的标题，然后将剩余的预算用于重复插入。

It is the copy writer’s job to force the prospect to read his client’s full story—not just a skimmed version of it. Only to prospects actively seeking the client’s specific brand-name product, and in a case where you can offer them a special price reduction, can your headline do the full selling job. To attempt a complete selling job with any other kind of headline is simply to admit defeat.

文案撰写者的工作是迫使潜在客户阅读他客户的完整故事——而不仅仅是略读版本。只有在潜在客户积极寻找客户的特定品牌产品，并且在您可以为他们提供特别价格优惠的情况下，您的标题才能完成全部销售工作。试图用任何其他类型的标题进行完整的销售工作无疑是承认失败。

What Your Prospect’s State of Awareness
Demands From Your Headline

您潜在客户的意识状态对您的标题的要求

We have already assumed that the only reader you are looking for is the prospect for your product. That means that he shares a defined desire with thousands, and perhaps even millions, of other people all over America. But how much aware is that prospect of that desire? How close is it to the surface of his consciousness? Is he aware only that a problem or need exists, or is he aware if they can be satisfied? And if he is aware that a means of satisfaction exists, does he realize that it lies in your group of products, or specifically in your product by name, or more specifically in your product at a given price?

我们已经假设您所寻找的唯一读者是您产品的潜在客户。这意味着他与全美成千上万，甚至可能是数百万其他人共享一个明确的愿望。但是，这个潜在客户对这个愿望的意识有多强？这个愿望离他的意识有多近？他是否仅仅意识到存在一个问题或需求，还是他意识到这些问题或需求可以得到满足？如果他意识到存在满足的手段，他是否意识到它在您的产品组中，或者具体在您的产品名称中，或者更具体地说在您的产品的某个价格中？

The answer to these questions will help you determine the State of Awareness of your market—their present state of knowledge about your product and the satisfaction that your product performs. It is at this precise point of awareness that your headline begins.

这些问题的答案将帮助你确定市场的意识状态——他们对你的产品的当前知识状态以及你的产品所带来的满意度。正是在这个意识的精确点上，你的标题开始。

In its natural development, every market’s awareness passes through several stages. The more aware your market, the easier the selling job, the less you need to say. Let’s go down the awareness scale step by step. We’ll start at the Most Aware—the most mechanical selling job—and proceed to more and more difficult problems, requiring more and more creative solutions.

在其自然发展中，每个市场的意识经历几个阶段。市场越意识到，销售工作就越容易，你需要说的就越少。让我们一步一步地沿着意识等级下降。我们将从最意识到的开始——最机械的销售工作——然后逐步进入越来越困难的问题，要求越来越多的创造性解决方案。

1. The Most Aware

1. 最有意识的

The customer knows of your product—knows what it does—knows he wants it. At this point, he just hasn’t gotten around to buying it yet. Your headline—in fact, your entire ad—need state little more except the name of your product and a bargain price. For example:

顾客知道你的产品——知道它的功能——知道他想要它。在这一点上，他只是还没有买它。你的标题——实际上，你的整个广告——只需要说明你的产品名称和一个优惠价格。比如：

“Revere Zomar Lens, Electric Eye Camera—Formerly $149.50—Now Only $119.95.”

“Revere Zomar Lens，Electric Eye Camera——原价 $149.50——现仅 $119.95。”

The remainder of the advertisement can summarize quickly the most desirable selling points. Then add the name of a store, or a coupon, and close.

广告的其余部分可以快速总结出最理想的卖点。然后添加商店名称或优惠券，并结束。

This is the typical department store, discount store, mail-order-bargain-catalog type of advertising. It takes advantage of the full weight of all the advertising that has been done on the same product before it. Its addition—its news—is the price—or a free gift—or instant delivery—or proximity in the neighborhood. Its prospect is fully aware—he has all the information he needs. Here the copy writer is nothing more than the merchandise manager’s phrase-maker. The price is the most important part of his headline. There is nothing creative about his job, and he should receive the lowest possible scale of pay.

这就是典型的百货商店、折扣店、邮购特价目录类型的广告。它利用了之前对同一产品所做的所有广告的全部力量。它的附加内容——它的新闻——是价格——或免费赠品——或即时交付——或邻近的地理位置。其潜在客户完全了解——他拥有所需的所有信息。在这里，文案撰写者不过是商品经理的短语制造者。价格是他标题中最重要的部分。他的工作没有任何创造性，他应该获得最低的薪酬。

2. The Customer Knows of the Product
But Doesn’t Yet Want It

2. 客户知道产品但还不想要它

Here, your prospect isn’t completely aware of all your product does, or isn’t convinced of how well it does it, or hasn’t yet been told how much better it does it now.

在这里，你的潜在客户并不完全了解你的产品所能做的一切，或者对它的表现没有信心，或者还没有被告知它现在做得有多好。

Here—in the approach to this market—is the great bulk of all advertising. Here you are dealing with a product which is known—which has established a brand name—which has already linked itself with an acknowledged public desire, and has proven that it satisfied that desire.

在进入这个市场时，绝大部分广告都在这里。您所处理的是一个已知的产品——一个已经建立了品牌名称——已经与公众认可的需求建立了联系，并证明它满足了这种需求。

Here your headline is faced with one of seven tasks:

在这里，您的标题面临七个任务之一：

a) To reinforce your prospects desire for your product;

a) 加强潜在客户对您产品的渴望；

b) To sharpen his image of the way your product satisfies that desire;

b) 为了增强他对您的产品如何满足该需求的印象；

c) To extend his image of where and when your product satisfies that desire;

c) 扩展他对您的产品满足该欲望的时间和地点的形象；

d) To introduce new proof, details, documentation of how well your product satisfies that desire;

d) 引入新的证据、细节、文档，说明您的产品如何满足该需求；

e) To announce a new mechanism in that product to enable it to satisfy that desire even better;

e) 宣布该产品中一个新机制，以使其更好地满足该需求；

f) To announce a new mechanism in your product that eliminates former limitations;

f) 宣布您产品中一种消除以前限制的新机制；

g) Or to completely change the image or the mechanism of that product, in order to remove it from the competition of other products claiming to satisfy the same desire.

g) 或者完全改变该产品的形象或机制，以便将其从声称满足相同欲望的其他产品的竞争中移除。

In all seven cases, the approach is the same. You display the name of the product—either in the headline or in an equally large logo—and use the remainder of the headline to point out its superiority. The body of the ad is then an elaboration of that superiority—including visualization, documentation, and mechanization. When you have finished weaving in every strand of your product’s superiority, your ad is done. Here are sample headlines presenting solutions to all seven of the problems of this state of awareness:

在所有七个案例中，方法是相同的。你展示产品的名称——无论是在标题中还是在同样大的标志中——并用标题的其余部分指出其优越性。广告的主体则是对这种优越性的详细阐述——包括可视化、文档和机械化。当你完成了每一个产品优越性的编织后，你的广告就完成了。以下是展示解决这七个意识状态问题的示例标题：

(a) To reinforce your prospect’s desire for your product—by using:

(a) 通过使用来增强潜在客户对您产品的渴望：

Association:

协会：

“Steinway—The Instrument of the Immortals.”

“斯坦威——不朽者的乐器。”

“Joy—The Costliest Perfume in the World.”

“Joy—世界上最昂贵的香水。”

Your Prospect’s State Of Awareness

您潜在客户的意识状态

“Which Twin Has the Toni?”

“哪个双胞胎有托尼？”

“Hair Coloring So Natural Only Her Hairdresser Knows For Sure—Miss Clairol.”

“染发如此自然，只有她的发型师知道确切情况——Miss Clairol。”

Sensory Sharpening

感官敏锐化

“Tastes like you just picked it—Dole.”

“尝起来就像你刚刚摘下的——多尔。”

“The skin YOU love to touch—Woodbury”

“你爱触摸的肌肤——伍德伯里”

Illustration:

插图：

(Anyone of the thousands of superb pictorial ads in the food, fashion, cosmetic, jewelry and similar industries. Perhaps best summed up by Life Saver’s classic headline, “Please don’t lick this page.”)

（食品、时尚、化妆品、珠宝及类似行业中成千上万的优秀图文广告中的任何一个。也许最好的总结是生命救助者的经典标题：“请不要舔这页。”）

(b) To sharpen your prospect’s image of the way your product satisfies that desire (Much like the sensory sharpening illustrated above; but concentrating here on the physical product itself, or on the mechanism by which it works):

(b) 以增强潜在客户对您的产品满足该需求方式的印象（类似于上面所示的感官锐化；但这里集中在物理产品本身或其工作机制上）：

“At 60 miles an hour, the loudest noise in a Rolls Royce is the electric clock.”

“以每小时 60 英里的速度，劳斯莱斯中最响亮的声音是电动时钟。”

“The amazing story of a Zippo that worked after being taken from the belly of a fish.”

“一个从鱼肚子里取出的 Zippo 打火机仍然能工作的惊人故事。”

(c) To extend his image of where and when your product satisfies that desire:

(c) 扩展他对您的产品满足该欲望的地点和时间的形象：

“Anywhere you go. Hertz is always nearby”

“无论你去哪里，赫兹总在附近。”

“Thirst knows no season”—in a winter ad, at a time when cold drinks were only consumed during the summer—Coca Cola.

“渴望无季节”——在冬季广告中，当时冷饮仅在夏季消费——可口可乐。

(d) To introduce new proof, details, documentation of how well your product satisfies that desire:

(d) 引入新的证据、细节、文档，说明您的产品如何满足该需求：

“9 out of 10 screen stars use Lux Toilet Soap for their priceless smooth skins.”

“10 位银幕明星中有 9 位使用 Lux Toilet Soap 来保持她们无价的光滑肌肤。”

“Jake La Motta, 160-lb fighter, fails to flatten Mono paper cup.”

“杰克·拉莫塔，160 磅的拳击手，未能压扁单面纸杯。”

“In Boston, the #1 tea-drinking city, the #1 tea is Salada.”

“在波士顿，第一大饮茶城市，第一大茶是 Salada。”

(e) To announce a new mechanism in that product to enable it to satisfy that desire even better:

(e) 宣布该产品中一个新机制，以使其更好地满足该需求：

“Hoover's new invention washes floors and vacuums up the scrub water.”

“胡佛的新发明可以清洗地板并吸走清洗水。”

“Worlds only dog food that makes its own gravy—Gaines Gravy Train.”

“世界上唯一能自制肉汁的狗粮——Gaines Gravy Train。”

(f) To announce a new mechanism in your product that eliminates former limitations:

(f) 宣布您产品中一种消除以前限制的新机制：

“You breathe no dusty odors when YOU do it with Lewyt.”

“当你使用 Lewyt 时，你不会闻到任何尘土的气味。”

“A new Zenith hearing aid—inconspicuous beyond belief.”

“一个新的 Zenith 助听器——不可思议地不显眼。”

(g) Or to completely change the image or the mechanism of the product, in order to remove it from the competition of other products claiming to satisfy the same desire.

(g) 或者完全改变产品的形象或机制，以便将其从声称满足相同欲望的其他产品的竞争中移除。

Here we are dealing with the State of Sophistication of our market—the amount of exposure they have already had to similar products. Every product during its life history encounters this problem. All of Chapter 3 will be devoted to some of the approaches to its solution.

在这里，我们讨论的是我们市场的复杂程度——他们已经接触到类似产品的程度。每个产品在其生命周期中都会遇到这个问题。第三章将专门讨论一些解决方案的方法。

We now move on to the less aware markets—with their more difficult copy challenges, and their greater demand for the unprecedented.

我们现在转向意识较低的市场——它们面临更困难的文案挑战，并对前所未有的需求更大。

3. How to Introduce New Products

3. 如何引入新产品

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.

潜在客户要么知道，要么立即意识到，他想要产品所能提供的东西；但他还不知道有一款产品——你的产品——可以为他做到这一点。

Here the problem is two-fold. First, to pinpoint the ill-defined, as-yet-uncrystallized desire that is slowly spreading through great masses of people all over America. And second, to crystallize that desire, and its solution, so sharply and so dramatically that each and every prospect will recognize it at a glance.

这里的问题有两个方面。首先，要准确找出尚未明确、正在美国广大人群中缓慢传播的模糊欲望。其次，要将这种欲望及其解决方案清晰而戏剧性地具体化，以便每一个潜在客户都能一眼认出。

The three steps in the process are simple. Name the desire and/or its solution in your headline. Prove that that solution can be accomplished. And show that the mechanism of that accomplishment is contained in your product.

这个过程的三个步骤很简单。在你的标题中命名欲望和/或它的解决方案。证明这个解决方案是可以实现的。并展示实现这一目标的机制包含在你的产品中。

However, starting with a market in this still-amorphous state of awareness, and continuing with each of the more difficult challenges to come, the execution becomes more and more important than the mechanics. Here the copy writer contributes more and more to the value of the product in the public eye, and to its total volume of sales. Here the innovator comes into play. Here the ratio of salary of copy writer to production supervisor shoots up abruptly. For this is the domain of the idea man.

然而，从一个仍然模糊的意识状态的市场开始，并在接下来的更困难的挑战中，执行变得比机械操作更为重要。在这里，文案撰写者对产品在公众眼中的价值以及其总销售量的贡献越来越大。在这里，创新者发挥作用。在这里，文案撰写者的薪水与生产主管的薪水比例急剧上升。因为这是创意人的领域。

What are the attributes he needs?

他需要哪些属性？

First, analysis. As a copy writer you will find it necessary to define the particular market most receptive to your product, its location in relation to your product in terms of awareness and sophistication, and the driving emotional forces that have created both that market and the potential for the sales of your product within it.

首先，分析。作为一名文案撰写者，你会发现有必要定义对你的产品最具接受度的特定市场，以及该市场在意识和成熟度方面与产品的关系，以及推动情感力量，这些力量创造了该市场以及你产品在其中的销售潜力。

Second, intuition, which may be described as the ability to sense a trend at its start, gauge its force and direction, determine the precise moment when it burgeons into a profitable market.

其次，直觉可以被描述为在趋势开始时感知它的能力，评估其力量和方向，确定它何时膨胀为一个盈利市场的确切时刻。

And third, verbal creativity, as discussed in the next three chapters, and throughout the rest of the book. The ability to give a name to the still-undefined. To capture a feeling, a hope, a desire, a fear in words. To create a catchword or a slogan. To focus emotion, and give it a goal.

第三，语言创造力，如接下来三章以及本书其余部分所讨论的那样。将尚未定义的事物命名的能力。用语言捕捉一种感觉、一种希望、一种渴望、一种恐惧。创造一个流行语或口号。聚焦情感，并赋予其目标。

Let us see how great writers in the past have taken these amorphous desires, and brought them into razor-sharp focus in a single statement in their headline:

让我们看看过去伟大的作家是如何将这些模糊的欲望提炼成一个清晰的声明，并在他们的标题中一语道破的：

“Light a Lucky, and you’ll never miss sweets that make you fat.”

“点燃一根 Lucky，你就再也不会错过让你发胖的甜食。”

“Who else wants a whiter wash—with no hard work?”

“谁还想要更白的洗涤——不费力气？”

“How to win friends and influence people.”

“如何赢得朋友并影响他人。”

“To men who want to quit work some day.”

“对于那些想要某天辞职的男人。”

“When doctors feel rotten—this is what they do.”

“当医生感到糟糕时——他们会这样做。”

“Now! Run your car without spark plugs.”

“现在！让你的汽车在没有火花塞的情况下运行。”

“Whoever heard of 17,000 blooms from a single plant??”

“谁听说过一株植物能开出 17,000 朵花？”

And dozens more. Here, amorphous desire has been crystallized in the headline. Then sharpened and expanded in the first few paragraphs; satisfied and documented in the body of the ad: and focused inevitably on the product throughout.

还有更多。在这里，无形的欲望在标题中得到了具体化。然后在前几段中被锐化和扩展；在广告的主体中得到了满足和记录：并不可避免地始终聚焦于产品。

Sometimes the simplest statement of the desire is the best. “How to win friends and influence people” needs no verbal twist to increase its impact. At other times, the desire itself must be reinforced by fresh proof that it can be achieved, “When doctors feel rotten—this is what they do”. Or by mystery, “Now! Run your car without spark plugs!” Or by wonderment, “Who ever heard of 17,000 blooms from a single plant?” The next two chapters will discuss, first, the strategy of determining when to use a fresh approach; and second, how to sharpen that first statement of desire with verbalization.

有时候，表达愿望的最简单陈述就是最好的。“如何赢得朋友和影响他人”不需要任何语言上的扭曲来增强其影响力。在其他时候，愿望本身必须通过新的证据来加强，以证明它是可以实现的，“当医生感到糟糕时——他们会这样做”。或者通过神秘感，“现在！让你的车在没有火花塞的情况下运行！”或者通过惊奇，“谁听说过一株植物能开出 17,000 朵花？”接下来的两章将讨论，首先，确定何时使用新方法的策略；其次，如何通过语言表达来锐化愿望的初始陈述。

4. How to Introduce Products That Solve Needs

4. 如何介绍满足需求的产品

The prospect has—not a desire—but a need. He recognizes the need immediately. But he doesn’t yet realize the connection between the fulfillment of that need and your product.

潜在客户并不是有一个愿望，而是有一个需求。他立即意识到这个需求。但他还没有意识到满足这个需求与您的产品之间的联系。

This is the problem-solving ad. It might be thought of as a special case of the desire ad mentioned above, since the technique of writing it is so similar. Here you start by naming the need and/or its solution in your headline. Then dramatize the need so vividly that the prospect realizes just how badly he needs the solution. And then present your product as the inevitable solution.

这是解决问题的广告。它可以被视为上述欲望广告的一个特例，因为其写作技巧非常相似。在这里，你首先在标题中命名需求和/或其解决方案。然后生动地渲染需求，让潜在客户意识到他有多么迫切需要这个解决方案。最后，将你的产品呈现为不可避免的解决方案。

Again, this type of ad runs from the most naked statement of the need alone, to the most complicated verbal twists to bring it to the peak of impact. To start at the beginning, the most effective possible headline for your particular problem may be as simple as this:

再次，这种类型的广告从最直接的需求陈述开始，到最复杂的语言扭曲，以达到最大的影响力。要从头开始，针对您特定问题的最有效标题可能简单到如下：

“Corns?”

“玉米？”

Here, only the problem itself is mentioned—nothing more. Or it may be necessary to state both problem and solution immediately:

在这里，仅提到问题本身——没有更多内容。或者可能需要立即陈述问题和解决方案：

“Stops maddening itch.”

“停止令人发狂的瘙痒。”

Many headlines in this category promise the removal of previously unconquerable limitations. They are especially popular in catalog selling:

这一类别中的许多标题承诺消除以前无法克服的限制。它们在目录销售中尤其受欢迎：

“Lets portable transistor radios play on ordinary household current.”

“让便携式晶体管收音机在普通家庭电源上播放。”

And many combine all three elements—the problem, its solution, and the removal of the usually expected limitations:

许多人将这三种元素结合在一起——问题、解决方案以及通常预期的限制的消除：

“Shrinks hemorrhoids without surgery.”

“无须手术即可缩小痔疮。”

There are headlines which promise substitutes for unpleasant or expensive tasks:

有些标题承诺可以替代令人不快或昂贵的任务：

“Now! A ring and piston job in a tube!”

“现在！一个在管子里的活塞和环的工作！”

And there are headlines which promise to prevent a future problem, before it can occur:

还有一些标题承诺在未来问题发生之前防止其发生：

“Look, Mom! No cavities!”

“看，妈妈！没有蛀牙！”

But many times the problem is not so clearly defined, not so obviously on the surface. You may know the general area of the problem—for example, people’s embarrassment at speaking poor English. But you may not be sure of which avenue is the most effective in reaching them. Here the emphasis of a single word—the emotional sharpening of an already easily-identified image—provides the answer:

但很多时候问题并没有那么清晰地定义，也不那么明显。你可能知道问题的一般领域——例如，人们因说英语不好而感到尴尬。但你可能不确定哪种途径是最有效的来接触他们。在这里，一个单词的强调——对一个已经容易识别的形象的情感锐化——提供了答案：

“Do YOU make these mistakes in English?”

“你在英语中犯这些错误吗？”

And, where the solution to the need has been promised before—where the direct statement of the solution has lost its force and freshness—then verbal twists are needed to restore that novelty:

而在需求的解决方案之前已经被承诺的地方——当解决方案的直接陈述失去了其力量和新鲜感——那么就需要语言上的变化来恢复这种新颖性：

“How a bald-headed barber helped save my hair.”

“一个光头理发师如何帮助我拯救我的头发。”

5. How to Open Up a Completely Unaware Market

5. 如何打开一个完全不知情的市场

And finally—the most difficult. The prospect is either not aware of his desire or his need—or he won’t honestly admit it to himself without being lead into it by your ad—or the need is so general and amorphous that it resists being summed up in a single headline—or it’s a secret that just can’t be verbalized.

最后——最困难的。潜在客户要么没有意识到自己的欲望或需求——要么他不会诚实地向自己承认这一点，除非通过你的广告引导他——要么需求是如此普遍和模糊，以至于无法用一个简单的标题来概括——要么这是一个根本无法用语言表达的秘密。

This is the outer reach of the awareness scale. These are the people who are still the logical prospects for your product; and yet, in their own minds, they are hundreds of miles away from accepting that product. It is your job to bridge that gap.

这是意识尺度的外部范围。这些人仍然是您产品的逻辑潜在客户；然而，在他们自己的心中，他们距离接受该产品还有数百英里。您的工作就是弥合这个差距。

Let me repeat what I said when we first began to explore these five stages of awareness. Each of these stages is separated from the others by a psychological wall. On one side of that wall is indifference; on the other, intense interest. A headline that works wonders in the first stage—for example, “Dial Soap - 9c a cake!”—will fail completely when addressed to a third-stage market where your prospect doesn’t even realize that soaps can be made with built-in deodorants. And a third-stage headline—for example, “Who else wants a whiter wash with no hard work?”—will be old-hat, no-news to today’s housewife, who has been barraged by whiter-than-white advertising for twenty years.

让我重复一下我在最初开始探索这五个意识阶段时所说的话。这些阶段之间被心理墙隔开。墙的一侧是冷漠；另一侧是强烈的兴趣。在第一阶段有效的标题——例如，“Dial Soap - 9c a cake！”——在面对第三阶段市场时会完全失效，因为你的潜在客户甚至没有意识到肥皂可以添加内置除臭剂。而第三阶段的标题——例如，“谁还想要更白的洗涤而不费力气？”——对今天的家庭主妇来说已经过时，毫无新意，因为她们已经被更白的广告轰炸了二十年。

To sum up, then—a headline which will work to a market in one stage of awareness will not work to a market in another stage of awareness. Nor will it work, even to a market in which it has been successful, once that market passes on to a new stage of awareness.

总之，一个在某个意识阶段有效的标题在另一个意识阶段将无效。即使在一个曾经成功的市场中，一旦该市场进入新的意识阶段，它也将无效。

Most products are designed to satisfy a specific need or desire. They are born into markets that are at least the third or fourth stages of awareness. They may therefore never be faced with the problem of an unaware market.

大多数产品都是为了满足特定的需求或欲望而设计的。它们诞生于至少处于第三或第四阶段的市场。因此，它们可能永远不会面临一个无意识市场的问题。

However, many products actually pass out of public awareness or out of public acceptance at some time or other during their life histories. The desire they satisfy dries up, or other products serve it better, or they are branded “old-fashioned”.

然而，许多产品在其生命周期的某个时刻实际上会逐渐被公众遗忘或不再被公众接受。它们满足的需求消失了，或者其他产品更好地满足了这一需求，或者它们被贴上“过时”的标签。

Again, we are dealing with a matter of statistics. When a product begins to slip … when volume falls off, even though advertising budgets are increased … when the name of the product no longer sells as much … when a direct statement of the product's function no longer sells as much … when a direct statement of the desire or the need that the product fulfills no longer sells as much—then that product needs to be reborn, and its problem is the problem of opening up an unaware market.

再次，我们正在处理一个统计问题。当一个产品开始下滑……当销量下降，即使广告预算增加……当产品名称不再卖得那么好……当产品功能的直接陈述不再卖得那么好……当满足产品所满足的愿望或需求的直接陈述不再卖得那么好——那么这个产品需要重生，它的问题是打开一个未被意识到的市场。

Again, this is the most difficult, the most challenging problem of all. There are few positive milestones to guide you. But fortunately there are some completely self-evident negative rules that can eliminate many blind alleys, and set you face to face against your task. Planning a headline for a completely unaware or resistant market, then, is first of all a process of elimination. Here are the first paths:

再次，这个问题是所有问题中最困难、最具挑战性的。几乎没有积极的里程碑可以指导你。但幸运的是，有一些完全不言自明的负面规则可以消除许多盲目无知的方向，让你直面你的任务。因此，为一个完全无意识或抵触的市场规划标题，首先是一个排除的过程。以下是第一条路径：

1. Price means nothing to a person who does not know your product, or want your product. Therefore, eliminate all mention of price, or price reduction, in your headline or prime display type.

1. 对于一个不知道你的产品或不想要你的产品的人来说，价格毫无意义。因此，在你的标题或主要展示类型中消除所有关于价格或降价的提及。

2. The name of your product means nothing to a person who has never seen it before, and may actually damage your ad if you have had a bad model the year before, or if it is now associated with the antiquated, the unfashionable, or the unpleasant. Therefore, keep your product out of the headline, and be extremely wary about breaking the mood or disguise of your ad with a prominent logo.

2. 对于从未见过你产品的人来说，产品名称毫无意义，如果你去年有过不好的型号，或者现在与过时、不时尚或令人不快的事物相关联，甚至可能会损害你的广告。因此，避免在标题中提及你的产品，并且要非常小心不要用显眼的标志打破广告的氛围或伪装。

3. And this is the hardest fact of all to accept. At this stage of your market, a direct statement of what your product does, what desire it satisfies, or what problem it solves, simply will not work. Your product either has not reached that direct stage, or has passed beyond it. And you cannot simply shift from one desire to another. You are not faced here with a problem of sophistication, but one of complete indifference, or unacceptability. Therefore, the performance of your product, and the desire it satisfies, can only be brought in later. You cannot mention them in your headline.

3. 而这是最难接受的事实。在你市场的这个阶段，直接陈述你的产品做什么、满足什么欲望或解决什么问题，根本行不通。你的产品要么还没有达到那个直接的阶段，要么已经超越了它。你不能简单地从一种欲望转移到另一种欲望。你面临的不是复杂性的问题，而是完全的漠不关心或不可接受性。因此，你的产品性能和满足的欲望只能在后面提及。你不能在标题中提到它们。

So you cannot mention price, product, function or desire. What do you have left? Your market, of course! And the distinct possibility that by broadening your appeal beyond price, product function or specific desire, you can reach the maximum limits of your full potential market; consolidate splinter appeals; and increase the sales of your product at a fantastic rate.

所以你不能提及价格、产品、功能或欲望。那你剩下什么呢？当然是你的市场！还有一个明显的可能性，即通过超越价格、产品功能或特定欲望来扩大你的吸引力，你可以达到你完整潜在市场的最大限度；整合分散的吸引力；并以惊人的速度增加你的产品销售。

Once you have accepted the challenge of writing this kind of ad, then your product and its attributes fade into the background, and you concentrate exclusively on the state of mind of your market at this particular moment. 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. You are selling nothing, promising nothing, satisfying nothing. Instead, you are echoing an emotion, an attitude, a satisfaction that picks people out from the crowd and binds them together in a single statement.

一旦你接受了撰写这种广告的挑战，那么你的产品及其属性就会淡出背景，你将专注于此时此刻市场的心态。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。你正在写一个识别标题。你什么都不在卖，什么都不在承诺，什么都不在满足。相反，你是在回响一种情感、一种态度、一种满足感，这种情感将人们从人群中挑选出来，并将他们在一个单一的陈述中结合在一起。

In this type of headline, you are telling them what they are. You are defining them for themselves. You are giving them the information they need and want, about a problem still so vague that you are the first to put it into words.

在这种类型的标题中，你是在告诉他们他们是什么。你是在为他们自己定义。你在提供他们所需和想要的信息，关于一个仍然如此模糊的问题，以至于你是第一个将其用语言表达出来的人。

Here, above all, is the type of headline that never attempts to sell a product or a performance, but simply tries to sell the remainder of the ad itself—the information that follows on the page. The only function of this headline is to get the prospect to read the next paragraph. And this second paragraph pulls him into the third; and the third into the fourth: and right on down the page, paragraph after paragraph.

在这里，最重要的是这种类型的标题，它从不试图销售产品或表现，而只是试图销售广告本身的其余部分——页面上接下来的信息。这个标题的唯一功能是让潜在客户阅读下一段。而这一段又将他引入第三段；第三段引入第四段：就这样，一段接着一段地向下阅读。

Meanwhile these paragraphs are building a steady progression of logical images, from the first identification with the headline, to a growing awareness of the problem or the desire to the realization that a solution is at hand, and to the inevitable focusing of that desire and that solution onto your particular product.

与此同时，这些段落正在建立一个逻辑图像的稳定进展，从对标题的首次认同，到对问题或欲望的逐渐意识，再到意识到解决方案就在眼前，最终将这种欲望和解决方案不可避免地聚焦到您的特定产品上。

This, then, is the general strategy of dealing with an unaware market. The application of this strategy, when all direct methods have failed, has produced hundreds of great headlines. It would be impossible to classify all of them, since each solution establishes its own new pattern. However, there are definite landmarks and directions we can distinguish. Here are some of them—starting with the general principle they used, then the problem they solved, then the headline itself, and then the most important structural paragraph of body copy:

因此，这就是应对一个无意识市场的总体策略。当所有直接方法都失败时，应用这一策略产生了数百个伟大的标题。对它们进行分类几乎是不可能的，因为每个解决方案都建立了自己新的模式。然而，我们可以区分出明确的标志和方向。以下是其中一些——从他们使用的一般原则开始，然后是他们解决的问题，然后是标题本身，最后是正文中最重要的结构段落：

Giving Words to a Hidden Dream

赋予隐藏梦想以语言

Problem: to expand the market for home correspondence courses beyond that obtained by “Earn more money” and “Gain more skill” headlines. The solution:

问题：将家庭函授课程的市场扩展到超出“赚更多钱”和“获得更多技能”标题所获得的范围。解决方案：

THE UNIVERSITY OF THE NIGHT

夜之大学

The young Lincoln, poring over borrowed school-books far into the night—seeking in the dim light of his log fire the transforming light of knowledge—eager to grow—eager to do … here is an example which has inspired the man who strives against the odds of circumstances to make his place in the world.

年轻的林肯，深夜里埋头于借来的课本——在微弱的柴火光中寻求知识的转变之光——渴望成长——渴望行动……这是一个激励着在逆境中努力争取自己在世界上立足之地的人们的例子。

Tonight, in cities and towns and villages … thousands of men will drop their daily labors to fight, beneath the lamp, the battle that Lincoln fought…

今晚，在城市、城镇和村庄……成千上万的男人将放下日常工作，在灯下进行林肯所战斗的战斗……

Up from the mines, down from the masts of ships … from all the places where men work, they will go home and take up their books because they yearn to grow, because they seek higher training, greater skill, more responsibility …

从矿井上来，从船桅上下来……来自所有人们工作的地方，他们将回家拿起书本，因为他们渴望成长，因为他们追求更高的培训、更大的技能和更多的责任……

Some of them are men who work in one field whereas their talents and desires are in another. Some … are halted in their progress because they do not understand the higher principles of their business or profession. Some left school in boyhood because poverty made it necessary …

其中一些人是在一个领域工作，而他们的才能和愿望却在另一个领域。一些人……因为不理解他们的业务或职业的更高原则而停滞不前。一些人在少年时期辍学，因为贫困使得这成为必要……

Fifty years ago these men … would have had no place to turn for the courses of study and for the personal guidance that they need.

五十年前，这些人……没有地方可以寻求他们所需的学习课程和个人指导。

Thirty years ago there was founded a school to help them—a school created for their needs and circumstances—a school that goes to them no matter where they are—a school…

三十年前，成立了一所学校来帮助他们——一所为他们的需求和环境而创建的学校——一所无论他们身在何处都能到达他们的学校——一所……

Created in response to a need, the International Correspondence Schools have developed their scope and usefulness to the growth of that need …

国际通信学校是应需求而创建的，已经发展了其范围和对这一需求增长的实用性……

Exploiting a Hidden Fear

利用隐藏的恐惧

Problem: To re-vitalize the sales of a coffee substitute, long after health headlines and pep headlines and taste headlines had failed. Secondary problem: To overcome a slipping brand name, that was no longer an asset in either the headline or the logo. The solution:

问题：在健康头条、提神头条和口味头条都失败很久之后，重新激活一种咖啡替代品的销售。次要问题：克服一个逐渐失去价值的品牌名称，该名称在头条或标志中都不再是资产。解决方案：

WHY MEN CRACK…

为什么男人崩溃……

An authority of international standing recently wrote; “You have overeaten and plugged your organs with moderate stimulants, the worst of which are not only alcohol and tobacco, but caffeine and sugar …”

一位国际权威最近写道：“你过量饮食，用适度的刺激物堵塞了你的器官，其中最糟糕的不仅是酒精和烟草，还有咖啡因和糖……”

You know them. Strong men, vigorous men, robust men—men who have never had a sick day in their lives. They drive. They drive themselves to the limit. They lash themselves over the limit with stimulants. They crack. Often, they crash.

你知道他们。强壮的男人，精力充沛的男人，健壮的男人——那些一生中从未生病过的人。他们拼命工作。他们把自己逼到极限。他们用兴奋剂逼自己超越极限。他们崩溃。常常，他们会崩溃。

You have seen them afterwards. Pitiful shells. The zest gone, the fire gone. Burnt-out furnaces of energy.

你在之后见过他们。可怜的外壳。热情消失，火焰熄灭。能量的烧尽炉。

“He was such a healthy-looking man…”

“他看起来是个非常健康的男人……”

He was. His health was his undoing. His constitution absorbed punishment. Otherwise he might have been warned in time.

他是的。他的健康是他的致命伤。他的体质能承受惩罚。否则他可能会及时得到警告。

“For every action there is an equal and contrary reaction.” You learned the law in physics. It applies to bodies.

“对于每一个动作，都有一个相等且相反的反应。”你在物理学中学到了这个定律。它适用于物体。

For every ounce of energy gained by stimulation, by whipping the nerves to action, an ounce of reserve strength is drained … But repeated withdrawals exhaust any reserve. Physical bankruptcy. Then the crash…

每获得一盎司通过刺激而获得的能量，便会消耗一盎司的储备力量……但反复的提取会耗尽任何储备。身体破产。然后崩溃……

It’s time to get back to normal, to close the drafts, to bank some of the fires…

是时候回归正常，结束草稿，控制一些火灾……

Avoid stimulants. What is good for the boy is good for the man…

避免刺激物。对男孩有益的，对男人也有益……

Borrowed Energy Must Be Repaid!

借来的能量必须偿还！

Two million American families avoid caffeine by drinking Postum. And two million American families are better off for it…

两百万美国家庭通过饮用 Postum 来避免咖啡因。而两百万美国家庭因此受益……

Leading Into an Unacceptable Problem by Starting With a Universally Accepted Image

通过从一个普遍接受的形象开始，引入一个不可接受的问题

Problem: To gain both publisher and prospect acceptance for a woman’s deodorant. A direct statement of the performance or product would not only offend, but would never be published. The solution:

问题：获得出版商和潜在客户对女性除臭剂的接受。直接陈述产品的性能不仅会冒犯，而且永远不会被发布。解决方案：

WITHIN THE CURVE OF A WOMAN’S ARM

在女人手臂的弯曲处

A frank discussion of a subject too often avoided.

对一个过于常被回避的话题进行坦诚的讨论。

A woman’s arm! Poets have sung of its grace; artists have painted its beauty.

一位女性的手臂！诗人们歌颂它的优雅；艺术家们描绘它的美丽。

It should be the daintiest, sweetest thing in the world. And yet, unfortunately, it isn’t, always.

它应该是世界上最精致、最甜美的东西。然而，不幸的是，它并不总是如此。

There’s an old offender in this quest for perfect daintiness—an offender of which we ourselves may be ever so unconscious, but which is just as truly present.

在追求完美精致的过程中，有一个老问题——一个我们自己可能完全没有意识到的问题，但它却真实存在。

Shall we discuss it frankly?

我们可以坦诚地讨论一下吗？

Many a woman who says, “No, I am never annoyed by perspiration,” does not know the facts …

许多说“我从来不被汗水烦扰”的女性并不知道事实……

Of course, we aren’t to blame because nature has made us so that the perspiration glands under the arms are more active than anywhere else. Nor are we to blame because … have made normal evaporation there impossible.

当然，我们不应该受到责备，因为大自然使得腋下的汗腺比其他地方更为活跃。我们也不应该受到责备，因为……使得那里正常的蒸发变得不可能。

Would you be absolutely sure of your daintiness?

你会对自己的优雅绝对自信吗？

It is the chemicals of the body, not uncleanliness, that cause odor. And even though there is no active perspiration—no apparent moisture—there may be under the arms an odor…

是身体的化学物质，而不是不洁，导致了气味。即使没有主动出汗——没有明显的湿气——腋下也可能有气味……

Fastidious women who want to be absolutely sure of their daintiness have found that they could not trust to their own consciousness; they have felt the need of a toilet water which would insure them against any of this kind of underarm unpleasantness, either moisture or odor.

挑剔的女性希望确保自己的优雅，她们发现无法完全依赖自己的意识；她们感到需要一种香水，以确保自己免受任何这种腋下的不适，无论是潮湿还是气味。

To meet this need, a physician formulated Odorono—a perfectly harmless and delightful toilet water…

为了满足这一需求，一位医生配制了 Odorono——一种完全无害且令人愉悦的香水……

To Project a Hidden Desire Which
Cannot Be Put Bluntly Into Words

投射一个无法直白表达的隐藏欲望

Problem: To capitalize on research findings that smoking cigarettes gives men a feeling of virility, importance, sexual strength. Any verbal expression of these themes, however, would be instantly rejected as absurd and offensive. The solution:

问题：利用研究发现吸烟给男性带来阳刚之气、重要性和性力量的感觉。然而，任何对这些主题的口头表达都会立即被视为荒谬和冒犯。解决方案：

The MARLBORO TATTOO AD: With its virile men (cowboys, racing car drivers, sky divers, etc.) whose appearance alone projected more of an image of raw virility than any number of words could ever convey.

万宝路纹身广告：其阳刚的男性（牛仔、赛车手、跳伞者等）仅凭外表就传达出比任何文字都更强烈的原始阳刚之气。

Using a Common Resentment or Unvoiced Protest to Capture a Far Greater Market than the Direct Statement of the Solution of That Resentment Would Produce

利用共同的不满或无声的抗议来捕捉比直接陈述这种不满的解决方案所能产生的更大市场

Problem: To sell a do-it-yourself book on television repairs. Although all owners of TV sets were the potential market, only a small fraction considered themselves interested enough or capable enough to respond to a direct promise headline: “Save up to $100 a year on your TV repairs!” Most were afraid they could not make the repairs themselves. Therefore, the market must be broadened to include the non-handymen owners, by exploiting the existing resentment against TV service contracts. The solution:

问题：在电视上销售一本自助修理书。尽管所有电视机的拥有者都是潜在市场，但只有一小部分人认为自己足够感兴趣或有能力回应直接承诺的标题：“每年节省高达 100 美元的电视维修费用！”大多数人担心自己无法进行修理。因此，市场必须扩大，以包括那些不擅长动手的拥有者，利用现有的对电视服务合同的怨恨。解决方案：

WHY HAVEN’T TV OWNERS BEEN TOLD THESE FACTS

为什么电视机拥有者没有被告知这些事实

Was your set purchased after the spring of 1947? Then here is the full, uncensored story of how you can avoid those $15-$20 repair bills—avoid those $30-$60 a year service fees—and still get the perfect, movie-clear pictures you’ve dreamed about!

您的套件是在 1947 年春季之后购买的吗？那么这里是完整的、未经审查的故事，告诉您如何避免那些 15 到 20 美元的维修费用——避免每年 30 到 60 美元的服务费——并且仍然能够获得您梦寐以求的完美、电影般清晰的画面！

How many times this week have you had to get up to fix a jumpy TV picture? … How many times have you had to put up with ghosts? …

这周你有多少次需要起床去修复跳动的电视画面？……你有多少次不得不忍受鬼影？……

90% of These Breakdowns Are Unnecessary!

这些故障的 90%是多余的！

All these breakdowns may have seemed tragic to you at the moment they happened—but here is the real tragedy! Do you know that the same exact set that you now have in your front room … has been playing in manufacturer’s test rooms for months—and playing perfectly!

所有这些故障在发生时可能对你来说显得悲惨——但真正的悲剧在这里！你知道你现在在客厅里拥有的这套设备……在制造商的测试室里已经运行了几个月——而且运行得非常完美！

These sets have been subjected to “Breakdown Tests” … These sets have been tested against every conceivable type of viewing hazard … And, in almost every one of these cases, these sets have produced perfect, movie clear pictures, without major breakdowns, for as much as one full year! Here are some of the reasons why:

这些设备经过了“故障测试”……这些设备已针对每一种可想象的观看危险进行了测试……而且，在几乎所有这些情况下，这些设备都能在长达整整一年的时间里，提供完美、清晰的画面，没有重大故障！以下是一些原因：

What TV Experts Have Learned About Your Set.

电视专家对您的电视机所学到的知识。

If your set were properly cared for, as these sets were … it need break down only once during the entire year…

如果你的设备得到了妥善维护，就像这些设备一样……它一年只需要故障一次……

If your set were properly cared for, it can actually give you perfect, movie-clear reception the other 364 days of the year…

如果你的设备得到了妥善的维护，它实际上可以在一年中的其他 364 天为你提供完美的、电影般清晰的接收效果……

And most important, these experts have discovered that you do not have to be a handyman or a mechanic in order to coax this performance… Here’s why:

最重要的是，这些专家发现你不必是一个能工巧匠或机械师就能引导出这种表现……原因如下：

5 Minutes a Week for Perfect Reception.

每周 5 分钟，完美接收。

These TV experts have discovered that your TV set is a great deal like your body in this respect—that it gives warning signals before it has a major breakdown…

这些电视专家发现，在这方面，你的电视机和你的身体非常相似——它在发生重大故障之前会发出警告信号……

Now, if you had the knowledge to make a few minor adjustments, on the outside controls of that set, then you could correct those symptoms…

现在，如果你有知识可以对那套设备的外部控制进行一些小调整，那么你就可以纠正那些症状……

If you do not have this knowledge … then your set will weaken, you will have a constantly bad picture…

如果你没有这些知识……那么你的设置将会减弱，你将会有一个不断糟糕的画面……

It’s as simple as that. You pay a repairman—not for his work—but for his knowledge. If you had that knowledge yourself—then you would not have to pay him at all…

就是这么简单。你支付给修理工的，不是他的工作，而是他的知识。如果你自己拥有那种知识——那么你根本就不需要支付他……

Now suppose that you had a TV expert at your elbow 24 hours a day. Suppose that every time your set began to flicker, or jump … this expert would show you exactly what knob on the outside of your set you could turn…

现在假设你身边有一位电视专家，24 小时随时待命。假设每当你的电视开始闪烁或跳动时，这位专家会准确告诉你可以调节电视外部哪个旋钮……

Suppose that every time you were annoyed by ghosts … this expert would show you a simple non-mechanical trick …

假设每次你被鬼魂烦扰时……这个专家都会给你展示一个简单的非机械技巧……

Yes, and suppose that even when your set went black, this expert could show you…

是的，假设即使当你的设备变黑时，这位专家也能向你展示……

All the Information You Need About Your TV Set!

关于您的电视机所需的所有信息！

This is exactly what a new book, the TELEVISION OWNER’S GUIDE does for you…

这正是一本新书《TELEVISION OWNER’S GUIDE》为您做的……

Projecting an Ultimate Triumph That
the Prospect Will Identify With

展现一个最终的胜利，让前景与之认同

Problem: To sell music lessons by correspondence to a greater audience than would respond to a direct “Play Real Tunes on the Piano in Five Days” approach. The solution:

问题：通过邮寄方式向比直接“在五天内弹奏真实曲调”更广泛的受众销售音乐课程。解决方案：

THEY LAUGHED WHEN I SAT DOWN AT THE PIANO. BUT WHEN I STARTED TO PLAY!—

他们在我坐下弹钢琴时笑了。但当我开始演奏时！—

Arthur had just played “The Rosary.” The room rang with applause. I decided that this would be a dramatic moment for me to make my debut. To the amazement of all my friends, I strode confidently over to the piano and sat down.

亚瑟刚刚演奏了《玫瑰经》。房间里响起了掌声。我决定这是我首次登台的戏剧性时刻。令我所有的朋友感到惊讶的是，我自信地走到钢琴前坐下。

“Jack is up to his old tricks,” somebody chuckled. The crowd laughed …

“杰克又在耍老把戏了，”有人 chuckled。人群笑了……

“Can he really play?” I heard a girl whisper to Arthur.

“他真的能玩吗？”我听到一个女孩对亚瑟低声说。

“Heavens, no!” Arthur exclaimed. “He never played a note in his life. But you just watch him. This is going to be good.” …

“天哪，不！”亚瑟惊呼。“他一辈子都没弹过一个音符。但你就看看他。这将会很精彩。”……

Then I Started to Play.

然后我开始玩。

Instantly a tense silence fell on the guests. The laughter died on their lips as if by magic … I heard gasps of amazement. My friends sat breathless—spellbound.

瞬间，客人们陷入了紧张的沉默。笑声仿佛被魔法般地消失在他们的唇边……我听到了惊讶的喘息声。我的朋友们屏息凝神，目不转睛。

I played on and on and as I played I forgot the people around me. I forgot the hour, the place, the breathless listeners. The little world I lived in seemed to fade—seemed to grow dim—unreal. Only the music was real … It seemed as if the master musician himself were speaking to me … not in words but in chords. Not in sentences but in exquisite melodies!

我不断地演奏，随着演奏，我忘记了周围的人。我忘记了时间、地点和屏息以待的听众。我所生活的小世界似乎在消退——似乎变得模糊——不真实。只有音乐是真实的……仿佛大师级的音乐家在对我说话……不是用语言，而是用和弦。不是用句子，而是用精美的旋律！

A Complete Triumph!

完全的胜利！

As the last notes of the Moonlight Sonata died away, the room resounded with a sudden roar of applause. I found myself surrounded by excited faces. How my friends carried on! Men shook me by the hand—wildly congratulated me—pounded me on the back with their enthusiasm! Everybody was exclaiming with delight—plying me with rapid questions … “Jack! Why didn’t you tell us you could play like that?” … “Where did you learn?” … “How long have you studied?” … “Who was your teacher?”

随着《月光奏鸣曲》的最后音符消逝，房间里响起了一阵突如其来的热烈掌声。我发现自己被兴奋的面孔包围着。我的朋友们是多么激动啊！男人们握着我的手——疯狂地祝贺我——用他们的热情拍打我的背！每个人都兴奋地叫着——向我快速提问……“杰克！你怎么不告诉我们你能弹得这么好？”……“你在哪里学的？”……“你学了多久？”……“谁是你的老师？”

“I have never even seen my teacher,” I replied. “And just a short while ago I couldn’t even play a note.”

“我甚至从未见过我的老师，”我回答说。“而就在不久前，我连一个音符都无法演奏。”

“Quit your kidding,” laughed Arthur, himself an accomplished pianist. “You’ve been studying for years. I can tell.”

“别开玩笑了，”阿瑟笑着说，他自己是一位出色的钢琴家。“你已经学习了好几年。我能看出来。”

“I have been studying only a short while,” I insisted. “I decided to keep it a secret so I could surprise all you folks.”

“我只学习了一段时间，”我坚持说。“我决定保密，这样我就可以给你们所有人一个惊喜。”

Then I told them the whole story “Have you ever heard of the U.S. School of Music?”

然后我告诉他们整个故事：“你们听说过美国音乐学院吗？”

A few of my friends nodded. “That’s a correspondence school, isn’t it?” they exclaimed.

我几个朋友点了点头。“那是一个函授学校，不是吗？”他们惊呼道。

“Exactly,” I replied. “They have a new simplified method that can teach you to play any instrument by mail in just a few short months.” …

“没错，”我回答道。“他们有一种新的简化方法，可以在短短几个月内通过邮件教你演奏任何乐器。”……

Projecting the Result of a Problem in Such a Way That It Will Be Identified With by People Who Would Reject a Direct Statement of the Problem Itself

以一种方式呈现问题的结果，使那些会拒绝直接陈述问题本身的人能够认同

Problem: To increase the sales of a mouthwash, not only on a germ theme (which could be immediately accepted), but on the more universal social-offense theme, which would be rejected in its direct form. The idea of bad breath was too insulting to be taken by the public “straight.” The solution:

问题：为了增加一种漱口水的销量，不仅要围绕细菌主题（这可以立即被接受），还要围绕更普遍的社会冒犯主题，这在直接形式上会被拒绝。口臭的概念对公众来说太具侮辱性，无法“直接”接受。解决方案：

OFTEN A BRIDESMAID BUT NEVER A BRIDE

常常是伴娘，但从未是新娘

Edna’s case was really a pathetic one. Like every woman, her primary ambition was to marry. Most of the girls in her set were married—or about to be. Yet no one possessed more charm or grace or loveliness than she.

埃德娜的案例真是一个可悲的例子。和每个女人一样，她的主要愿望是结婚。她圈子里的大多数女孩都已结婚——或者即将结婚。然而，没有人比她更具魅力、优雅或美丽。

And as her birthdays crept gradually toward that tragic thirty-mark, marriage seemed farther from her life than ever.

随着她的生日逐渐逼近那个悲惨的三十岁，婚姻似乎比以往任何时候都更远离她的生活。

She was often a bridesmaid but never a bride.

她常常是伴娘，但从未是新娘。

That’s the insidious thing about halitosis (unpleasant breath). You, yourself rarely know when you have it. And even your closest friends won’t tell you.

口臭（不愉快的气味）最阴险的地方在于，你自己很少知道自己有口臭。即使是你最亲密的朋友也不会告诉你。

Sometimes, of course, halitosis comes from some deep-seated organic disorder that requires professional advice. But usually—and fortunately—halitosis is only a local condition that yields to the regular use of Listerine as a mouth wash and gargle. It is an interesting thing that this well-known antiseptic that has been in use for years for surgical dressings, possesses these unusual properties as a breath deodorant…

当然，有时口臭是由某些深层的器质性疾病引起的，需要专业的建议。但通常——幸运的是——口臭只是一个局部问题，定期使用 Listerine 作为漱口水和含漱就能解决。这个众所周知的抗菌剂已经用于外科敷料多年，具有作为口气除臭剂的这些独特特性，真是件有趣的事情……

Projecting the Result of an Accomplishment to Attract People Who Would Be Frightened Away by the Work Implied to Achieve It

将成就的结果展现出来，以吸引那些因实现该成就所需的工作而感到害怕的人

Problem: To broaden the market for home correspondence courses, beyond that possible with a direct statement of the immediate result—learning or skill. An attempt must be made to direct the prospect’s mind away from effort, to reward. The solution:

问题：为了扩大家庭函授课程的市场，超越仅通过直接陈述即时结果——学习或技能所能达到的范围。必须努力将潜在客户的思维从努力转向奖励。解决方案：

HERE’S AN EXTRA $50, GRACE—

这里有额外的 50 美元，格蕾丝——

“I’m making real money now!”

“我现在正在赚真正的钱！”

“Yes, I’ve been keeping it a secret until pay day came. I’ve been promoted with an increase of $50 a month. And the first extra money is yours. Just a little reward for urging me to study at home. The boss saw my spare time training has made me a valuable man to the firm and there’s more money coming soon. We’re starting up easy street, Grace, thanks to you and the I.C.S…”

“是的，我一直把这个秘密藏到发薪日。我的工资涨了，每月增加 50 美元。第一笔额外的钱是你的。只是为了感谢你鼓励我在家学习的小奖励。老板看到我利用空闲时间培训，使我成为公司有价值的人，更多的钱很快就会到来。格雷斯，感谢你和 I.C.S，我们正在走上轻松的道路……”

The List Never Ends

列表永无止境

Every day new solutions, new patterns are being created. Wherever the direct appeal fails, or loses its power, you should begin to explore a fifth stage headline.

每天都有新的解决方案和新模式被创造出来。无论直接吸引力在哪里失败或失去其力量，您都应该开始探索第五阶段的标题。

However, there are two vital points to remember in connection with this problem. First of all, this type of headline is infinitely more difficult to bring home to the target than any of the other four types. You are far more likely to miss the mark on this headline, because you have far fewer guideposts to direct you. Your headline no longer refers to your product, but it must therefore refer even more strongly to your market. It cannot simply be a startler, or an attention-getter, or humorous, or cute. Nor can it mask the fact that it has no headline behind a pretty picture. Most copy writers use a fifth stage problem to write an empty headline, and are therefore simply wasting their client’s money.

然而，关于这个问题，有两个重要的要点需要记住。首先，这种类型的标题比其他四种类型更难以让目标受众接受。你更有可能在这个标题上失误，因为你几乎没有指导标志来引导你。你的标题不再指向你的产品，而必须更强烈地指向你的市场。它不能仅仅是一个引人注目的标题，或者一个吸引注意的标题，或者幽默的，或者可爱的。它也不能掩盖没有漂亮图片背后没有标题的事实。大多数文案写作者使用第五阶段的问题来写一个空洞的标题，因此只是浪费了客户的钱。

Because it is so easy to wander off into an irrelevant headline, keep this one cardinal rule in mind. Your prospect must identify with your headline before he can buy from it. It must be his headline, his problem, his state of mind at that particular moment. It must pick out the product’s logical prospects—and reject as many people as it attracts.

因为很容易偏离无关的标题，请记住这一条基本规则。你的潜在客户必须认同你的标题，才能从中购买。它必须是他的标题，他的问题，他在那个特定时刻的心态。它必须挑出产品的逻辑潜在客户，并拒绝尽可能多的吸引者。

And, if it is an effective headline, and it works, then it too will become outdated as your market moves on to a new stage of awareness. And you will be presented with another problem, just as challenging, and just as rewarding, as the one you have solved before. You never step in the same river twice. No market ever stands still.

而且，如果这是一个有效的标题，并且它有效，那么随着市场进入新的意识阶段，它也会变得过时。你将面临另一个同样具有挑战性和同样有回报的问题，就像你之前解决过的问题一样。你永远不会两次踏入同一条河流。没有市场会永远静止不动。

A Final Word on Style in Advertising Copy

关于广告文案风格的最后一句话

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. At the turn of the century, effective ads were written in verse; twenty years later, no one would believe them. In the 1920s most of the great ads were narrative stories—either first-person confessions, or third person revelations, or comic strips dramatizations. Today everything but the comic strip is gone—and we see less and less of it every year. 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.

市场在变化；欲望在变化；时尚在变化。广告的可接受风格也在变化。某些广告风格——你的广告信息所采用的形式——随着时间的推移而变得乏味——然后变得陈旧——最后变得可笑。在世纪之交，有效的广告是用诗歌写成的；二十年后，没有人会相信它们。在 1920 年代，大多数伟大的广告都是叙事故事——要么是第一人称的忏悔，要么是第三人称的揭示，或者是漫画剧的戏剧化。今天，除了漫画剧，其他一切都消失了——而且我们每年看到的越来越少。当一种新风格诞生时，人们会相信它，并且它会强化所传达的信息。当同样的风格变得陈腐时，人们无法从广告中看到信息。

We’ll explore this subject further, in the chapters discussing Mood and Disguise in writing advertisements. Meanwhile, one more note here.

我们将在讨论广告写作中的情绪和伪装的章节中进一步探讨这个主题。同时，这里还有一个补充说明。

In effective advertising, though styles may change, strategy does not. If you will study the piano and bridesmaid ads in this chapter, you will notice this: That while the narrative style of both is now old-hat, you can still respond to their power. Both tap desires that still exist—though now perhaps directed toward different products and different problems. And both evoke those desires, and channel those desires, so effectively, that if they were rewritten in today’s idiom, and applied to different products, they still might sell millions of dollars’ worth of goods today.

在有效的广告中，尽管风格可能会改变，但策略却不会。如果你研究本章中的钢琴和伴娘广告，你会注意到这一点：虽然两者的叙述风格现在已经过时，但你仍然可以感受到它们的力量。两者都触及了仍然存在的欲望——尽管现在可能指向不同的产品和不同的问题。而且两者都有效地唤起这些欲望，并引导这些欲望，以至于如果它们用今天的语言重写，并应用于不同的产品，它们今天仍然可能销售数百万美元的商品。

3 - The Sophistication of Your Market: How Many Products Have Been There Before You?

3 - 你市场的复杂性：在你之前有多少产品？

As we mentioned before, in Chapter 2, there are three questions you must answer before you can determine what goes into your headline. These are:

正如我们之前提到的，在第二章中，您必须回答三个问题才能确定您的标题中包含什么。这些问题是：

What is the mass desire that motivates your market?

是什么驱动你市场的集体欲望？

How much does your market know about your product? (Their State of Awareness.)

你的市场对你的产品了解多少？（他们的意识状态。）

How many similar products have they been told about before? (Their State of Sophistication.)

他们之前被告知过多少类似的产品？（他们的成熟度状态。）

This third question is the most easily answered. A few hours research should give you samples of every competing ad in the field—if there are any.

这个第三个问题是最容易回答的。经过几个小时的研究，你应该能找到该领域内每个竞争广告的样本——如果有的话。

If You Are First in Your Market

如果您在市场上处于领先地位

If there are not—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. In other words, they have never received any information about such a product before. Once you get them interested, they are likely to become much more enthusiastic, believe much more of what you have to say, and buy that much more readily. Remember, your story is brand-new to them.

如果没有——如果你在你的特定市场中是第一个，拥有你的特定产品——那么你所面对的潜在客户对你的产品完全没有任何了解。换句话说，他们之前从未收到过关于这种产品的任何信息。一旦你让他们感兴趣，他们很可能会变得更加热情，更加相信你所说的内容，并更容易购买。记住，你的故事对他们来说是全新的。

This, of course, is the dream of every manufacturer and every copy writer. To be first. And it happens quite often today. Sometimes because of a technological breakthrough—creating a new product (women’s hair sprays), or a radically better product (long-playing records), or a familiar product at an explosively low price (the Model T Ford).

这当然是每个制造商和每个文案撰写者的梦想。成为第一。而这在今天相当常见。有时是因为技术突破——创造一种新产品（女性发喷雾），或一种根本更好的产品（长时间播放的唱片），或一种以极低价格出售的熟悉产品（T 型福特汽车）。

And sometimes, such a brand-new market is created by the insight of an advertising man, dealing with an already-established product. In this case, the ad man visualizes the application of the product to an entirely different market (the switch, in the Twenties, of Ovaltine from an aid for insomnia to a body builder for skinny children).

有时，这样一个全新的市场是由广告人的洞察力创造的，他们处理的是已经建立的产品。在这种情况下，广告人设想将产品应用于一个完全不同的市场（例如，在二十世纪二十年代，Ovaltine 从助眠剂转变为瘦弱儿童的增肌剂）。

Or he reaches that market through a hitherto untapped medium (Revlon’s fabulous results from sponsorship of “The $64,000 Question” in the early days of TV).

或者他通过一种迄今未开发的媒介进入那个市场（如 Revlon 在电视早期赞助“64,000 美元问题”所取得的惊人效果）。

Or he discovers a previously unnoticed performance of his product that carries it completely beyond the limits of its old market (Lifebuoy’s discovery that people would accept its strong medicinal odor as a cure for perspiration odor, and their subsequent christening of that odor with the catch-word “B.O.”).

或者他发现了他产品之前未被注意到的表现，使其完全超越了旧市场的界限（Lifebuoy 发现人们会接受其强烈的药用气味作为汗味的治疗，并随后用“B.O.”这个流行词来命名这种气味）。

When such a golden opportunity—to be first—presents itself, you are probably dealing with a market in its third or fourth stage of awareness. Your prospects know that they would like what your product does, or they would like to get rid of the problem your product solves—if it were only possible.

当这样的黄金机会——成为第一——出现时，您可能正在处理一个处于第三或第四阶段意识的市场。您的潜在客户知道他们会喜欢您的产品所做的事情，或者他们希望摆脱您的产品所解决的问题——如果这只是可能的话。

Here, the answer to your third question is quite simple. You are dealing with a market where you are first. Therefore they have no previous information about similar products. Therefore they are completely unsophisticated.

在这里，您第三个问题的答案非常简单。您所处的市场是您首个进入的市场。因此，他们对类似产品没有任何先前的信息。因此，他们完全没有经验。

And your exploitation of this answer—your strategy in approaching this market—is equally simple:

你对这个答案的利用——你在进入这个市场时的策略——同样简单：

1. Be simple. Be direct. Above all, don’t be fancy. Name either the need or the claim in your headline—nothing more. Dramatize that claim in your copy—make it as powerful as possible. And then bring in your product; and prove that it works.

1. 简单明了。最重要的是，不要花哨。在你的标题中直接指出需求或主张——仅此而已。在你的文案中强调这个主张——尽可能强有力。然后引入你的产品，并证明它有效。

Nothing more—because nothing more is needed. To illustrate, let’s look at one of the most profitable, insatiable, constantly-renewing, and therefore overworked fields in marketing history: the reducing field. No one knows who was the first man to stumble on the reducing field (though it’s fairly certain that he must have become a millionaire). But all he had to say in his headline was a simple statement of the direct desire of millions of women:

没有更多——因为不需要更多。为了说明这一点，让我们看看营销历史上最有利可图、贪得无厌、不断更新，因此过度工作的领域之一：减肥领域。没有人知道第一个偶然发现减肥领域的人是谁（尽管可以相当肯定他一定成为了百万富翁）。但他在标题中所要表达的只是数百万女性直接愿望的简单陈述：

“NOW! LOSE UGLY FAT!”

“现在！减掉丑陋的脂肪！”

As he started to clean up, others inevitably followed. But, by this time, the reducing field had already been tapped. Advertisements had been run. The direct claim had been made. Mere repetition would no longer be enough. In other words, the reducing market was now in its Second Stage of Sophistication. A new approach was necessary. The strategy had to be changed—to this:

当他开始清理时，其他人不可避免地跟随。但此时，减肥市场已经被开发。广告已经投放。直接的声明已经做出。单纯的重复已不再足够。换句话说，减肥市场现在处于其第二阶段的成熟。需要一种新的方法。策略必须改变——变为：

If You’re Second, Do This

如果你是第二名，做这个

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.

如果你是第二名，而直接的主张仍然有效——那么就复制那个成功的主张——但要加以扩展。将其推向绝对极限。超越你的竞争对手。

For example, here are two successful headlines in the now fiercely-competitive reducing field that did just that. They have both been pushed to the outer limits of both legality and believability. But they both worked.

例如，这里有两个在如今竞争激烈的减肥领域中成功的标题，它们正是这样做的。它们都被推到了合法性和可信性的极限。但它们都有效。

“LOSE UP TO 47 POUNDS IN 4 WEEKS—OR RECEIVE $40 BACK!”

“在 4 周内减掉最多 47 磅——否则退还$40！”

“I AM 61 POUNDS LIGHTER … NEVER A HUNGRY MINUTE.”

“我轻了 61 磅……从未感到饥饿。”

In most fields, this enlarged-claim technique reaches the outer limits in successive stages. Sometimes the completion of this process takes years. In the home garden field, as another example, an advertiser brought out a Floribunda Rose—using this headline with startling success:

在大多数领域，这种扩大主张的技术在连续的阶段中达到了极限。有时完成这个过程需要数年时间。在家庭园艺领域，作为另一个例子，一位广告商推出了一种 Floribunda 玫瑰——使用这个引人注目的标题取得了惊人的成功：

“PICK 25—50—100 ROSES FROM THIS ONE MAGNIFICENT PLANT!”

“从这株壮丽的植物中挑选 25—50—100 朵玫瑰！”

It worked. And so, some years later, a special variety of cushion mum swept the country with this headline:

它成功了。因此，几年后，一种特殊品种的垫子菊以这个标题席卷全国：

“SIX HUNDRED MUMS FROM A SINGLE BUSH!”

“从一棵灌木上摘下六百个妈妈！”

And, one year later, this headline carried the process to what are probably the absolute limits of Mother Nature:

而且，一年后，这个标题将这一过程推向了母自然可能的绝对极限：

“WHO EVER HEARD OF 17,000 BLOOMS FROM A SINGLE PLANT?”

“谁听说过一株植物能开出 17,000 朵花？”

As simple as this evolution looks, it produces results. It provided a tremendous lift to car sales in the 1950s, when 50 more horsepower was added to the advertisements every year. It was climaxed in the Chrysler 300—a car named after its horsepower rating—and pegged just at the limit of believability, practicality, and the inevitable public reaction.

尽管这种演变看起来很简单，但它产生了结果。它在 1950 年代大幅提升了汽车销量，每年在广告中增加了 50 匹马力。它在克莱斯勒 300 车型中达到了高潮——这是一款以其马力评级命名的汽车——并恰好处于可信度、实用性和不可避免的公众反应的极限。

For the reaction will come. Toward the end, the process disintegrates. The successful claim is overworked; enlargement piles on enlargement. New competitors enter the field—each trying to promise more. Headlines double and triple in size. Words begin to lose their meaning—“whiter-than-whites” appear. The prospect becomes confused—then skeptical. Believability is shattered; claims are automatically discounted 50% by their readers. More promise is poured in to compensate. The government begins to investigate. And the sales curve begins to turn down-down-down.

反应即将到来。到最后，过程开始解体。成功的主张被过度使用；扩展层层叠加。新的竞争者进入市场——每个都试图承诺更多。标题的大小翻倍和三倍增加。词语开始失去意义——“比白色更白”的说法出现。前景变得混乱——然后变得怀疑。可信度被打破；读者自动将主张的可信度降低 50%。更多的承诺被倾注以弥补。政府开始调查。销售曲线开始下滑。

The Third Stage of Sophistication

第三阶段的复杂性

At this point, your market has entered into its Third Stage of Sophistication. Your prospects have now heard all the claims—all the extremes. Perhaps they have even bought one or two competitive products. Every time they open a newspaper, another similar headline screams out at them. How are they to distinguish one product from the mass? How do you break through to reach them?

此时，您的市场已经进入了第三阶段的成熟度。您的潜在客户现在已经听到了所有的主张——所有的极端。也许他们甚至购买了一两个竞争产品。每当他们打开报纸时，另一个类似的标题就会向他们大喊。它们如何在众多产品中区分出一个？您如何突破重围以接触到他们？

One factor is vital here. That is the restorative power of the market you are dealing with. It may be a market based on a constantly recurring mass instinct, such as reducing. It may be a market based on an unsolved technological problem, such as spark plug replacement. It may be a market that periodically wishes to renew or improve its purchases, such as cars, homes, appliances. In all these cases, the desire never fades; the market continually renews itself. New prospects come into the market. Old customers become dissatisfied with their old purchases, their old solutions, and begin to look again. The mass desire—the tremendous profit potential—still exists. But it cannot be tapped by the old, simple methods any longer.

这里有一个关键因素。那就是你所面对的市场的恢复力。它可能是一个基于不断重复的集体本能的市场，例如减少。它可能是一个基于未解决的技术问题的市场，例如火花塞更换。它可能是一个定期希望更新或改善其购买的市场，例如汽车、房屋、家电。在所有这些情况下，需求从未消退；市场不断自我更新。新的潜在客户进入市场。老客户对他们的旧购买、旧解决方案感到不满，并开始重新寻找。集体需求——巨大的利润潜力——仍然存在。但它不能再通过旧的、简单的方法来挖掘。

Women still want to lose weight. But by now they’ve read dozens of ads for reducing aids—all promising them to take off 20, 30, 40 pounds in a matter of weeks. They no longer fully believe them. Perhaps they believe these ads so little that they won’t even try a new product at all. For months, even years, they may simply accept their overweight condition as “something that just can’t be helped.”

女性仍然想减肥。但到现在为止，她们已经看过数十个减肥产品的广告——所有广告都承诺她们在几周内减掉 20、30、40 磅。她们不再完全相信这些广告。也许她们对这些广告的信任度低到甚至不会尝试新产品。几个月，甚至几年，她们可能只是接受自己的超重状况，认为“这就是无可奈何的事。”

But the desire never fades. The dissatisfaction builds up, month after month. Secretly, perhaps even unconsciously, these women are hoping to find a new product—a new headline—that promises them a new way to satisfy that age-old desire.

但这种渴望从未消退。每个月不满感不断积累。秘密地，也许甚至是无意识地，这些女性希望找到一种新产品——一个新的标题——承诺能以新的方式满足那种古老的渴望。

And on this fundamental fact, we build our strategy for selling a market in its Third Stage of Sophistication.

基于这一基本事实，我们构建了在市场第三阶段的成熟度下销售的策略。

If your market is at the stage where they’ve heard all the claims, in all their extremes, then mere repetition or exaggeration won’t work any longer. What this market needs now is a new device to make all these old claims become fresh and believable to them again. In other words, A NEW MECHANISM—a new way to making the old promise work. A different process—a fresh chance—a brand-new possibility of success where only disappointment has resulted before.

如果你的市场处于一个阶段，他们已经听过所有的主张，甚至是所有的极端，那么单纯的重复或夸大将不再有效。这个市场现在需要的是一种新的手段，让所有这些旧的主张再次变得新鲜和可信。换句话说，一种新的机制——一种让旧承诺重新发挥作用的新方法。一种不同的过程——一个新的机会——一个全新的成功可能性，而之前只带来了失望。

Here the emphasis shifts from what the product does to HOW it works. Not accomplishment, but performance becomes dominant. The headline expands. The claim remains—but now it is reinforced by the mechanism that accomplishes it. In the reducing field, for example, the limits of its basic promise had been reached by headlines like this:

在这里，重点从产品的功能转向了它的工作方式。不是成就，而是性能变得主导。标题扩展了。声明依然存在——但现在它得到了实现这一点的机制的支持。例如，在减肥领域，它的基本承诺的极限已经被这样的标题所达到：

“I AM 61 POUNDS LIGHTER … NEVER A HUNGRY MINUTE.”

“我轻了 61 磅……从未感到饥饿。”

Now new leaders emerge—avoiding the competition of claims—stressing mechanism instead, like this:

现在新的领导者出现了——避免了竞争的主张——而是强调机制，如下所示：

“FLOATS FAT RIGHT OUT OF YOUR BODY!”

“将脂肪直接从你的身体中排出！”

“FIRST WONDER DRUG FOR REDUCING!”

“首个减少的神奇药物！”

A vital change has taken place in both these ads—and in every ad that deals successfully with this Third Stage of Sophistication. In the previous, Second-Stage ads, the entire headline was taken up by a complete statement of the main claim. Below it, in smaller type, in either a subhead or the body copy, came the mechanism that accomplished the claim. Often, this mechanism was abbreviated—simply mentioned instead of being explained—indicated by a sort of shorthand, like this:

这两则广告以及每一则成功应对第三阶段复杂性的广告中都发生了一个重要变化。在之前的第二阶段广告中，整个标题都被主要主张的完整陈述占据。下面，以较小的字体，在副标题或正文中，出现了实现该主张的机制。通常，这个机制是简化的——只是提到而不是解释——用一种速记的方式表示，如下所示：

“I AM 61 POUNDS LIGHTER … NEVER A HUNGRY MINUTE.”

“我轻了 61 磅……从未感到饥饿。”

Read the Astonishing Experience of New York Food Expert with the Famous Eat-and-Reduce Plan.

阅读纽约食品专家与著名的吃与减计划的惊人经历。

In Third-Stage ads, however, this arrangement is completely reversed. By this time, the basic claim has become well-known to almost all its prospects—perhaps even too well-known. Therefore, this shorthand can be applied to the claim itself. What was before a five to ten word headline describing nothing but the basic claim—“I AM 61 POUNDS LIGHTER”—can be communicated in a single word in a headline devoted to explaining how this claim is accomplished. For instance:

然而，在第三阶段的广告中，这种安排完全颠倒了。到这个时候，基本的主张几乎对所有潜在客户都已耳熟能详——甚至可能过于耳熟能详。因此，这种简写可以应用于主张本身。之前描述基本主张的五到十个字的标题——“我轻了 61 磅”——可以在一个专门解释如何实现这一主张的标题中用一个单词来传达。例如：

“FLOATS FAT RIGHT OUT OF YOUR BODY!”

“让脂肪从你的身体中浮出！”

Or:

或：

“FIRST WONDER DRUG FOR REDUCING!”

“首个减少的神奇药物！”

First the mechanism is brought into the headline to establish a point of difference—to make the old claims fresh and believable again. And then—once the prospect is told that here is a brand-new chance for success—then the claim can he restated in full, to make sure that she realizes everything she is getting. Like this:

首先，将机制引入标题，以建立差异点——使旧的主张再次新鲜且可信。然后——一旦潜在客户被告知这里有一个全新的成功机会——那么主张可以完整地重新表述，以确保她意识到自己所获得的一切。像这样：

“FLOATS FAT RIGHT OUT OF YOUR BODY!”

“让脂肪从你的身体中浮出！”

Released for the first time! The amazing scientific discovery that melts up to 37 POUNDS off men and women—without starvation diets, without a single hungry moment—without even giving up the foods you love!

首次发布！这一惊人的科学发现可以让男性和女性减掉多达 37 磅——无需节食，无需忍受饥饿的时刻——甚至无需放弃你喜欢的食物！

Or—using the same Third-Stage arrangement of mechanism in the headline, and claim elaborated in the lead paragraph—we have this ad:

或者——使用相同的第三阶段机制安排在标题中，并在引言段落中详细说明主张——我们有了这则广告：

“FIRST WONDER DRUG FOR REDUCING!”

“首个减肥奇药！”

Used successfully by thousands of physicians! Lose as many pounds as you like without diets, without exercise, without giving up the kinds of food you love to eat!

成功被数千名医生使用！想减多少斤就减多少斤，无需节食，无需锻炼，无需放弃你喜欢吃的食物！

In both these ads—and all others like them—the promise itself is subordinated to the mechanism which accomplishes that promise. This mechanism is featured in the headline. When ads such as these are successful, you are dealing with a market that is in its Third Stage of Sophistication.

在这两则广告中——以及所有类似的广告中——承诺本身被置于实现该承诺的机制之下。这个机制在标题中得以体现。当像这样的广告成功时，你所面对的是处于第三阶段成熟度的市场。

The Fourth Stage

第四阶段

But you are still in a competitive market, and such ads give only a temporary advantage. Such ads, presenting a new promise, begin a new trend. Within a few months, the Third Stage of Sophistication passes into a Fourth Stage—a new stage of elaboration and enlargement. But this time, the elaboration is concentrated on the mechanism, rather than on the promise—like this:

但你仍然处于一个竞争激烈的市场，这种广告只提供了暂时的优势。这种广告提出了新的承诺，开始了一种新的趋势。在几个月内，第三阶段的复杂性进入第四阶段——一个新的详细化和扩展阶段。但这一次，详细化集中在机制上，而不是承诺上——就像这样：

“FIRST NO-DIET REDUCING WONDER DRUG!”

“首个无饮食减肥奇药！”

This Fourth Stage strategy can be summarized like this:

这个第四阶段的策略可以总结如下：

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. You are beginning a stage of embellishment similar to the Second Stage of Sophistication described above. The same strategy will be effective here.

如果竞争对手刚刚推出了一种新机制，以实现与您的产品相同的声明，并且该新机制的公告正在产生销售，那么您可以这样反击。简单地详细说明或扩展成功的机制。使其更简单、更快捷、更可靠；让它解决更多的问题；克服旧的限制；承诺额外的好处。您正在开始一个类似于上述第二阶段复杂性的修饰阶段。相同的策略在这里也会有效。

But, unfortunately, so will the same limitations. The Fourth Stage of Sophistication, like the Second Stage which it resembles, eventually pushes itself out of the realm of believability. At this point, further elaborations become ineffective. You are then faced with two alternatives:

但是，不幸的是，相同的局限性也会随之而来。第四阶段的复杂性，像它所类似的第二阶段，最终会超出可信度的范围。在这一点上，进一步的阐述变得无效。你将面临两个选择：

First, discovering a new, acceptable mechanism to make the promise fresh and believable again. But remember, the mechanism you use must not only be new and legitimate, but it must be accepted as believable and significant by your market. Each Third and Fourth Stage ad that precedes you, makes this problem of acceptance more and more difficult.

首先，发现一种新的、可接受的机制，使承诺再次新鲜且可信。但请记住，您使用的机制不仅必须是新的和合法的，还必须被您的市场接受为可信和重要。每一个在您之前的第三和第四阶段广告，都使得这一接受问题变得越来越困难。

Eventually, of course, no new mechanism will gain acceptance. The market will have grown tired of your promises and the mechanisms by which they are accomplished. Your prospects will have been glutted by advertising. You will have reached the Fifth Stage of Sophistication—the most difficult—where the field is said to be exhausted—where competitors are dropping out of the market en masse.

最终，当然，没有新的机制会获得认可。市场将对你的承诺和实现这些承诺的机制感到厌倦。你的潜在客户将被广告淹没。你将达到第五阶段的复杂性——最困难的阶段——在这个阶段，市场被认为已经饱和——竞争对手正大规模退出市场。

How to Revive a “Dead” Product

如何复兴一款“死”产品

In this Final Stage of Sophistication, your market no longer believes in your advertising, and therefore no longer wishes to be aware of your product. In many ways, therefore, this Fifth Stage of Sophistication corresponds to the Fifth Stage of Awareness discussed in Chapter 2. The problems are the same. The strategy is the same. The emphasis shifts from the promise and the mechanism which accomplishes it, to identification with the prospect himself. You are dealing here with the problem of bringing your prospect into your ad—not through desire—but through identification. (See Chapter 8.)

在这个成熟度的最终阶段，您的市场不再相信您的广告，因此也不再希望关注您的产品。因此，在许多方面，这个成熟度的第五阶段对应于第二章中讨论的意识的第五阶段。问题是相同的。策略是相同的。重点从承诺和实现承诺的机制转移到与潜在客户的认同。您在这里面临的问题是将潜在客户带入您的广告——不是通过欲望——而是通过认同。（见第八章。）

An outstanding example of a product which had lost its market because of such a Fifth Stage of Sophistication, and then gained it back by a brilliant use of the identification headline, is the Postum ad discussed in Chapter 2, and its headline, “WHY MEN CRACK …”

一个失去市场但通过巧妙使用识别标题而重新获得市场的产品的杰出例子是第二章讨论的 Postum 广告及其标题“为什么男人会崩溃……”

Let’s Look at an Industry That Went Through All Five Stages of Sophistication

让我们看看一个经历了五个成熟阶段的行业

But perhaps the classic example of an industry which encountered all five Stages of Sophistication—and overcame them—is the Cigarette Industry. The history of cigarette advertising is a continuous battle against competition, against physical and social taboos, even against the very success of its own current advertising; which saturates and exhausts the market by the weight of its combined industry expenditures, and constantly demands new approaches.

但也许香烟行业是一个经典的例子，它经历了所有五个成熟阶段并克服了这些阶段。香烟广告的历史是一场与竞争、与身体和社会禁忌，甚至与自身当前广告的成功的持续斗争；这些广告通过其综合行业支出的重量饱和并耗尽市场，并不断要求新的方法。

Let’s briefly examine the main current of cigarette advertising first—the progression from the first to the fifth Stages of Sophistication—and then discuss some of the side problems it encountered.

让我们首先简要审视香烟广告的主要潮流——从第一阶段到第五阶段的演变——然后讨论它所遇到的一些次要问题。

In the First Stage of Sophistication, when the market was new, cigarette advertising featured taste, enjoyment, pleasure in the headline:

在第一阶段的成熟度，当市场还很新时，香烟广告的标题强调了口味、享受和快乐：

“I’D WALK A MILE FOR A CAMEL!”

“我愿意为一只骆驼走一英里！”

“CHESTERFIELD—THEY SATISFY!”

“切斯特菲尔德——他们满足！”

This raw promise of enjoyment gradually became elaborated and embellished to push it to the limits of believability. In this Second Stage, since you cannot measure the pleasure a cigarette gives you, the promise-growth took the form of broader and broader comparisons:

这种原始的享受承诺逐渐被详细阐述和美化，以推动其达到可信度的极限。在这个第二阶段，由于你无法衡量香烟带给你的快乐，承诺的增长呈现出越来越广泛的比较形式：

“LIGHT UP A LUCKY, AND YOU WONT MISS THE SWEETS THAT MAKE YOU FAT!”

“点亮一个幸运，你就不会错过让你发胖的甜食！”

But, without measurement, the limits of enlargement are soon reached. So Third-Stage strategy began to be employed—a continuous stream of brilliant new mechanisms:

但是，如果没有测量，扩展的极限很快就会达到。因此，开始采用第三阶段策略——一系列持续不断的精彩新机制：

“LUCKIES—THEY’RE TOASTED!”

“PALL MALL’S GREATER LENGTH FILTERS THE SMOKE FURTHER!”

“PALL MALL 的更长烟嘴进一步过滤烟雾！”

“CAMELS—PROTECT YOUR T-ZONE!”

“骆驼—保护你的 T 区！”

And, as each of these mechanisms was accepted by the buying public, the originators competitors adopted the mechanism and began to elaborate on it—initiating the Fourth Stage:

而随着这些机制被购买公众接受，创始人的竞争对手也开始采用这些机制并加以详细阐述——开启了第四阶段：

“PHILIP MORRIS—ALL THE HARSHNESS BAKED OUT!”

“菲利普·莫里斯——所有的苦涩都被烘焙掉了！”

“CHESTERFIELD—REGULAR AND KING-SIZED TOO!”

“切斯特菲尔德—常规和特大号也有！”

“NINE OUT OF TEN DOCTORS PREFER LUCKIES!”

“十个医生中有九个更喜欢 Luckies！”

But eventually the mechanisms lost their potency, and the government ruled out the health claims; and in the early Fifties the industry faced a Fifth Stage market. But a new marketing tool—Motivation Research—had shown them how to reach this market without mechanisms or claims, without even headlines, simply by projecting strong visual identifications with the virility that the public had accepted in a cigarette. For example, any of the Marlboro “Virile Men” ads. Or their imitations in Chesterfield, or Camel ads.

但最终这些机制失去了效力，政府排除了健康声明；在五十年代初，行业面临第五阶段市场。但一种新的营销工具——动机研究——向他们展示了如何在没有机制或声明的情况下，甚至不需要标题，仅通过与公众在香烟中接受的阳刚之气进行强烈的视觉认同来接触这个市场。例如，任何一则万宝路“阳刚男人”的广告，或者它们在切斯特菲尔德或骆驼广告中的模仿。

Thus we have the full spectrum of sophistication confronting an industry. But cigarette advertisers also encountered two critical side problems. The first offered them the opportunity of doubling their market. The second, of retaining that huge market in the face of the most adverse publicity

因此，我们面临着一个行业所面对的全方位复杂性。但香烟广告商也遇到了两个关键的附带问题。第一个为他们提供了将市场翻倍的机会。第二个是在面对最不利的宣传时，保持那个庞大市场的机会。

The first challenge occurred immediately following the First World War. By this time the old “Coffin Nails” taboo had been forgotten—for men. But there still remained the equally great potential market of women smokers—if smoking could be made respectable for women. The trend was definitely in that direction—the urge, the curiosity existed in millions of women in all social classes—some respectable women were actually daring to smoke in public.

第一次挑战发生在第一次世界大战结束后。到那时，旧的“棺材钉”禁忌已经被遗忘——对于男性而言。但仍然存在着同样巨大的女性吸烟市场——如果吸烟能够被女性所接受。趋势确实朝着那个方向发展——数百万各个社会阶层的女性都有这种渴望和好奇心——一些体面的女性实际上开始在公共场合吸烟。

But the trend—left by itself—would take years to develop. An advertisement had to be created to accelerate that trend. To make smoking for women not only acceptable, but desirable. To channel the vast movement toward liberation and equality of the Twenties as the driving force to open up this huge new market.

但这个趋势——如果单靠自己——需要多年才能发展。必须创造一个广告来加速这一趋势。让女性吸烟不仅被接受，而且变得令人向往。将二十年代对解放和平等的巨大运动作为推动力，打开这个巨大的新市场。

But such an advertisement could never come right out and suggest that women smoke. It could not even show a woman smoking. Such an advertisement was definitely a Fifth Stage problem—a problem in identification. And it was solved by linking a man and woman in their most appealing connection—in love—with a smoking situation. The ad showed a young couple, sitting together on a beach on a moonlit night. He is just lighting up a cigarette—the first puffs of smoke are just drifting into the moonlight. She has her face turned toward his, and her words make up the entire headline (and, except for the logo, the entire ad):

但这样的广告绝不能直接暗示女性吸烟。它甚至不能展示一位女性在吸烟。这样的广告无疑是一个第五阶段的问题——一个识别问题。它通过将一男一女在他们最迷人的联系中——爱情——与吸烟情境联系起来来解决。广告展示了一对年轻情侣，坐在月光下的海滩上。他正在点燃一支香烟——第一缕烟雾正飘向月光。她的脸转向他，她的话构成了整个标题（除了标志，整个广告都是）：

“BLOW SOME MY WAY.”

“给我来点。”

Nothing more needed to be said. A vast new market—opened up with four words.

无需再说更多。一个巨大的新市场——用四个词打开。

The second challenge occurred thirty years later. This was the cancer of the late Fifties, which continues into today. It resulted in four reactions: First, there were cigarette holders, water pipes, ceramic filters, etc.—none of which succeeded in establishing a national market, since they represented too much inconvenience, too blatant an admission that the purchaser was worried about his smoking.

第二个挑战发生在三十年后。这是五十年代末的癌症，直到今天仍在继续。它引发了四种反应：首先，有香烟夹、水烟管、陶瓷过滤器等——这些都未能成功建立全国市场，因为它们代表了太多的不便，过于明显地承认了购买者对自己吸烟的担忧。

Secondly, the scare produced a determined effort in the industry itself to conduct its own research, to counteract or correct such claims.

其次，这种恐慌促使行业内部进行了一项坚定的努力，开展自己的研究，以反驳或纠正此类说法。

Third, it produced a temporary drop in cigarette sales. And, fourth, it opened up a vast new market for an already existing product—the filter cigarette—aided by the industry itself, which wisely gambled that smokers would not move out of cigarettes, but simply into a different kind of cigarette.

第三，它导致香烟销售暂时下降。第四，它为一种已经存在的产品——过滤嘴香烟——开辟了一个巨大的新市场，这得益于行业本身的智慧赌注，认为吸烟者不会放弃香烟，而只是转向另一种类型的香烟。

Filter cigarettes had always existed, as a small, specialty market. But now they were expanded into a mass market. Millions of new prospects, who had never before even considered filter cigarettes, now sought out information about them, asked to be told which one to buy, and a new market opened up. And it started to retrace the same Stages of Sophistication as its parent market had passed through fifty years before:

过滤香烟一直存在，作为一个小型的专业市场。但现在它们已经扩展到大众市场。数以百万计的新潜在客户，之前从未考虑过过滤香烟，现在开始寻求关于它们的信息，询问应该购买哪一种，新的市场由此打开。它开始重新经历其母市场五十年前所经历的同样的成熟阶段：

First Stage:

第一阶段：

“KENT’S MICRONITE FILTER TRAPS TARS BEFORE THEY REACH YOUR LIPS”

“KENT 的 MICRONITE 过滤器在焦油到达您的嘴唇之前将其捕获”

Second Stage:

第二阶段：

“20,000 FILTER TRAPS IN VICEROY!”

Third Stage:

第三阶段：

“PARLIAMENT—THE MOST IMPORTANT ¼ INCH IN SMOKING TODAY—NO FILTER FEEDBACK!”

“议会—今天吸烟中最重要的¼英寸—无滤嘴反馈！”

Fourth Stage:

第四阶段：

“TAREYTON—DUAL FILTER FOR DOUBLE THE PLEASURE!”

“TAREYTON—双重过滤，双倍享受！”

And the Fifth Stage—in an industry-wide stroke of genius—right back to the flavor again:

第五阶段——在整个行业的天才之举中——又回到了味道上：

“WINSTON TASTES GOOD LIKE A CIGARETTE SHOULD!”

“IT’S WHAT’S UP FRONT THAT COUNTS!”

“重要的是前面的内容！”

“L & M HAS FOUND THE SECRET THAT UNLOCKS THE FLAVOR!”

“L & M 找到了开启风味的秘密！”

And so it goes. In industry after industry. The same life cycle for each market. The same deadly challenges. The same willingness to adapt rather than perish.

于是，这种情况不断发生。在一个又一个行业中。每个市场都有相同的生命周期。相同的致命挑战。相同的适应意愿，而不是灭亡。

A Personal Note

个人笔记

In this book I have tried to write a scientific study of advertising, without troubling the reader with whatever personal ethics I myself may observe. Every copy writer who has ever sweated for days to create a new approach will know how it feels to see that approach copied overnight by a competitor. I share every ounce of that feeling. But such events happen every day. And they are effective. Therefore, examples such as those detailed above must be listed, in all objectivity, as a business strategy that has and will solve competitive problems in a competitive industry. I include them here—not as recommendations, but as possible strategies to be chosen or rejected.

在这本书中，我试图写一部关于广告的科学研究，而不让读者受到我个人可能遵循的任何伦理的困扰。每一个曾经为创造新方法而苦苦挣扎了几天的文案撰写者都知道，看到这种方法在一夜之间被竞争对手复制的感觉。我对此感同身受。但这样的事件每天都在发生。而且它们是有效的。因此，像上述详细列举的例子必须以完全客观的态度列出，作为在竞争行业中解决竞争问题的商业策略。我在这里列出它们——不是作为推荐，而是作为可以选择或拒绝的可能策略。

4 - 38 Ways to Strengthen Your Headline Once You Have Your Basic Idea

4 - 38 种在有了基本想法后加强标题的方法

Up to this point, we have been concerned with the strategy of planning copy—of arriving at the theme of our ad and the content of its headline—rather than with the techniques of actually writing this copy. The entire second portion of the book will be devoted to these techniques. But we must pause now, and examine one of these techniques out of sequence. It is called VERBALIZATION. And it is the art of increasing the impact of a headline by the way in which it is stated.

到目前为止，我们一直关注的是规划文案的策略——确定广告的主题和标题内容——而不是实际撰写这些文案的技巧。本书的第二部分将专门讨论这些技巧。但我们现在必须暂停一下，按顺序检查其中一种技巧。它被称为 VERBALIZATION。它是通过表述方式增强标题影响力的艺术。

Everything we have done so far has helped us obtain the content of our headline. We now know what we want to say. And we now have to determine how to say it.

到目前为止，我们所做的一切都帮助我们获得了标题的内容。我们现在知道我们想要表达什么。接下来，我们需要确定如何表达它。

The most obvious way, of course, is simply to state the claim in its barest form. “Lose Weight,” or “Stop Corns,” for example. And if you are the first in your field, there is no better way.

最明显的方法当然是简单地以最简单的形式陈述主张。例如，“减肥”或“停止长茧”。如果你是你所在领域的第一，没有更好的方法。

But where you are competitive, or where the thought is too complicated to be stated simply and directly, then you must reinforce that claim by binding other images to it with the words in which you express it. This is Verbalization. And it can accomplish several different purposes:

但在你具有竞争力的地方，或者当思想过于复杂无法简单直接地表述时，你必须通过将其他图像与之绑定来强化这一主张，使用你表达它的词语。这就是语言化。它可以实现几种不同的目的：

1. It can strengthen the claim—by enlarging upon it, by measuring it, by making it more vivid, etc.

1. 它可以增强主张——通过扩展它、通过测量它、通过使其更加生动等。

2. It can make the claim new and fresh again—by twisting it, changing it, presenting it from a different angle, turning it into a narration, challenging the reader with an example, etc.

它可以使这个主张再次变得新鲜和独特——通过扭曲它、改变它、从不同的角度呈现它、将其转化为叙述、用一个例子挑战读者等。

3. It can help the claim pull the prospect into the body of the ad—by promising him information about it, by questioning him, by partially revealing mechanism, etc.

3. 它可以帮助声明将潜在客户吸引到广告的主体中——通过向他承诺相关信息，通过质疑他，通过部分揭示机制等。

All of these goals are accomplished by adding variations, enlargements or embellishments to the main headline claim of the ad. These additional images are bound into the main claim by the sentence structure of the headline. They alter the main claim to make it more effective.

所有这些目标都是通过对广告的主要标题主张添加变体、扩展或修饰来实现的。这些额外的图像通过标题的句子结构与主要主张相结合。它们改变了主要主张，使其更有效。

They are the second creative step in writing the ad. First, we have seen how to determine the appeal itself. And now, how to shape that appeal into its most effective form in the headline. There are, of course, an infinite number of these variations (every good copywriter invents a few himself). But there are general patterns that most of them follow. Here are some of these guideposts for your own thinking:

它们是撰写广告的第二个创意步骤。首先，我们已经看到如何确定吸引力本身。现在，如何将这种吸引力塑造成标题中最有效的形式。当然，这些变体的数量是无限的（每个优秀的文案撰写者自己都会创造一些）。但大多数人遵循的一般模式是存在的。以下是一些供你自己思考的指引：

1. Measure the size of the claim:

1. 测量索赔的大小：

“20,000 FILTER TRAPS IN VICEROY!”

“I AM 61 POUNDS LIGHTER …”

“我轻了 61 磅……”

‘WHO EVER HEARD OF 17,000 BLOOMS FROM A SINGLE PLANT?”

“谁听说过一株植物能开出 17,000 朵花？”

2. Measure the speed of the claim:

2. 测量声明的速度：

“FEEL BETTER FAST!”

“快速感觉好起来！”

“IN TWO SECONDS, BAYER ASPIRIN BEGINS TO DISSOLVE IN YOUR GLASS!’“

“在两秒钟内，拜耳阿司匹林开始在您的杯中溶解！”

3. Compare the claim:

3. 比较声明：

“SIX TIMES WHITER WASHES!”

“六倍更白的洗涤！”

“COSTS UP TO $300 LESS THAN MANY MODELS OF THE LOW-PRICED THREE!”

“成本比许多低价三款车型低至 300 美元！”

4. Metaphorize the claim:

4. 将声明隐喻化：

“BANISHES CORNS!”

“驱除鸡眼！”

“MELTS AWAY UGLY FAT!”

“融化丑陋脂肪！”

5. Sensitize the claim by making the prospect feel, smell, touch, see or hear it:

5. 通过让潜在客户感受到、闻到、触摸到、看到或听到来使主张更具敏感性：

“TASTES LIKE YOU JUST PICKED IT!”

“尝起来就像你刚刚摘下的！”

“THE SKIN YOU LOVE TO TOUCH!”

“你爱触碰的肌肤！”

6. Demonstrate the claim by showing a prime example:

6. 通过展示一个典型例子来证明这一主张：

“JAKE LAMOTTA, 160 POUND FIGHTER, FAILS TO FLATTEN MONO PAPER CUP!”

“杰克·拉莫塔，160 磅拳手，未能压扁单面纸杯！”

“AT 60 MILES AN HOUR, THE LOUDEST NOISE IN THIS ROLLS ROYCE IS THE ELECTRIC CLOCK!”

“在时速 60 英里时，这辆劳斯莱斯中最响亮的声音是电动时钟！”

7. Dramatize the claim, or its result:

7. 使声明或其结果戏剧化：

“HERE’S AN EXTRA $50, GRACE—I’M MAKING BIG MONEY NOW!”

“这是额外的 50 美元，格蕾丝——我现在赚了很多钱！”

“THEY LAUGHED WHEN I SAT DOWN AT THE PIANO—BUT WHEN I STARTED TO PLAY …”

“他们在我坐下弹钢琴时笑了——但当我开始演奏时……”

8. State the claim as a paradox:

8. 将声明表述为悖论：

“HOW A BALD-HEADED BARBER SAVED MY HAIR!”

“一个秃头理发师是如何拯救我的头发的！”

“BEAT THE RACES BY PICKING LOSERS!”

“通过选择失败者来战胜比赛！”

9. Remove limitations from the claim:

9. 从声明中去除限制：

“SHRINKS HEMORRHOIDS WITHOUT SURGERY!”

“无须手术即可缩小痔疮！”

“YOU BREATHE NO DUSTY ODORS WHEN YOU DO IT WITH LEWYT!”

“当你和 LEWYT 一起做这件事时，你不会闻到任何尘土的气味！”

10. Associate the claim with values or people with whom the prospect wishes to be identified:

将主张与潜在客户希望认同的价值观或人联系起来：

“MICKEY MANTLE SAYS: CAMELS NEVER BOTHER MY THROAT!”

“米奇·曼特尔说：骆驼从不打扰我的喉咙！”

“9 OUT OF 10 DECORATORS USE WUNDA-WEAVE CARPETS FOR LONG LIFE AT LOW COST!”

“10 个装饰师中有 9 个使用 WUNDA-WEAVE 地毯，以低成本获得长久的使用寿命！”

11. Show how much work, in detail, the claim does:

11. 详细展示该声明所做的工作量：

“NOW! RELIEF FROM ALL 5 ACID-CAUSED STOMACH TROUBLES—IN SECONDS!”

“现在！在几秒钟内缓解所有 5 种由酸引起的胃部问题！”

“RELIEVES CONGESTION IN ALL 7 NASAL PASSAGES INSTANTLY!”

“瞬间缓解所有 7 个鼻腔的拥堵！”

12. State the claim as a question:

12. 将声明表述为一个问题：

“WHO ELSE WANTS A WHITER WASH—WITH NO HARD WORK?”

“还有谁想要更白的洗涤——不费力气？”

“COULD YOU USE $25 A WEEK EXTRA INCOME?”

“你能每周多赚$25 吗？”

13. Offer information about how to accomplish the claim:

13. 提供有关如何实现该声明的信息：

“HOW TO WIN FRIENDS AND INFLUENCE PEOPLE!”

“如何赢得朋友和影响他人！”

“HERE’S WHAT TO DO TO GET RID OF PIMPLES FAST!”

“这里是快速去除痘痘的方法！”

14. Tie authority into the claim:

14. 将权威与主张结合起来：

“BOSS MECHANIC SHOWS HOW TO AVOID ENGINE REPAIR BILLS!”

“HERE’S WHAT DOCTORS DO WHEN THEY FEEL ROTTEN!”

“医生感到糟糕时会做什么！”

15. Before-and-after the claim:

15. 前后对比的声明：

“BEFORE COLDENE A CHILD GOT OVER A COLD AFTER 5 DAYS OF ACHING, SNEEZING, WHEEZING, DRIPPING, SUFFERING, COUGHING, CRYING, GAGGING, SPITTING.”

“在冷登之前，一个孩子在经历了 5 天的疼痛、打喷嚏、喘息、流鼻涕、痛苦、咳嗽、哭泣、呕吐、吐痰后，终于康复了感冒。”

“WITH COLDENE A CHILD GETS OVER A COLD IN FIVE DAYS!”

“使用 COLDENE，孩子在五天内就能康复感冒！”

16. Stress the newness of the claim:

16. 强调主张的新颖性：

“ANNOUNCING! GUIDED MISSILE SPARK PLUGS!”

“宣布！导弹火花塞！”

“NOW! CHROME PLATE WITHOUT HEAT, ELECTRICITY, MACHINERY!”

“现在！无热、电、机械的镀铬！”

17. Stress the exclusivity of the claim:

17. 强调声明的独特性：

“OURS ALONE! PERSIAN LAMB ORIGINALS—$389.40!”

“仅此一款！波斯羊羔毛原版—$389.40！”

“ONLY GLEEM HAS GL-70 TO KEEP TEETH CLEAN ALL DAY LONG WITH ONE BRUSHING!”

“只有 GLEEM 拥有 GL-70，让牙齿全天保持清洁，只需一次刷牙！”

18. Turn the claim into a challenge for the reader:

18. 将声明转化为对读者的挑战：

“WHICH TWIN HAS THE TONI? AND WHICH HAS THE $15 PERMANENT?”

“哪个双胞胎有 TONI？哪个有$15 的永久性？”

“DOES SHE OR DOESN’T SHE? HAIR COLORING SO NATURAL ONLY HER HAIRDRESSER KNOWS FOR SURE!”

“她染发了吗？发色如此自然，只有她的发型师知道确切答案！”

19. State the claim as a case-history quotation:

19. 将声明表述为案例历史引用：

“LOOK, MOM—NO CAVITIES!”

“看，妈妈——没有蛀牙！”

“WOULD YOU BELIEVE IT—I HAVE A COLD!”

“你相信吗——我感冒了！”

20. Condense the claim—interchange your product and the product it replaces:

20. 精简声明——互换你的产品和它所替代的产品：

“NOW! A RING AND PISTON JOB IN A TUBE!”

“现在！一个在管子里的环和活塞工作！”

“POUR YOURSELF A NEW ENGINE!”

“给自己加注一台新引擎！”

21. Symbolize the claim—replace the direct statement or measurement of the claim with a parallel reality:

21. 象征性地表达主张——用一个平行现实替代对主张的直接陈述或测量：

“STARTING NEXT TUESDAY, THE ATLANTIC OCEAN BECOMES ONLY ONE-FIFTH AS LONG!”

“从下周二开始，大西洋的长度仅为原来的五分之一！”

22. Connect the mechanism to the claim in the headline:

22. 将机制与标题中的主张连接起来：

“FLOATS FAT RIGHT OUT OF YOUR BODY!”

“让脂肪从你的身体中浮出！”

“FEEDS WASTE GAS FUMES BACK INTO YOUR ENGINE!”

“将废气烟雾重新送回您的发动机！”

23. Startle the reader by contradicting the way he thinks the mechanism should work:

23. 通过与读者认为机制应该运作的方式相矛盾来使其感到惊讶：

“HIT HELL OUT OF THE BALL WITH YOUR RIGHT HAND,’ SAYS TOMMY ARMOUR!”

“用你的右手把球打得飞出地狱，”汤米·阿莫尔说！

24. Connect the need and the claim in the headline:

24. 在标题中连接需求和主张：

“THERE IS ONLY ONE SOLUTION TO AN ADVERTISING PROBLEM: FIND THE MAN!”

“广告问题只有一个解决方案：找到那个人！”

25. Offer information in the ad itself:

25. 在广告中提供信息：

“WHY MEN CRACK …”

“为什么男人崩溃……”

“WHAT EVERYBODY OUGHT TO KNOW ABOUT THIS STOCK AND BOND BUSINESS!”

“每个人都应该知道的关于股票和债券业务的事情！”

26. Turn the claim or the need into a case history:

26. 将主张或需求转化为案例历史：

“AUNT MEG, WHO NEVER MARRIED …”

“从未结婚的梅姑……”

“AGAIN SHE ORDERS—A CHICKEN SALAD, PLEASE’“

“再来一份——请给我一个鸡肉沙拉。”

27. Give a name to the problem or need:

27. 给问题或需求命名：

“WHEN YOU’RE WEARY WITH DAYTIME FATIGUE, TAKE ALKA-SELTZER.”

“当你因白天的疲惫而感到疲倦时，服用 ALKA-SELTZER。”

28. Warn the reader about possible pitfalls if he doesn’t use the product:

28. 警告读者如果不使用该产品可能会遇到的陷阱：

“DON’T INVEST ONE CENT OF YOUR HARD-EARNED MONEY UNTIL YOU CHECK THIS GUIDE!”

“在查看本指南之前，不要投资你辛苦赚来的每一分钱！”

29. Emphasize the claim by its phraseology—by breaking it into two sentences, or repeating it, or a part of it:

29. 通过措辞强调主张——将其分成两个句子，或重复它，或其中的一部分：

“A MAN YOU CAN LEAN ON! THAT’S KLOPER-MAN!”

“一个你可以依靠的男人！那就是 KLOPER-MAN！”

“NOBODY BUT NOBODY UNDERSELLS GIMBEL’S!”

“没有人能比 GIMBEL’S 更低价！”

30. Show how easy the claim is to accomplish by imposing a universally-overcome limitation:

30. 通过施加一个普遍克服的限制，展示这个主张是多么容易实现：

“IF YOU CAN COUNT TO ELEVEN, YOU CAN INCREASE YOUR SPEED AND SKILL AT NUMBERS!”

“如果你能数到十一，你就能提高你的速度和数字技能！”

31. State the difference in the headline:

31. 陈述标题中的区别：

“THE DIFFERENCE IN PREMIUM GASOLINES IS RIGHT IN THE ADDITIVES!”

“高档汽油的区别就在于添加剂！”

32. Surprise your reader into realizing that former limitations have now been overcome:

32. 让你的读者惊讶地意识到以前的限制现在已经被克服：

“SEE WHAT HAPPENS WHEN YOU CRUSH A HARTMAN DC-8? NOTHING!”

“看看当你压扁一架 HARTMAN DC-8 会发生什么？什么都没有！”

33. Address the people who can’t buy your product:

33. 针对无法购买您产品的人群：

“IF YOU’VE ALREADY TAKEN YOUR VACATION, DON’T READ THIS. IT’LL BREAK YOUR HEART.”

“如果你已经度过了假期，请不要阅读这篇文章。这会让你心碎。”

34. Address your prospect directly:

34. 直接与您的潜在客户沟通：

“TO THE MAN WHO WILL SETTLE FOR NOTHING LESS THAN THE PRESIDENCY OF HIS FIRM.”

“致于那些不愿意接受低于自己公司总裁职位的人。”

35. Dramatize how hard it was to produce the claim:

35. 形象化制作这一主张有多困难：

“When Jens finished designing this candleholder we had to invent a whole new kind of candle.”

“当延斯完成这个烛台的设计时，我们不得不发明一种全新的蜡烛。”

36. Accuse the claim of being too good:

指责该主张过于美好：

“IS IT IMMORAL TO MAKE MONEY THIS EASILY?”

“这样轻松赚钱是不道德的吗？”

37. Challenge the prospects present limiting beliefs:

挑战潜在客户当前的限制性信念：

“YOU ARE TWICE AS SMART AS YOU THINK.”

“你比你想象的聪明两倍。”

38. Turn the claim into a question and answer:

38. 将声明转化为问题并回答：

“You don’t know what’s under the hood and you couldn’t care less as long as your car runs smoothly. Who should you see if it doesn’t? … Someone who cares—United Delco.”

“你不知道引擎盖下有什么，也不在乎，只要你的车开得顺畅。如果它不顺畅，你应该找谁呢？……一个关心你的人——联合德尔科。”

And so on: an infinite number of variations. Try to create your own—tomorrow.

等等：无穷无尽的变化。试着自己创造一个——明天。

5 - Summary: The Art of Creative Planning—How to Make an Idea Grow

5 - 摘要：创造性规划的艺术——如何让一个想法成长

Now, let’s look at a few special headline problems, and then sum up:

现在，让我们看几个特殊的标题问题，然后总结一下：

The Three Levels of Creativity

创造力的三个层次

Something should be said here about the various approaches copy writers use to dig up a new headline. As far as I can tell, there are three of them:

在这里应该提到文案撰写者用来挖掘新标题的各种方法。就我所知，主要有三种方法：

The first, the shallowest, and the most widespread and ineffective, is the Word-Substitute Technique. Here the copy writer consults a list of proven and successful headlines. He then pulls out the original product name and substitutes his own; or his own product’s performance, etc. He usually comes up with something like this:

第一种、最浅显、最普遍且最无效的方法是词语替代技巧。在这里，文案撰写者会参考一份经过验证和成功的标题列表。然后，他会将原始产品名称替换为自己的名称；或者替换为自己产品的表现等。他通常会想出类似这样的内容：

“I’D WALK A MILE FOR A CUP OF BLANK COFFEE!”

“我愿意走一英里只为一杯空白咖啡！”

“WHY HAVEN’T BOAT OWNERS BEEN TOLD THESE FACTS?”

“为什么船主没有被告知这些事实？”

“FLOATS UGLY PIMPLES RIGHT OUT OF YOUR SKIN!”

“让丑陋的痘痘从你的肌肤上浮出来！”

If these ads are copied from a similar product, in the same market, at the same time, then their chance of success is good—especially if they embellish the promise in any way. But if the product, or the market, or the timing is different, then the chances of success diminish proportionately. They become Echo Ads—ads that remind people of some other product. They pay no attention to unique product-market-timing relationship that exists at the moment. Therefore they lose all the strengths that are wrapped up in that relationship. They are the kind of ads that clients write, rather than copy writers.

如果这些广告是从同类产品中复制的，在相同的市场和相同的时间，那么它们成功的机会是很大的——尤其是如果它们以某种方式美化了承诺。但是如果产品、市场或时机不同，那么成功的机会就会成比例地减少。它们变成了回声广告——提醒人们某个其他产品的广告。它们没有关注当前存在的独特产品-市场-时机关系。因此，它们失去了与该关系相关的所有优势。它们是客户写的广告，而不是文案撰写者。

The second, deeper and more difficult approach is through formulas. Here the copy writer has memorized a list of rules or principles, and tries to pour his headline into them like he’d pour hot lead into a mold. Such rules usually concern the way a headline is expressed. They list methods of strengthening the verbalization of the headline idea, and here they have a perfectly-valid use. Several examples of these principles are given in Chapter 4

第二种更深层次且更困难的方法是通过公式。在这里，文案撰写者已经记住了一系列规则或原则，并试图将他的标题像倒热铅一样倒入这些规则中。这些规则通常涉及标题的表达方式。它们列出了加强标题思想语言化的方法，在这里它们有着完全有效的用途。这些原则的几个例子在第四章中给出。

.

But the idea for an ad or a headline demands its own shape. It cannot be fitted into someone else’s solution. The problem defies a formula. And the third, analytical approach that we have outlined above—with no answers; only guide-posts and questions—offers the only way.

但广告或标题的构思需要其自身的形式。它不能被套入他人的解决方案。这个问题无法用公式来解决。而我们上面概述的第三种分析方法——没有答案；只有指引和问题——提供了唯一的途径。

This is a hard fact to accept. It means that a solution which has cost you days and weeks of painful effort, and which has done its job perfectly—can be used only once. It means that there are no creative shortcuts—that the effort must be duplicated with each individual ad. But fortunately the techniques of probing can be learned and perfected; intuition can be sharpened; a sensitivity can be developed for picking out the vital fact from a maze of information.

这是一个难以接受的事实。这意味着一个花费了你数天数周痛苦努力的解决方案，尽管它完美地完成了工作——只能使用一次。这意味着没有创造性的捷径——每个广告的努力必须重复进行。但幸运的是，探测的技巧可以学习和完善；直觉可以被磨练；可以培养出从信息迷宫中挑选出关键事实的敏感性。

And, of course, abandoning this effort leads to a reality which is even harsher. Many copy writers grow old, or tired, or afraid. They stop searching for the unique solution in every problem. From this moment on, they begin to copy instead of create. And most pathetic of all, many begin to copy themselves. The more successful the copy writer, the greater the temptation to find his new headline in his old files.

当然，放弃这一努力会导致一个更加严酷的现实。许多文案写手变得年老、疲惫或害怕。他们停止在每个问题中寻找独特的解决方案。从这一刻起，他们开始抄袭而不是创造。而最可悲的是，许多人开始抄袭自己。文案写手越成功，越容易在旧文件中寻找新的标题。

But it won’t work. Copying can be done by any cub. All this process does is bring talent down to the level of file-cabinet mediocrity. The true copy writer must argue with success—he must push on past it every time he faces a new product. In advertising, as well as in science and in art, the solution to the unique lies only in itself.

但这行不通。复制可以由任何小白鼠完成。这个过程所做的只是将才能降低到文件柜平庸的水平。真正的文案撰写者必须与成功争论——每当他面对新产品时，他必须不断超越成功。在广告、科学和艺术中，独特的解决方案仅存在于其自身之中。

On Motivation Research and Its
Relation to the Copy Writer

关于动机研究及其与文案撰写者的关系

As we have repeated throughout this first part of the book, the copy writer’s primary job is to know his market. Many times, he has to know more about that market than the market knows about itself.

正如我们在本书第一部分中反复提到的，文案撰写者的主要工作是了解他的市场。很多时候，他需要对市场的了解超过市场对自身的了解。

Before MR (Motivation Research), he did this mostly by personal digging, reading, talking—and guessing. With MR, he has some pretty professional guessers working with him. And they have the equipment to prove their guesses far more easily and inexpensively than writing a campaign and testing it.

在进行动机研究（MR）之前，他主要通过个人挖掘、阅读、交谈和猜测来完成这一工作。通过动机研究，他有一些相当专业的猜测者与他合作。他们拥有设备，可以比撰写一个广告活动并进行测试更轻松、更便宜地证明他们的猜测。

The copy writer can use MR in two ways. It can be a tremendous source of information to him. Information about the most powerful needs and desires of his market—desires that may be hidden, verbally unacceptable, or completely unknown. It shows him the strength of those desires—their drift and momentum—the taboos that accompany them, and limit their expression. It helps him locate splits in his market—gauge their points of difference—design pinpoint appeals for each of them. And it feeds back to him early reactions to his own phraseology—to test his own worry-points in the ad—to enable him to shift emphasis—and even to emerge with a completely new idea. All well and good. But a motivation research finding is not a headline, nor even the central theme of an ad, nor will it ever be. Like any other fact, it is a direction. First it tells you where not to go, to avoid wasting your time. And then it indicates the general area of your solution.

文案撰写者可以以两种方式使用动机研究（MR）。它可以成为他巨大的信息来源。关于他市场上最强烈的需求和欲望的信息——这些欲望可能是隐藏的、口头上不可接受的，或者完全未知的。它向他展示了这些欲望的强度——它们的漂移和动量——伴随它们的禁忌，以及限制它们表达的因素。它帮助他找到市场中的分裂——衡量它们的差异点——为每一个设计精准的吸引力。它还向他反馈自己措辞的早期反应——测试广告中自己的担忧点——使他能够调整重点——甚至提出一个全新的想法。这一切都很好。但动机研究的发现不是一个标题，也不是广告的中心主题，永远不会是。像任何其他事实一样，它是一个方向。首先，它告诉你哪里不应该去，以避免浪费时间。然后，它指示你解决方案的一般领域。

But the transformation of those facts into an idea, and the expression of that idea in the strongest possible form, still requires as much creative talent as any other starting point. The source of an idea, no matter how profound, is still only the beginning. The copy writer has to take it from there.

但将这些事实转化为一个想法，并以最强烈的形式表达这个想法，仍然需要与任何其他起点一样多的创造性才能。一个想法的来源，无论多么深刻，仍然只是一个开始。文案撰写者必须从那里开始。

The second great service that MR can perform for the copy writer is that of testing his own hunches, in answering the questions he uncovers in dealing with his market over a period of time.

MR 可以为文案撰写者提供的第二大服务是测试他自己的直觉，回答他在与市场打交道的过程中发现的问题。

For purposes of simplicity, we have dealt with advertising strategy as though it always consisted of writing a single ad—rather than a continuous campaign. By limiting ourselves in this way, we have been able to deal with each of the phases of such a campaign as though it were a separate and distinct problem, requiring a separate and distinct advertisement to solve it. In doing this, we have emphasized that a breakthrough can occur at any stage of a campaign; and that the same breakthrough techniques can be used to produce the germ idea for the entire campaign that follows.

为了简单起见，我们将广告策略视为总是由撰写单个广告组成——而不是一个持续的活动。通过以这种方式限制自己，我们能够将这样的活动的每个阶段视为一个独立且不同的问题，需要一个独立且不同的广告来解决。在这样做的过程中，我们强调了突破可以在活动的任何阶段发生；而且相同的突破技术可以用来产生整个后续活动的核心创意。

In reality, however, the copy writer usually works on a given product, or in a given market area, for long periods of time. During that time he will write many ads on this same subject. And during that time he will engage in a kind of discourse with his market, in which he feeds that market ideas, and it feeds back to him reactions to those ideas.

然而，实际上，文案撰写者通常会在特定产品或特定市场领域工作很长一段时间。在这段时间里，他会就同一主题撰写许多广告。在这段时间里，他会与市场进行一种对话，他向市场提供想法，而市场则对这些想法作出反馈。

During this massive conversation, if he is sensitive, the copy writer will pick up a continuous flow of the most vital information. Some of this information will be actual trends and preferences, which can be immediately translated into new ads. But much more of it will be in negative form—failures, roadblocks, limitations to the response from his ads. And only the statistical measurements of these limitations will be shown—not their causes. The copywriter will want to know why they occur. And in asking why, he will give birth to questions like these:

在这场大规模的对话中，如果他敏感，文案撰写者将捕捉到持续流动的最重要信息。其中一些信息将是实际的趋势和偏好，可以立即转化为新的广告。但更多的信息将以负面形式出现——失败、障碍、广告反应的限制。只有这些限制的统计测量会被展示——而不是它们的原因。文案撰写者想要知道它们为何发生。在询问原因时，他将产生如下问题：

What causes one woman to make most of her clothes at home, and another woman to use her sewing machine only for minor repairs?

是什么导致一个女人在家制作大部分衣服，而另一个女人只用缝纫机进行小修小补？

How can we convince more people that it’s safe to buy through mail-order?

我们如何能说服更多人相信通过邮购是安全的？

Why will men instantly buy an automatic potato peeler—and women send it right back to the store again?

为什么男人会立刻购买自动削土豆皮机，而女人却会立即把它退回商店？

These are research questions. They deal with psychological dimensions. The copy writer discovers them, and passes them along to his MR people to be phrased, tested and answered. Thus is born a new idea, a new theme, and a new headline, perhaps even a new campaign.

这些是研究问题。它们涉及心理维度。文案撰写者发现它们，并将其传递给他的市场研究人员进行措辞、测试和回答。由此诞生了一个新想法，一个新主题，甚至一个新标题，或许还有一个新活动。

On Expressing the Personality of a Product in Your Headline

在标题中表达产品个性

One of the most potent discoveries of motivation research is that a product, or a store, or a whole group of products has a distinct and complete personality to the consumer. This personality is a complex quality, embracing many traits. In the case of the Cadillac, for example, it consists of quality, prestige, performance, appearance, comfort, resale value, freedom from repairs and much more.

动机研究中最有力的发现之一是，产品、商店或一整组产品对消费者具有独特而完整的个性。这种个性是一种复杂的特质，包含许多特征。例如，在凯迪拉克的案例中，它包括质量、声望、性能、外观、舒适性、转售价值、免于维修的自由等等。

But—and this is the important point to consider in writing your headline—one of these traits will always be the most effective in summarizing and expressing this personality. In the case of Cadillac, it has always been, and will always be, quality. This summary trait is featured in a series of headlines, or headline illustrations—perhaps blended with one or two of the other traits to give it variety but always strengthening those other traits by interrelating them to this one dominant quality.

但是——这是撰写标题时需要考虑的重要点——这些特征中总有一个在总结和表达这种个性方面最为有效。以凯迪拉克为例，它一直是，并将永远是，质量。这个总结特征在一系列标题或标题插图中得以体现——可能与其他一两个特征相结合以增加多样性，但始终通过将这些其他特征与这一主导质量相互关联来增强它们。

Thus the personality is simplified, symbolized and sharpened to grasp the reader. And then—as the reader moves on through the body copy of the ad—this personality is expanded and examined in all its appeals—an ever-enlarging pyramid of persuasion, drawing in all the necessary information—charging that information with desire—terminating inevitably in the one source of satisfaction for that desire—your product.

因此，个性被简化、符号化并锐化，以吸引读者。然后——当读者继续阅读广告的正文时——这种个性在其所有吸引力中被扩展和审视——一个不断扩大的说服金字塔，吸纳所有必要的信息——为这些信息注入欲望——最终不可避免地以满足这种欲望的唯一来源——你的产品而告终。

We will examine this concept more thoroughly in Chapter 8—on Identification.

我们将在第 8 章——关于识别中更深入地探讨这个概念。

On the Only Type of Prevention Headline That Will Sell

唯一能销售的预防标题类型

Many copy writers believe that no prevention headline can ever be effective, because it treats a problem that may occur and that is not actually plaguing your prospect at this moment. The reason they give for this failure is the inability of the prospect to identify himself with a problem that has not already forced itself upon him.

许多文案写手认为，预防性标题永远无法有效，因为它处理的是可能发生的问题，而这个问题此刻并没有真正困扰到你的潜在客户。他们给出这种失败的原因是，潜在客户无法与尚未强加于他的一个问题产生认同。

This is true—but only for those problems which affect him personally. He is perfectly capable of imagining such problems afflicting his loved ones, his friends, his wife and children, even his nation. This is why decay-preventing toothpaste sold so well when the ads focused the decay, not on the parent, but on the children. This is why life insurance can be sold, not by picturing the prospects death, but the horrors inflicted upon his wife and children if insufficient money is left over to take care of them.

这是真的——但仅对那些直接影响到他个人的问题而言。他完全能够想象这些问题会影响到他所爱的人、朋友、妻子和孩子，甚至是他的国家。这就是为什么防蛀牙膏在广告中聚焦于蛀牙而不是父母时销售得如此好。这就是为什么人寿保险可以销售，不是通过描绘潜在客户的死亡，而是通过展示如果没有足够的钱来照顾他们，妻子和孩子将遭受的可怕后果。

To sum up: A man will not visualize future disasters occurring to himself, but he is perfectly capable of visualizing, and buying preventatives from, the image of such future problems affecting others around him.

总而言之：一个人不会想象未来的灾难发生在自己身上，但他完全能够想象并购买预防措施，以应对影响他周围其他人的未来问题的形象。

On the Selection of Splinter Markets to Avoid Competition

关于选择细分市场以避免竞争

Throughout this book, we have assumed that each competitor in a market will try to advertise to that market as a whole. For example, that every reducing aid will try to sell all women that are interested in losing weight.

在本书中，我们假设市场中的每个竞争者都会试图向整个市场进行广告宣传。例如，每种减肥辅助产品都会试图向所有有兴趣减肥的女性销售。

This assumption is not necessarily true, in at least two respects. First, it assumes that such a market is all of one piece (for example: that all women want to lose weight for the same reason). They do not, of course. There are at least two major sub-categories in the market—those who want to lose weight for appearance reasons, and those who must lose weight because of their health. The same general appeal—LOSE WEIGHT—will be effective with both. But certainly the mechanisms should vary—speed and ease in the first—safety and permanence in the second.

这个假设并不一定正确，至少在两个方面。首先，它假设这样的市场是一个整体（例如：所有女性都出于相同的原因想要减肥）。当然，她们并不是。市场中至少有两个主要的子类别——那些因为外貌原因想要减肥的人和那些因为健康原因必须减肥的人。相同的普遍诉求——减肥——对两者都有效。但当然，机制应该有所不同——第一类关注速度和便利，第二类关注安全性和持久性。

Secondly, a small company with a limited budget may avoid competing with larger rivals for the core of the market, and may concentrate its attack on a smaller segment of that market. This is usually done regionally. But it may be even more effective if it is based on the sociology of the market rather than its geography. For example, a reducing aid may decide to abandon the greater appearance segment of the market, and appeal much more specifically to the health segment. This deliberate focusing of the appeal would alter every aspect of the campaign, from the headline, through identification copy, through mechanism and substantiation—right down to the selection of media and channels of distribution. (Health and geriatric magazines, and distribution through doctors rather than drug stores.)

其次，一家预算有限的小公司可能会避免与更大竞争对手争夺市场的核心部分，而是将其攻击集中在该市场的一个较小细分上。这通常是按地区进行的。但如果基于市场的社会学而非地理位置，可能会更有效。例如，一家减肥产品的公司可能决定放弃市场上更大的外观细分，而更具体地吸引健康细分。这样的有意聚焦将改变活动的每一个方面，从标题、识别文案、机制和证实——一直到媒体和分销渠道的选择。（健康和老年杂志，以及通过医生而非药店进行分销。）

Eventually, of course, if the appeal is successful and the budget grows, then the advertiser can decide to invade the majority market. If he does this, the success of the initial limited campaign can be used as a point of difference to appeal to the larger market. For example, the fact that women who were forced to lose weight permanently relied on this product more than twice as often as any other, etc.

最终，当然，如果上诉成功且预算增加，那么广告商可以决定进入主要市场。如果他这样做，初始有限活动的成功可以作为一个差异点来吸引更大的市场。例如，女性被迫永久减肥的人使用该产品的频率是其他任何产品的两倍以上，等等。

In Summary

总结

The first five chapters of this book, which you have just finished, describe a process which may take days, or weeks, or months to complete.

本书的前五章，您刚刚完成，描述了一个可能需要几天、几周或几个月才能完成的过程。

This process begins with a thorough analysis of the market for your client’s product—with an attempt to measure the breadth and depth of that market—to identify the gigantic emotional forces that create that market—to define and focus those forces in terms of a single image or desire or need—and to channel those forces toward one inevitable solution—your client’s product.

这个过程始于对客户产品市场的全面分析——试图衡量该市场的广度和深度——以识别创造该市场的巨大情感力量——以单一的形象、愿望或需求来定义和聚焦这些力量——并将这些力量引导向一个不可避免的解决方案——客户的产品。

In order to do this, the second step of this process involves a meticulous study of the product itself—what it is and what it does—the physical product that you will deliver, and the functional product that you will sell—all its various satisfactions and performances—again focused to a single image, a single identification, a single claim that will tap the greatest possible emotional force within your market.

为了做到这一点，这个过程的第二步涉及对产品本身的细致研究——它是什么以及它的功能——你将交付的实物产品，以及你将销售的功能产品——所有各种的满足和表现——再次聚焦于一个单一的形象，一个单一的识别，一个单一的主张，以激发你市场中最大的情感力量。

The combination of these first and second steps gives you the theme of your ad—the desire your market demands and its satisfaction … the need your market feels and its solution … the identification your market gropes for and its expression.

这两个步骤的结合为你的广告提供了主题——市场所需的渴望及其满足……市场所感受到的需求及其解决方案……市场所追求的认同及其表达。

And once you discover this theme, you begin the process of expressing it. You explore the state of maturity of your market. You find out how much people know about your product and what it does—how much they’ve been told about similar products—and how much they care about both.

一旦你发现这个主题，你就开始表达它的过程。你探索市场的成熟状态。你了解人们对你的产品及其功能的了解程度——他们对类似产品被告知了多少——以及他们对这两者的关注程度。

Out of this analysis comes the point of entry for your headline—the point of contact—the point of greatest interest and acceptance on the part of your prospect. It may be located anywhere—in your product itself, in its price, in its performance, in the satisfaction your product promises, in the need your market demands from your product, or only in the market itself. But, wherever it is, this is the point where you start. Here the searching and the planning stop. Here the words begin.

从这个分析中得出你的标题的切入点——接触点——是你潜在客户最感兴趣和接受的地方。它可以位于任何地方——在你的产品本身、在价格、在性能、在你的产品所承诺的满意度、在市场对你产品的需求，或者仅仅在市场本身。但无论它在哪里，这就是你开始的地方。在这里，搜索和规划停止。在这里，文字开始。

Again, this process may take weeks or even months. And at the end of that time, you may have written five or ten words.

再次，这个过程可能需要几周甚至几个月。而在这段时间结束时，你可能只写了五个或十个词。

These five or ten words will make up about 90% of the value of your ad. If you are right, they may start a new industry. If you are wrong, nothing you write after them will save your ad. Copy writing—on the idea level—is an all or nothing profession. You build your idea, piece by piece … you crowd it into five or ten words … and then it stands or dies by itself. And everything that follows it, stands or dies with it. This is why we have devoted so much time to this planning process.

这五到十个词将构成你广告价值的约 90%。如果你是对的，它们可能会开启一个新行业。如果你错了，之后你写的任何内容都无法挽救你的广告。文案写作——在理念层面上——是一个全或无的职业。你逐步构建你的理念……将其浓缩成五到十个词……然后它就独立存在或消亡。随之而来的所有内容也随之而存或亡。这就是我们为何花费如此多时间在这个规划过程上的原因。

And it is a process. You don’t get an idea or a headline—you either build it, or you unfold it, petal by petal. You dig it out of the market research … you wring it out of the product … you read, you listen, you experiment for yourself. You work—hard. You rub up against this product and this market so hard that they seep into your pores. And—above everything else—you remember this cardinal ride of creativity:

这是一种过程。你不会得到一个想法或一个标题——你要么构建它，要么逐层展开它。你从市场调研中挖掘出来……你从产品中榨取出来……你阅读，你倾听，你自己进行实验。你努力工作——非常努力。你与这个产品和这个市场紧密接触，以至于它们渗透到你的每一个毛孔中。而且——在一切之上——你要记住这个创造力的基本法则：

What you are looking for in this product and this market is the one element that makes them unique. The idea you want—the headline you want—the breakthrough you want—are all wrapped up inside that product and that market. Nowhere else. And no outside ride—no outside formula will give them to you. You are facing a product-market-timing relationship that never happened before—it is unique. And the solution you need is just as unique.

您在这个产品和市场中寻找的就是使它们独特的那个元素。您想要的想法——您想要的标题——您想要的突破——都蕴含在那个产品和市场中。别无他处。没有外部的手段——没有外部的公式能给您这些。您面临的是一种前所未有的产品-市场-时机关系——它是独特的。而您所需要的解决方案同样独特。

What this first part of the book has tried to give you is not molds, but compasses. Not formulas to copy word by word, or rules to rigidly follow. But rather guide-posts to set your thinking in the right direction. Specifically and technically, these guideposts fall into two classes:

本书的第一部分试图给你提供的不是模具，而是指南针。不是逐字复制的公式，也不是严格遵循的规则。而是引导你思考朝着正确方向前进的路标。具体而言，这些路标分为两类：

The first are analytical procedures. Their purpose is to break down a complicated problem into its parts … to examine those parts one by one … to find out which is the most important—and to start your solution from there.

第一类是分析程序。它们的目的是将一个复杂的问题分解成其组成部分……逐一检查这些部分……找出哪个是最重要的——并从那里开始你的解决方案。

Once you have done this, you then begin to build up your solution to its greatest power. You do this by removing limiting factors, and by adding everything you can find that will strengthen your idea. If we wrote literature instead of advertising, these two processes would be called conception and execution. In copy writing, we say that we get the main theme for our ad, and then we put it into a headline.

一旦你完成了这个，你就开始将你的解决方案提升到最大的力量。你通过消除限制因素，并添加你能找到的所有能增强你想法的东西来做到这一点。如果我们写的是文学而不是广告，这两个过程将被称为构思和执行。在文案写作中，我们说我们为广告获取主要主题，然后将其放入标题中。

And when you have finished, you have five or ten words. If they are the right words, they will be immensely valuable. But they still will be only the start. They are the end of one road, and the beginning of another. They are the invitation to your ad—the hand you extend to your prospect for your product. Your job is now to make that introduction worthwhile—for both parties.

当你完成时，你会有五个或十个词。如果它们是正确的词，它们将非常有价值。但它们仍然只是一个开始。它们是一路的终点，也是另一条路的起点。它们是你广告的邀请——你向潜在客户伸出的手。你现在的工作是让这个介绍对双方都有价值。

In the remainder of the book, we shall discuss the techniques of writing the body copy of your ad. These techniques are directed toward one end: building conviction—not only instilling the desire for your product, but actually strengthening that desire with the belief that that product will DO what the prospect wants.

在本书的其余部分，我们将讨论撰写广告正文的技巧。这些技巧的目标只有一个：建立信念——不仅要激发对您产品的渴望，还要通过相信该产品能够实现潜在客户的需求来真正增强这种渴望。

We now turn to this process of building your ad, so that your ad builds conviction.

我们现在转向构建广告的这个过程，以便你的广告能够建立信念。

Part II - The Seven Basic Techniques of Breakthrough Advertising

第二部分 - 突破性广告的七种基本技巧

HOW TO WRITE BODY COPY AS STRONG AS YOUR HEADLINE

如何写出与标题同样强有力的正文内容

1 - Inside Your Prospect’s Mind—What Makes People Read, Want, Believe

1 - 进入你潜在客户的内心——是什么让人们阅读、渴望、相信

You have now built your headline. You now have a means of stopping your prospect—of bringing to a momentary halt all the diverse activities of his mind—of focusing his attention, at least for a moment, on a single thought. This is the job that you have designed your headline to do—not to sell, or identify your product, or even mention the need or desire that your product satisfies—but simply and solely to flag down your prospect, and get him to read your first paragraph.

您现在已经构建了您的标题。您现在有了一种方法来停止您的潜在客户——让他思维中所有多样的活动暂时停顿——至少在片刻之间，将他的注意力集中在一个单一的想法上。这就是您设计标题的目的——不是为了销售，或识别您的产品，甚至不提及您的产品所满足的需求或欲望——而仅仅是为了吸引您的潜在客户，让他阅读您的第一段。

From that moment on, your body copy does the selling. It does this by altering your prospect’s vision of reality. It creates a new world for your prospect—a world in which your product emerges as the fulfillment of the dominant desire that caused this man to respond to your headline.

从那一刻起，你的正文开始进行销售。它通过改变潜在客户对现实的看法来实现这一点。它为你的潜在客户创造了一个新世界——一个在这个世界中，你的产品成为了促使这个人对你的标题做出反应的主导欲望的实现。

To create this world, your copy must expand or alter one or more of the three dimensions of his already-existing mental world. This is the task of the remainder of your ad. Your copy must be long enough to accomplish this change—and the length of your ad will depend on three factors:

要创造这个世界，你的文案必须扩展或改变他已经存在的心理世界的一个或多个维度。这是你广告其余部分的任务。你的文案必须足够长以实现这种变化——而广告的长度将取决于三个因素：

First, how much copy you need to build his desire for that product—and everything that product can do for him—to its greatest possible strength.

首先，你需要多少文案来建立他对该产品的渴望——以及该产品能为他做的一切——以达到最大的效果。

Second, how much additional copy you need to make him feel both comfortable and complimented by that product, to enable him to visualize that product as a part of the life structure that he has built, and is building, for himself.

其次，你需要多少额外的文案来让他对该产品感到既舒适又受赞赏，以使他能够将该产品想象成他为自己构建和正在构建的生活结构的一部分。

And, finally, how much additional copy you need to make him believe what you have said—to compensate for his already-existing prejudices and beliefs.

最后，你需要多少额外的文案来让他相信你所说的内容，以弥补他已经存在的偏见和信念。

The answers to these three questions determine not only the length of your ad, but also its structure, its development, its style and its pace. Each of these questions relates to a separate dimension of your prospect’s mind—different ways he has of arranging thoughts and feelings. In this chapter, we will examine these three dimensions briefly, and sketch in what ways, and to what extent, you can alter or expand them through your ad. And then, in the following chapters, we will detail these mechanisms of persuasion thoroughly along with the most effective techniques of presenting them.

这三个问题的答案不仅决定了你的广告长度，还决定了它的结构、发展、风格和节奏。这些问题各自涉及到你潜在客户思维的不同维度——他整理思想和情感的不同方式。在本章中，我们将简要审视这三个维度，并勾勒出你可以通过广告在何种方式和多大程度上改变或扩展它们。接下来，在后面的章节中，我们将详细阐述这些说服机制以及呈现它们的最有效技巧。

And then, in the last chapter, we will try to weave them together into a simple, straight-line, logical progression of images —leading your reader from the headline, through the product, to the actual purchase.

然后，在最后一章中，我们将尝试将它们编织成一个简单、直线、逻辑顺序的图像——引导读者从标题，通过产品，直到实际购买。

Let us start with these three dimensions of thought and feeling:

让我们从这三个思维和情感的维度开始：

1. Desires

1. 欲望

These are the wants, needs, cravings, thirsts, hungers, lusts, etc. that drive your prospect through life. They are physical—such as the desire to be thin, or strong, or healthy, or free from acne, corns, bad breath or what have you. They are material—such as the desire to possess money, or a big car, or a beautiful dress. They are sensual—such as the thirst for a cold glass of beer, or the need for a tired body to stretch out on a soft bed.

这些是驱动你的潜在客户生活的欲望、需求、渴望、渴求、饥饿、欲望等。它们是身体上的——例如想要变瘦、变强、健康，或摆脱痤疮、鸡眼、口臭等。它们是物质上的——例如想要拥有金钱、豪车或美丽的裙子。它们是感官上的——例如渴望一杯冰啤酒，或疲惫的身体需要在柔软的床上伸展。

They have, of course, tremendous driving power. And they already exist. You cannot create them, diminish them, or battle them. But you can expand them, sharpen them, channel them, and give them a goal. And this is your primary task as a copy writer.

他们当然拥有巨大的驱动力。而且它们已经存在。你无法创造它们、削弱它们或与它们作斗争。但你可以扩展它们、提升它们、引导它们，并赋予它们一个目标。这就是你作为文案撰写者的主要任务。

Your first task—and in some ads your only task—is to make your prospect want. To sharpen his desire. To picture every moment of its fulfillment. To let him see it, feel it, touch it, sit in it, listen to his friends rave about it. To make him visualize the wonderful new world your product offers him so strongly that he practically lives in it—and then to offer him that product. The method of doing this—Intensification—will be discussed in the next chapter.

你第一项任务——在某些广告中也是你唯一的任务——就是让你的潜在客户产生渴望。加深他的欲望。让他想象每一个实现的瞬间。让他看到、感受到、触摸到、坐在其中，听到他的朋友们对它的赞美。让他如此强烈地想象出你的产品所提供的美好新世界，以至于他几乎生活在其中——然后向他提供那个产品。实现这一目标的方法——强化——将在下一章中讨论。

2. Identifications

2. 识别

These are the roles your prospect wants to play in life, and the personality traits he wants your product to help him build, or project.

这些是你的潜在客户想要在生活中扮演的角色，以及他希望你的产品帮助他建立或展现的个性特征。

These longings for identification—longings for a sharply-defined personality—longings for social status—are, of course, not material or physical or sensual at all. They complement and intensify the physical desires—add another dimension to them—by making each purchase serve a double duty. Thus, not only does a woman buy a low-calorie food to become thin, but in so doing she also builds again a radiant, attractive, youthful personality. And not only does a man buy a car for the power, speed and transportation it will give him, but equally as much for the projection of prestige, success and ready-cash-to-burn that this purchase communicates to his neighbors.

这些对认同的渴望——对鲜明个性的渴望——对社会地位的渴望——当然，都是非物质的、非身体的、非感官的。它们补充并强化了身体的欲望——为其增添了另一个维度——使每一次购买都承担双重职责。因此，女性不仅购买低热量食品以变得纤瘦，同时也在重塑一个光彩照人、迷人、年轻的个性。而男性购买汽车不仅是为了获得动力、速度和交通便利，同样也是为了向邻居传达这种购买所传递的声望、成功和随时可用的现金的形象。

Call them what you will—goals, hopes, dreams, ambitions, envies, admirations, fantasies or objectives—these subtle, symbolic, never-openly-spoken projections of our own self-images are immensely powerful sales forces. Your task is to put them directly behind your product. To make him feel the prestigious and select group he joins when he becomes a user of that product. To picture for him the people who live in your product’s world today.

称他们为目标、希望、梦想、抱负、嫉妒、钦佩、幻想或目标——这些微妙的、象征性的、从未公开表达的自我形象投射是极其强大的销售力量。你的任务是将它们直接放在你的产品背后。让他感受到当他成为该产品的用户时所加入的那个尊贵而精英的群体。为他描绘出今天生活在你产品世界中的人们。

3. Beliefs

3. 信念

These are the opinions, attitudes, prejudices, fragments of knowledge and conceptions of reality that your prospect lives by. This is the world of emotionalized reason that he inhabits—the way he accepts or rejects facts and builds up his universe, the types of thinking he uses to arrive at decisions, the ideas and values which give him comfort and which he believes are permanent and true.

这些是你的潜在客户所遵循的观点、态度、偏见、知识片段和现实观。这是他所生活的情感化理性的世界——他接受或拒绝事实的方式，以及构建自己宇宙的方式，他用来做出决策的思维类型，给他带来安慰的观念和价值观，以及他认为是永久和真实的东西。

These ideas may be shallow or profound, valid or false, perfectly logical or mere wishful thinking. But it is not advertising’s mission to argue with them. And no one advertiser can change them. Advertising is not education; it does not have society as its sponsor, nor does it have the years of time that are given to education to produce results.

这些想法可能是肤浅的或深刻的，真实的或虚假的，完全合乎逻辑的或仅仅是美好的愿望。但广告的使命并不是与这些想法争论。没有任何一个广告商能够改变它们。广告不是教育；它没有社会作为其赞助者，也没有教育所给予的多年时间来产生结果。

Advertising, like science, must accept reality as it exists, not as it might wish it to exist. Only then can it alter reality—not by smashing into it head-on—but by exploiting its tendencies and giving direction to its energies.

广告，像科学一样，必须接受现实的存在，而不是希望它存在的样子。只有这样，它才能改变现实——不是通过正面冲突，而是通过利用其趋势并引导其能量。

Believing is a process—a process of fitting new facts into certain established patterns of thought and conviction. People believe in certain ways. These beliefs form a filter through which your product-information must pass or be rejected. And their already-established patterns of reasoning create habit-channels along which your copy must build its conviction—or die.

相信是一个过程——将新事实融入某些既定思维和信念模式的过程。人们以特定的方式相信。这些信念形成了一个过滤器，您的产品信息必须通过这个过滤器，或者被拒绝。而他们已经建立的推理模式创造了习惯通道，您的文案必须沿着这些通道建立信念——否则就会失败。

You start with these beliefs as a base. You build up from them by using his kind of logic, not your own, to prove that your product satisfies his desires—to prove that your product works—to prove that his kind of people rely on your product—to prove that no other product satisfies his needs as well.

你以这些信念为基础。你通过使用他那种逻辑，而不是你自己的逻辑，来证明你的产品满足他的愿望——证明你的产品有效——证明他那种人依赖你的产品——证明没有其他产品能同样满足他的需求。

The mechanisms for doing this are shown in Chapters 9 and 10.

实现这一点的机制在第 9 章和第 10 章中展示。

There you have them. Desires… Identifications… Beliefs. Each of them composed of equal parts of emotion and thought. The three dimensions of your prospect’s mind—the raw materials with which you will work.

这就是它们。欲望……认同……信念。它们每一个都由情感和思想的相等部分组成。你潜在客户心智的三个维度——你将要使用的原材料。

To study them, we shall deal with each of them separately. But, in actually writing your ad, of course, you will weave them into each other—to create a simple, fluid path of thought from the beginning to the end of your ad. This technique—Blending and Reinforcement—will be the subject of Chapter 14.

为了研究它们，我们将分别处理每一个。但在实际撰写广告时，当然，你会将它们交织在一起——以创造从广告开始到结束的简单流畅的思路。这种技巧——融合与强化——将是第 14 章的主题。

2 - The First Technique of Breakthrough Copy: Intensification

2 - 突破性文案的第一技巧：强化

Thirteen Ways to Strengthen Desire

增强欲望的十三种方法

The force that creates sales, that powers our present economy, is desire. Mass Desire, spread among millions of men and women. And the art of salesmanship, fundamentally and primarily, is expanding this desire. Expanding it horizontally, among more and more people. Expanding it vertically by sharpening and magnifying it—by building it to such a pitch that it overcomes the obstacles of skepticism, lethargy and price, and results in the sale.

创造销售、推动我们当前经济的力量是欲望。大众欲望，传播在数百万男女之间。而销售艺术，根本上和主要是扩展这种欲望。横向扩展，让更多的人参与其中。纵向扩展，通过锐化和放大它——将其提升到克服怀疑、懒惰和价格障碍的程度，从而促成销售。

Advertising is salesmanship in print. Therefore, above everything else, advertising is the literature of desire. It is society’s encyclopedia of dreams … our twentieth-century Wish Book. Advertising gives form and content to desire. It provides it with a goal. These desires, as they exist in the mind of your prospect today, are indistinct. They are blurs—hazy, ambiguous, not yet crystallized into words or images. In most cases, they are simply vague emotions, without compulsion or direction. And as such, they have only a fraction of their true potential power.

广告是印刷品中的销售技巧。因此，广告首先是欲望的文学。它是社会的梦想百科全书……我们二十世纪的愿望书。广告为欲望赋予形式和内容。它为欲望提供了一个目标。这些欲望，在你潜在客户的脑海中，今天是模糊不清的。它们是模糊的——朦胧的、含糊的，尚未具体化为语言或图像。在大多数情况下，它们只是模糊的情感，没有强迫性或方向性。因此，它们的真正潜在力量仅有一小部分。

Your job is to fill out these vague desires with concrete images—to show your prospect every possible way that they can be fulfilled—to multiply their strength by the number of satisfactions that you can suggest to achieve them.

你的工作是用具体的图像填补这些模糊的欲望——向你的潜在客户展示他们可以实现的每一种可能方式——通过你可以建议的满足方式的数量来增强它们的力量。

A copy writer’s first qualifications are imagination and enthusiasm. You are literally the script writer for your prospect’s dreams. You are the chronicler of his future. Your job is to show him in minute detail all the tomorrows that your product makes possible for him.

一个文案撰写者的首要资格是想象力和热情。你实际上是你潜在客户梦想的编剧。你是他未来的记录者。你的工作是向他详细展示你的产品为他创造的所有明天。

This is the core of advertising—its fundamental function. To take unformulated desire, and translate it into one vivid scene of fulfillment after another. To add the appeal of concrete satisfaction after satisfaction to the basic drive of that desire. To make sure that your prospect realizes everything that he is getting—everything that he is now leaving behind him—everything that he may possibly be missing.

这就是广告的核心——它的基本功能。将未形成的欲望转化为一个又一个生动的满足场景。将具体的满足感的吸引力添加到这种欲望的基本驱动中。确保你的潜在客户意识到他所获得的一切——他现在所放弃的一切——他可能错过的一切。

The sharper you can draw your pictures—and the greater the number of them that you can legitimately present—the more your prospect will demand your product, and the less important will seem your price.

你能画得越清晰——而且你能合法展示的图片越多——你的潜在客户对你产品的需求就会越大，而你的价格看起来就会越不重要。

How much space can you give to this process of Intensification? This depends on two factors—the amount of space allotted to you for the entire ad, and the number of ways you can present your images without giving the feeling of repetition or boredom.

你能给这个强化过程多少空间？这取决于两个因素——为整个广告分配给你的空间量，以及你可以以多少种方式展示你的图像而不让人感到重复或无聊。

First of all, different media demand different treatments. For example, catalogs, small-space newspaper and magazine advertising, radio and television strictly limit the number of words given to you to draw your images. To fit your message into their structures, you must use either or both of two techniques. The first is compression—the boiling down of projections and images into a few key words. And the second is the campaign—the repetition of these key words over and over again—along with a progression of embellishments and differentiations—through an entire series of advertisements.

首先，不同的媒体需要不同的处理方式。例如，目录、小空间的报纸和杂志广告、广播和电视严格限制了你用来描绘图像的字数。为了将你的信息适应它们的结构，你必须使用两种技术中的一种或两种。第一种是压缩——将投影和图像浓缩成几个关键词。第二种是活动——不断重复这些关键词——以及一系列广告中的装饰和区分的逐步推进。

We shall see how this is done, in detail, at the end of this chapter.

我们将在本章末尾详细了解这是如何完成的。

On the other hand, large-space newspaper and magazine advertising and especially direct mail give you adequate room, in most cases, to present a full story in these media, the decision as to length depends far more on the second factor—the number of ways you can present your images without giving the feeling of repetition or boredom.

另一方面，大空间的报纸和杂志广告，尤其是直接邮寄广告，通常为您提供足够的空间在这些媒体中呈现完整的故事，长度的决定在很大程度上取决于第二个因素——您可以以多少种方式展示您的图像，而不会给人重复或无聊的感觉。

No matter what you do, your prospect will take with him only one basic idea, one dominant image from your ad. But with every additional new and different way that you can present that idea, it becomes sharper and more real in your prospect’s mind, and it builds up more and more emotional weight.

无论你做什么，你的潜在客户只会从你的广告中带走一个基本的想法，一个主导的形象。但是，每当你以新的不同方式呈现这个想法时，它在潜在客户的脑海中变得更加清晰和真实，并且积累了越来越多的情感分量。

Thus the problem becomes one of perspective, of fresh viewpoints, of new and different detail. Of walking around your product in your imagination, and presenting it to your prospect in every way in which it enters his life.

因此，这个问题变成了视角的问题、新的观点、不同的细节。是在想象中环绕着你的产品行走，并以每一种进入他生活的方式向你的潜在客户展示它。

You are working against two opposing forces. The first, as in your headline, is the amount of material which has already been presented to your prospect about similar products in other ads. There are stages of market sophistication to be dealt with in body copy as well as in your headline. If your prospect has read the same phraseology before, he will be bored by it, no matter where he encounters it again.

你正在与两种对立的力量作斗争。第一种，正如你的标题所示，是关于其他广告中已经向你的潜在客户展示的类似产品的材料数量。在正文中以及在你的标题中，都需要处理市场成熟度的不同阶段。如果你的潜在客户之前读过相同的措辞，无论他在哪里再次遇到它，他都会感到厌倦。

And the second obstacle is the phraseology of your own ad. Once you have presented your basic fulfillment in a certain way; then you must vary your viewpoint in your second description, or not present it again. Otherwise you will lose your reader in the middle of your ad.

第二个障碍是你自己广告的措辞。一旦你以某种方式呈现了你的基本满足；那么在你的第二个描述中，你必须改变你的观点，或者不再重新呈现它。否则，你会在广告的中间失去读者。

You cannot repeat, but you can reinforce. And every time the same basic promise is given a fresh setting for your prospect, it reinforces the descriptions that went before it, and makes your prospect that much more determined to participate.

你不能重复，但你可以加强。而每次将相同的基本承诺置于一个新的环境中时，它都会加强之前的描述，使你的潜在客户更加坚定地参与。

The presenting of a series of fresh, new and different fulfillments for your prospects dominant desire—our first mechanism of persuasion—is called Intensification. It takes many forms, with many more certainly to be invented. We will list some of them here, giving the complete copy examples to show how they have been worked out to deal with specific copy problems.

为您的潜在客户的主导欲望提供一系列新鲜、独特和不同的满足——我们第一种说服机制——称为强化。它有多种形式，未来肯定会有更多形式被发明出来。我们将在这里列出其中一些，提供完整的文案示例，以展示它们是如何被运用来解决特定文案问题的。

Our illustrations in this part of the book will be drawn mostly from mail order. The reason for this is simple. Mail order advertising must accomplish its sale from a single ad, without relying on the cumulative force of the campaign, and without help from product display or salespeople. Therefore, mail order tries to present as much of the complete story as possible at one time. These same techniques apply equally well to all forms of advertising. But there they are usually quite compressed, and their purpose and structure was not quite so apparent. Here are these techniques of Intensification:

本书这一部分的插图主要来自邮购。原因很简单。邮购广告必须通过单一广告完成销售，而不依赖于广告活动的累积效果，也不依赖于产品展示或销售人员的帮助。因此，邮购尽量一次性呈现尽可能完整的故事。这些相同的技巧同样适用于所有形式的广告。但在其他广告中，这些技巧通常被压缩得很紧凑，其目的和结构并不那么明显。以下是这些强化技巧：

Your First Presentation of Your Claims

您对您主张的首次展示

1. First present the product or the satisfaction it gives directly—bluntly—by a thorough, completely detailed description of its appearance or the results it gives. For example, this rose ad:

首先直接呈现产品或它所带来的满足感——直截了当地——通过对其外观或所带来的结果进行彻底、完全详细的描述。例如，这则玫瑰广告：

MORE ROSES THAN YOU EVER SAW ON ANY ROSE BUSH…

比你在任何玫瑰灌木上见过的玫瑰还要多……

Leading Eastern Agricultural College reports: This fabulous rose variety produced 500 blooms in June … 1523 more blooms in July… 1616 more blooms in August… 437 more blooms in September … 4,076 roses all from one single plant…

东部农业学院报告：这种奇妙的玫瑰品种在六月开出了 500 朵花……七月又开出了 1523 朵花……八月又开出了 1616 朵花……九月又开出了 437 朵花……总共 4076 朵玫瑰，全部来自一株植物……

Can you imagine the fantastic beauty of a rosebush that can easily give you MORE THAN 4,000 ROSES from June to September—and then keeps on blooming heavily right up into frost…

你能想象一丛玫瑰灌木的奇妙美丽吗？它可以轻松地在六月到九月之间给你超过 4,000 朵玫瑰——然后一直盛开到霜降…

Can you imagine the fantastic thrill of walking into your garden and actually picking 3 dozen, even 4 dozen roses a day from a single plant, day after day, week after week—and still leave gigantic clusters of bloom on each single plant.

你能想象走进你的花园，每天从一株植物上实际采摘 3 打甚至 4 打玫瑰的奇妙刺激吗，日复一日，周复一周——而且每株植物上仍然留有巨大的花朵簇。

Colorful, fragrant roses almost as large as the most expensive Hybrid Teas, yet blooming by the hundreds at one single time … on one single bush! Cherry-pink 3-inch roses overlaid with tinges of red that deepen in fire and brilliance as the blossoms unfold—to reveal a dazzling gold splash on their petals! Roses that burst into living walls of blossoms that flame again and again into exquisite masses of bloom in June, July, August, September, October, November … and often stay in bloom weeks after the first snows have fallen! …

色彩斑斓、芬芳四溢的玫瑰，几乎和最昂贵的杂交茶玫瑰一样大，却在一棵灌木上同时绽放数百朵！樱桃粉色的 3 英寸玫瑰，带有红色的色调，随着花朵的绽放而加深，展现出花瓣上耀眼的金色斑点！这些玫瑰如同活生生的花墙，六月、七月、八月、九月、十月、十一月不断绽放，反复燃烧成精美的花团……而且常常在第一场雪后仍然保持盛开数周！

This is the rose with such fantastic blooming power that it will actually give you huge clusters of 10, 12 even 15 flowers on a single stem … and produce those clusters in solid masses of bloom! Clusters as large as both of your outstretched hands put together … clusters that actually measure up to one full foot across … each stem a complete floral bouquet in itself… that gives you an average of more than 50 NEW ROSES day after day, week after week, for 8, 9 even 10 weeks in a row during the hot “dog days” of summer… Enough roses to fill every room in your house with color and fragrance all summer long … Enough roses to drench your terrace with beauty, to sweep around your home and flood your beds, your borders, your walks, your driveway with solid, living walls of roses all summer long … with just a few plants!

这就是这种具有惊人开花能力的玫瑰，它实际上会在一根茎上给你带来 10、12 甚至 15 朵花的大花簇……并以实实在在的花朵团块产生这些花簇！花簇的大小可以和你双手伸展开来放在一起一样……花簇的直径实际上可以达到一英尺……每根茎都是一个完整的花束……每天平均给你带来超过 50 朵新玫瑰，连续 8、9 甚至 10 周，在炎热的“狗日”夏季……足够的玫瑰让你家里的每个房间在整个夏天都充满色彩和香气……足够的玫瑰让你的露台充满美丽，让你的家周围和花坛、边界、小路、车道都被生机勃勃的玫瑰墙淹没，整个夏天……只需几株植物！

And this is the rose you can have blooming in your garden now and for years to come, that will make your grounds the garden showplace of the neighborhood, if you accept this extraordinary flower offer now! …

而这就是你现在可以在花园中绽放的玫瑰，未来多年都能盛开，它将使你的庭院成为邻里中的花园展示场所，如果你现在接受这个非凡的花卉优惠！

Or, as another example, this description of the results of a Christmas flashlight projector that shows colored slides of the Bible:

或者，作为另一个例子，这段关于一个圣诞手电筒投影仪的描述，它展示了彩色的圣经幻灯片：

… You take out the amazing invention we send you. You simply switch it on. And suddenly every person in the room draws in his breath in excitement and admiration!

… 你拿出我们寄给你的惊人发明。你只需打开它。突然，房间里的每个人都兴奋而钦佩地屏住了呼吸！

For there before you on that living room wall—projected four feet wide by three feet tall—is one of the most beautiful pictures you have ever seen! Before your eyes—so real that you can practically reach out and touch her—is the Virgin Mary holding the Infant Jesus in her arms. The picture actually glows with exquisite color. You can see every magnificent detail … the animals huddled around the manger … the tenderness in the Virgins eyes … the smile on the Infant’s face.

因为在你面前的客厅墙上——投影宽四英尺，高三英尺——是你见过的最美丽的画面之一！在你眼前——如此真实，以至于你几乎可以伸手去触摸她——是圣母玛利亚怀抱着婴儿耶稣。画面实际上散发着精美的色彩。你可以看到每一个宏伟的细节……围绕着马槽的动物……圣母眼中的温柔……婴儿脸上的微笑。

It’s almost as though you were actually there! Suddenly all the wonderful tales your children have heard … all the meaning and glory of Christmas … come alive before your children’s eyes! Life-sized … as tall as your children … scene after scene parades before them on their living room wall! They actually see the Angel of God announcing the Birth to the Shepherds! They witness the Star of Bethlehem rising over the world! They stand side by side with the Three Wise men in silent adoration!

仿佛你真的在那里一样！突然间，所有你孩子们听过的美妙故事……圣诞节的所有意义和荣耀……在你孩子的眼前栩栩如生！与他们的身高相仿……一幕幕场景在他们的客厅墙上游行！他们真的看到了上帝的天使向牧羊人宣布诞生！他们目睹了伯利恒之星在世界上升起！他们与三位智者并肩站立，默默崇敬！

Before their very eyes, they see Christ grow to maturity. They watch him astound the elders of the Temple as a small child. They thrill to his first meeting with John the Baptist. They are present at the Sermon on the Mount. They witness each of the miracles—see with their own eyes Jesus calming the storm … teaching Peter to walk on the water … raising Lazarus from the dead.

在他们眼前，他们看到基督成长为成熟的个体。他们目睹他作为小孩震惊圣殿的长老。他们为他与施洗约翰的第一次见面感到兴奋。他们在山上宝训时在场。他们见证了每一个奇迹——亲眼看到耶稣平息风暴……教彼得在水面上行走……使拉撒路复活。

Can there be any more thrilling experience? Suddenly every sermon they have ever heard … every book they have ever read … every prayer they have ever learned, takes on new meaning and beauty for them. This is probably the most thrilling hour you will ever spend with your children. They will ask you to repeat it time and time again. These magnificent pictures will continue to thrill and astound and instruct them for years to come …

还有比这更令人兴奋的体验吗？突然间，他们听过的每一篇讲道……读过的每一本书……学过的每一篇祷告，对他们来说都赋予了新的意义和美感。这可能是你和孩子们共度的最激动人心的一个小时。他们会一次又一次地请你重复。这些壮丽的画面将继续在未来的岁月里令他们感到兴奋、震惊并启发他们……

Or, as another example, this description of the outward appearance of a giant flying plastic model jet:

或者，作为另一个例子，这段关于一架巨型飞行塑料模型喷气机外观的描述：

… Yes! Just imagine the expression on your children’s faces, when they walk into your living room just one week from today, and suddenly see this magnificent model airplane standing in front of them on the living room table!

… 是的！想象一下，当你的孩子们在一周后的今天走进你的客厅，突然看到这架宏伟的模型飞机摆在客厅桌子上时，他们脸上的表情！

Here is a gigantic, three-dimensional, all plastic model airplane—resting securely on its own triple landing gear—and so huge that its tail section alone stands six full inches from the table!

这里有一架巨大的三维全塑料模型飞机——稳稳地停在它自己的三重起落架上——如此庞大，以至于它的尾部单独就离桌面六英寸！

This magnificent model airplane proudly bears the official colors of Pan American Airways! Its wings and engines are a dazzling silver! Its fuselage is a gleaming white—with a brilliant blue stripe stretching back twenty-one inches along the entire length of the body! And stamped on both sides of the huge rudder is the Fan American World Globe—and the American flag above it, ready to identify this plane anywhere she goes!

这架宏伟的模型飞机自豪地展示着泛美航空的官方颜色！它的机翼和发动机是耀眼的银色！机身是闪亮的白色——在整个机身长度上延伸着一条二十一英寸的明亮蓝色条纹！而在巨大的方向舵两侧印有泛美世界地球仪——上方是美国国旗，随时准备在任何地方识别这架飞机！

Both the wings and the tail section are slanted diagonally back—ready to cut through the air at 600 scale miles an hour! And suspended beneath the wings are the four huge engines—each as long and as thick as your child’s fingers—each with its own JET SOUND SIMULATOR, to give your child thrill after thrill after thrill WHEN HE ACTUALLY FLIES THIS BREATH-TAKING MODEL HIMSELF! .

机翼和尾部都向后倾斜——准备以每小时 600 比例英里切割空气！悬挂在机翼下方的是四个巨大的引擎——每个引擎的长度和厚度都和你孩子的手指一样——每个引擎都有自己的 JET SOUND SIMULATOR，让你的孩子在实际驾驶这个令人惊叹的模型时体验一次又一次的刺激！

Put the Claims in Action

将主张付诸实践

2. Now that you have presented your main description, you are ready to expand the image. One of the most effective ways to do this is to PUT THE PRODUCT IN ACTION for your reader. To show, not only how the product looks, and what benefits it gives the reader, hut exactly how it does this. As one example, let’s continue with our model jet airplane ad:

2. 现在您已经展示了主要描述，您准备好扩展形象了。做到这一点最有效的方法之一是让读者看到产品的实际使用。展示不仅是产品的外观和它为读者带来的好处，还要准确说明它是如何做到这一点的。作为一个例子，让我们继续我们的模型喷气飞机广告：

No Fuel! No Danger! No Crack-Ups! Yet It Flies 600 Scale Miles An Hour, All Under Your Complete Control!

没有燃料！没有危险！没有崩溃！然而它以每小时 600 比例英里飞行，完全在你的控制之下！

Pick this magnificent plastic model up from the table and hand it to your child. While he holds it, simply attach the U-Control Line as we show you to the left wing. Then suspend the model from this control line, and begin slowly to swing it through the air. Before your astonished eyes, you will see one of the most thrilling sights of your entire life!

把这个宏伟的塑料模型从桌子上拿起来，递给你的孩子。当他握住它时，按照我们所示的方式将 U-Control 线连接到左翼。然后将模型悬挂在这条控制线上，开始慢慢地在空中摆动。在你惊讶的眼前，你将看到你一生中最令人兴奋的景象之一！

This model is perfectly designed for high-speed flight! As soon as it picks up power from the motion of your hand, it will lift up its nose, its wings will begin to cut through the air, it will flash upward and streak ahead of you! As you give it more and more line, it will turn wider and wider, fly faster and faster … You can fly it in circles only five feet wide, or you can take it outdoors and fly it in gigantic arcs one hundred feet wide—the size of an entire city lot …

这个模型完美地设计用于高速飞行！一旦它从你手的运动中获取动力，它就会抬起鼻子，翅膀开始切割空气，它会向上闪烁并在你面前飞驰！随着你给它越来越多的线，它会转得越来越宽，飞得越来越快……你可以在仅五英尺宽的圆圈中飞行，或者你可以带它到户外，在一百英尺宽的巨大弧线中飞行——相当于整个城市地块的大小……

You can make this plane soar upward—stall at fantastic heights—dive toward the ground—and then pick up speed and flash upward again in a breath-taking rescue! … You can spiral this magnificent model down into a perfect landing! You can fly two or more planes in formation! You can have jet races! You can have an entire fleet of breathtaking models flown by every member of your family—and you can have them for only $1 apiece—less than ONE-FIFTH the price you’d pay for a plastic model of this size and performance! …

你可以让这架飞机向上飞翔——在惊人的高度失速——向地面俯冲——然后再次加速，进行惊心动魄的救援！……你可以将这个宏伟的模型螺旋降落到完美的着陆！你可以让两架或更多的飞机编队飞行！你可以进行喷气式赛车！你可以拥有一整支由你家每个成员操控的令人惊叹的模型舰队——而且每架只需 1 美元——不到你为这样大小和性能的塑料模型支付的五分之一的价格！……

Or, as another example, this product-in-action description from a brochure selling a self-propelled fish lure:

或者，作为另一个例子，这是一份销售自推进鱼饵的宣传册中的产品实操描述：

… Think of it! To fuel up this amazing, live-action lure, all you do is this. Simply snap open the fuel chamber—pour in the absolutely harmless fuel—and close the fuel chamber again! … Simply cast or lower that power-packed lure into fresh or salt water—and get set for the fishing thrill of your life!

… 想想看！要为这个惊人的实景诱饵加油，你只需这样做。简单地打开燃料舱——倒入绝对无害的燃料——然后再关闭燃料舱！… 只需将这个充满能量的诱饵投放或放入淡水或盐水中——准备好迎接你一生中最刺激的钓鱼体验吧！

For perhaps one minute, the lure will float quietly on the surface of the water. But then that water will reach the fuel charge inside—the lure will seem to shudder for a second—and then it will spring dramatically to “life”!

也许持续一分钟，诱饵会静静地漂浮在水面上。但随后水会到达内部的燃料充电——诱饵似乎会颤动一秒钟——然后它会戏剧性地“复活”！

The air around it will be filled with the buzzing sound of a dying bee! Instantly, the nose of the lure will point downward, and it will begin its first descent! Slowly, jerkily, like a maimed minnow, it will swim noisily downward—buzzing and humming—traveling about nine feet every fifteen seconds! If no fish intercepts it, it will then automatically stop its descent—slowly raise up its nose—and begin its irresistible climb to the surface again!

周围的空气将充满一只垂死蜜蜂的嗡嗡声！瞬间，诱饵的鼻子将指向下方，它将开始第一次下沉！缓慢而颤抖，像一条受伤的小鱼，它将发出噪音向下游动——嗡嗡作响，发出低沉的嗡鸣——每十五秒大约游动九英尺！如果没有鱼拦截它，它将自动停止下沉——慢慢抬起鼻子——再次开始它不可抗拒的上升到水面！

And again! And again! Tirelessly—hour after hour—lengthening out the reach of your own casts! Roaming restlessly over every foot of water beneath you—even on a slack line—even when your boat is tied up—even when you’re curled up on the dock, sound asleep! …

再一次！再一次！不知疲倦地——一小时又一小时——延伸你自己投掷的范围！在你脚下的每一寸水面上不安地游荡——即使在松弛的钓线下——即使当你的船停着——即使当你蜷缩在码头上，沉沉入睡！……

And driving the fish around you into such a frenzy with its swimming and its buzzing that they practically tear the rod out of your hands—they’re so anxious to get their mouths into the hook! …

并且通过它的游动和嗡嗡声把你周围的鱼驱动得如此疯狂，以至于它们几乎要把钓竿从你手中扯走——它们如此渴望把嘴巴放进钩子里！……

Bring In the Reader

吸引读者

3. Or, if your product lends itself to this kind of treatment, put your reader right smack in the middle of this product-in-action story, and give him a verbal demonstration of what will happen to him the first day he owns that product. For example, this passage from an ad selling a power booster for the average car:

3. 或者，如果你的产品适合这种处理方式，就把读者直接放在这个产品使用故事的中心，给他一个口头演示，说明他在拥有该产品的第一天会发生什么。例如，以下是一个广告中关于为普通汽车销售动力增强器的段落：

… Picture this to yourself! Next weekend you go down to your car—the same tired car that you’ve been driving for years. You’ve made only one simple change to that car, so easy that your sixteen year old son could do it. But now, when you turn on the ignition, a modern miracle of engineering science comes to life under your hood!

… 想象一下！下个周末你走到你的车旁——那辆你已经开了多年的疲惫的车。你只对这辆车做了一个简单的改动，简单到你十六岁的儿子都能做到。但现在，当你打开点火开关时，现代工程科学的奇迹在你的引擎盖下复活了！

From the very first moment, you’ll see and feel the difference in that engine! … When you release the emergency brake, your car will glide out of its parking space—roll down the street with your foot hardly touching the gas pedal. Every 30 or 40 seconds, you’ll give that car an extra shot of gas—feeling it spurt ahead—testing the new power that’s singing underneath your foot!

从第一刻起，你就会看到并感受到那台引擎的不同！……当你松开手刹时，你的车会轻松驶出停车位——几乎不需要踩油门就能沿着街道滑行。每 30 或 40 秒，你会给那辆车额外加一脚油——感受它向前冲刺——测试你脚下那股新动力的歌唱！

We ask you to pull up to another car at the stop light, of approximately the same year and make as your own! Wait until the light changes from red to green. Let the other car start first. Wait till the other car gets half way across the street. And then slam your foot down on the gas pedal!

我们请你在红绿灯处靠近另一辆大约与自己同年同款的车！等到红灯变成绿灯。让另一辆车先起步。等到另一辆车走到街道中间。然后猛踩油门！

Before that other car has even crossed the street, you will have caught up with him. For one brief second, you and that other car will race fender to fender. And then you will flash away from him … you will leave him a full block behind … you will look in your rear view mirror and see the startled look of amazement on the other drivers face! …

在那辆车甚至还没过马路之前，你就会追上他。在短暂的一秒钟里，你和那辆车将并肩竞速。然后你会迅速超过他……你会让他落在整整一个街区后面……你会在后视镜中看到其他司机脸上惊讶的表情！……

Show Him How to Test Your Claims

向他展示如何验证你的主张

4. But there is still more room to expand the image along these lines. Turn the demonstration into a test. Let your reader visualize himself proving the performance of your product—gaining its benefits immediately—in the most specific and dramatic way possible. For example, in this ad, selling a new kind of spark plug:

4. 但在这些方面仍然有更多扩展形象的空间。将演示转变为测试。让你的读者想象自己证明你的产品性能——立即获得其好处——以尽可能具体和戏剧化的方式。例如，在这个广告中，销售一种新型火花塞：

… when you get your set of SA FIRE INJECTORS, here is all you do. If you have an automatic transmission, make a note of how fast your car crawls forward when it is in the drive position, with the motor idling. If you have a sports car, a racing car or boat, make a note of the RPM’s as indicated on the tachometer when the engine is idling. If you have regular transmission, put your car in low gear on a level road and notice its speed with the motor idling. Next … screw your injectors right into the spark plug openings …

… 当你获得一套 SA FIRE INJECTORS 时，你只需这样做。如果你有自动变速器，请注意在怠速时，汽车在驾驶位置时缓慢前进的速度。如果你有跑车、赛车或船，请注意在怠速时，转速表上显示的 RPM。如果你有手动变速器，请将汽车置于低档，在平坦的道路上注意怠速时的速度。接下来… 将喷油器直接拧入火花塞开口…

Now, if you have an automatic transmission—put your car in drive and let your engine idle. If your car stood still with spark plugs, it will now move forward at from 4 to 6 miles an hour; that means that the amount of gas that just kept your engine turning over will now carry you up to 6 miles at no cost to you.

现在，如果你有自动变速器——把车挂入行驶档，让发动机怠速。如果你的车在火花塞的情况下静止不动，它现在将以每小时 4 到 6 英里的速度向前移动；这意味着，刚刚让你的发动机运转的汽油现在将免费带你行驶最多 6 英里。

If you have a racing or sports car or a boat with a tachometer, your RPM’s will increase up to 200 more at idling and up to 300 more at high speeds.

如果你有一辆赛车、运动汽车或一艘带有转速表的船，怠速时你的转速会增加最多 200，高速时会增加最多 300。

If you have regular transmission, in low gear with your motor idling your car will move forward 4 to 6 miles per hour faster. In other words, no matter what you drive, here is absolute proof that you can go further, faster and cheaper…

如果你有手动变速器，在低档时发动机怠速，你的车将以每小时 4 到 6 英里的速度向前移动。换句话说，无论你驾驶什么，这里有绝对的证据表明你可以走得更远、更快且更便宜……

Or, as another example, this demonstration-test from an ad selling a memory course, with the headline, “Give Me One Evening and I’ll Give you a Push-Button Memory”

或者，作为另一个例子，这个来自销售记忆课程的广告的演示测试，标题是“给我一个晚上，我将给你一个按键记忆”

:

… Take this book and turn to page 39. Read eight short pages—no more. And then, put down the book. Review in your own mind the one simple secret I’ve shown you. And then—get ready to test your new AUTOMATIC memory!

… 拿起这本书，翻到第 39 页。阅读八页短文——不多于此。然后，放下书。在你自己的脑海中回顾我给你展示的一个简单秘密。然后——准备好测试你的新自动记忆！

What you are going to do, in that very first evening, is this. Without referring to the book, you are going to sit down, and you are going to write—not five, not ten, but TWENTY important facts that you have never been able to memorize before! If you are a business man, they may be customers’ orders that you have received … if you are a salesman, they may be twenty different products in your line … if you are a housewife, they…

你在那个第一晚要做的就是这个。你将坐下来，不参考书籍，写下——不是五个，不是十个，而是二十个你之前从未能记住的重要事实！如果你是商人，它们可能是你收到的客户订单……如果你是销售员，它们可能是你产品线中的二十种不同产品……如果你是家庭主妇，它们……

In any case, you are simply going to glance over that list again for a few moments. You are going to perform a simple mental trick on each one of these facts—that will burn that fact into your mind, permanently and automatically! And then you are going to put that list away …

无论如何，你只需再花几分钟浏览一下那份清单。你将对每一个事实进行一个简单的心理技巧——这将把那个事实永久而自动地铭刻在你的脑海中！然后你将把那份清单收起来……

And the next morning, you are going to amaze your friends and family! When you go down to business, you will attend to every one of those orders—automatically—without referring to your memo pad!…

第二天早上，你将让你的朋友和家人惊讶！当你开始工作时，你将自动处理每一个订单——无需查看备忘录！…

Yes! And you’ll amaze your friends by remembering every product in your line—backwards and forwards—in the exact order that you memorized them! You’ll keep every single appointment on time—because one appointment will automatically flash into your mind after another—at the precise moment you need them—exactly as though you pushed a mental button!

是的！你会让你的朋友惊讶，因为你能记住你产品线中的每一个产品——正着和反着——以你记忆的确切顺序！你会准时完成每一个约会——因为一个约会会在你需要它的确切时刻自动闪现在你的脑海中——就好像你按下了一个心理按钮一样！

All this—in a single evening!…

这一切——在一个晚上完成！……

Stretch Out Your Benefits in Time

延长您的利益时间

5. The number of variations, of fresh, startling viewpoints is endless. Here is another departure from the product-in-action theme: showing the product at work, not for just an hour or a day, but over a span of weeks and months. Here you extend your reader’s vision further and further into time—showing him a continuous flow of benefits. This passage is taken from an ad for an English plant food:

5. 变化的数量、新鲜而令人惊讶的观点是无穷无尽的。这是另一个偏离产品实际运作主题的例子：展示产品的工作，不仅仅是一个小时或一天，而是跨越几周和几个月。在这里，你将读者的视野不断延伸到更远的时间——向他展示持续不断的好处。此段摘自一则关于英国植物营养剂的广告：

… First, the amazing English pellets give your plants a tremendous new burst of growth! New plants and old—they send out dozens of hidden shoots and buds! Some of your plants may actually DOUBLE in height and breadth the very first month!

… 首先，神奇的英国产颗粒为您的植物带来了巨大的新生长！新植物和旧植物——它们会发出数十个隐藏的芽和嫩枝！您的一些植物在第一个月内的高度和宽度可能实际上会翻倍！

But this is just the beginning! Within one or two short weeks—without you even touching your plant—this amazing pellet AUTOMATICALLY begins the second stage of its work! It automatically sends out a second wonder-working nutrient—that enters into every cell of your plants’ bodies—that fills those cells with health and strength and sturdiness … Great, tall stems stand up with military precision! Giant buds begin to swell with vigor and vitality! Even tired old shrubs and trees—that you had almost given up for lost—begin to straighten out—fatten up—send out the young green growth that you had never hoped to see again!

但这仅仅是个开始！在一两周内——甚至在你没有碰触你的植物的情况下——这个神奇的颗粒会自动开始它工作的第二阶段！它会自动释放出第二种神奇的营养物质——进入你植物体内的每一个细胞——让这些细胞充满健康、力量和坚韧……高大挺拔的茎以军队般的精确度直立！巨大的花蕾开始充满活力和生机！即使是那些你几乎已经放弃的疲惫老灌木和树木——也开始挺直身子——变得丰满——发出你从未希望再看到的年轻绿色新芽！

And then, the most remarkable part of all! Just as these fantastically beautiful plants have reached their full, glorious height and strength—at that moment these tiny English pellets automatically liberate still a third wonder-working ingredient!… .

然后，最令人惊叹的部分来了！就在这些极其美丽的植物达到它们的巅峰、高度和力量的那一刻，这些微小的英国产颗粒自动释放出第三种奇迹成分！……

And when that third precious ingredient reaches those buds—then that very morning you will open the door to your house—AND YOU WILL BE BLINDED BY THE EXPLOSION OF COLOR THAT GREETS YOU IN YOUR GARDEN! … You will see rose bushes weighted down with masses of blossoms, of a richness and perfume and color you have never imagined before! You will see dahlias and asters and gladiolas so massive, so exquisite, so breathtakingly beautiful that you can hardly believe that they are the same plants that you put in the ground! And when your neighbors begin to pour into your yard—when you watch them bend and touch these flowers to see if they are real—THEN YOU WILL KNOW A FEELING OF GARDEN ACCOMPLISHMENT AND PRIDE THAT YOU NEVER DREAMED OF BEFORE!…

当第三种珍贵的成分到达那些花蕾时——那么在那个早晨你将打开你家的门——而你将被迎接你花园中色彩的爆炸所眩目！……你将看到玫瑰灌木上压满了大量的花朵，丰富的香气和色彩是你从未想象过的！你将看到大丽花、紫菀和剑兰如此庞大、如此精致、如此令人惊叹的美丽，以至于你几乎无法相信它们是你种下的同样植物！当你的邻居们开始涌入你的院子——当你看到他们弯下身来触摸这些花朵以确认它们是否真实——那么你将知道一种你从未梦想过的园艺成就感和自豪感！……

Bring In an Audience

吸引观众

6. At the end of this passage, other actors besides the reader are brought into the scene. Each one of them—each group of them—provides a fresh new perspective through which your reader can view the product. Seen through their eyes—experienced through their actions and reactions—the product performances become new, vivid and completely different again.

6. 在这一段的结尾，除了读者之外，其他角色也被带入场景。每一个角色——每一组角色——都提供了一个全新的视角，让你的读者可以看待产品。通过他们的眼睛看——通过他们的行动和反应体验——产品的表现变得新颖、生动，并且完全不同。

These new participants may be celebrities, who relate their experiences through the testimonial. This technique is too familiar to warrant an example here. Or they may be average men and women, whom the reader easily identifies with, whose experiences are related through narration or the case history. Probably the most famous example of a narration is the “They Laughed When I Sat Down at the Piano” ad quoted in the first section of this book. Here, as an example of the case-history approach, we use a passage from a reducing ad:

这些新参与者可能是名人，他们通过证言讲述自己的经历。这种技巧过于常见，不需要在这里举例。或者他们可能是普通的男女，读者很容易与他们产生共鸣，他们的经历通过叙述或案例历史来呈现。最著名的叙述例子可能是本书第一部分引用的“当我坐下弹钢琴时，他们笑了”的广告。在这里，作为案例历史方法的一个例子，我们使用一段减肥广告的内容：

… And then, if you were like the men and women whose fantastic case histories were reported by leading medical journals, perhaps you went to your doctor and asked him for AN EASY WAY OUT—WITHOUT TORTURE—AND WITHOUT SLIDING BACK! …

… 然后，如果你像那些在知名医学期刊上报道的男性和女性一样，也许你去找你的医生，问他有没有一个简单的方法——没有折磨——而且不会倒退！…

These doctors had the answer in a tiny grey pill—and a common-sense plan …

这些医生在一颗小小的灰色药丸中找到了答案——以及一个常识性的计划……

They instructed dozens of patients to test this miracle plan in their own homes, under these doctors’ supervision. These men and women did NOT give up the foods they loved—they simply and naturally cut down on them!

他们指示数十名患者在这些医生的监督下，在自己家中测试这个奇迹计划。这些男女并没有放弃他们喜欢的食物——他们只是简单自然地减少了摄入量！

They were not given any starvation diets … they reported, in case after case, that they felt more pep, more energy, more youth and vitality than they had known for years!

他们没有被给予任何饥饿饮食……他们在一个又一个案例中报告说，他们感到比多年来更有活力、更有精力、更年轻和充满生机！

And then, day by day, faster and easier and safer than they had ever known before, the ugly excess fat around their bodies melted away! While they were eating three delicious meals a day, they were shedding as much as five pounds a week! While they were feasting on mouth-watering steaks, thick juicy slices of roast beef, potatoes, butter and bread—they were losing inch after inch after inch from around their waistlines, their thighs, their hips. Clothes that they had discarded years before began to come out of the closets and attics. Men and women both—they beam to notice a new young look to their chins and faces that they’d thought they’d lost forever.

然后，日复一日，比他们以往所知道的更快、更简单、更安全，身体周围的丑陋多余脂肪融化了！当他们每天享用三顿美味的餐点时，他们每周竟能减掉多达五磅！当他们大快朵颐地享用令人垂涎的牛排、厚厚的多汁烤牛肉、土豆、黄油和面包时——他们的腰围、大腿和臀部却在不断减少。多年前丢弃的衣服开始从衣橱和阁楼里拿出来。无论男女，他们都欣喜地发现自己的下巴和脸庞重新焕发出年轻的光彩，而他们曾以为这已经永远失去。

And when the plan was over … these men and women had lost as much as 17 and 25 and even 34 pounds … they had turned back their weight clock 5, 10 and even 15 years … And their trim, slim figures were just beginning…

当计划结束时……这些男女的体重减少了 17、25 甚至 34 磅……他们的体重回到了 5、10 甚至 15 年前……而他们的苗条身材才刚刚开始……

Show Experts Approving

显示专家批准

7. But not only celebrities and ordinary people can be used to reaffirm the product benefits. Experts in the field—professionals—the sophisticated, the discriminating, the blasé can be called on to register their reactions. There is nothing so astounding as the astonishment of experts. Here the elements of surprise, competition and discovery all combine to sharpen the image even more. This example is taken from the rose ad mentioned above:

7. 但不仅仅是名人和普通人可以用来重申产品的好处。该领域的专家——专业人士——那些精明的、挑剔的、无动于衷的都可以被请来表达他们的反应。没有什么比专家的惊讶更令人震惊。在这里，惊喜、竞争和发现的元素结合在一起，使形象更加鲜明。这个例子取自上述提到的玫瑰广告：

… Just picture the scene as these college horticulturists began this amazing flowering test of roses. For here gathered in a test field were all the high-praised queens of rosedom … floribundas, hybrid teas, polyanthas, patented roses and rose blends that today sell for as high as $3.75 for a single plant. Row upon row of roses … prize-winners in international competition … the best the world has to offer… AND THEN, NEARLY WILD STARTED TO BLOOM!

… 想象一下，当这些大学园艺学家开始进行这个惊人的玫瑰开花测试时的场景。在这里，所有备受赞誉的玫瑰女王们聚集在一个测试田里……丰花月季、杂交茶玫瑰、多花玫瑰、专利玫瑰和今天单株售价高达 3.75 美元的玫瑰混合品种。成排的玫瑰……国际比赛中的获奖者……世界上最好的……然后，近乎野生的玫瑰开始绽放！

Just picture the astonishment on these experts’ faces when in the first month alone, Nearly Wild produced over 15 times more blossoms than the average of all other roses combined; how in July alone it produces an average of 50 new roses a day, more than 7 times as many blossoms as the second leading rose! How in August it produced 21 times more roses than its nearest competitor; and then

想象一下这些专家们的惊讶表情，当在第一个月，Nearly Wild 产生的花朵数量超过所有其他玫瑰的平均值的 15 倍；在七月份，它每天平均产生 50 朵新玫瑰，比第二名的玫瑰多出 7 倍！在八月份，它产生的玫瑰数量是其最近竞争对手的 21 倍；然后

Is it any wonder that a famous rose expert upon viewing the results of this test, exclaimed: “Why, it’s like having a complete rose garden of 20 plants—all on a single bush!” Or why another rose expert, shaking his head in disbelief, stated: “If we ever released these flowering figures to the public, they’d never believe it. And if they did believe it, we couldn’t produce Nearly Wild rose plants to fill the demand in the next 25 years!”… .

难怪一位著名的玫瑰专家在看到这个测试的结果时惊呼：“这就像拥有一个完整的 20 株植物的玫瑰花园——全在一棵灌木上！”或者另一位玫瑰专家摇着头表示不敢相信：“如果我们把这些开花的数字公之于众，他们绝对不会相信。如果他们相信了，我们在接下来的 25 年里根本无法生产出足够的 Nearly Wild 玫瑰植物来满足需求！”

Compare, Contrast, Prove Superiority

比较、对比、证明优越性

8. Each new approach suggests others. The competition can be carried into contrast. The disadvantages of the old product or service can he laid side by side with the advantages of the new—throwing these advantages into sharp relief. Here, as one example, is a brief, three-sentence passage from a book-club radio commercial that establishes the difference between random buying and book-club savings indelibly on the listener’s mind:

8. 每一种新方法都会引发其他方法。竞争可以进行对比。旧产品或服务的缺点可以与新产品的优点并列展示——使这些优点更加突出。这里，有一个例子，是来自一本书俱乐部广播广告的简短三句话，深刻地在听众心中建立了随机购买与书俱乐部节省之间的区别：

… Yes! While your friends were paying $3.95 for their copies of Frank Yerby’s run-away best seller, The Golden Hawk, Dollar Book Club members were getting the same exact book for only 99c.

… 是的！当你的朋友们为弗兰克·耶尔比的畅销书《金鹰》支付 3.95 美元时，美元书籍俱乐部的会员们只需 99 美分就能得到同样的书。

While your friends were paying $4.95 for John O’Hara’s flaming new thriller, A Rage to Live, Dollar Book Club members were getting the same exact book for only 99c.

当你的朋友们为约翰·奥哈拉的火热新惊悚小说《活着的愤怒》支付 4.95 美元时，美元书籍俱乐部的会员们只需 99 美分就能得到同样的书。

And while your friends were paying $5.95 for Thomas B. Costain’s towering new triumph, High Flyers, Dollar Book Club members were enjoying exactly the same book—for only 99c!

而当你的朋友们为托马斯·B·科斯坦的杰作《高飞者》支付 5.95 美元时，美元书籍俱乐部的会员们却只花了 99 美分就享受到了同样的书！

Or, as another example, here is a passage from a direct mail piece selling a Fuel Reclaimer—a device for the engine of your car that feeds escaping crankcase gases back into your carburetor:

或者，作为另一个例子，这里有一段来自一封直邮广告的内容，出售一种燃料回收器——一种用于汽车发动机的设备，将逸出的曲轴箱气体重新送回化油器：

… This device uses the suction-power of your own motor to scoop up that smoke. And then—in one of the most brilliant ideas in engineering history—it destroys that smoke by feeding it back into your engine, where it is burned up again as a continuous, extra flow of fuel!

… 这个设备利用您自己发动机的吸力来吸取烟雾。然后——在工程历史上最聪明的想法之一——它通过将烟雾反馈到您的发动机中来消灭这些烟雾，在那里它再次被燃烧，作为持续的额外燃料流！

Think of it! Instead of polluted oil, polluted engine, polluted air—you get a constant stream of extra gasoline flowing into your engine, almost as though you had a free, second gas tank connected to your car!

想想看！与其说是污染的油、污染的发动机、污染的空气——你得到的是源源不断的额外汽油流入你的发动机，几乎就像你有一个免费的、连接到你车上的第二个油箱！

Instead of one breakdown after another, one more repair bill after another, each more expensive than before, you get young-car power, young-car economy, young-car resistance to repair bills, because the deadly sludge-causers, acid-causers, filth-causers that used to ruin your car, are now being burned up as fuel in your engine!…

与其一个接一个地出现故障，一个接一个地收到更高的维修账单，不如享受年轻汽车的动力、年轻汽车的经济性、年轻汽车对维修账单的抵抗力，因为曾经毁坏你汽车的致命污泥、酸性物质和污垢，现在正作为燃料在你的发动机中燃烧！

Picture the Black Side, Too

也想象一下黑暗面

9. And there’s no need to neglect the Heaven-Or-Hell approach. Here the negative aspect to every promise—the problem that you are liberating your prospect from forever—is painted in all its full black color. You irritate the wound, and then you apply the salve that heals it.

9. 而且没有必要忽视天国或地狱的方法。在这里，每个承诺的负面方面——你正在永远解放你的潜在客户的问题——被描绘得淋漓尽致。你刺激伤口，然后再涂上治愈它的药膏。

Thus you derive two currents of motivation—repulsion away from the former problem or inadequate product, and the attraction generated by your own product’s contrasting solutions.

因此，您产生了两种动机：一是对前一个问题或不合格产品的排斥，二是您自己产品的对比解决方案所产生的吸引力。

There are several forms in which you can present this before-and-after picture. You can do it through narration or the testimonial. You can do it by using the “pitch” technique of product ridicule. Or you can simply present straight description of the old product or problem, with all its detailed drawbacks, and then follow it directly with a similar description of your new solution in a perfectly parallel style, item by item. Here, as an example, is a passage from an ad selling a new kind of spark plug:

您可以通过多种形式展示这个前后对比的画面。您可以通过叙述或证言来实现。您可以使用“推销”技巧来嘲讽产品。或者，您可以简单地直接描述旧产品或问题，列出所有详细的缺点，然后紧接着以完全平行的风格逐项描述您的新解决方案。这里有一个例子，来自一则销售新型火花塞的广告：

… Someday, if you ever have a spare moment, lift one of the old-fashioned spark plugs out of your car! Look at the bottom of that plug. In 10 seconds, you’ll learn more about gas waste than any book could teach you in a year!

… 有一天，如果你有空闲的时间，拿出你车里一个老式的火花塞！看看那个塞子的底部。在 10 秒钟内，你将学到比任何书籍一年能教你的关于燃油浪费更多的知识！

If that plug has been in your car three thousand miles or more, then what you’ll see on the bottom of that plug is FILTH! The Firing Point of that plug—the most important single point in your car—will be choked, strangled and fouled with BLACK, FILTHY CARBON! Carbon that robs your car of as much as 20 vital horsepower every time your engine fires!

如果那个火花塞在你的车里使用了三千英里或更长时间，那么你会在那个火花塞的底部看到污垢！那个火花塞的点火点——你车上最重要的单一点——将被黑色、肮脏的碳堵塞、窒息和污染！这种碳每次发动机点火时都会让你的车损失多达 20 匹重要的马力！

Now, wipe that filth away and look at the Firing Point itself. This is the POWER POINT of your car … the pin-head of electricity that turns raw gas into 300 horsepower of driving energy! And what is the condition of that point? CORRODED—PITTED—SCARRED—AND WORN! Hardly able to deliver half the spark that it should! Wasting gas—wasting money every time you put your foot down on the gas pedal!

现在，擦去那些污垢，看看发射点本身。这是你汽车的动力点……将原始燃气转化为 300 马力驱动能量的电流针头！那么这个点的状态如何？腐蚀——凹坑——伤痕累累——磨损！几乎无法提供应有的一半火花！每次你踩下油门时都在浪费燃气——浪费金钱！

Yes! You pay $2,000—$3,000—$4,000 for your car. And a single 99c part robs you of the real power and enjoyment of that car.

是的！你为你的车支付 2000 美元、3000 美元、4000 美元。而一个 99 美分的零件却剥夺了你对那辆车的真正动力和乐趣。

AT LAST! A PLUG SO SMART THAT IT THINKS!

终于！一个聪明到能思考的插头！

Now look at the new plug—the revolutionary Power Flash plug that I’ll send you—for exactly the same price that you’re paving today.

现在看看这个新插头——革命性的 Power Flash 插头，我将以你今天支付的完全相同的价格发送给你。

Here is a plug that has not only ONE firing point—but hundreds of potential firing points! That actually ELIMINATES THAT DEADLY CARBON—burns it up—throws it away—KEEPS ITSELF SPARKLING CLEAN ON EVERY SINGLE STROKE! The full, blazing horsepower that was there when your car was brand-new, is still there as much as 30,000 miles later.

这里有一个插头，不仅有一个点火点——而是有数百个潜在的点火点！它实际上消除了那致命的碳——燃烧掉——扔掉——在每一次冲程中保持自身闪亮干净！当你的车是全新时的强大马力，30,000 英里后依然如故。

But that’s just the beginning! This plug actually gives you the full firing power you need for every driving condition—smooth, dependable power for city stop-and-go driving—effortless horsepower for the parkway—blazing reserve power for super speeds…

但这仅仅是个开始！这个插头实际上为您提供了在每种驾驶条件下所需的全部动力——城市停走驾驶时平稳、可靠的动力——公路上轻松的马力——超高速时的强大备用动力……

And that’s still just the beginning! Best of all, this is one of the toughest, strongest, longest-lasting plugs ever made. You could actually pound it against a concrete wall with a hammer without even denting it—and this amazing plug would still fire clean and hot with 30,000 miles! Yes! These fantastic plugs give you such consistent, long-lasting service that we can afford to make one of the most amazing guarantees you have ever heard…

而这仅仅是个开始！最棒的是，这是一款最坚固、最强大、使用寿命最长的火花塞之一。你甚至可以用锤子把它敲打在混凝土墙上而不会留下凹痕——而这款惊人的火花塞仍然能够在行驶 3 万英里后保持清洁和高效！没错！这些出色的火花塞为你提供如此稳定、持久的服务，以至于我们可以做出你听过的最惊人的保证之一……

Show How Easy It Is to Get These Benefits

展示获得这些好处是多么简单

10. To repeat again, the variations are limitless. At every point that your product touches the life of your prospect—price, availability, ease of use, durability, portability replacement and maintenance, even unwrapping the carton it comes in—it furnishes you with another fresh perspective in which to reiterate and reemphasize its benefits. Here is just one example—stressing the ease of application, and contrasting it with the tremendous benefits that that application gives you:

10. 再次重申，变化是无限的。在您的产品与潜在客户生活的每一个接触点——价格、可用性、易用性、耐用性、便携性、替换和维护，甚至是打开包装箱——都为您提供了另一个新鲜的视角，以重申和强调其好处。这里仅举一个例子——强调应用的简便性，并将其与该应用所带来的巨大好处进行对比：

… One week from today, you are going down to your car. You are going to lift up its hood—you are going to take the black, shining can we send you—and you are going to simply pour its contents into the oil filler pipe of your car! That’s all the work you will do! That’s all the skill you need! And yet in that 30 seconds work, you will improve that cars performance in eight different ways!

……从今天起一周后，你将走到你的车旁。你将抬起车盖——你将拿起我们寄给你的黑色闪亮的罐子——然后你将简单地把它的内容倒入你车的加油口！这就是你要做的所有工作！这就是你需要的所有技能！然而，在那 30 秒的工作中，你将以八种不同的方式提升汽车的性能！

With just 30 seconds work, you will strengthen the engine of that car so greatly that you will get 2 to 3 to 5 miles more per gallon from every gallon you buy…

只需 30 秒的工作，您将大大增强那辆车的引擎，以至于每加仑油您将获得额外的 2 到 3 到 5 英里

With just 30 seconds work, you will lubricate that engine so thoroughly that you will drive up to 5,000 full miles without even looking at your oil…

只需 30 秒的工作，您就能将发动机润滑得如此彻底，以至于您可以行驶多达 5,000 英里而无需查看油位……

And, with just 30 seconds work, you will protect that engine so completely that you will add up to four years to its power and life! … You will push off the ring and piston jobs that might cost you $75 each—for years!

而且，只需 30 秒的工作，您就能如此彻底地保护发动机，以至于可以为其增加多达四年的动力和寿命！……您将推迟那些可能每个花费您 75 美元的活塞和环的工作——长达多年！

Use Metaphor, Analogy, Imagination

使用隐喻、类比、想象力

11. Nor do you have to be satisfied merely with the statement of raw fact. There are infinite opportunities for the use of imagination to present those facts in more dramatic form, outside of the rigidly realistic approach. Some of the more famous examples are the Alexander Hamilton ad of the Twenties, “The Glory of the Upward Path.” Or the Big Ben alarm clock series, “First he whispers, then he shouts.” Or this passage from perhaps the most long-lived ad of them all, the Sherwin Cody English Course, in which a manual of instruction is personified and given actual life:

11. 你也不必仅仅满足于原始事实的陈述。运用想象力以更戏剧化的形式呈现这些事实的机会是无穷无尽的，超越了严格现实主义的方法。一些更著名的例子包括二十世纪二十年代的亚历山大·汉密尔顿广告“向上之路的荣耀”。或者是大本钟闹钟系列“先是低语，然后是呐喊”。又或者是来自或许是所有广告中寿命最长的广告——舍温·科迪英语课程中的这一段落，其中一本教学手册被拟人化并赋予了真实的生命：

The basic principle of Mr. Cody’s new method is habit-forming. Anyone can learn to write and speak correctly by constantly using the correct forms. But how is one to know in each case which is correct? Mr. Cody solves this problem in a simple, unique, sensible way.

科迪先生新方法的基本原则是养成习惯。任何人都可以通过不断使用正确的形式来学习正确的写作和口语。但在每种情况下，如何知道哪个是正确的呢？科迪先生以简单、独特、合理的方式解决了这个问题。

100% Self-Correcting Device.

100% 自我修正装置。

Suppose he himself were standing forever at your elbow. Every time you mispronounced or misspelled a word, every time you violated correct grammatical usage, every time you used the wrong word to express what you meant, suppose you could hear him whisper. “That is wrong, it should be thus and so.” In a short time you would habitually use the correct form and the right words in speaking and writing.

假设他自己永远站在你的身边。每当你发错音或拼错一个词，每当你违反正确的语法使用，每当你用错词来表达你的意思，假设你能听到他低声说：“那是错的，应该是这样。”不久之后，你在说话和写作时就会习惯性地使用正确的形式和正确的词。

If you continued to make the same mistakes over and over again, each time patiently he would tell you what was right. He would, as it were, be an everlasting mentor beside you—a mentor who would not laugh at you, but who would, on the contrary, support and help you. This 100% Self-Correcting Device does exactly this thing. It is Mr. Cody’s silent voice behind you, ready to speak out whenever you commit an error. It finds your mistakes and concentrates on them. You do not need to study anything you already know. There are no rules to memorize…

如果你一次又一次地犯同样的错误，他每次都会耐心地告诉你什么是正确的。他就像是你身边永恒的导师——一个不会嘲笑你，而是相反，会支持和帮助你的导师。这个 100%自我纠正装置正是这样做的。它是科迪先生在你身后的无声声音，随时准备在你犯错时说出来。它发现你的错误并集中注意力在这些错误上。你不需要学习任何你已经知道的东西。没有需要记忆的规则……

Before You’re Done, Summarize

在你完成之前，进行总结

12. To repeat again, there is an infinite number of new approaches. No list of them can ever be complete, because new applications, new perspectives, new viewpoints are being discovered every day.

12. 再次重申，有无数种新的方法。任何列表都不可能是完整的，因为每天都有新的应用、新的视角和新的观点被发现。

Which of them, and how many of them you will use in a single ad, is a matter of timing and balance as you begin to put your ad together. As long as each additional fresh perspective continues to build the dominant desire in your prospect’s mind, use it. But if the additional perspective is not different or dramatic enough to renew your prospect’s interest in your claims, then leave it out. To a large degree, this is a matter of sensitivity and originality on your part. The sensitivity comes from intuition and experience; the originality often comes from nothing more than hard work. And perhaps the best way to measure the balance between the two—that critical turning point where reinforcement becomes mere repetition—is to re-read your ad, some days after you have first written it.

在你开始组合广告时，使用其中哪一个，以及使用多少个，取决于时机和平衡。只要每一个额外的新视角能够继续在你潜在客户的心中建立主导欲望，就可以使用它。但如果额外的视角并不够不同或戏剧性，无法重新激发潜在客户对你主张的兴趣，那么就省略掉。从很大程度上来说，这取决于你的敏感性和原创性。敏感性来自直觉和经验；而原创性往往仅仅来自于努力工作。也许衡量两者之间平衡的最佳方法——即强化变成单纯重复的关键转折点——是重新阅读你的广告，在你第一次写完它的几天后。

There are, however, two conventional summary devices which are almost always used, and which must be mentioned here.

然而，有两种几乎总是使用的传统总结工具，必须在这里提到。

The first of these is the “catalog”. This is a brief condensed listing of all the product’s performances, benefits, and/or applications, one after the other, without description, dramatization or elaboration. Each of the benefits or perspectives which might have been given three or four paragraphs at the beginning of your ad, is here summed up in a single line.

第一个是“目录”。这是对所有产品的性能、好处和/或应用的简要汇总，逐一列出，没有描述、戏剧化或详细说明。每个可能在广告开头用三到四段描述的好处或观点，在这里都被总结为一行。

There are two types of catalogs. Those that expand desire horizontally, among ever-enlarging groups of applications or prospects. And those that expand desire vertically by deepening or magnifying that desire.

有两种类型的目录。一种是横向扩展欲望，针对不断扩大的应用或潜在客户群体。另一种是通过加深或放大欲望来纵向扩展欲望。

Here is an example of the first type of catalog—used to list all the applications of a blow torch kit that might conceivably sell it to a home owner:

这是第一种类型的目录示例——用于列出可能会将喷灯套件销售给房主的所有应用：

ALL IN ONE!

一切尽在其中！

Blow-Torch, Paint-Remover, Soldering Iron!

喷灯，油漆去除剂，焊接铁！

Professional Propane Torch also doubles as fast, safe Paint Remover and precision Soldering Iron! Does 101 jobs around the house, including—

专业丙烷喷灯还可以作为快速、安全的油漆去除剂和精密焊接铁！可以完成家中 101 项工作，包括——

Laying tile; removing paint or putty; thawing frozen pipes; sweating copper tubing; soldering gutters; repairing electrical work; starting charcoal fires and fireplaces: burning weeds, parasites and damp leaves; thawing frozen locks; light brazing; loosening rusty bolts; car body and fender repairs; soldering aluminum, silver and jewelry and other hobbies, and many, many more…

铺瓷砖；去除油漆或腻子；解冻冰冻管道；排汗铜管；焊接排水沟；修理电气工作；点燃木炭火和壁炉：燃烧杂草、寄生虫和潮湿的树叶；解冻冰冻锁；轻焊；松动生锈的螺栓；汽车车身和挡泥板修理；焊接铝、银和珠宝及其他爱好，还有很多很多……

It is quite obvious, of course, that this catalog device uses the “shotgun approach.” Up to this point, your ad has taken a single dominant desire, and developed that single desire to the point of absolute maximum intensity. This willingness to gamble on being precisely right—on having chosen the one most powerful appeal—gives your ad the impact of a high-velocity rifle. But it also demands the accuracy of an expert marksman.

当然，很明显，这种目录设备使用了“散弹枪方法”。到目前为止，你的广告已经抓住了一个主导欲望，并将这个单一的欲望发展到绝对最大强度。这种在选择最强有力的吸引力上冒险的意愿——即选择了唯一最强的吸引力——赋予了你的广告像高速步枪一样的冲击力。但这也要求像专家射手一样的准确性。

Now—through this multi-appeal catalog listing—you have a last-minute chance to hedge. Now you “shotgun” with every wide-angled appeal, benefit and application in the book. Before you were heightening a single desire, by picturing the satisfaction of that desire in a dozen different settings.

现在，通过这个多重吸引力的目录列表，您有了最后的机会来对冲。现在，您可以用书中每一个广角的吸引力、好处和应用进行“散弹式”推广。在此之前，您是通过在十几种不同的场景中描绘满足单一欲望的画面来增强这种欲望。

Now you are building an effect of a different kind—one of sheer magnitude, of number, of infinite possibilities—in the hope that any one of them, or the combination of all of them working together, may provide the extra added push that closes the sale.

现在你正在创造一种不同类型的效果——一种巨大的效果，数量的效果，无限可能的效果——希望其中的任何一个，或者它们的组合共同作用，能够提供额外的推动力，促成销售。

This catalog technique was born in mail order book selling, and here it has its widest application. This next example is a continuation of the memory book ad we quoted above:

这种目录技术起源于邮购书籍销售，在这里得到了最广泛的应用。下一个例子是我们上面引用的记忆书广告的延续：

… But this is just the beginning of the “miracles” you can perform with your memory. This secret is just one of the over 50 MEMORY INTENSIFIERS contained in this book…

… 但这只是你可以用记忆实现的“奇迹”的开始。这个秘密只是本书中包含的 50 多种记忆增强器之一……

For instance—REMEMBERING NAMES AND FACES! … How would you like to walk into a room of twenty new people—meet each one of them only once—and then remember their names, automatically, for as long as you live …

例如——记住名字和面孔！……你想如何走进一个有二十个新人的房间——只与他们每个人见面一次——然后自动记住他们的名字，直到你去世……

Think of the advantage in business, when you can call every customer by his first name, and then ask for his wife and children, instantly, by their first names! Think of the impression you’ll make when you ask him about the state of his business, his hobbies, when you repeat, almost word for word, the last conversation you had with him. Think of becoming the celebrity at your club—as the member who “knows everyone”—who can be depended on to avoid mistakes, to win new friends for the organization, to get things done!

想想在商业中的优势，当你可以用每个客户的名字称呼他们，然后立即用他们的名字询问他们的妻子和孩子！想想当你询问他生意的状况、他的爱好时，几乎逐字重复你们上次的对话时，你会给人留下什么印象。想想成为你俱乐部的名人——那个“认识每个人”的会员——可以被依赖以避免错误，为组织赢得新朋友，完成事情！

But this is still just the beginning! This book teaches you to remember exactly what you hear and read! … It teaches you how to memorize a speech or a sales presentation in minutes! It teaches you how to remember every card played when you relax at night! … It shows you how to improve the depth and force and power of your mind! How to double your vocabulary—learn dozens of ways to burn new words into your memory—learn their meanings without looking them up—repeat entire phrases, sentences, paragraphs from the great writers! You’ll be able to learn a foreign language in a few short weeks—at least three to four times as quickly and easily as you could without this system! You’ll be able to hear a joke, story or anecdote only once, and then repeat it in the same hilarious way!

但这仍然只是个开始！这本书教你准确记住你所听到和阅读的内容！……它教你如何在几分钟内记住演讲或销售演示！它教你如何在晚上放松时记住每一张打出的牌！……它向你展示如何提高你思维的深度、力量和威力！如何翻倍你的词汇量——学习数十种将新单词铭记于心的方法——在不查找的情况下学习它们的意思——从伟大的作家那里重复整句话、句子、段落！你将能够在短短几周内学习一门外语——至少比没有这个系统时快三到四倍，轻松得多！你将能够只听一次笑话、故事或轶事，然后以同样搞笑的方式重复它！

Yes! And most important of all, this book will show you how to professionally organize your mind—do what you have to do in half the time! You’ll remember dates, addresses, appointments—automatically! You’ll carry dozens of telephone numbers in the file-cabinet of your mind! … Let me send you this book, and prove these facts to you in one short evening, or it doesn’t cost you a penny! …

是的！最重要的是，这本书将教你如何专业地组织你的思维——在一半的时间内完成你必须做的事情！你将自动记住日期、地址、约会！你将在你思维的文件柜中存储数十个电话号码！……让我把这本书送给你，在一个短暂的晚上向你证明这些事实，否则你一分钱都不花！……

The second use for this catalog technique is to pile desire upon desire, rather than application upon application. It is again a building of magnitude, of number—but this time in summary of all the perspectives that have gone before. This example is taken from the Fish Lure ad quoted above:

这种目录技术的第二个用途是将欲望堆积在欲望之上，而不是将应用堆积在应用之上。这再次是一个规模和数量的构建——但这次是对之前所有视角的总结。这个例子取自上面引用的鱼饵广告：

… Here’s What This Amazing, Self-Propelled Fish Lure Does For You!

… 这个神奇的自驱动鱼饵能为你做什么！

First of all, this Self-Propelled Fish Lure frees you forever from the filthy task of digging for worms and crawlers, catching frogs, or paying 50c to $1 for a bucket of minnows that die on you before you can even get them in the boat! It frees you forever from paving $3, $4 or even $5 for a fancy, “dead-as-a-duck” lure that only works when you tow it—that could never actually swim under its own power behind you.

首先，这款自驱动鱼饵让你永远摆脱了挖虫子、抓青蛙或花 50 美分到 1 美元买一桶小鱼的肮脏工作，这些小鱼在你甚至还没把它们放进船里就死掉了！它让你永远摆脱了花 3 美元、4 美元甚至 5 美元买一个华丽的“死得像鸭子一样”的鱼饵的烦恼，这种鱼饵只有在你拖着它的时候才有效，而实际上根本无法在你身后独立游动。

If frees you forever from long, torturous hours of careful work, tying your own flies and lures, because you just couldn’t buy anything, anywhere, that would reach out beyond your farthest casts and pull in the fish for you!

如果让你永远摆脱漫长而痛苦的细致工作，自己绑制鱼饵和诱饵，因为你在任何地方都买不到能够超越你最远投掷并为你拉来鱼的东西！

It means that tomorrow … you can go out in fresh or salt water … and haul in the eye-poppers with a lure that actually drives them into a frenzy with its crippled minnow action and its dying bee sound! It means that you can weigh down your boat with big mouthed bass, small mouthed bass, cat-fish, dog-fish … wherever you drop a line!

这意味着明天……你可以在淡水或咸水中出海……用一种实际上能让它们因受伤的小鱼动作和垂死蜜蜂的声音而疯狂的诱饵来捕捉那些令人惊叹的鱼！这意味着你可以用大口黑鲈、小口黑鲈、鲶鱼、狗鱼……无论你在哪里抛线，都能让你的船装满鱼！

It means that you can fish better—sound asleep at the bottom of your boat—than most fishermen sweating and casting till their arms ache with ordinary, “dead-as-a-duck” lures!

这意味着你可以在船底安然入睡时，钓得比大多数渔民更好，他们在流汗和投掷，直到手臂因普通的“死得像鸭子”的诱饵而感到酸痛！

And it means that you’ll have the time of your life—not only amazing your friends and family with the hauls you drag home behind you—but just watching your fisherman friends’ faces, the first time they see this incredible SELF-PROPELLED FISH LURE in action! Their eyes will almost pop out of their heads!…

这意味着你将度过人生中最美好的时光——不仅让你的朋友和家人惊叹于你拖回家的战利品——而且还要看看你的渔民朋友们的表情，当他们第一次看到这个令人难以置信的自推进鱼饵在行动时！他们的眼睛几乎要从眼眶里跳出来！…

Put Your Guarantee to Work

让你的保证发挥作用

13. And finally, as you close the sale, as you ask the prospect for action, as you state the terms of your guarantee, you can turn that guarantee into the climax of your ad—the last brief summary of your product’s performances—reinforced at every step by the positive reassertion of that guarantee. Here is an example from the spark plug ad quoted above:

最后，当你完成销售时，当你要求潜在客户采取行动时，当你陈述你的保证条款时，你可以将该保证转化为广告的高潮——对你产品性能的最后简要总结——在每一步都通过对该保证的积极重申来加强。以下是上述火花塞广告的一个例子：

… Guaranteed For Two Full Years! Yes! You try these amazing POWER FLASH SPARK PLUGS for two full years entirely at our risk! First, test them for one full month for surging power, thrilling new driving performance, breath-taking gas-savings alone! During that very first month alone:

… 保证两年！是的！您可以在我们的风险下，试用这些令人惊叹的 POWER FLASH 火花塞整整两年！首先，测试它们一个完整的月，体验强劲的动力、令人兴奋的新驾驶性能和惊人的油耗节省！仅在第一个月：

1. These plugs must give you up to 9 miles more per gallon instantly—or your full purchase price back!

这些插头必须让您每加仑多行驶最多 9 英里——否则全额退款！

2. These plugs must give you up to 31 more horsepower instantly—or your full purchase price back!

这些插头必须立即为您提供多达 31 匹马力——否则全额退款！

3. As an extra added assurance—these plugs must continue to give you this power, performance and gas savings FOR TWO FULL YEARS—or we will send you a brand new set ABSOLUTELY FREE! …

3. 作为额外的保证——这些插头必须在两年内继续为您提供这种动力、性能和燃油节省——否则我们将免费为您发送一套全新的插头！

Or, as an even better example of the full impact you can gain by using your guarantee as a summary device, here is the guarantee passage from the plant food ad quoted above:

或者，作为一个更好的例子，展示使用保证作为总结工具所能获得的全部影响，这里是上述植物食品广告中的保证段落：

… These Magic English Pellets … cost only S2.98 for a package of 144 pellets … Since only one or two pellets are required to treat the average plant, this is an investment of only a few pennies a plant for the most astounding beauty you have ever seen!

… 这些魔法英语颗粒 … 每包 144 颗仅需 S2.98 … 由于平均每株植物只需一到两颗，因此这对于您见过的最惊人美丽来说，每株植物的投资仅需几分钱！

And these results are completely guaranteed! Here is what we ask you to do, when you receive your Magic Pellets next week—

这些结果是完全有保障的！我们要求您在下周收到您的 Magic Pellets 时做以下事情——

USE THEM TO CREATE SUPER-FLOWERS! Place one tiny pellet besides each of your hydrangeas, zinnias … any kind of flower that you want super-blooms! And if you don’t see fantastic new growth within a few short weeks … if you don’t watch with amazement while handfuls of new blossoms burst forth from these old plants—then simply return the empty package for every cent of your money back!

使用它们来创造超级花朵！在每个绣球花、百日草……任何你想要超级绽放的花旁边放一个小颗粒！如果在短短几周内你没有看到惊人的新生长……如果你没有惊讶地看到一把把新花朵从这些老植物中绽放出来——那么只需将空包装退回，便可全额退款！

USE THEM TO CREATE SUPER-VEGETABLES! And pick huge, breath-taking beauties within a few short weeks … thrill your family with the sweetest, juiciest, tenderest vegetables you’ve ever known—or every cent of your money back!

利用它们来创造超级蔬菜！并在短短几周内收获巨大、令人惊叹的美丽……让你的家人享受你所知道的最甜、最嫩、最多汁的蔬菜——否则全额退款！

YES! USE THEM IN YOUR ENTIRE GARDEN! Use them on hard-luck plants where you’ve almost given up hope! Use them on the hardest-to-grow house plants that you know! Yes, even use them in sand, and absolutely astound your friends! And if you don’t agree that this British invention is a true gardening miracle … if your garden isn’t the showplace of your neighborhood at the end of one short month—then simply return the empty package—for every cent of your money back!… .

是的！在你的整个花园中使用它们！在那些你几乎已经放弃希望的困难植物上使用它们！在你知道的最难生长的室内植物上使用它们！是的，甚至在沙子中使用它们，绝对会让你的朋友惊讶！如果你不同意这个英国发明是一个真正的园艺奇迹……如果在短短一个月结束时，你的花园不是你邻里中的展示场所——那么只需退回空包装——全额退款！

At the end of your ad as well as at its beginning—use Intensification—building desire by presenting continually new images of its satisfaction through your product. It is the first of the Processes of Persuasion.

在广告的结尾和开头——使用强化——通过不断呈现产品带来的满足的新形象来建立欲望。这是说服过程中的第一步。

How to Apply These Principles of
Intensification to the Campaign

如何将这些强化原则应用于活动

As mentioned at the beginning of this chapter, we have used predominantly mail-order examples to illustrate the mechanism of Intensification. We have done this for two reasons. First, because mail order customarily uses long copy and hyperbole; and it is through the extremes of this long copy and these superlatives that we can see these techniques working most clearly.

正如本章开头提到的，我们主要使用邮购示例来说明强化的机制。我们这样做有两个原因。首先，因为邮购通常使用长篇文案和夸张；而正是通过这些长篇文案的极端和这些最高级的表达，我们才能最清楚地看到这些技巧的运作。

Secondly, we have used mail order for these examples because mail order says all it has to say about a product in a single ad. There are no mail order “campaigns,” in the sense of a series of different-though-related advertisements, appearing one after the other, and based on a common theme. Mail order compresses such a campaign into a single ad. It says all it can, everything it can think of, in this one ad (which is often laboriously fitted together out of a series of preliminary ads, each of which contributes some element to the finished form). And then, when it has proven itself successful, it is frozen—even to the point of typography—and run until it has exhausted its potential.

其次，我们使用邮购作为这些例子的原因是，邮购在一则广告中可以说出关于产品的所有信息。邮购没有“活动”，即一系列不同但相关的广告一个接一个地出现，并基于一个共同的主题。邮购将这样的活动压缩成一则广告。它在这一则广告中说出它能说的所有内容，所有它能想到的内容（这通常是由一系列初步广告艰难拼凑而成，每个初步广告都为最终形式贡献了一些元素）。然后，当它证明自己成功时，它就被固定下来——甚至到排版的程度——并持续运行，直到它耗尽潜力。

Thus, mail order as a rule contains the greatest number of these Intensification devices in a single ad; and by studying these mail order ads we can see them working against each other, complementing each other, reinforcing each other, strengthening the overall effect as paragraph is piled on paragraph.

因此，邮购广告通常在单个广告中包含最多的这些强化装置；通过研究这些邮购广告，我们可以看到它们相互作用、相辅相成、相互增强，随着段落一层层叠加，增强整体效果。

But in national advertising, the rules change. While mail order is a series of introductions of new products, the average life of which is less than two years, national advertising is concerned with products whose life span is far greater, often approaching the entire life span of advertising itself. And while the mail order advertisement runs once, and then is not repeated for three to six months, national advertising must keep its product image constantly in front of its public, and therefore must run far more frequently.

但在全国广告中，规则发生了变化。虽然邮购是一系列新产品的介绍，其平均生命周期不到两年，但全国广告关注的是生命周期更长的产品，通常接近广告本身的整个生命周期。而且，邮购广告只运行一次，然后在三到六个月内不再重复，而全国广告必须不断将其产品形象展示在公众面前，因此必须更频繁地投放。

Thus, national advertising, by its frequent insertions, soon loses its immediate novelty. The creative problem in national advertising thus changes from finding the theme for a particular advertisement to finding the theme for a series of advertisements. And the problem of Intensification shifts from building desire throughout the advertisement to building desire throughout the series. And an entirely new problem of balance emerges—that of keeping continuity throughout the series, by maintaining the dominant image sharp enough and identifiable enough to utilize the desire generated by past advertisements, and at the same time varying that image sufficiently to induce the prospect to read it again, and therefore reinforce and sharpen that desire.

因此，国家广告由于其频繁的插入，很快失去了即时的新颖性。因此，国家广告中的创意问题从为特定广告寻找主题转变为为一系列广告寻找主题。而强化的问题则从在整个广告中建立欲望转变为在整个系列中建立欲望。一个全新的平衡问题出现了——即在整个系列中保持连续性，通过保持主导形象足够清晰和可识别，以利用过去广告所产生的欲望，同时又要足够变化该形象，以诱使潜在客户再次阅读，从而强化和加深这种欲望。

Assuming that you have found your dominant image, your creative problem now becomes two-fold. First, to compress that image into a single statement or picture, so powerful that it will sell the product the very first time it is used, and so true to the heart of your market that it will continue to sell that product, even when it is used over and over again.

假设你已经找到了你的主导形象，你的创意问题现在变成了两个方面。首先，将这个形象压缩成一个单一的陈述或图像，这个陈述或图像要强大到能够在第一次使用时就能销售产品，并且要真实到能够打动你的市场，以至于即使在反复使用时也能继续销售该产品。

It is important to realize that—as the campaign develops—this dominant image or idea cannot remain as the headline. To present the same basic headline (or lead picture) time after time to the same audience would soon make the campaign unreadable

重要的是要意识到，随着活动的发展，这一主导形象或理念不能始终作为标题。对同一受众一次又一次地呈现相同的基本标题（或主图）很快会使活动变得难以阅读。

This leads us to your second creative problem. To present a series of variations or perspectives of that central image—each emerging from your dominant idea, but each so different from the rest that they impel your prospect to read through them, and so fresh that they make that dominant idea seem new again.

这引导我们进入你的第二个创意问题。呈现一系列变体或视角，围绕那个核心形象——每个都源自你的主导思想，但每个又与其他的截然不同，以促使你的潜在客户阅读它们，并且如此新颖，以至于让那个主导思想再次显得新鲜。

Thus you have your Central Campaign Idea, and its continuous restatement in a series of fresh disguises. There are as many different ways to use this basic technique of campaign construction as there are advertising styles. They range from the most blatant and obvious to the most subtle. To start at the top, in a brief resume of examples, consider the superbly-effective Colgate campaign of the late 1950s. Here the central idea was openly stated, and precisely repeated, during every advertisement:

因此，您有了中央活动理念，并以一系列新颖的伪装不断重申它。使用这种基本的活动构建技术的方法与广告风格一样多样，从最明显和直白的到最微妙的都有。首先，简要回顾一些例子，考虑一下 1950 年代末的卓越有效的高露洁广告活动。在这里，中央理念在每个广告中都被公开陈述并准确重复：

“Gardol—the Invisible Shield that Protects Your Teeth.”

“Gardol—保护您牙齿的隐形护盾。”

The variations consisted of a series of opening analogies. Using television as the most sharply-defined example, an invisible shield was shown protecting the announcer against baseballs, footballs, etc.—against which they would simply bounce off. The wording of the commercials was ritualistic. Once the initial demonstration was over, there was no variation in the sentences that followed:

这些变体由一系列开场类比组成。以电视作为最明确的例子，展示了一个看不见的屏障保护播音员免受棒球、足球等的攻击——这些球会简单地反弹。广告的措辞是仪式化的。一旦初始演示结束，随后的句子没有变化：

“Just as this invisible shield (the announcer raps the shield with his knuckles) protects me against this baseball, so the invisible shield in Colgate toothpaste protects your teeth against decay.”

“就像这个无形的护盾（播音员用指关节敲击护盾）保护我免受这颗棒球的伤害一样，Colgate 牙膏中的无形护盾保护你的牙齿免受蛀牙的侵害。”

Here the variations are confined to the opening demonstration in the first ten seconds of the commercial. These are designed to startle the viewer (the ball being thrown directly at him from within the television set) and this emotional reaction is carried over to reinforce the rigidly repeated remainder of the commercial. Thus you have a quick and startling emotional involvement, welded onto a precise selling message.

这里的变化仅限于广告前十秒的开场演示。这些设计旨在震撼观众（球从电视机内直接扔向他），这种情感反应被延续下来，以强化广告其余部分的严格重复。因此，你会有一种快速而震撼的情感参与，紧密结合在一个精确的销售信息上。

Equally as powerful is the technique of repeating the exact verbal image throughout a series of advertisements, while varying and freshening the emotional appeal through a spectrum of constantly changing main illustrations. Thus the dominant image is retained intact—continuity is maintained—but there is no feeling of over-familiarity or boredom. This technique might be named “Rule and Example.” Two of its most effective uses recently have been in the hair styling field. First with Toni, where the precisely-repeated verbal image was:

同样强大的是在一系列广告中重复相同的语言形象，同时通过不断变化的主要插图来变化和更新情感吸引力。因此，主导形象保持不变——连续性得以维持——但没有过于熟悉或无聊的感觉。这种技巧可以称为“规则与示例”。最近在发型设计领域的两个最有效的应用是。首先是 Toni，其中精确重复的语言形象是：

“WHICH TWIN HAS THE TONI—and which has the $15 permanent?”

“哪个双胞胎有 TONI——哪个有 15 美元的永久性？”

Above this unvarying headline was a continuously-changing stream of pretty girls—each new picture making the question new again, and requiring an interplay of examination between the picture and the copy to discover the answer.

在这个不变的标题上方是一条不断变化的漂亮女孩的流—每一张新图片都使问题重新焕发活力，并需要在图片和文案之间进行互动审视以发现答案。

The same technique was used, some years later, by Clairol to sell their hair tint. Here the Rule was expressed in the precisely-repeated headline:

几年前，Clairol 也使用了相同的技术来销售他们的染发剂。在这里，规则通过精确重复的标题表达出来：

“DOES SHE OR DOESN’T SHE?”

“她是还是不是？”

“Hair-coloring so natural only her hairdresser knows for sure.”

“染发如此自然，只有她的发型师知道确切情况。”

Here again, this headline was re-invigorated by a series of main illustrations, of attractive young women, in common but glamorized every-day activities, enjoying their lives. Here again the Examples not only proved the Rule, but renewed it.

在这里，这个标题再次通过一系列主要插图得到了重新激发，这些插图展示了吸引人的年轻女性在普通但经过美化的日常活动中享受生活。在这里，这些例子不仅证明了规则，还更新了它。

At the other extreme, however, the dominant image may not even appear in the advertisements themselves, but may merely be the underlying theme for the campaign as a whole. Here the continuity is retained—not by a precisely-repeated slogan or statement—but by a single, rigidly-maintained focal point. This focal point may be a dominant product appeal—such as the Cadillac quality, which is symbolized in every Cadillac advertisement in the identification background photography, in the typography, in the copy style, in the fashions and jewelry that are chosen to appear with the car, and the credit lines that are given to them—even to the highly-stylized pen-and-ink drawings that are used when the campaign shifts to newspapers.

然而，在另一个极端，主导形象可能甚至不会出现在广告本身中，而只是整个活动的潜在主题。在这里，连续性得以保持——不是通过精确重复的口号或声明——而是通过一个单一、严格维持的焦点。这个焦点可能是一个主导的产品吸引力——例如，凯迪拉克的质量，这在每个凯迪拉克广告中的识别背景摄影、排版、文案风格、与汽车一起出现的时尚和珠宝，以及给予它们的信用行中都得到了体现——甚至在活动转向报纸时使用的高度风格化的钢笔和墨水画。

Or, if it so merits, the focal point may be simply the product itself. In such a campaign, each succeeding advertisement reveals another fact about the product. Each is completely different; no single phrase or slogan is repeated twice. Here the variations comprise the entire verbal content of the advertisements. But their subject-matter, and the illustrations, are always the same—the product.

或者，如果有必要，焦点可以仅仅是产品本身。在这样的广告活动中，每一则后续广告都会揭示产品的另一个事实。每一则广告都是完全不同的；没有任何一个短语或口号被重复两次。在这里，变化构成了广告的全部文字内容。但它们的主题和插图始终是相同的——产品。

Perhaps the best example of this technique is the magnificent Volkswagen magazine campaign. Here the advertisements are reduced to severe simplicity. There is no background identification whatsoever. Different perspectives of the product are shown as close-up as possible (except in the “Think Small” advertisement) against an absolutely bare background.

也许这个技巧最好的例子就是宏伟的大众汽车杂志广告活动。在这里，广告被简化到极致的简单。没有任何背景识别。产品的不同视角尽可能地以特写展示（除了“Think Small”广告），背景则完全空白。

Against this rigid focus on the car itself, to the exclusion of every other visual element, the series of copy messages presents a complete exploration of even facet of the car’s performance, utility, economy, durability service facilities and what-have-you. Any single advertisement is sufficient to interest a prospective buyer. Together, especially when concentrated in the same media and reaching the same audience week after week, the series builds an overwhelming impression of novelty and value—the theme of an Honest Car. Here, as examples, are only a few of the dozens of different headlines:

针对这种对汽车本身的严格关注，排除了其他所有视觉元素，这系列文案信息对汽车性能、实用性、经济性、耐用性、服务设施等各个方面进行了全面探索。任何一则广告都足以引起潜在买家的兴趣。尤其是当这些广告集中在同一媒体上，并且每周接触到相同的受众时，这个系列会营造出一种压倒性的创新和价值印象——诚实汽车的主题。在这里，作为例子，仅列出几十个不同标题中的几个：

“THINK SMALL.”

“思小。”

(The first in the series, discussing the merits of compactness as an asset.)

（该系列中的第一篇，讨论紧凑性作为一种资产的优点。）

“Lemon.”

“柠檬。”

(Showing what appears to be a perfectly good car, and discussing the microscopic, almost unnoticeable flaw in it that disqualified it.)

（展示看似完美的汽车，并讨论其中几乎不易察觉的微小缺陷，这使其不合格。）

“Our new model.”

“我们的新模型。”

(A car that shows no difference, but has dozens of essential engineering changes inside the car, where they won’t make present models obsolete.)

（一辆看起来没有区别的汽车，但在车内进行了数十项重要的工程改动，这些改动不会使现有车型过时。）

“Why you should open the window before you close the door of a Volkswagen.”

“为什么在关上大众汽车的门之前要打开窗户。”

(Discussing the fact that the car is airtight, and the quality that this fact symbolizes.)

（讨论汽车是密封的这一事实，以及这一事实所象征的品质。）

“Our number one salesman.”

“我们第一号销售员。”

(The serviceman, of course, typifying the quality of care the VW owner gets, and combatting the conception that foreign cars give sparse service.)

（这位服务人员当然代表了大众汽车车主所获得的服务质量，并且与“外国车服务稀少”的观念作斗争。）

And so on. A series of building-block advertisements, making no attempt to tell the complete story in themselves, relying on their ability to grasp the prospective buyer and carry him through a procession of short, sharply focused sales stories that combine to give an informed desire of tremendous depth.

等等。一系列构建块广告，自己并不试图讲述完整的故事，而是依赖于它们抓住潜在买家的能力，并引导他经历一系列简短、聚焦的销售故事，这些故事结合在一起，形成一种深刻的知情欲望。

Notice, incidentally, that each of these headlines fulfills the requirements necessary to place it at the top of an ad. Each of them reaches out and touches the prospect at the point of his dominant desire (to get more value for his car money). Each expresses the common theme of the campaign (this is an honest car). And each moves the prospect into the body copy—it gets him to read the complete, though brief, selling message. (The first second, third and fifth headline do this through presenting the reader with an apparent contradiction—in the first case, with his accepted notion of “thinking big,” and in the remaining advertisements, between the message of the headline and the content of the photograph above it—thus compelling the reader to go through the body copy to resolve the contradiction. The fourth does it in promising the reader information explaining an unusual and provocative request).

顺便提一下，这些标题中的每一个都满足将其置于广告顶部的必要条件。它们每一个都在潜在客户的主导欲望（获得更多汽车价值）上触动了他。每一个都表达了活动的共同主题（这是一辆诚实的汽车）。而且每一个都将潜在客户引入正文——它让他阅读完整的、尽管简短的销售信息。（第一、第二、第三和第五个标题通过向读者呈现明显的矛盾来实现这一点——在第一种情况下，与他接受的“思考大”的观念相矛盾，而在其余广告中，则是在标题的信息与其上方照片的内容之间的矛盾——从而迫使读者通过正文来解决矛盾。第四个标题则通过承诺向读者提供解释一个不寻常且引人注目的请求的信息来实现这一点。）

Notice also that to accomplish this novelty-within-continuity, and to grasp the attention of the prospect over a series of advertisements, and to move him into the body copy where he can be sold more thoroughly, each of these headlines takes the “Creative Gamble.” The product, its trademark, or its performance is not mentioned in the headline. The copy writer is taking the position that he can only sell adequately with the number of words allowed him by the body copy. Therefore he is willing to risk his headline in grasping the attention of his prospect and impelling him to read on, into the sales message itself, presented in convincing detail below. If he fails in his gamble, he has wasted his page. If he succeeds, he has doubled and tripled the effectiveness of his ad.

请注意，为了实现这种新颖性与连续性，并在一系列广告中吸引潜在客户的注意力，并将其引导到正文中以便更彻底地进行销售，每个标题都采取了“创意赌博”。产品、商标或其性能在标题中并未提及。文案撰写者的立场是，他只能在正文允许的字数内进行充分的销售。因此，他愿意冒险使用他的标题来吸引潜在客户的注意力，并促使他们继续阅读下面详细呈现的销售信息。如果他在赌博中失败，他就浪费了这一页。如果他成功了，他就使广告的有效性翻倍甚至三倍。

3 - The Second Technique of Breakthrough Copy: Identification

3 - 突破性文案的第二个技巧：识别

How to Build a Saleable Personality Into Your Product

如何将可销售的个性融入您的产品中

The desires, wants, needs and cravings of mankind that we have just discussed are, above all, obvious. The hungry man feels the contractions in his stomach; the sick man feels his pain. The woman who is overweight feels her embarrassment, her discomfort, her shame. The desire for satisfaction, or for relief, displays itself openly. It announces both its wants and its needs. It responds whole-heartedly and immediately to mechanisms that achieve its aims.

人类的欲望、需求和渴望，正如我们刚才讨论的，首先是显而易见的。饥饿的人感受到他胃里的收缩；生病的人感受到他的痛苦。超重的女性感受到她的尴尬、不适和羞愧。对满足或缓解的渴望表现得非常明显。它公开宣布自己的需求和愿望。它全心全意、立即响应实现其目标的机制。

Therefore, the recognition and magnification of this desire is the first and most obvious task of copy writing. All the principles and techniques described in the last chapter were practiced to perfection by the patent-medicine copy writers of the 1890’s. Before the First World War, Claude Hopkins had lifted them out of patent-medicine and established them in every category of general advertising. Until 1954, they literally dominated advertising.

因此，识别和放大这种欲望是文案写作的首要和最明显的任务。上一章中描述的所有原则和技巧在 1890 年代的专利药品文案写作中得到了完美的实践。在第一次世界大战之前，克劳德·霍普金斯将它们从专利药品中提炼出来，并在所有类别的普通广告中建立了它们。直到 1954 年，他们在广告界几乎占据了主导地位。

But there is another kind of desire that exists in the human mind—far more subtle, partly unconscious, longing not for satisfaction, but for expression. This second kind of desire is so different from the first, and operates under such different rules, that it can justly be described as a second dimension of the human mind. It may be titled the Longing for Identification. Its rise to prominence as a buying motive marks the great revolution in merchandising of our time. Its utilization in copy writing—as an adjunct to desire-building—constitutes our second Mechanism of Persuasion … that of building the proper Identification into your product.

但人类心中存在另一种欲望——更加微妙，部分无意识，不是渴望满足，而是渴望表达。这第二种欲望与第一种截然不同，运作的规则也大相径庭，因此可以公正地被描述为人类心智的第二维度。它可以被称为对认同的渴望。它作为购买动机的崛起标志着我们时代商品销售的伟大革命。它在文案写作中的运用——作为欲望构建的辅助——构成了我们第二个说服机制……即将适当的认同融入您的产品中。

A Personal Note

个人笔记

Let me just inject a personal note here on the names I have given these Techniques (or processes) I believe you should use to cumulatively strengthen your copy. As I mention in the Introduction, I have never heard, or read, a discussion of many of these techniques before. Therefore, they are not part of the common advertising terminology, and in case after case actually have no names.

让我在这里插入一个个人观点，关于我给这些技术（或过程）起的名字，我相信你应该使用它们来逐步增强你的文案。正如我在引言中提到的，我从未听说过或读到过关于许多这些技术的讨论。因此，它们并不是常见的广告术语，实际上在许多情况下没有名称。

Because of this fact, I’ve had to invent names for them. Some of these names convey their meaning at first glance, such as Intensification. Other names I’ve put together out of two or more ordinary words, such as Gradualization, to try to convey an idea that has purposely been left ambiguous when you first encounter it. And in still other cases, such as the Identification technique discussed in this chapter, I’ve used terms you already know and stretched their meaning.

由于这个事实，我不得不为它们发明名称。其中一些名称一眼就能传达其含义，例如 Intensification。其他名称则是由两个或多个普通词组合而成，例如 Gradualization，以试图传达一个在你第一次遇到时故意留下模糊的概念。在其他情况下，例如本章讨论的 Identification 技术，我使用了你已经知道的术语并扩展了它们的含义。

Identification here, for example, means more than the customer’s process of identifying with a product personality, or even with a group of prestige users of that product. Here, in this new context I have given it, it means at the same time the active process by which the copy writer capitalizes on this need for identification by building its realization through his copy into his product.

在这里，识别不仅仅意味着客户与产品个性或甚至与该产品的一群高端用户的认同。在我所给出的这个新背景中，它同时意味着文案撰写者通过他的文案将这种识别的需求转化为产品的积极过程。

The stress is always, in all these techniques, on the word active. These are the activities you must accomplish … the processes you must utilize … the psychological effects you must achieve to give your copy the maximum possible strength. It is this active, deliberate, ongoing process—this building of effects—that I have tried to convey by these terms.

在所有这些技术中，重点始终放在“主动”这个词上。这些是你必须完成的活动……你必须利用的过程……你必须实现的心理效果，以使你的文案具有最大的可能力量。正是这种主动的、故意的、持续的过程——这种效果的构建——我试图通过这些术语来传达。

The Roles Your Prospect Desires

您潜在客户渴望的角色

What, exactly, is this process of Identification? Quite simply, it is, first of all, the desire of your prospect to act out certain roles in his life.

这个识别的过程究竟是什么？简单来说，首先是你潜在客户在生活中扮演某些角色的愿望。

It is the desire of your prospect to define himself to the world around him—to express the qualities within himself that he values, and the positions he has attained.

这是你潜在客户希望向周围世界定义自己的愿望——表达他内心所重视的品质和他所达到的地位。

And how do you utilize this longing for identification when you write your copy? In two ways: First, by turning your product into an instrument for achieving these roles. And second, by turning that product into an acknowledgement that these roles have already been achieved.

你在写文案时如何利用这种对认同的渴望？有两种方式：首先，通过将你的产品转变为实现这些角色的工具。其次，通过将该产品转变为对这些角色已经实现的认可。

Every product you work on should offer your prospect two separate and distinct reasons for buying it. First, it should offer him the fulfillment of a physical want or need. This is the satisfaction your product gives him. And second, it should offer him a particular method of fulfilling that need, which defines him to the outside world as a particular kind of human being.

您所从事的每个产品都应该为您的潜在客户提供两个独立且明确的购买理由。首先，它应该满足他的一种物质需求或欲望。这是您的产品所带给他的满足感。其次，它应该提供一种特定的方法来满足这种需求，从而将他定义为外界所认知的某种特定类型的人。

This is the role your product offers to your prospect. It is the non-functional, super-functional value of that product. And it is built into that product—not by engineering—but by merchandising alone.

这是您的产品为潜在客户提供的角色。它是该产品的非功能性、超功能性价值。它是内置于该产品中的——不是通过工程，而仅仅通过营销。

For example, only the poor man today buys food for its physical satisfactions alone. The average American today selects his food. Selects foods that he believes are modern, because he wishes to be up-to-date. Selects foods that are non-fattening, because he wishes to be youthful and slim. Selects foods that come from every country and reflect every taste on earth, because he wishes to be cosmopolitan, adventurous and sophisticated.

例如，今天只有穷人仅仅为了身体的满足而购买食物。今天的普通美国人选择他的食物。选择他认为现代的食物，因为他希望跟上潮流。选择不发胖的食物，因为他希望保持年轻和苗条。选择来自每个国家、反映地球上每种口味的食物，因为他希望变得国际化、冒险和精致。

This man no longer buys food for food alone. He has gained or he has been given, a whole new vocabulary of wants. He now buys, not only objects, but roles. His life becomes devoted to a quest for acknowledgements—“up-to-date” … “youthful” … “slim” … “cosmopolitan” … “adventurous” … and “sophisticated” in this one instance alone.

这个人不再仅仅为食物而购买食物。他获得了或被赋予了全新的欲望词汇。他现在购买的不仅仅是物品，还有角色。他的生活变得致力于寻求认可——“时尚的”……“年轻的”……“苗条的”……“国际化的”……“冒险的”……以及在这一特定情况下的“复杂的”。

And because of this multiplication of wants, this man gives you hundreds of new ways to focus his attention, to stimulate his desire, to build up that desire to the point of purchase. Every new role that he covets—every new longing-for-identification that he develops—gives you one more mass desire that you can harness to your product.

因此，由于这种需求的倍增，这个人给你提供了数百种新的方式来吸引他的注意，激发他的欲望，将这种欲望提升到购买的程度。他渴望的每一个新角色——他所发展出的每一个新的认同渴望——都为你提供了一个可以与你的产品结合的集体欲望。

What are these roles? Where do they come from? How do they operate? How do you put them to work for your product? First of all—the roles themselves. There are two kinds. There are roles that define character. And there are roles that express achievement. Let’s glance briefly at each:

这些角色是什么？它们来自哪里？它们是如何运作的？你如何让它们为你的产品服务？首先——角色本身。有两种类型。一种是定义角色的。另一种是表达成就的。我们来简要看一下每种类型：

1. Character Roles

1. 角色类型

Usually expressed by adjectives, or adjectives-turned-nouns. For instance—“progressive” … “chic” … “charming” … “brilliant” … “well-read.” They are a part of the personality of your prospect. They belong to him. His task is to pick out the ones he values most, and to develop them. And then to turn the spotlight of other people’s attention onto them, one after the other.

通常通过形容词或转化为名词的形容词来表达。例如——“进步的”……“时尚的”……“迷人的”……“杰出的”……“博学的”。它们是你潜在客户个性的一部分。它们属于他。他的任务是挑选出他最看重的那些，并加以发展。然后将其他人的注意力一个接一个地聚焦到这些特质上。

Attainment of these character roles—mastery of them—is not enough. Once they have been mastered, they must then be acknowledged, valued and admired, or they are worthless.

掌握这些角色——精通它们——还不够。一旦掌握了它们，就必须被认可、重视和欣赏，否则它们就毫无价值。

Here again, your product can serve your prospect in three distinct ways—beyond its physical satisfactions—in this constant search for self-definition. First, it can help him achieve mastery of his chosen character roles—such as a book on philosophy, if he wishes to be thought of as well-read.

在这里，您的产品可以以三种不同的方式为您的潜在客户服务——超越其物质满足——在这种对自我定义的不断追求中。首先，它可以帮助他掌握他所选择的角色——例如，如果他希望被认为是博学的，可以选择一本关于哲学的书。

Second, it can help simplify condense or speed up this mastery—such as a Speed-Reading Course.

其次，它可以帮助简化、浓缩或加快这种掌握——例如速读课程。

And third, and most important, it can serve as a symbol of that mastery to invoke the acknowledgement or admiration of his friends—such as a shelf to house both books.

第三，也是最重要的，它可以作为这种掌握的象征，以引起朋友们的认可或钦佩——就像一个架子来放置两本书。

You must realize that every one of these values goes far beyond the physical satisfactions of the products themselves. They are supra-functional, and therefore add an extra incentive for purchase.

你必须意识到，这些价值远远超出了产品本身的物质满足。它们是超功能的，因此为购买增加了额外的动力。

The book on philosophy might not have been purchased if the prospect wished only to satisfy his academic curiosity, and did not also wish to enlighten his friends in conversation. The Speed-Reading Course might not have been purchased if the prospect wished only to absorb more information in a shorter period of time, and did not also wish to use that information to get ahead in both his business and social life. And certainly the book-shelves would not have been of the same fine quality, finish and luxury if the prospect had only wished to use them as a store-house, and not also as a showpiece.

如果这个潜在客户只是想满足他的学术好奇心，而不想在谈话中启发他的朋友，那么这本关于哲学的书可能就不会被购买。如果这个潜在客户只是想在更短的时间内吸收更多的信息，而不想利用这些信息在他的商业和社交生活中取得进步，那么《速读课程》也可能不会被购买。而且，如果这个潜在客户只是想把书架当作储藏室，而不想把它当作展示品，那么书架的质量、工艺和奢华程度肯定不会如此之高。

At least half of all purchases made today cannot he understood in terms of function alone. It would be absurd for a man to spend $5,000 for a 150-mile-an-hour sports car for functional reasons, when he only uses it to drive to and from work on congested, 35-mile-an-hour parkways. His willingness to spend this money only becomes rational when you take one further fact into consideration—that this 150-mile-an-hour top speed, this handgear-shift, this fantastic cornering ability all give him as their owner the role of “sportsman”—and very probably “successful sportsman” at that.

今天至少一半的购买行为不能仅仅从功能上理解。一个人花费 5000 美元购买一辆时速 150 英里的跑车，仅仅是出于功能原因，这显得荒谬，因为他只是在拥堵的时速 35 英里的公路上上下班。当你考虑到一个进一步的事实时，他愿意花这笔钱才变得合理——那就是这辆时速 150 英里的最高速度、手动换挡、以及惊人的过弯能力，所有这些都赋予了他作为车主的“运动员”角色——而且很可能是“成功的运动员”。

Every product can benefit from this role-giving power. But there are many products where this ability of character-reinforcement—whether built into that product by design, by society or by advertising—far outweighs in sales value the built-in performance of that product. In such products, it is the role-giving function that sells, and not the performance.

每个产品都可以从这种赋予角色的力量中受益。但有许多产品，其角色强化的能力——无论是通过设计、社会还是广告内置于该产品——在销售价值上远远超过该产品的内在性能。在这些产品中，销售的是赋予角色的功能，而不是性能。

One further fact distinguishing these character roles. Since they are not created by society but by the prospect himself, and since they are almost never claimed openly but only hinted at, implied and prompted, therefore they can never truly be tested or measured, and they are ambiguous. They are subject to error. And, more important, they are subject to fantasy.

还有一个进一步的事实区分了这些角色。由于它们不是由社会创造的，而是由前景本身创造的，并且几乎从未被公开宣称，而只是暗示、隐含和提示，因此它们永远无法真正被测试或衡量，并且它们是模糊的。它们容易出错。而且，更重要的是，它们容易受到幻想的影响。

Great areas of these character roles literally exist in the subconscious. They are never given definite words. They are not stated or discussed, but subtly expressed in symbols and images. Only rarely does the prospect even define them to himself. And even more rarely does he test them against the outside world, to see if they are actually true.

这些角色的巨大领域实际上存在于潜意识中。它们从未被明确地用词语表达。它们没有被陈述或讨论，而是通过符号和图像微妙地表达出来。潜在客户甚至很少会对它们进行自我定义。更少的是，他会将它们与外部世界进行对比，以查看它们是否真实。

Therefore, your prospect is far more ready to believe in the character roles you assign to him, than he is to believe in either your product’s performance claims, or the achievement roles it may offer him. If the character role is flattering, such as “virility,” and if it is subtly expressed in a non-verbal image-symbol, such as a test pilot smoking a cigarette, than the prospect can easily persuade himself that the same action, smoking, performed on the same product, the cigarette, conveys to him at least some of the implied virility of the genuine possessor—in this case, the pilot.

因此，您的潜在客户更容易相信您赋予他的角色，而不是相信您产品的性能声明或它可能为他提供的成就角色。如果这个角色是令人赞赏的，比如“男子气概”，并且以一种非语言的形象符号微妙地表达出来，比如一个吸烟的试飞员，那么潜在客户很容易说服自己，吸烟这一相同的行为在同一产品——香烟上，至少向他传达了真实拥有者的一些隐含的男子气概——在这种情况下，就是试飞员。

There is no direct claim made in the advertisement. No verbalization to be passed on by the conscious, rational mind. No test situation called for where the prospect must prove that the role is valid. Acceptance is easy painless, non-demanding.

广告中没有直接的声明。没有需要由意识、理性思维传达的语言。没有要求潜在客户证明角色有效的测试情境。接受是简单、无痛且不具要求的。

This is not true of a performance claim, which must be justified in terms of concrete results to our friends. Nor is it true of an achievement role, which must stand up to the harsh reality of our position in everyday life. This superb ease-of-acceptance, this consolation-without-cost feature of the character role is its great strength, and the reason why it should be used to supplement the verbal claims in every ad.

这对于性能声明并不成立，性能声明必须以我们朋友的具体结果为依据。对于成就角色也不成立，成就角色必须经得起我们日常生活中严酷现实的考验。这种卓越的接受便利性，这种无成本的安慰特性是角色的巨大优势，也是它应该在每个广告中用来补充口头声明的原因。

2. Achievement Roles

2. 成就角色

These are the status roles … class roles … position roles that are created by every society on earth, and offered to the men and women who can earn them. In a civilization as complex as ours, there are literally hundreds of them—usually expressed by nouns, with the nouns serving as titles.

这些是每个地球上的社会所创造的状态角色……阶级角色……职位角色，并提供给能够获得它们的男性和女性。在像我们这样复杂的文明中，实际上有数百个这样的角色——通常用名词来表达，这些名词作为头衔。

For example, for men, there are—“Executive” … “Home Owner” … “$20,000-a-year-Man” … “Five Handicap” … “Man-On-His-Way-Up” … “Block Chairman” … and dozens more, embracing every activity of our lives.

例如，对于男性，有——“高管”……“房主”……“年收入 20,000 美元的男人”……“五级残疾”……“正在上升的男人”……“区块主席”……以及更多，涵盖了我们生活的每一个活动。

For women, the primary achievement role to be won is “Wife,” and from then on—“Fashion Setter” … “Career Woman” … “Good Mother” … “Civic Leader” … “Power-Behind-the-Throne” … “Patron of the Arts” … and on, and on.

对于女性来说，主要的成就角色是“妻子”，从那时起——“时尚引领者”……“职业女性”……“好母亲”……“公民领袖”……“权力背后的女人”……“艺术赞助人”……等等。

The list, for both men and women, is endless. Each of these roles is an achievement to be won, and held, and—most of all—displayed.

这个名单对于男性和女性来说是无穷无尽的。每一个角色都是一个需要赢得、保持并且——最重要的是——展示的成就。

Here display is vital—because none of these achievements is obvious. Quite the opposite, they are immaterial and invisible—mere titles, roles, bundles of privilege. They do exist—they are real—and once they are gained, they have great potential to alter our lives. But that potential must first be translated into physical symbols of success, for everyone around us to see.

这里的展示至关重要——因为这些成就没有一个是显而易见的。恰恰相反，它们是无形和不可见的——仅仅是头衔、角色、特权的捆绑。它们确实存在——它们是真实的——一旦获得，它们有巨大的潜力改变我们的生活。但这种潜力必须首先转化为成功的物理象征，让我们周围的每个人都能看到。

And the easiest and most universally acknowledged symbols of success in America today are the products we can buy. Products that are purchased—not by any stretch of the imagination for their physical function alone—but for the definition they give us as their possessors. In America today we are known—not only by the company we keep—but by the products we own.

在今天的美国，最简单且被普遍认可的成功象征是我们可以购买的产品。这些产品的购买——绝不仅仅是因为它们的物理功能——而是因为它们作为我们拥有者所赋予我们的定义。在今天的美国，我们的身份不仅由我们交往的公司决定，还由我们拥有的产品决定。

The most obvious example is the newly-wed woman. Her first act in her new role as “Wife” is to receive a physical gift, which has absolutely no function other than to define her—the wedding ring in which she is married. Weeks before this, she has literally been shedding closets-full of clothes—clothes that still fitted her physically, but not socially—in order to replace them with a new material personality, her trousseau.

最明显的例子是新婚女性。她在“妻子”这一新角色中的第一个行为是接受一份物理礼物，这份礼物除了定义她之外没有任何其他功能——她的婚戒。在此之前的几周，她实际上已经清空了满满一衣橱的衣服——这些衣服在身体上仍然合身，但在社交上却不合适——以便用她的嫁妆替换它们，形成一种新的物质个性。

Her sheets and linens are new. Her furniture and carpeting are new. Even the very roof over her head, today, in our society must be new. Because she is literally a new woman—her new role has transformed her—and she must express that transformation in everything she owns.

她的床单和亚麻布是新的。她的家具和地毯是新的。甚至她头顶上的屋顶，今天，在我们的社会中也必须是新的。因为她确实是一个新女性——她的新角色改变了她——她必须在她拥有的一切中表达这种转变。

The same principle applies to every aspect of all of our lives. Every social role that we achieve in life is immediately translated into those possessions which we believe express that position most clearly. And as we acquire these possessions throughout our life, what we are doing is constructing for ourselves a “material personality,” that we carry with us wherever we go, and whose function it is to define us, instantly, to whomever we meet.

同样的原则适用于我们生活的各个方面。我们在生活中所取得的每一个社会角色，都会立即转化为我们认为最能清晰表达该角色的那些财物。随着我们在生活中获得这些财物，我们所做的就是为自己构建一个“物质个性”，我们无论走到哪里都携带着它，其功能是立即向我们遇到的每一个人定义我们。

The “Man-On-His-Way-Up,” for example, trades in his Ford for a Buick, and, when he becomes an “Executive,” trades in his Buick for a Cadillac. The “Career Woman” needs an entirely different wardrobe than the one she owned as a “Housewife.” And when the man of the house gets a raise, the house either grows bigger, or prettier, or more filled with status-definers of every description—or the house itself is discarded, to be replaced by one more befitting the new character of its possessor.

例如，“正在上升的男人”将他的福特车换成了别克，而当他成为“高管”时，又将别克换成了凯迪拉克。“职业女性”需要与她作为“家庭主妇”时完全不同的衣橱。当家中的男人加薪时，房子要么变得更大，要么更漂亮，或者充满各种地位象征——或者房子本身被抛弃，换成更适合其拥有者新身份的房子。

How to Put These Longings for Identification
to Work for Your Product

如何将这些对认同的渴望转化为您的产品的优势

Thus products become more than products. In addition to their physical functions, they take on new immaterial functions as status definers. They announce our achievements, define our role in life, document our success.

因此，产品不仅仅是产品。除了它们的物理功能外，它们还承担了新的无形功能，成为地位的定义者。它们宣告我们的成就，定义我们在生活中的角色，记录我们的成功。

All products may benefit from this power to define. But in particular, when you have a product that does the same job as its competitors, and is so priced that price is no longer a factor, then the prospect’s choice will almost overwhelmingly depend on the difference in role that your product offers him. And it is your job to create this role for him in your ad.

所有产品都可能受益于这种定义的力量。但特别是，当你有一款与竞争对手做同样工作的产品，并且定价使得价格不再是一个因素时，潜在客户的选择几乎完全依赖于你的产品为他提供的角色差异。而你的工作就是在广告中为他创造这个角色。

The performance of this job—the process of building these character and achievement roles into your product, to be used by your prospect—is the process of Identification, our second mechanism of persuasion.

这项工作的表现——将这些角色和成就融入到您的产品中，以供潜在客户使用的过程——是识别的过程，这是我们第二种说服机制。

And just as the wish for this identification by your prospect is a special form of desire—the desire, not for satisfaction, but for recognition—so the method you use to put it to work for your product follows exactly the same pattern of discovery and magnification that you would use for any other desire.

正如您潜在客户对这种认同的愿望是一种特殊形式的欲望——这种欲望不是为了满足，而是为了被认可——因此，您用来将其应用于您的产品的方法完全遵循您对任何其他欲望所使用的发现和放大模式。

First, your job is to discover exactly what kinds of character and achievement roles your prospect is ready to identify with your product—what kind of roles he will reject for that product—and which of the accepted roles is the most compelling. And then you must present those chosen roles in such a way—so vividly and so intensely—that the role you are projecting will become virtually irresistible.

首先，你的工作是发现你的潜在客户准备与你的产品认同的角色和成就类型——他会拒绝哪些角色——以及哪些被接受的角色是最具吸引力的。然后，你必须以一种方式呈现这些选择的角色——如此生动和强烈——以至于你所投射的角色几乎变得不可抗拒。

Once again, it is your market itself that presents you with both your opportunities and your limitations. And it is your own personal skill as a copy writer that determines how effectively you side-step those limitations, and how fully you realize the potential of your opportunities.

再一次，市场本身为你提供了机会和限制。而你作为文案撰写者的个人技能决定了你如何有效地规避这些限制，以及你如何充分实现机会的潜力。

First of all—the limitations. Above everything else, of course, you cannot force your market to accept an unrealistic identification. People assign certain characteristics to certain products. These characteristics may arise out of the product itself—its structure or performance, its history, its cost to produce or sell. Or they may stem from the role or roles that it plays in their lives today—or that similar products play in their lives—or that these products play in the lives of other people, whom they have seen, heard or read about.

首先——限制。最重要的是，当然，你不能强迫你的市场接受不切实际的认同。人们会给某些产品赋予特定的特征。这些特征可能源于产品本身——它的结构或性能、它的历史、它的生产或销售成本。或者它们可能源于它在他们今天生活中扮演的角色，或者类似产品在他们生活中扮演的角色，或者这些产品在他们见过、听过或读过的其他人的生活中扮演的角色。

These characteristics may be true or false, superficial or profound, flattering or libelous. But as far as your product is concerned, they are as hard as rock—and just as determinative. They exist. They are facts. They cannot be changed. If you try to break through them and establish a contradictory image, you will learn that they form the walls of a prison.

这些特征可能是真实的或虚假的，表面的或深刻的，恭维的或诽谤的。但就你的产品而言，它们是坚如磐石的——同样具有决定性。它们存在。它们是事实。它们无法改变。如果你试图突破它们并建立一个矛盾的形象，你会发现它们构成了一座监狱的墙壁。

But if you decide to build on to them—to use them as a foundation for sharper, coordinated images, which may be even broader and more appealing—then, if necessary, you can turn those apparent limitations into the strongest selling points in your ad.

但如果你决定在这些基础上进行扩展——将它们作为更清晰、协调的图像的基础，这些图像可能更广泛且更具吸引力——那么，如果有必要，你可以将这些明显的局限性转化为你广告中最强的卖点。

Not every product needs this technique, of course. Speaking in terms of identification potential, there are two kinds of products. One is the product with built-in prestige—the sports car, the swimming pool, the diamond bracelet. These rare and expensive products already embody the identification appeals most Americans want. They actually symbolize these appeals success, achievement, adventure, self-indulgence, exclusivity—so unquestionably that they can be used to weld these same values onto other products.

当然，并不是每个产品都需要这种技术。从识别潜力的角度来看，产品可以分为两种。一种是具有内在声望的产品——跑车、游泳池、钻石手链。这些稀有且昂贵的产品已经体现了大多数美国人所渴望的识别诉求。它们实际上象征着这些诉求的成功、成就、冒险、自我放纵、独特性——如此无可置疑，以至于它们可以用来将这些相同的价值观附加到其他产品上。

But these other products—by far the overwhelming majority of the products you will be given to work with—have no such built-in prestige. It is up to you to create their prestige for them. And you must do this by building on the characteristics they already possess—by using these accepted characteristics as a bridge—between the product… the image it already has … and the prestige-filled image that you want to wind up with.

但这些其他产品——绝大多数你将要处理的产品——并没有这样的内在声望。创造它们的声望就靠你了。你必须通过利用它们已经具备的特性来实现这一点——通过将这些被接受的特性作为桥梁——在产品……它已经拥有的形象……和你希望最终得到的充满声望的形象之间搭建桥梁。

We now have all the tools we need to build identification values for our product. We realize that identification longings are a separate and immensely powerful form of desire—a desire, not for physical satisfaction, but for expression and recognition.

我们现在拥有构建我们产品识别价值所需的所有工具。我们意识到，识别渴望是一种独立且极其强大的欲望形式——一种不是为了身体满足，而是为了表达和认可的欲望。

These longings for identification are two-fold. We all wish to express our character, and we all wish to gain recognition for our accomplishments.

这些对认同的渴望是双重的。我们都希望表达我们的个性，我们都希望获得对我们成就的认可。

But we cannot do this openly—verbally. We cannot go around boasting how virile we are, or how rich we are. So we symbolize these prestige claims. We express them in terms of products—and we buy products that express them.

但我们不能公开地——口头上——这样做。我们不能到处炫耀我们有多强壮，或者我们有多富有。因此，我们用象征的方式来表达这些声望的主张。我们通过产品来表达它们——而我们购买的产品也表达了这些主张。

As Americans, living in our culture and our century, there are certain character roles and certain achievement roles that we value more than others. The most general and compelling of these are: the wish to be virile or feminine—the wish to be exciting, unique, fun-filled and adventurous—the wish to be friendly and well-liked—the wish to be important, influential and correct—the wish to be modern and up-to-date—and above all, the wish to be successful, to make something of our lives.

作为美国人，生活在我们的文化和我们的世纪，有一些角色和成就的角色是我们比其他角色更看重的。这些中最普遍和引人注目的包括：渴望表现出男性气概或女性气质——渴望令人兴奋、独特、充满乐趣和冒险——渴望友好和受欢迎——渴望重要、有影响力和正确——渴望现代和与时俱进——最重要的是，渴望成功，成就我们的生活。

These are the roles most Americans buy. In some splinter markets, other, contradictory roles may apply. But, in the mass, these are the characteristics that will turn the prospects from one brand to another.

这些是大多数美国人购买的角色。在一些细分市场中，可能适用其他矛盾的角色。但是，在大众市场中，这些是将潜在客户从一个品牌转向另一个品牌的特征。

The Primary Image of Your Product

您产品的主要形象

There is a critical point that separates the process of building identification from the process of building desire, namely, that the product you are given has its own personality at the moment you are given it. It has its own characteristics. And these characteristics may contradict what most Americans want—or simply not include them—or simply not include as many of them as you want.

有一个关键点将建立认同的过程与建立欲望的过程区分开来，即在你获得产品的那一刻，它就有了自己的个性。它有自己的特征。这些特征可能与大多数美国人的需求相矛盾——或者根本不包括它们——或者根本不包括你想要的那么多。

For example, a cigarette is not, by itself, a symbol of success. But you realize that if you could make it a symbol of success, you could sell many more of them. Nor is a piston ring, by itself, a symbol of virility—even though that virility image, if you could create it, would sell many more piston rings. And, though household appliances are not, at first glance, symbols of femininity, women would buy many more of them if they could somehow be made feminine.

例如，香烟本身并不是成功的象征。但你意识到，如果你能让它成为成功的象征，你就能卖出更多的香烟。活塞环本身也不是男性气概的象征——即使如果你能创造出那种男性气概的形象，也会卖出更多的活塞环。而且，尽管家用电器乍一看并不是女性气质的象征，但如果它们能够以某种方式被赋予女性气质，女性会购买更多的家用电器。

How do you do this? In two steps—the first of which is to identify the primary image that each of these products already has in the mind of your prospects. For instance, a cigarette is virile in almost everyone’s mind. And a piston ring is precision-machined and full of mechanical beauty to almost every man. And household appliances are time-saving, by virtue of the very functions they perform.

你怎么做到这一点？分两步——第一步是识别这些产品在潜在客户心中已经存在的主要形象。例如，香烟在几乎每个人的心中都是阳刚的。而活塞环在几乎每个男人看来都是精密加工且充满机械美感的。家用电器则因其所执行的功能而节省时间。

These are the primary images of the products you are called on to sell. These are the accepted images that they already have in your prospect’s mind. Your job now is to use these already-accepted images as raw material, as a starting point to construct new, double, triple, and quadruple images, which draw in more of these most-wanted roles into your product-personality, and multiply its identification appeal.

这些是你被要求销售的产品的主要形象。这些是潜在客户心中已经接受的形象。你现在的工作是利用这些已经被接受的形象作为原材料，作为构建新的、双重的、三重的和四重的形象的起点，这些形象能够吸引更多这些最受欢迎的角色融入你的产品个性，并增强其识别吸引力。

You do this in two ways:

你可以通过两种方式做到这一点：

First, by changing the intensity of your primary image. By emphasizing and dramatizing that primary image, if it is already acceptable. Or by toning it down, if it is negative or neutral.

首先，通过改变你的主要图像的强度。如果主要图像已经可以接受，就强调和戏剧化它。或者，如果它是消极或中性的，就降低它的强度。

For example, the male virility naturally associated with cigarettes is a definite sales aid, even with women. The sheer physical act of smoking—of “playing with fire”—of “breathing fire”—has been for centuries an assertion of manhood and of daring.

例如，男性与香烟自然相关的阳刚之气对销售来说是一个明确的助力，即使是对女性也是如此。吸烟这一纯粹的身体行为——“玩火”——“呼吸火焰”——几个世纪以来一直是男性气概和勇气的体现。

But Marlboro took this image of virility and intensified it—deepened it—in three ways. First, they presented men who were, in themselves, virile. Second, they presented these men in situations or occupations that demand virility. And third, they took the further “Creative Gamble” of affixing to these men’s hands one of the most primitive symbols of virility known to history—the tattoo. A single dominant emotion—virility—symbolized three ways. The impact of repetition reinforced through variation. Far more powerful—far more eye-catching—far more appealing than any one of these images could have been by itself.

但是万宝路将这种阳刚之气的形象加以强化——深化——了三种方式。首先，他们展示了本身就充满阳刚之气的男性。其次，他们将这些男性置于需要阳刚之气的情境或职业中。第三，他们进一步进行了“创意赌博”，将历史上最原始的阳刚之气象征之一——纹身——附加在这些男性的手上。单一主导情感——阳刚之气——以三种方式象征。通过变化强化的重复影响。远比这些形象单独存在时更强大——更引人注目——更具吸引力。

So far, there has been no difference between this technique and the intensification of desire we discussed previously. Although we are speaking here in visual terms, the mechanics are exactly the same—the intensification of an already-existing emotion in your prospect, through a series of reinforcing images expressing the fulfillment of that emotion.

到目前为止，这种技术与我们之前讨论的欲望强化没有区别。尽管我们在这里使用视觉术语，但其机制完全相同——通过一系列强化图像表达该情感的实现，来强化您潜在客户已经存在的情感。

With certain, naturally-favored products, this process of intensification may be all that is required—though even Marlboro, as mentioned below, goes beyond it. But—and this point is imperative—though the process of intensifying desire for your product ends here, the process of building the proper identification for your product—of building prestige for that product—only begins here.

对于某些自然受欢迎的产品，这种强化过程可能就是所需的一切——尽管正如下面提到的，万宝路甚至超越了这一点。但——这一点至关重要——尽管对你的产品强化欲望的过程到此为止，建立你产品的正确认同感——为该产品建立声望的过程——才刚刚开始。

For the primary image of your product may not be favorable. It may be negative—contradicting the roles most people want to play. Or it may simply be neutral—a wallflower product—offering most people no emotional reaction at all.

因为您产品的主要形象可能并不理想。它可能是负面的——与大多数人想扮演的角色相矛盾。或者它可能只是中性的——一个不起眼的产品——对大多数人没有任何情感反应。

In both these cases, your first suggestion may be to simply discard these primary images altogether, and substitute more favorable ones. This has been done in countless advertisements. And it doesn’t work—for a very simple reason. Because people just won’t believe that a product is what it isn’t. You cannot contradict accepted images or beliefs in advertising. This is not advertising’s role. Nor is it really necessary.

在这两种情况下，你的第一个建议可能是简单地完全舍弃这些主要图像，并替换为更有利的图像。这在无数广告中都已被采用。但这并不起作用——原因非常简单。因为人们根本不会相信一个产品不是它所声称的那样。你不能在广告中与被接受的图像或信念相矛盾。这不是广告的角色。也并不真的必要。

In order to overcome these unfavorable images, you simply incorporate them in a larger, overall image—lower their emotional intensity—and use them as readily-accepted bridges to lead your prospect into far more compelling appeals.

为了克服这些不利的形象，你只需将它们融入一个更大、更整体的形象中——降低它们的情感强度——并将它们作为易于接受的桥梁，引导你的潜在客户进入更具吸引力的诉求中。

How to Build New Images Into Your Product

如何将新形象融入您的产品

This is a single process, but it is made up of two steps. First, as mentioned above, a change in the intensity of your primary image—in this case, subordinating it even though you retain it. And second, using it as a logical link to bring in any number of more favorable images.

这是一个单一的过程，但它由两个步骤组成。首先，如上所述，改变你主要图像的强度——在这种情况下，尽管你保留它，但要将其置于从属地位。其次，利用它作为逻辑链接，引入任意数量的更有利的图像。

One of the most striking examples is the Chesterfield ad of 1926—“Blow Some My Way”—fully examined in Chapter 3.

最引人注目的例子之一是 1926 年的切斯特菲尔德广告——“Blow Some My Way”——在第三章中进行了全面的分析。

Here is pure identification advertising—dealing with an unfavorable image of two generations’ standing—that cigarettes are a “man’s product.” Although the objective of the campaign was to make smoking, and smoking situations, more acceptable to women, it would have been impossible to do this by picturing the woman alone. The idea that women would practice this Masculine act in private, or with each other, was inadmissible. Therefore the man must be retained. The accepted image must be acknowledged.

这里是纯粹的识别广告——处理两代人对香烟“不利形象”的问题，即香烟是“男性产品”。尽管该活动的目标是让吸烟及吸烟场景对女性更可接受，但如果仅仅描绘女性，这将是不可能的。女性在私下或与彼此一起进行这种男性行为的想法是不可接受的。因此，男性必须被保留。必须承认这一被接受的形象。

But he undergoes two vital transformations. First, he is subdued. His figure is darkened, almost blended into invisibility with the background. And his position in the picture—his posture—the arrangement of his hands and face as the light plays over them—all direct the attention of the viewer past the man himself and into the focal point of the picture, the woman sitting beside him.

但他经历了两个重要的转变。首先，他被压制。他的身影变得暗淡，几乎与背景融为一体，几乎看不见。他在画面中的位置——他的姿势——他手和脸的排列随着光线的变化——都将观众的注意力引导过了他本人，进入画面的焦点，坐在他旁边的女人。

Thus he becomes a mere suggestion of man, leading the viewer into a far more appealing overall image—that of a handsome young couple, alone together on a moonlit beach, heightened emotionally with the carefully-blended-in suggestions of escape, intimacy, and a sense of shared daring.

因此，他变成了一个仅仅是人类的暗示，引导观众进入一个更具吸引力的整体形象——一个英俊的年轻情侣，独自在月光下的海滩上，情感上通过巧妙融合的逃避、亲密和共同冒险的暗示得到了升华。

Because the primary image is there—because the smoking is done by the man—the viewer, even a well-brought up woman of the 1920s, accepts the situation. But this acceptance, once established, goes far beyond that primary image. This feminine viewer is also willing to accept the romance of the overall scene—including its emotional undertones of escape from the conventional rules and boundaries, and its feelings of relaxation and liberty. She is now willing to project herself into this scene.

因为主要形象在那里——因为吸烟的是那个男人——观众，即使是 1920 年代受过良好教育的女性，也接受了这种情况。但这种接受，一旦建立，远远超出了那个主要形象。这位女性观众也愿意接受整体场景的浪漫——包括逃离传统规则和界限的情感底蕴，以及放松和自由的感觉。她现在愿意将自己投射到这个场景中。

And in accepting the scene as a whole, she is finally led to accepting the climactic words, “Blow some my way,” as being a perfectly natural and acceptable action for her to take, with all its implications for her conduct in the future.

在接受整个场景时，她最终接受了高潮的台词“Blow some my way”，认为这是她采取的一个完全自然和可接受的行为，以及它对她未来行为的所有影响。

This, then, is the process of identification—of building prestige for your product. To weave favorable social and character images into the personality of your product, in order to reinforce and even dominate those primary images that your product already has.

因此，这就是识别的过程——为您的产品建立声望。将有利的社会和性格形象编织到您产品的个性中，以强化甚至主导您产品已经拥有的那些主要形象。

There is only one limit to the number, or the range of favorable images that you can add to that product personality. Simply that you must always include the primary image as their base. They must emerge from that primary image, and they must be logically consistent with its broadest definition.

对该产品个性可以添加的有利形象的数量或范围只有一个限制。那就是你必须始终将主要形象作为基础。它们必须从该主要形象中产生，并且必须与其最广泛的定义在逻辑上保持一致。

For example, to return to Marlboro, once you have developed the primary image to its peak of intensity then there is absolutely nothing to stop you from weaving other powerful appeals into this base. Connotations of success can be included by the model’s clothes, such as the tuxedo worn in the first ads, or by the possessions he holds. Adventure and excitement can be suggested by the situation you picture him in, such as on a boat, in a plane, riding horseback, etc. Romance by a young girl, mystery and affairs of great importance by a dark background or a briefcase, culture and intellectual achievement by a rare book or an antique telescope.

例如，要回到万宝路，一旦你将主要形象发展到其强度的巅峰，那么绝对没有什么可以阻止你将其他强有力的诉求编织进这个基础中。成功的内涵可以通过模特的服装来体现，例如在第一批广告中穿的燕尾服，或者他所持有的物品。冒险和兴奋可以通过你想象他所处的情境来暗示，比如在船上、飞机上、骑马等。浪漫可以通过年轻女孩来表现，神秘和重大事务可以通过黑暗的背景或公文包来传达，文化和智力成就可以通过一本稀有书籍或一架古董望远镜来体现。

As a matter of fact, many visual symbols, by themselves, communicate several different roles of great appeal at the same time. For example, the single image of ownership of a fine painting may express, not only success, but also cultural breeding and intellectual accomplishment.

事实上，许多视觉符号本身同时传达了几种不同的、极具吸引力的角色。例如，一幅精美画作的单一拥有形象不仅可以表达成功，还可以体现文化修养和智力成就。

Such multi-image symbols perform two vital tasks for your product. They broaden the size of its market by grafting on new emotional appeals—social and character identifications that reach into the fringe areas of that market—that intrigue people who would not be sufficiently swayed by the pure functional values of your product. And second, by adding in these many-sided emotional images, they deepen and intensify the emotional attraction felt for your product by all the men and women who make up that market.

这样的多图像符号为您的产品执行两个重要任务。它们通过附加新的情感吸引力——社会和角色认同，扩大了市场的规模，这些吸引力触及市场的边缘领域，吸引那些不会被您产品的纯功能价值所充分打动的人。其次，通过加入这些多面的情感图像，它们加深并强化了市场中所有男性和女性对您产品的情感吸引力。

Perhaps this can best be shown by taking a hypothetical example, of a product with strictly neutral primary images, and developing, and weaving together, a network of far stronger emotional images for it.

也许最好的方式是通过一个假设的例子来展示，一个产品具有完全中性的主要图像，并为其开发和编织一个更强大的情感图像网络。

Let’s start with piston rings, and assume that a new type of piston ring has just been developed, that lasts longer and therefore saves oil and gas. Our body copy, of course, develops this saving theme. We have exploited the functional advantages of the product as far as possible. We are now ready to reinforce these benefits by expanding the product’s social and character appeals.

让我们从活塞环开始，假设一种新型活塞环刚刚被开发出来，它的使用寿命更长，因此可以节省油和气。我们的正文当然会展开这个节省的主题。我们已经尽可能地利用了产品的功能优势。现在，我们准备通过扩展产品的社会和性格吸引力来强化这些好处。

We start by taking inventory. We have a product—piston rings. It has only a few primary images—mechanical, precision-made, unseen. Nothing exciting here. It also has a primary situation—replacement, and always by a mechanic, and usually only when there’s trouble.

我们首先进行盘点。我们有一个产品——活塞环。它只有几个主要的形象——机械的、精密制造的、看不见的。这里没有什么令人兴奋的。它还有一个主要的情况——更换，通常由机械师进行，并且通常只有在出现问题时才会进行更换。

These primary images are either neutral or negative. But they’re all we have to work with. They, and they alone, must form the foundation, must set the direction, for every other appeal we bring into the overall image we are constructing.

这些主要形象要么是中性的，要么是负面的。但它们是我们唯一可以使用的。它们，只有它们，必须构成基础，必须为我们构建的整体形象中的每一个其他诉求设定方向。

So we know that we must deal with the act of replacement, and that the replacement must be done by a mechanic. These are our limitations—but once we observe them, we turn them into the starting point for the true emotional message ice want to broadcast through our ad. We take each of these primary elements, and glamorize, dramatize and emotionalize them to the brink.

所以我们知道我们必须处理替代的行为，而替代必须由一个机械师来完成。这些是我们的局限性——但一旦我们观察到它们，我们就将它们转化为我们想通过广告传播的真正情感信息的起点。我们将这些主要元素进行美化、戏剧化和情感化，直到极限。

The car itself—what kind of car shall it be? Certainly not a beat-up family sedan. Why not a Mercedes SL-300—a $12,000 sports car with its distinctive grill-work sides, and all the emotional extras of power, speed, skill-in-handling, plus sophistication, success and downright excitement.

这辆车本身——它应该是什么样的车？当然不是一辆破旧的家庭轿车。为什么不选择一辆梅赛德斯 SL-300——一款价值 12,000 美元的跑车，拥有独特的格栅侧面，以及动力、速度、操控技巧、加上复杂性、成功和绝对的兴奋等所有情感附加值。

Now the garage—what should it look like? A sports-car shop, of course. Neat, clean, precise. With high-power equipment gleaming chrome and steel—hanging on the walls, ready on the shelves, being installed on other sports models in the background. The mechanic is not young, not old, simply mature. Rugged, knowledgeable, precise. He’s sure of what he’s doing—there isn’t a wasted motion or a wasted tool anywhere about him.

现在车库——它应该是什么样子？当然是一个跑车商店。整洁、干净、精确。高功率设备闪闪发光的铬和钢——挂在墙上，准备在货架上，正在背景中安装在其他跑车模型上。机械师不年轻，也不老，只是成熟。粗犷、博学、精确。他对自己所做的事情充满信心——他周围没有浪费的动作或工具。

The owner of the car is young, wiry, virile, but he too has been around. Put into words, these images must take on a measure of disbelief, which we express by saying they’re “corny.” However, expressed in visual terms, where they can be symbolized, and therefore implied rather than named, they enter into our minds unnoticed, and we accept them without question. Verbal terms—words and sentences—can be used to imply images of identification; but these are different types of images, and must be conveyed in a different way. We will touch on this verbal image building again, as related to excitement and mood, in Chapter 14.

这辆车的主人年轻、瘦削、充满男子气概，但他也经历过很多。用语言表达，这些形象必须带有一种不相信的程度，我们通过说它们“老土”来表达。然而，用视觉术语表达时，它们可以被象征化，因此是隐含而非命名的，它们不知不觉地进入我们的脑海，我们毫无疑问地接受它们。语言术语——单词和句子——可以用来暗示认同的形象；但这些是不同类型的形象，必须以不同的方式传达。我们将在第 14 章再次提到这种语言形象的构建，涉及兴奋和情绪。

The owner is not a professional driver, but he races the car for sport (we know this by the roll-over bar over the back of the seats). He loves this car (its perfect shine, its gleaming chrome engine, its complete absence of even a spot of dirt). He too is precise (the chronometer on his wrist). And he carries his success with a complete casualness (the absence of any special driving outfit—just slacks and a sport shirt).

车主并不是专业司机，但他为了运动而驾驶这辆车（我们从座椅后面的翻滚保护杆知道这一点）。他热爱这辆车（它完美的光泽、闪亮的铬合金发动机、甚至没有一丝污垢的完全缺失）。他同样精确（他手腕上的计时器）。而且他以完全的随意态度承载着自己的成功（没有任何特殊的驾驶服装——只有长裤和运动衬衫）。

And what about the relationship between the two men? Knowledge complementing skill. The expert in one field advising the expert in another. Comfort, understanding, teamwork—leading to mutual achievement.

那么这两个人之间的关系如何呢？知识补充技能。一个领域的专家为另一个领域的专家提供建议。舒适、理解、团队合作——导致共同成就。

And what are they doing? Replacing rings, of course. But not because the old rings have developed trouble (nothing in this car would be left unchecked long enough to have developed a flaw). But because this mechanic is installing these new rings in this car as high-performance equipment, exactly as he would install a supercharger to increase its horsepower.

他们在做什么？当然是在更换活塞环。但并不是因为旧的活塞环出现了问题（这辆车上没有任何东西会被忽视到足以出现缺陷）。而是因为这位机械师正在将这些新活塞环作为高性能设备安装在这辆车上，就像他安装增压器以提高马力一样。

Everything about the picture—its camera angle, its composition, its lighting, the angle of the men’s heads and arms as they examine the rings—develops the emotion of precision and the excitement and drama of discovering new performance through greater and greater precision.

这幅画面的一切——它的拍摄角度、构图、光线、男人们在检查戒指时头部和手臂的角度——都传达了精确的情感，以及通过越来越高的精确度发现新表现的兴奋和戏剧性。

It is a picture, a situation and a mood that invites participation. The reader may not notice every emotional detail that you have developed; but he will sense the excitement and pleasure that you have built up. He will wish to share in this world. And he will buy the product that gives him this world—that offers it as a bonus to all its functional and physical satisfactions.

这是一幅画面，一种情境和一种邀请参与的心情。读者可能不会注意到你所描绘的每一个情感细节；但他会感受到你所营造的兴奋和愉悦。他会希望分享这个世界。他会购买能够带给他这个世界的产品——将其作为所有功能和物质满足的附加奖励。

On the Limits to the Images Your Prospects Will Identify With

关于潜在客户能够认同的形象的限制

I must insert a warning here. Although these identification images are immensely powerful when used correctly, there are also strict rules and limits to their use. And, if they are used incorrectly, they can be disastrous.

我必须在这里插入一个警告。虽然这些识别图像在正确使用时非常强大，但它们的使用也有严格的规则和限制。如果使用不当，可能会造成灾难。

Many campaigns have collapsed because they have asked their market to identify themselves with an unbelievable image. For example, the deodorant-soap campaign of several years ago that used an elite, society image to sell the mass market. The men and women who composed the market could not make the jump between themselves and the characters pictured in the ad. And they not only refused to believe the suggested identification, but the disbelief spread to the performance claims themselves and killed the sales.

许多广告活动因为要求市场与一个不可置信的形象认同而崩溃。例如，几年前的除臭皂广告活动使用了一个精英社会的形象来销售大众市场。构成市场的男性和女性无法在自己与广告中描绘的角色之间建立联系。他们不仅拒绝相信所暗示的认同，而且这种不信任还蔓延到了性能声明本身，导致销售额下降。

The key to avoiding such mistakes, of course, is the structure of the word, unbelievable. What makes an image—or a claim, or an idea—believable or not believable? We shall discuss this question thoroughly in the next few chapters. However, in relation to image-building, the answer lies in two points:

避免此类错误的关键，当然在于单词的结构，unbelievable。是什么使得一个形象——或一个主张，或一个想法——可信或不可信？我们将在接下来的几章中彻底讨论这个问题。然而，关于形象塑造，答案在于两个要点：

1. What do people already believe about the personality of your product? Do they believe, today, that it has the character traits that you say it has? And—if they do—can they identify themselves, their lives, their present position in society, or their next step up in society with these traits?

1. 人们对你的产品个性已经有什么看法？他们今天是否相信它具有你所说的性格特征？如果他们相信，他们能否将自己、他们的生活、他们在社会中的现状或他们在社会中的下一个提升与这些特征联系起来？

If the answer to both these questions is ‘Yes’, then you can use the image exactly as you’ve conceived it. If, however, either one of the answers is ‘No’, then you must move on to the second step:

如果这两个问题的答案都是“是”，那么您可以完全按照您的构思使用该图像。然而，如果其中一个答案是“否”，那么您必须进入第二步：

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? If he doesn’t believe that my product has those desirable character traits, then I have to start with what he already believes. I have to use these images as a base, and build up to my desired overall image, as we discussed before.

2. 我还有什么其他主要形象可以作为可信度桥梁，将我的潜在客户已经相信的与我希望他在看完我的广告后相信的连接起来？如果他不相信我的产品具有那些理想的特征，那么我必须从他已经相信的开始。我必须将这些形象作为基础，逐步构建到我期望的整体形象，正如我们之前讨论的那样。

And, in addition, if my prospect believes that my product does possess these target-traits, but doesn’t believe that they relate to his life, as it exists in either the present or the future, then again I have to use a bridge-image. I have to insert a first seen image that he can immediately identify with, and use that acceptable identification as a hook to hang my target-image on to. For example, in the Marlboro ad, men who would never identify themselves immediately with a yachting costume or an opera hat, accepted the image completely after it was introduced by the acceptable virility concept of the male model smoking the cigarette.

而且，如果我的潜在客户相信我的产品确实具备这些目标特征，但不相信它们与他目前或未来的生活相关，那么我仍然需要使用桥接图像。我必须插入一个他可以立即认同的首次看到的图像，并利用这种可接受的认同作为挂载我的目标图像的钩子。例如，在万宝路广告中，那些从未立即将自己与游艇服或歌剧帽认同的男性，在接受了吸烟男性模特所传达的可接受的阳刚之气概念后，完全接受了这个形象。

If you demand that your prospect jump across a believability-chasm, your ad will fail. If, however, you build a bridge of ideas or images across that chasm—starting on his side—then he will let you lead him almost anywhere.

如果你要求你的潜在客户跨越一个可信度的鸿沟，你的广告将会失败。然而，如果你在他的这一边搭建一个思想或图像的桥梁，那么他会让你几乎带他去任何地方。

On Saleable Identifications Springing From the Physical Product Itself

来自物理产品本身的可销售识别

We mentioned in Chapter 2 that for the purposes of preparing an advertisement, every product can be considered to be two products. There is the functional product—what the product does for the consumer. And there is the physical product—what the consumer actually gets. In tapping mass desire, we put aside the physical product, and concentrated on functional performances. Now, in searching for image-sources to build powerful identifications, we re-examine the physical product itself.

我们在第二章中提到，为了准备广告，每个产品都可以被视为两个产品。一个是功能产品——产品为消费者提供的功能。另一个是实体产品——消费者实际获得的东西。在挖掘大众欲望时，我们搁置了实体产品，专注于功能表现。现在，在寻找形象来源以建立强有力的认同时，我们重新审视实体产品本身。

The physical product can be broken down into three separate areas:

物理产品可以分为三个独立的领域：

Its appearance;

它的外观；

Its components and structure; and

它的组成部分和结构；并且

The technical background from which it emerged

它所产生的技术背景

Each one of these areas has image potential. In each one of them you may find strong primary images that already exist. Or in each one of them you may be able to graft on related images that will greatly increase the sales of your product.

这些领域都有图像潜力。在每一个领域中，你可能会发现已经存在的强有力的主要图像。或者在每一个领域中，你可能能够嫁接相关的图像，这将大大增加你产品的销售。

For example, the appearance of your product. As you receive it, that product’s appearance is probably determined by function. Let’s say that the product is mechanical, like a car. In this case, its appearance will be a combination of what it has to do (roll on a highway, carry six people, shelter them against wind and rain, etc.), and the cheapest practical way of doing it. Out of this combination of performance and economy comes the raw shell of your car—its basic functional appearance. It is at this point that you start to build in the images.

例如，您产品的外观。当您收到它时，该产品的外观可能是由功能决定的。假设该产品是机械的，比如一辆车。在这种情况下，它的外观将是它必须做的事情（在高速公路上行驶、载六个人、保护他们免受风雨等）和最便宜的实用方式的结合。正是在这种性能和经济性的结合中，形成了您汽车的原始外壳——其基本功能外观。此时，您开始构建图像。

You do this in two ways. First, you exploit the dramatic primary images that already exist in the extreme forms of your product. For cars, for instance, you borrow from the glamour cars—the severe streamlining and stabilizing fin of the racing car; the hub caps and wheel wells of the sports car; the exhaust ports and roof line of the custom car. And you blend their feeling of excitement and power and distinction into the family sedan.

你可以通过两种方式做到这一点。首先，你利用已经存在于产品极端形式中的戏剧性主要形象。例如，对于汽车，你借鉴了豪华车的元素——赛车的严峻流线型和稳定鳍；跑车的轮毂盖和轮拱；定制车的排气口和车顶线条。然后，你将它们的兴奋感、力量感和独特性融入家庭轿车中。

But this is only the first step. Once you have exploited the already-existing primary images in your product—if there are any—you then begin to weave in other images that have absolutely nothing to do with the necessary physical structure of your product. And you alter the appearance of your product to accommodate and express these images.

但这仅仅是第一步。一旦你利用了产品中已经存在的主要形象——如果有的话——你就开始融入与产品的必要物理结构完全无关的其他形象。然后你会改变产品的外观，以适应和表达这些形象。

For example, many products are chemical rather than mechanical. They are liquids, powders, sprays, granulates, etc. Therefore their physical appearance, to the manufacturer, is completely arbitrary. Outside of the need to hold them together and shield them against wear, their physical package can take any shape you wish.

例如，许多产品是化学的而不是机械的。它们是液体、粉末、喷雾、颗粒等。因此，对制造商来说，它们的外观完全是任意的。除了需要将它们保持在一起并保护它们免受磨损之外，它们的物理包装可以采取任何你想要的形状。

Here, of course, there are no primary images arising from functional appearance at all. All the images that you wish to shape into your package must be borrowed. And where do you borrow them from? From the background of your product. Or from its components. Or from the values of society as a whole.

在这里，当然没有任何来自功能外观的主要形象。您希望塑造到您的包装中的所有形象都必须是借来的。那么您从哪里借来这些形象呢？从您产品的背景。或者从它的组成部分。或者从整个社会的价值观。

For example, the product’s background:

例如，产品的背景：

One of the most brilliant packaging concepts in years was Johnson & Johnson’s Micrin. Here was a mouth wash—a liquid—sold in drug stores and supermarkets—whose effectiveness far exceeded any similar product ever sold before. How were they to convey that effectiveness to the consumer at a glance?

近年来最出色的包装概念之一是强生公司的 Micrin。这是一种漱口水——一种液体——在药店和超市销售——其效果远远超过以往任何类似产品。他们如何在一瞬间向消费者传达这种效果呢？

They simply took the physical shape of glass containers that are found only in doctors’ offices and operating rooms, and transcribed that exact shape onto an over-the-counter product. Use this shape to house an ice-blue liquid, that in itself suggests medical cleanliness, and you have a product that says instantly, “This is doctor’s-liquid. This is medicine. This works.”

他们只是将仅在医生办公室和手术室中找到的玻璃容器的物理形状，转录到一种非处方产品上。使用这种形状来盛装一种冰蓝色液体，这本身就暗示了医疗的清洁性，你就得到了一个立刻传达“这是医生的液体。这是药物。这有效。”的产品。

Here the background of the product is symbolized in the product’s container. So effectively that the container itself becomes the finest image-illustration that the agency could use in creating their ad. Where the background of your product contains elements that inspire excitement, drama, quality or believability to your prospect, then those elements should be expressed either in the product itself, or in its package, or in its ad.

在这里，产品的背景在产品的容器中得到了象征性体现。如此有效，以至于容器本身成为了代理商在制作广告时可以使用的最佳形象插图。当您的产品背景包含能够激发潜在客户兴奋、戏剧性、质量或可信度的元素时，这些元素应该在产品本身、其包装或广告中表达出来。

The same hypothesis holds true for the components that make up your product. If your product has electronic components, for example, it should have an electronic flavor to both its appearance and its advertising. Show the radar installations, guided missiles, jet aircraft that use the same parts. Life for the average man is dull, completely lacking in adventure. Offer to let him participate in the frontier explorations of our world, and you have welded a tremendously potent appeal onto your product.

相同的假设适用于构成您产品的组件。例如，如果您的产品有电子组件，它的外观和广告也应该具有电子的风格。展示雷达装置、导弹、使用相同部件的喷气式飞机。普通人的生活乏味，完全缺乏冒险。提供让他参与我们世界的前沿探索的机会，您就为您的产品赋予了极具吸引力的魅力。

4 - The Third Technique of Breakthrough Copy: Gradualization

4 - 《突破性广告》的第三种技巧：渐进化

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

As we have learned before, for the purpose of persuasion, the human mind may be divided into three dimensions—three great rivers of emotional force that determine the reaction to your ad, and therefore its success or failure.

正如我们之前所学，为了说服的目的，人类的思维可以分为三个维度——三条决定对您的广告反应的情感力量的大河，因此决定了广告的成功或失败。

The first of these dimensions is Desire—want, yearning, motivation—with specific goals and/or cures in mind—with the prospect begging to be shown how to obtain them. It is the copy writer’s job to make sure the path to these goals goes through the product—and to make sure that the prospect can visualize every drop of satisfaction that their achievement will give him.

这些维度中的第一个是渴望——想要、渴求、动机——心中有具体的目标和/或解决方案——并且前景渴望被告知如何获得它们。文案撰写者的工作是确保通往这些目标的路径经过产品——并确保前景能够想象到他们的成就将带给他们的每一滴满足感。

The second dimension is Identification—the need for expression and recognition—unformulated, unspoken, at least partially unconscious—searching for symbols, definitions and embodiments. It is the copy writer’s job to crystallize these self-definitions and embody them in his product—so that the product may be used, not only as a source of physical satisfaction, but also as a symbolic extension of the personality of the prospect for whom it is intended.

第二个维度是识别——表达和认同的需求——未形成、未言说，至少部分是无意识的——寻找符号、定义和体现。文案撰写者的工作是将这些自我定义具体化，并将其体现在他的产品中——使得该产品不仅可以作为身体满足的来源，还可以作为其目标客户个性的象征延伸。

Until now, this book has been concerned with these first two dimensions. They have determined the selection of our headline and our illustration, and most of the content of our ad.

到目前为止，这本书关注的是这两个维度。它们决定了我们的标题和插图的选择，以及我们广告的大部分内容。

But—important as they are—desire and identification alone are never enough. By themselves, they can never produce the full reaction the copy writer must have if he is to achieve the maximum success with his product. No matter how intense the desire, no matter how demanding the need to identify, both these reactions must be fused with a third great emotional force—Belief—before they can produce the final overwhelming determinant of action—Absolute Conviction.

但是——尽管它们很重要——仅仅有欲望和认同是不够的。单靠它们，永远无法产生文案撰写者必须具备的完整反应，以便在其产品上取得最大成功。无论欲望多么强烈，无论认同的需求多么迫切，这两种反应都必须与第三种伟大的情感力量——信念——结合在一起，才能产生最终压倒性的行动决定因素——绝对信念。

It is this fusion of desire and belief—this conviction—this certainty—this feeling in the prospect of being right in his choice—of being assured of what he has been promised—that the copy writer seeks as his ultimate goal.

正是这种欲望与信念的融合——这种信念——这种确定性——这种对自己选择正确的前景的感觉——对他所承诺的事情的确信——是文案撰写者所追求的最终目标。

And it is to this third dimension of the human mind—the Belief that produces this certainty—that we now turn.

而我们现在要转向人类思维的第三个维度——产生这种确定性的信念。

What Exactly Is Belief?

信念究竟是什么？

It is perhaps the most complex fusion of thought and emotion in the human mind. It is, first of all, your prospect’s mental picture of the world he lives in—what facts make it up, how it works, in what direction its truths and values lie.

这或许是人类思维和情感中最复杂的融合。首先，它是你潜在客户对他所生活的世界的心理图景——构成这个世界的事实是什么，它是如何运作的，其真理和价值观的方向在哪里。

But these accepted facts, truths, values and opinions are only the raw material of belief. Even more important is the vast amount of emotional security he derives from these beliefs. It is the wonderful feeling of comfort and reassurance of living in a world that has meaning, where there are answers to be had, where somehow the facts all fit. A world that he can understand and depend on, that he can predict, that will stay together and not blow up in his face tomorrow morning or the morning after that.

但这些被接受的事实、真理、价值观和观点仅仅是信仰的原材料。更重要的是，他从这些信仰中获得的巨大的情感安全感。这是一种美好的舒适感和安心感，生活在一个有意义的世界里，在那里可以找到答案，所有的事实都能以某种方式契合。一个他可以理解和依赖的世界，一个他可以预测的世界，一个不会在明天早上或后天早上崩溃的世界。

Do not be misled for even a moment. 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.

不要在任何时刻被误导。信仰的需求——以及对安全信仰的需求——与对身体满足的最强烈渴望或对表达的最迫切追求一样，是一种强大的情感力量。

Most adults have done their basic learning of these beliefs when they were children. At that time, and in that dependent stage of their lives, they laid down the primary channels of belief that their minds would follow for the rest of their days. They were forced to do this, in order to understand the world, to gain its approval, to trust and master it, and to develop themselves into self-sustaining adults.

大多数成年人在儿童时期就已经完成了对这些信念的基本学习。在那个时候，以及在他们生活的依赖阶段，他们奠定了信念的主要渠道，这些渠道将伴随他们一生。他们被迫这样做，以便理解世界，获得它的认可，信任并掌握它，并将自己发展成自给自足的成年人。

To ask them to shatter even one of these already-established lines of belief—to plunge into uncertainty again—to be forced to reassemble their beliefs in new, untested ways—is to ask them to become children again. And—unless they are “frightened beyond belief,” unless their entire conceptual world has crumbled around them—they simply will not do it.

要求他们打破这些已经建立的信念之一——再次陷入不确定性——被迫以新的、未经验证的方式重新组建他们的信念——就是要求他们重新成为孩子。而——除非他们“惊恐得无法相信”，除非他们整个概念世界在他们周围崩溃——他们根本不会这样做。

The basic rule of belief, then, can simply be stated as this:

信念的基本规则可以简单地表述为：

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.

如果你在内容或方向上稍微违反了潜在客户的既定信念，那么无论你承诺他什么，无论多么吸引人，都无法拯救你的广告。

But, on the other hand, and even more important: 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. This channeling of belief is so powerful that, if properly directed, it will even support otherwise-absurd claims.

但是，另一方面，更重要的是：如果你能将他信念的巨大力量——无论是在内容上还是方向上——集中在仅仅一个主张上，无论这个主张多么微小，那么这个被完全相信的主张将比你竞争对手在余生中所能写出的所有半信半疑的承诺卖出更多的商品。这种信念的集中是如此强大，以至于如果正确引导，甚至可以支持那些本来荒谬的主张。

It is simply a question of whether you are going to paddle upstream or down. Whether you are going to work against the tide of established belief, or with it.

这只是一个问题，你是要逆流而上还是顺流而下。你是要与既定信念的潮流作斗争，还是顺应它。

As far as advertising is concerned, then, belief is immutable. It cannot be changed. It must be complied with at every step. Every one of the statements you make in your ad must fit in with your prospects version of “the facts” at that precise moment. It is not the function of your ad to change those facts.

就广告而言，信念是不可改变的。它无法被改变。每一步都必须遵守。你在广告中所做的每一个陈述都必须与潜在客户在那个特定时刻对“事实”的看法相符。你的广告并不承担改变这些事实的功能。

But it is its function—and one of its great sources of strength—to extend them. To build a bridge of belief between those facts as they exist in your prospect’s mind today—and the ultimate facts your prospect must believe if he is to accept your claims.

但它的功能——也是它强大之源之一——在于扩展这些事实。建立一个信念的桥梁，将你潜在客户今天心中存在的事实与他必须相信的最终事实连接起来，以便接受你的主张。

This process of starting with the facts that your prospect is already willing to accept, and leading him logically and comfortably through a gradual succession of more and more remote facts—each of which he has been prepared in turn to accept—is called Gradualization. It is the third Process of Persuasion.

这个过程是从你的潜在客户已经愿意接受的事实开始，逐步引导他逻辑上和舒适地接受越来越远的事实——每一个事实都是他逐步准备接受的——这被称为渐进化。这是说服的第三个过程。

Mind you, this process of Gradualization has nothing to do with the offering of proof, or reason-why explanations, or testimonials or documentation. Each of these mechanisms of belief adds to the power of your ad, and we will explore each of them in turn in the chapters that follow.

请注意，这个渐进化的过程与提供证据、理由解释、推荐信或文档无关。每一种信念机制都增强了你的广告的力量，我们将在接下来的章节中逐一探讨它们。

In Chapter 11, we will discuss the verbal demonstration that your product does what you claim—Mechanization.

在第 11 章中，我们将讨论口头演示您的产品确实如您所声称的那样运作——机械化。

In Chapter 12, we will discuss the destruction of alternate ways of satisfying that same desire—Concentration.

在第 12 章中，我们将讨论满足同样欲望的替代方式的破坏——集中。

In Chapter 14, we will discuss the offering of authorities and proof, the reassurance that your prospect has made a wise choice—Verification.

在第 14 章中，我们将讨论权威和证明的提供，以及让您的潜在客户确信他们做出了明智选择的保证——验证。

All these devices build belief. But by far the most fundamental of all—though the most inconspicuous—is Gradualization. For Gradualization determines—not the content of your ad—but its structure, its architecture, the way you build it.

所有这些设备都建立信念。但迄今为止，最根本的——尽管最不显眼——是渐进化。因为渐进化决定的不是你广告的内容，而是它的结构、架构，以及你构建它的方式。

We have already seen that it is the dominating desire of your prospect that determines the content of your ad. It is his longings for identification and self-expression that, in most cases, determine your illustrations.

我们已经看到，决定您广告内容的是您潜在客户的主导欲望。在大多数情况下，他对认同和自我表达的渴望决定了您的插图。

But it is the facts that he believes in and accepts, and the way that he passes that acceptance along from one fact to another, that determines that ad’s development—the arrangement of your claims and your images and your proofs, so that there is a step-by-step strengthening—not only of your prospect’s desire—but of his conviction that the satisfaction of that desire will come true through your product.

但他相信并接受的事实，以及他将这种接受从一个事实传递到另一个事实的方式，决定了广告的发展——你所提出的主张、图像和证据的排列，使得不仅是你潜在客户的欲望逐步增强，而且他对通过你的产品满足这种欲望的信念也在逐步增强。

The Architecture of Belief

信仰的架构

In essence, then, the theory of Gradualization is based upon this fact:

因此，渐进化理论本质上是基于这个事实：

That every claim, every image, every proof in your ad has two separate sources of strength—

每一个主张、每一个图像、每一个证据在你的广告中都有两个独立的力量来源——

1. The content of that statement itself; and

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 laying the groundwork for that statement in the preceding portion of the ad itself.

2. 你为该陈述所做的准备——要么是通过认识到这种准备已经存在于你潜在客户的脑海中，要么是通过在广告的前面部分故意为该陈述奠定基础。

And, because of this fact, we can strengthen the power of each of these statements in two separate ways—

因此，基于这一事实，我们可以通过两种不同的方式增强这些陈述的力量——

1. By increasing the intensity of its content—by making greater promises, by portraying more dramatic images, by offering more compelling proof; and/or

通过增强其内容的强度——通过做出更大的承诺，通过描绘更戏剧化的图像，通过提供更有说服力的证据；和/或

2. By changing the place or position or sequence in which that statement occurs in the ad—by strengthening the ground-work for belief in that statement by the material which precedes it—and therefore increasing the intensity of belief given to it—the immediate acceptance of its content, without question, when the prospect encounters it in your ad.

通过改变该陈述在广告中出现的位置、顺序或位置——通过加强前面材料对该陈述的信任基础——从而增强对其的信任强度——使潜在客户在看到广告时能够毫无疑问地立即接受其内容。

Make no mistake, it is this acceptance that we are looking for. Effective advertising, like effective literature, is built—not of words—but of reactions. We put down on paper an architecture of words. If these words are effective, they evoke, in turn, an architecture of reactions in our prospect’s mind. We are creating a stream of acceptances, with a definite sequence and content and direction, and, if we are successful, with a definite goal—the absolute conviction in your prospects mind that he must have your product.

毫无疑问，我们所追求的就是这种接受。有效的广告，像有效的文学，是由反应构建的，而不是由文字构成的。我们在纸上写下一个文字的架构。如果这些文字有效，它们会在我们潜在客户的脑海中引发一系列反应的架构。我们正在创造一系列的接受，具有明确的顺序、内容和方向，并且如果我们成功的话，目标明确——在潜在客户的心中产生一种绝对的信念，他必须拥有你的产品。

This is the essence of building your ad. We now turn to the techniques of its accomplishment.

这就是构建广告的本质。我们现在转向实现它的技巧。

A New Definition of Awareness

意识的新定义

We now know that Gradualization is the art of starting your ad with a statement that will be immediately and entirely accepted, and then building a chain of subsequent acceptances upon this first statement. The purpose of this chain of acceptances is to lead your reader to a goal conclusion, which he will then accept, but which he would not as readily or as thoroughly have accepted without the preliminary statements.

我们现在知道，渐进化是以一个会被立即和完全接受的陈述开始你的广告的艺术，然后在这个第一个陈述的基础上建立一系列后续的接受。这个接受链的目的是引导读者达到一个目标结论，他会接受这个结论，但如果没有前面的陈述，他不会那么容易或彻底地接受。

This quest for acceptance begins, of course, with your headline. This all-important first statement that you make—this meeting place between your story and your prospect—must not only be capable of awakening interest and desire, but of being accepted at the very first glance as being true.

这种对接受的追求当然始于你的标题。这个至关重要的第一陈述——你故事与潜在客户之间的交汇点——不仅必须能够唤起兴趣和渴望，还必须在第一眼就被接受为真实。

Interest and believability—these are the two requirements that determine your headline. We have already discussed these requirements in Chapter 2, on the State of Awareness of our market.

兴趣和可信度——这就是决定你标题的两个要求。我们已经在第二章讨论了这些要求，关于我们市场的意识状态。

We can now redefine this State of Awareness as readiness to accept. And we can now say—especially in the Fifth Stage of Awareness—that the effectiveness of your headline is as much determined by the willingness of your audience to believe what it says, as it is by the promises it makes.

我们现在可以将这种意识状态重新定义为接受的准备状态。我们现在可以说——特别是在意识的第五阶段——你的标题的有效性在很大程度上取决于你的受众愿意相信它所说的内容，正如它所做的承诺一样。

This is the reason that you cannot always use the most powerful claim in your headline. Or even the very problem that your product solves. Because without supporting evidence already existing in the mind of your prospect to prepare him for that headline claim, he just won’t believe it. Either he’ll believe that it’s exaggerated or false, or he just won’t believe it applies to him. In either case, too many of your prospects turn away without reading on, and your ad fails.

这就是为什么你不能总是使用你标题中最强有力的主张。甚至连你的产品所解决的具体问题也是如此。因为如果没有在你潜在客户的脑海中已经存在的支持证据来为那个标题主张做准备，他根本不会相信。要么他会认为这是夸大其词或虚假的，要么他根本不会相信这与他有关。在这两种情况下，太多的潜在客户在没有继续阅读的情况下就转身离开，你的广告就失败了。

This fact—that your most powerful claim does not always make your most powerful headline—is a paradox that many copy writers still cannot accept. Mail order advertisers, however, have a simple way of proving it. When a power-claim headline doesn’t work—for reasons either of Awareness or Sophistication—they immediately split it against a second head, with far fewer claims in it, but far more likely to be believed. Then 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.

这个事实——你最有力的主张并不总是能成为你最有力的标题——是许多文案写手仍然无法接受的悖论。然而，邮购广告商有一种简单的方法来证明这一点。当一个强有力的主张标题不起作用时——无论是由于意识还是复杂性——他们会立即将其与第二个标题进行对比，后者的主张要少得多，但更容易被相信。然后，他们从这个第二个标题建立一个信念桥梁，连接到他们在第一个标题中展示的完全相同的主张，但现在在每一步都经过仔细的准备。

A Detailed Example

一个详细的例子

Let us take such an ad—that we have already glanced at in Chapter 2—and break down its structure step by step. What we are looking for here is not content, nor promises, nor claims; but the way these promises and claims are arranged in the ad, to help each one of them gain full acceptance when it is encountered in turn by the prospect.

让我们以这样一则广告为例——我们在第二章中已经略微提到过——并逐步分析其结构。我们在这里关注的不是内容、承诺或声明，而是这些承诺和声明在广告中的排列方式，以帮助每一个在潜在客户遇到时获得充分的接受。

This ad was written in 1951. Its purpose was to sell a Television Repair Manual. Theoretically, every TV owner who was having any trouble with his set (and almost all of them were at that time) was a prospect. But, before the prospect could be turned into a customer, he had to believe two things:

这则广告是在 1951 年写的。它的目的是销售一本电视维修手册。理论上，所有遇到电视故障的电视机拥有者（当时几乎所有人都有问题）都是潜在客户。但是，在潜在客户转变为客户之前，他必须相信两件事：

1. That he could save money by making his own TV repairs; and

1. 他可以通过自己修理电视来省钱；并且

2. That he was capable of making them. Both these statements were matters of fact. The average TV owner certainly could save money if he had made his own repairs; and about 80% of those repairs were simple enough for him to make himself.

2. 他有能力自己修理。这两句话都是事实。普通的电视机拥有者如果自己进行修理，肯定可以省钱；而且大约 80%的修理足够简单，他可以自己完成。

But the overwhelming majority of prospects simply didn’t realize these facts. Most of them thought of themselves as non-handymen, even in relation to far simpler devices than a television set. And, in 1951, the TV set was considered a complicated mechanical monster, far beyond their poor powers to understand let alone correct.

但绝大多数潜在客户根本没有意识到这些事实。他们中的大多数人认为自己不是能干的人，即使是对于比电视机简单得多的设备。在 1951 年，电视机被认为是一个复杂的机械怪物，远远超出了他们微薄的理解能力，更不用说修理了。

These two factors blocked the use of the obvious power-claim headline for this product. Such a headline was written and tested—“Save up to $100 a Year on Your TV Repairs!”—but it failed to make a profit. The obvious was unsuccessful. Power alone could not move the product.

这两个因素阻碍了该产品使用明显的力量主张标题。这样的标题被撰写并测试过——“每年节省高达 100 美元的电视维修费用！”——但未能盈利。显而易见的方式并不成功。单靠力量无法推动产品。

Two tasks faced the copy writer in revising this ad. First, he had to reach all his prospects in this market, and not just those among them who considered themselves handymen. And second, he had to convince all these non-handymen prospects that their sets weren’t really such fragile, complicated monsters after all, and that they themselves could easily correct most troubles that arose.

文案在修改这则广告时面临两个任务。首先，他必须接触到这个市场中的所有潜在客户，而不仅仅是那些自认为是能干的人。其次，他必须说服所有这些非能干的潜在客户，他们的设备其实并不是那么脆弱、复杂的怪物，而且他们自己可以轻松解决大多数出现的问题。

Once these two statements were believed by the prospect and only then—could the previous headline claim of “Save up to $100 a year on your TV repairs” be brought in at full power. Let us see, acceptance by acceptance, how this new ad built to that point:

一旦潜在客户相信了这两个陈述，只有在那时——之前的标题声明“每年节省高达 100 美元的电视维修费用”才能全力以赴地引入。让我们逐步看看，这则新广告是如何达到这一点的：

The headline, first of all, would have to be a general statement, crystallizing and exploiting the universal resentment against the high TV repair bills, the $60-a-year TV service contracts that were then in existence, and the outright thievery that occurred in only a small fraction of the TV repair shops, but that had stigmatized the entire industry. From there—from this universally-accepted resentment—the ad could then build toward the two goal conclusions listed above. Let us see how this was done, statement by statement.

首先，标题必须是一个一般性的陈述，凝聚并利用人们对高额电视维修费用、当时存在的每年 60 美元的电视服务合同以及仅在少数电视维修店发生的明显盗窃行为的普遍愤慨，但这些行为却给整个行业带来了污名。从这里开始——从这种普遍接受的愤慨出发——广告可以朝着上述两个目标结论发展。让我们看看这是如何逐条实现的。

Here is the new headline:

这是新的标题：

“WHY HAVEN’T TV OWNERS BEEN TOLD THESE FACTS?”

“为什么电视拥有者没有被告知这些事实？”

No claim. No promise—except that of disclosure. But here is an implication of foul play, which echoed the existing suspicion in the TV owner himself. Here is a crystallization and outright expression that the average owner felt toward being taken. Facts have been withheld. This is something he can agree with! Thus, having achieved its first acceptance by its suspicion-headline, the ad reinforces that effect by an inclusion-question. It asks a questions which, in form, seems to limit the market; but which, in content, actually assures the correct answer by the overwhelming majority of it:

没有声明。没有承诺——除了披露的承诺。但这里暗示了不正当行为，这与电视机所有者本身的现有怀疑相呼应。这是普通所有者对被欺骗感受的结晶和明确表达。事实被隐瞒了。这是他可以同意的事情！因此，在通过其怀疑标题首次获得接受后，广告通过包含问题来加强这一效果。它提出了一个在形式上似乎限制市场的问题；但在内容上，实际上通过绝大多数人确保了正确答案：

“Was your set purchased after the spring of 1947?”

“您的套件是在 1947 年春季之后购买的吗？”

95% of television owners would answer Yes. Thus the ad has built two acceptances in its first two sentences. It has started a Habit of Agreement in its reader. It now exploits that agreement by making its first definite promise in the third sentence:

95%的电视拥有者会回答“是”。因此，这则广告在其前两句中建立了两种接受。它在读者中开始了一种同意的习惯。现在，它通过在第三句中做出第一个明确的承诺来利用这种同意：

“Then here is the full, uncensored story of how you can avoid those $15-$20 repair bills—avoid those $30-$60 a year service fees—and still get the perfect, movie-clear pictures you’ve dreamed about!”

“那么，这就是完整的、未经审查的故事，告诉你如何避免那些 15 到 20 美元的维修费用——避免每年 30 到 60 美元的服务费——同时仍然能获得你梦寐以求的完美、电影般清晰的画面！”

How Belief Was Built Into the Opening

信念是如何融入开篇的

This is the ad’s first claim. Its content alone is extremely powerful. But that powerful content—which otherwise might drive many readers away as being just too fantastic to be believed—has been given extra belief—has been loaned, as it were, extra belief—not only by the first two sentences that preceded it—but by these deliberate constructions in the statement itself:

这是广告的第一个主张。其内容本身极具力量。但这种强大的内容——否则可能会因为过于奇幻而让许多读者望而却步——被赋予了额外的信任——可以说是借用了额外的信任——不仅来自于前面两句句子，还来自于声明本身的这些刻意构造：

1. By the grammatical construction, “Was your…” in the second sentence, and “Then …” in the third which by its very form generates belief. It does this by implying exclusion. It says that the promise will come true only in certain cases; that it will only work for television sets purchased after 1947; that the ad cannot make this promise for sets purchased earlier. Thus it adds credence to whatever statement follows it. You can feel this added believability yourself by taking out the lead-word “Then” from the sentence and reading it again. Immediately, it loses half its force—force added to the content of the statement by the grammatical-bridge tying it in to the first two acceptances.

通过语法结构，“你的……吗”在第二句中，以及“然后……”在第三句中，这种形式本身就产生了信任。它通过暗示排除来实现这一点。它说这个承诺只有在某些情况下才会实现；它只适用于 1947 年后购买的电视机；对于早期购买的电视机，广告无法做出这个承诺。因此，它为随后的任何陈述增加了可信度。你可以通过去掉句子中的引导词“然后”并重新阅读来感受到这种增加的可信度。立刻，它失去了其一半的力量——这种力量是通过语法桥梁将其与前两项接受联系起来而增加的。

2. The second attempt at adding believability is by the descriptive nature of the promise. It is not only a promise of reward (the money saved), but a catalog of almost-universal symptoms (repair bills and service fees). Since the overwhelming majority of set owners are suffering from these problems, their descriptions evoke two more “Yes—I have them” reactions from the reader, and carry these reactions over to the save-money claims that immediately follow them. If these descriptions were eliminated, the money-saving claims would be much weaker: “Then here is the full, uncensored story of how you can save $15-$20—save $30-$60—save $90-$100 on your TV set—and still get the perfect, movie-clear pictures you’ve dreamed about!”

第二次增加可信度的尝试是通过承诺的描述性特征。这不仅是对奖励（节省的钱）的承诺，还有几乎普遍存在的症状（维修费用和服务费）的目录。由于绝大多数电视机拥有者都在遭受这些问题，他们的描述引发了读者的两个“是的——我也有这些”的反应，并将这些反应带入紧接着的省钱声明中。如果这些描述被删除，省钱的声明将会弱得多：“那么，这里是关于如何节省 15-20 美元——节省 30-60 美元——节省 90-100 美元的完整、未删节的故事——并且仍然可以获得你梦寐以求的完美、电影般清晰的画面！”

3. And finally, even though the causes of the set owner’s problems are specifically described, the cures for them are deliberately left ambiguous. The fact that they will save otherwise wasted money, that they will get improved reception, is included—how they will do this is not. The mechanism by which these goals will be accomplished is left out. It is left out because the reader has not yet been prepared for it. If he were to learn, at this moment in the ad, that he had to make repairs on his set to save this money, the average reader would turn the page. So he is given specific symptoms, that he will agree he has, and specific savings by eliminating them, that are certainly logical to expect. He may or may not accept all these three claims in the sentence completely; but the strength of their promise, the two or three or four acceptances that he has already given, and the implied disclosures still remaining in the body of the ad, should be enough to carry him on, to this next paragraph:

3. 最后，尽管对设备拥有者问题的原因进行了具体描述，但对其解决方案故意保持模糊。节省本来会浪费的钱、改善接收效果的事实被包含在内——但如何做到这一点却没有提及。实现这些目标的机制被省略了。这是因为读者尚未为此做好准备。如果他在广告的这一刻得知必须对设备进行修理才能节省这笔钱，普通读者会翻页。因此，他被提供了具体的症状，他会同意自己有这些症状，以及通过消除这些症状可以获得的具体节省，这些都是他可以合理预期的。他可能会完全接受句子中的所有三个主张，也可能不会；但它们承诺的力量、他已经给予的两三个或四个接受，以及广告正文中仍然隐含的披露，应该足以引导他继续阅读下一段：

“How many times this week have you had to get up to fix a jumpy TV picture? … How many times have you had to put up with ghosts? … How many times…”

“这周你有多少次需要起床去修理跳动的电视画面？……你有多少次不得不忍受鬼影？……你有多少次……”

Here again is reinforcement of belief—the description of universal symptoms—the coaxing out of a stream of agreements. “Yes … Yes … Yes”—he must answer if he has had trouble with his set. A habit of acceptance is being built inside him. Trust is being formed, layer by layer—as each question poses a test, and each yes answer proves to the reader that the ad is talking about him.

这里再次强调了信念——对普遍症状的描述——引导出一系列的认同。“是的……是的……是的”——如果他在使用他的设备时遇到麻烦，他必须回答。接受的习惯正在他内心建立。信任正在逐层形成——每个问题都是一次考验，每个“是”的回答都向读者证明广告在讲述他。

Already the ad is beginning to weave its pattern of promise and belief and then promise again. Now, with as many as seven or eight agreements behind it to establish a firm foundation of belief, the ad moves on to its next great promise:

广告已经开始编织它的承诺和信念的模式，然后再一次承诺。现在，背后有多达七或八个协议来建立坚实的信念基础，广告继续向它的下一个伟大承诺迈进：

“90% Of These Breakdowns Are Unnecessary!”

“90% 的这些故障是多余的！”

“All of these breakdowns may have seemed tragic to you at the moment they happened—but here is the real tragedy! Do you know that the same exact set that you now have in your front room … has been playing in manufacturer’s test rooms for months—and playing perfectly!”

“所有这些故障在发生的那一刻可能对你来说显得悲惨——但真正的悲剧在这里！你知道你现在在客厅里拥有的这套设备……在制造商的测试室里已经运行了几个月——而且运行得非常完美！”

Goal Conclusions

目标结论

The ad is now laying the basis for the first of its two goal conclusions—that TV sets are not fragile—that they have amazing endurance if they are properly cared for. Only when the reader accepts this fact, can the ad go on to its second conclusion—that whatever minor breakdowns do occur can be easily handled by the owner himself.

广告现在正在为其两个目标结论中的第一个奠定基础——电视机并不脆弱——如果得到妥善照顾，它们具有惊人的耐用性。只有当读者接受这个事实时，广告才能继续到第二个结论——无论发生什么小故障，业主自己都可以轻松处理。

But the ad is still five paragraphs away from any mention of the owner touching his set. First it must establish the dependability of the set; and it does this by two methods. At the start, in the following two paragraphs, it gives graphic descriptions of the manufacturer’s own tests used to establish this dependability:

但广告仍然有五段内容没有提到所有者触碰他的设备。首先，它必须建立设备的可靠性；而它通过两种方法来做到这一点。在开始的两个段落中，它详细描述了制造商自己用来建立这种可靠性的测试：

“These sets have been subjected to ‘Breakdown Tests’ that would seem incredible to the average owner. They have been turned on for 24 hours a day—7 days a week—4 weeks a month. Some of these sets have been naming without a moment’s pause for as much as 17 months.

“这些设备经过了‘故障测试’，对于普通用户来说似乎难以置信。它们每天 24 小时开启——每周 7 天——每月 4 周。其中一些设备在没有片刻停顿的情况下已经运行了长达 17 个月。”

“These sets have been tested against almost every conceivable type of viewing hazard… up to 120 miles away from the station … against the interference of an entire warehouse of electrical appliances … in special, steel-ribbed buildings, which ordinarily would produce several distinct ghosts.

“这些设备已针对几乎所有可以想象的观看危险进行了测试……距离站点最多 120 英里……抵御整个电器仓库的干扰……在特殊的钢筋建筑中，这些建筑通常会产生几个明显的鬼影。”

“And in almost every one of these cases, these sets have produced perfect, movie-clear pictures—without major breakdowns—for as much as one full year! Here are some of the reasons why:”

“在几乎所有这些情况下，这些设备都能产生完美、电影般清晰的图像——没有重大故障——长达整整一年！以下是一些原因：”

Then, when the reader has fully visualized the impact of these test reports, the ad now turns to expert authority and logical construction to reinforce this belief. Notice in the next few paragraphs how the ad picks up the already-accepted condition. “If your set were properly cared for, as these sets were …”, and uses that now-established condition to prove the series of statements that follow it:

然后，当读者充分想象这些测试报告的影响时，广告现在转向专家权威和逻辑结构来强化这种信念。注意接下来的几段广告如何拾起已经被接受的条件。“如果你的设备得到了妥善的照顾，就像这些设备一样……”，并利用这个现在已建立的条件来证明随后的系列陈述：

What TV Experts Have Learned About Your Set!

电视专家对您的电视机所学到的知识！

“If your set were properly cared for—as these sets were cared for in these tests—it need break down only once during the entire year! In other words, you may actually have to call in a repairman only once during the entire year. You can save the $30-$60 service fees you are now paying—and you can save most of the SERIOUS repair bills.”

“如果你的设备得到了妥善的维护——就像这些设备在测试中得到的维护一样——它在整整一年中只需故障一次！换句话说，你实际上可能在整整一年中只需叫一次修理工。你可以节省现在支付的 30 到 60 美元的服务费——而且你可以节省大部分严重的维修费用。”

“If your set was properly cared for, it can actually give you perfect, movie-clear reception the other 364 days a year. It can give you this perfect reception without special electronic equipment—without the help of a repairman—up to 100 miles away from your station.”

“如果您的设备得到了妥善的维护，它实际上可以在一年中的其他 364 天为您提供完美的、电影般清晰的接收。它可以在不需要特殊电子设备的情况下——不需要修理工的帮助——在距离您的电台多达 100 英里处为您提供这种完美的接收。”

Notice that in these two paragraphs, the ad returns to the claims made in the third sentence—repeats them almost word for word—and then gives logical proof, in logical form, for each of them. As we have pointed out before, these claims—“you can avoid those $15-$20 repair bills—avoid those $30-$60 a year service fees—and still get the perfect, movie-clear picture you’ve dreamed about!”—were stated in the third sentence without supporting proof at that time; but with strong implication—“Here is the full, uncensored story…”—that such proof would follow.

请注意，在这两段中，广告回到了第三句中提出的主张——几乎逐字重复——然后为每个主张提供了逻辑证明。正如我们之前指出的，这些主张——“你可以避免那些 15 到 20 美元的维修费用——避免那些每年 30 到 60 美元的服务费——并且仍然获得你梦寐以求的完美、电影般清晰的画面！”——在第三句中没有提供支持证明；但强烈暗示——“这是完整的、未经审查的故事……”——这样的证明将会随之而来。

That proof is now submitted, in an extremely formal and logical structure. Thus the ad again weaves proof into promise—repeating previous claims in a new context of full documentation, where it could only suggest that they would be proven before.

该证明现在以极其正式和逻辑的结构提交。因此，广告再次将证明编织进承诺中——在一个完整文档的新背景下重复之前的主张，在这里它只能暗示这些主张之前会被证明。

Notice also that this logical proof—“If your set were cared for… it need break down only once a year… you need call a repairman only once a year… you save the service fees and most repair bills.”—is, in itself, solidly grounded in the test-proof presented in the paragraphs before it—“being subjected to break-down tests … against almost every type of viewing hazard … and produced perfect pictures, without breakdowns, for as much as one full year.” Thus a chain of proof upon proof is constructed—each new statement repeating the heart of the proof before it.

请注意，这个逻辑证明——“如果你的设备得到照顾……它每年只需故障一次……你每年只需叫一次修理工……你节省了服务费和大部分维修费用。”——本身就扎实地基于前面段落中提出的测试证明——“经过故障测试……针对几乎所有类型的观看风险……并且在长达整整一年的时间里，产生了完美的图像，没有故障。”因此，构建了一系列的证明链——每个新陈述都重复了之前证明的核心内容。

Thus the ad has now proved—by using the Mechanism of Intensification—by repeating the same theme-content seven different times in seven different ways—that your TV set is dependable.

因此，这则广告现在已经证明——通过使用强化机制——以七种不同的方式重复相同的主题内容七次——您的电视机是可靠的。

The Ultimate Objective

最终目标

This was the first goal-conclusion. At this point the reader is convinced that it is true. The ad is now ready to go on to prove the second goal conclusion: that the owner can correct minor breakdowns himself.

这是第一个目标结论。在这一点上，读者相信这是事实。广告现在准备继续证明第二个目标结论：业主可以自己修复小故障。

It begins this proof in the very next paragraph, in this way:

它在下一段开始这个证明，方式如下：

“And, most important, these experts have discovered that you do not have to be a handyman or a mechanic in order to coax this performance out of your set! Here’s why:”

“而且，最重要的是，这些专家发现你不必是一个能工巧匠或机械师，就能从你的设备中引导出这样的性能！原因如下：”

Notice that it is in this paragraph that the entirely-new (to the reader) assumption—that you can fix your own minor breakdowns—is first introduced. Yet its novelty is deliberately concealed; it is presented as though it were simply another rephrasing of the by-now already accepted dependability conclusion. There is therefore no break in the logical flow of proof. Acceptance is built into this entirely new statement in these four different ways:

请注意，在这一段中，完全新的（对读者而言）假设——你可以修复自己的小故障——首次被引入。然而，它的新颖性被故意掩盖；它被呈现得仿佛只是对现在已经被接受的可靠性结论的另一种表述。因此，证明的逻辑流程没有中断。接受在这四种不同的方式中内置于这个全新的陈述中：

1. By paragraph parallelism. By framing the statement as the last of a series of similar paragraphs—all the others of which have already been accepted—instead of physically setting it off as a new point with its own sub head and a different construction, as the reader would ordinarily expect.

1. 通过段落平行性。通过将陈述框架设定为一系列相似段落中的最后一个——而所有其他段落都已被接受——而不是像读者通常所期望的那样，物理上将其作为一个新的要点，配以自己的小标题和不同的结构。

2. By the lead word, “And,” a tie-in phrase, which indicates that the sentence accompanying it is the same as those that have gone before.

2. 通过引导词“和”，一个关联短语，表明其伴随的句子与之前的句子相同。

3. By immediately following “And” by a second tie-in phrase, “most important,” which again implies that the remainder of the statement is part of the series that has gone before.

3. 通过紧接着“和”后面加上第二个关联短语“最重要的”，这再次暗示了陈述的其余部分是之前系列的一部分。

4. And finally, by repeating the phrase, “these experts have discovered,” which echoes the identifying subhead at the beginning of the series, and carries on the acceptance-momentum of the series as a whole.

最后，通过重复短语“这些专家已经发现”，这与系列开头的识别副标题相呼应，并延续了整个系列的接受势头。

All these deliberate constructions combine to give this short, but vital, transitional paragraph the acceptance, and therefore the believability, of all the careful planning that has gone before it. They allow the reader to make what otherwise might be a jarring transition from already-established proof to an entirely new promise with a minimum of effort.

所有这些精心构造的内容结合在一起，使这个简短但重要的过渡段落获得了之前所有细致规划的认可，因此也增强了其可信度。它们使读者能够以最小的努力，从已经建立的证据顺利过渡到一个全新的承诺。

Now the ad builds its final step—showing that the only repairs that the average owner will have to make are actually minor external adjustments on his set. Notice how it integrates this new extension of its previous thought into what has gone before by starting with the phrase, once again, “These experts have discovered…”

现在广告进入最后一步——展示普通用户需要进行的唯一维修实际上是对其设备的轻微外部调整。注意它是如何将这一新扩展与之前的内容整合在一起的，开头再次使用短语：“这些专家发现……”

Here are the next three paragraphs:

以下是接下来的三个段落：

Five Minutes a Week for Perfect Reception.

每周五分钟，完美接收。

“These TV experts have discovered that your TV set is a great deal like your body in this respect—that it gives you warning signals before it has a major breakdown. For instance, after your set was installed, it probably played perfectly for the first week. But then it began to suffer from the vibration, the jarring, the interference of other electrical appliances in your home. The picture might suddenly begin to flop over or flicker—lines may appear on your screen.

“这些电视专家发现，在这方面，你的电视机和你的身体非常相似——它在发生重大故障之前会给你发出警告信号。例如，在你的电视机安装后，它可能在第一周内运行得非常完美。但随后，它开始受到振动、冲击以及家中其他电器的干扰。画面可能会突然开始扭曲或闪烁——屏幕上可能会出现线条。”

“Now—and this is important—if you had the knowledge to quickly make a few minor adjustments, on the outside controls of your set, then you could correct those symptoms, you could keep that set playing perfectly, and you could prevent major breakdowns in exactly the same way they were prevented in these manufacturers’ tests.

“现在——这很重要——如果你有知识能够快速对你的设备外部控制进行一些小调整，那么你就可以纠正那些症状，保持设备完美运行，并且可以以与这些制造商测试中相同的方式防止重大故障。”

“If you do not have this knowledge … if you do not make these adjustments, then your set will weaken, you will get a consistently bad picture, and you will have to call a repairman.”

“如果你没有这些知识……如果你不做这些调整，那么你的设备将会变弱，你将会得到持续不佳的画面，并且你将不得不叫修理工。”

The second goal-conclusion of the ad has now been reached. At this stage of the copy, the reader now knows:

广告的第二个目标——结论现在已经达成。在文案的这个阶段，读者现在知道：

1. That his set is dependable enough to avoid major breakdowns during by far the greatest majority of the time he will play it; and

1. 他的设备足够可靠，以避免在他大部分时间使用时发生重大故障；并且

2. That if he obtains the proper knowledge, he can correct minor breakdowns himself, and help prevent the gradual formation of major breakdowns, by making a few simple adjustments to the outside controls of his set.

2. 如果他获得了正确的知识，他可以自己修正小故障，并通过对设备外部控制进行一些简单的调整，帮助防止重大故障的逐渐形成。

Therefore, the stage has now been set for the final conclusion—the pay-off conclusion—a conclusion with all the inevitable logical force of a syllogism—that:

因此，舞台现在已经为最终结论——回报结论——做好了准备，这个结论具有三段论的所有必然逻辑力量：

3. The owner should obtain this knowledge—make these minor adjustments himself—and therefore save the money he is paying today for service contracts, and save by far the greatest majority of the money he is paying for repair bills.

3. 业主应该获得这些知识——自己进行这些小调整——因此可以节省他今天为服务合同支付的费用，并且可以节省他为维修账单支付的绝大部分费用。

Here is how this final conclusion is phrased by the copy:

这里是文案对这个最终结论的表述：

“It’s as simple as that. You pay a repairman—not for his work—but for his knowledge. If you had that knowledge yourself—then you would not have to pay him at all.”

“这就是简单的道理。你支付给修理工的，不是他的工作，而是他的知识。如果你自己拥有那种知识——那么你根本就不需要支付他。”

A Restatement of Our Basic Theory

我们基本理论的重述

We have taken a great deal of space to analyze, in exact detail, one ad, and the structure of believability that underlies the effectiveness of its claims.

我们花了大量篇幅详细分析了一则广告，以及支撑其有效性主张的可信度结构。

We have done this for two reasons:

我们这样做有两个原因：

1. To show how the goal-conclusion—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. 显示目标结论——产品声明本身的引入——如果推迟到潜在客户准备好接受它时，可能会变得更加有效。并且

2. To show how this full acceptance—this willingness to believe without question-can gradually be built up, layer by layer agreement by agreement, by use of the proper structure.

2. 为了展示这种完全接受——这种毫无疑问的信任是如何逐层建立起来的，通过使用适当的结构，一层一层地达成共识。

Let us now state formally some of the rules we have discovered in this analysis, and some of the devices you can use time after time, to create the maximum structural believability for each of your advertisements.

现在让我们正式陈述在这次分析中发现的一些规则，以及一些您可以反复使用的手段，以为每个广告创造最大的结构可信度。

Here are the basic principles:

以下是基本原则：

Gradualization is the art of stating a claim in such a way that it will receive the greatest possible acceptance and/or believability from your prospect.

渐进化是以一种方式陈述主张的艺术，使其能够获得潜在客户最大的接受度和/或可信度。

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。正如欲望依赖于承诺一样，对该承诺的信念取决于在要求读者接受之前，该承诺所给予的准备程度。

One fully-believed promise has ten times the sales power often partially-believed promises. Most copy writers try to strengthen ads by piling promise upon promise. What they usually get for their troubles is greater sales resistance from their prospects and trouble from the ETC. They could far better invest the same time in strengthening the believability-structure of the original justifiable promise.

一个完全被相信的承诺具有十倍于通常部分被相信的承诺的销售力。大多数文案撰写者试图通过堆砌承诺来增强广告的效果。他们通常得到的结果是潜在客户的更大销售抵抗和来自 ETC 的麻烦。他们可以更好地将同样的时间投入到增强原始合理承诺的可信度结构中。

Now, how do you strengthen this believability-structure? What are the devices you can choose from to add believability to any promise, in any ad?

那么，如何增强这种可信度结构呢？你可以选择哪些手段来为任何广告中的任何承诺增加可信度？

Here are at least a few of them. Once you get the feel of using them, you’ll probably develop a whole armory of your own.

这里至少有几个。一旦你熟悉了使用它们，你可能会发展出自己的一整套武器库。

1. The Inclusion Question

1. 包容性问题

Designed to permit immediate identification with your story. To show the prospect that you’re talking about him—not about someone else who would answer No to the question. Therefore, once he’s identified with the questions—once he’s made his first agreements with you and placed himself in the Yes-answer group—then your recommendations will have special meaning for him.

旨在让他立即认同你的故事。向潜在客户展示你在谈论他——而不是其他会对这个问题回答“不”的人。因此，一旦他认同了这些问题——一旦他与你达成了第一次共识，并将自己置于“是”回答的群体中——那么你的建议对他将具有特别的意义。

This is perhaps the most direct way of building agreement at the beginning of the ad. It’s used every day. For example, in this advertisement—highly successful—for a book called The Art of Selfishness:

这或许是建立广告开头共识的最直接方式。它每天都在使用。例如，在这则非常成功的广告中——为一本名为《自私的艺术》的书：

ASK YOURSELF THESE NINE QUESTIONS

问问自己这九个问题

1. Do you find it increasingly difficult to cope with the world around you…

你是否发现越来越难以应对周围的世界……

2. Is your business or career a source of annoyance and frustration…

2. 你的生意或职业是否让你感到烦恼和沮丧……

3. Are you tormented by inadequacies, fear and embarrassments in your sex life…

3. 你是否因性生活中的不足、恐惧和尴尬而感到痛苦……

And so on.

等等。

2. Detailed Identification

2. 详细识别

Another device used at the beginning of the ad, to establish immediate, and deep, agreement between the reader and the copy. Here, instead of asking questions to set up your Yes-train, you detail symptoms or problems that are your prospect’s reasons for desiring your product. Thus, again, your reader knows that you are talking about him—that you “have been there yourself”—and therefore that your recommendations will help answer these problems, his problems, that you have catalogued so well.

广告开头使用的另一种手段，以在读者和文案之间建立即时而深刻的共鸣。在这里，您不是通过提问来引导读者的“是”思维，而是详细描述症状或问题，这些都是潜在客户渴望您产品的原因。因此，读者再次知道您在谈论他——您“也经历过这些”——因此，您的建议将有助于解决这些问题，他的问题，您已经 catalogued 得如此清晰。

For example, in this ad for a course to improve the prospect’s child’s grades in school:

例如，在这则广告中，旨在提高潜在客户孩子的学校成绩：

Let me explain. I don’t care whether your child is six years old or twenty—boy or girl—in grade school high school or college. It makes no difference how badly that child is doing in school today—how difficult it is for him to concentrate … how poor his memory may be … how much a prisoner he is of crippling mental habits … how terrified he may be of mathematics, or grammar, or social studies, or even the hardest science course.

让我来解释。我不在乎你的孩子是六岁还是二十岁——男孩还是女孩——在小学、高中还是大学。今天这个孩子在学校的表现有多糟糕——他集中注意力有多困难……他的记忆力有多差……他在严重的心理习惯中有多受困……他对数学、语法、社会研究，甚至是最难的科学课程有多么害怕。

Of course, here—as in the Inclusion-Question—your copy must be accurate. You must know enough about the reader’s problems to make every word you write ring true. If you don’t, you’ll shatter your believability-net, and he’ll simply turn the page.

当然，在这里——就像在包容性问题中一样——你的文案必须准确。你必须对读者的问题有足够的了解，以使你写的每一个字都真实可信。如果你做不到这一点，你将破坏你的可信度，他会简单地翻页。

So—before you write—research. Learn to know your customer. This is always the essential first step, in any kind of copy.

所以——在你写之前——要进行研究。学会了解你的客户。这始终是任何文案创作中的基本第一步。

3. Contradiction of Present (False) Beliefs

3. 目前（错误）信念的矛盾

Again, used at the beginning of the ad. And again used to prepare a foundation for strong claim-statements that the reader might never accept raw. Here, you come bluntly out and say, “I know you think this is true; but I’m going to show YOU it’s false.” Best used, of course, in conjunction with strong authority strong enough to contradict present (unpleasant) beliefs, and get away with it.

再次，在广告的开头使用。再次用于为强有力的声明奠定基础，读者可能永远不会接受这些原始的说法。在这里，你直截了当地说：“我知道你认为这是真的；但我将向你展示这其实是错误的。” 当然，最好与足够强大的权威结合使用，以反驳当前（不愉快的）信念，并且能够做到这一点。

For example, in an ad for cosmetics invented by a famous plastic surgeon:

例如，在一位著名整形外科医生发明的化妆品广告中：

From this moment on, forget everything you have ever heard or read about what age “must do” to your appearance. Forget anything you have ever believed about how “old” you must look at thirty … forty … fifty … or even sixty.

从这一刻起，忘记你曾经听说或阅读过的关于年龄对外貌的“必须”影响。忘记你曾经相信的关于在三十岁……四十岁……五十岁……甚至六十岁时“必须”看起来有多“老”。

Here you are not looking for agreement as much as you are for a loosening of previous beliefs. You are saying that the old limitations are passing, and your next paragraph should be your first introduction of your positive claims, in somewhat the same way that this ad goes on:

在这里，你并不是在寻求一致，而是希望放松之前的信念。你在说旧的限制正在消失，而你的下一段应该是你积极主张的首次介绍，方式与这则广告接下来的内容有些相似：

Because—starting with this moment—you are about to enter into a new world of beauty! A world where ordinary fruits are transformed into anti-wrinkle cosmetics. Where a…

因为——从这一刻开始——你即将进入一个美丽的新世界！一个普通水果被转化为抗皱化妆品的世界。

And so on.

等等。

4. The Language of Logic

4. 逻辑的语言

So far, the devices we have discussed have been used to build belief at the beginning of your ad—to serve in the crucial transition from your headline to the stream of intensified promises that you are going to use to close the sale.

到目前为止，我们讨论的设备已被用于在广告开始时建立信念——在从标题到你将用来促成销售的一系列强化承诺的关键过渡中发挥作用。

We have discussed the process of intensifying desire in Chapter 7. We now turn to the simultaneous, and equally important, task of maintaining belief in each new statement as you present it.

我们在第七章中讨论了增强欲望的过程。现在我们转向同样重要的任务，即在你呈现每一个新陈述时保持信念。

Here again, your objective is to build belief at the same exact time that you build desire. To do this, you interlace each new promise with language-signals that show that it logically follows from everything that has been proved before. And that it therefore can be believed without hesitation.

在这里，你的目标是在建立欲望的同时建立信任。为此，你需要将每一个新的承诺与语言信号交织在一起，这些信号表明它在逻辑上是从之前所有已证明的内容中得出的。因此，它可以毫不犹豫地被相信。

What are these language-signals? They are, of course, the vocabulary of logic. They are the words we use when we reason: when we argue; when we prove our point in any discussion, and force others to agree with us that we are right.

这些语言信号是什么？它们当然是逻辑的词汇。它们是我们在推理时使用的词：当我们争论时；当我们在任何讨论中证明我们的观点，并迫使他人同意我们是对的。

They are among the most powerful words in the English language—for the very simple reason that they give the flavor of conviction to the promises into which we weave them.

它们是英语中最有力的词汇之一，原因非常简单，因为它们为我们编织的承诺增添了信念的色彩。

These words have been used for centuries in court, in politics, in science—even in that most-loved form of American fiction, detective stories—to show others that proof has been offered, that reason has been used, that one statement logically and inevitably follows from another.

这些词在法庭、政治、科学中，甚至在美国最受欢迎的小说形式——侦探故事中，已经使用了几个世纪，以向他人表明已经提供了证据，已经使用了推理，一个陈述逻辑上和不可避免地跟随另一个陈述。

Therefore, after centuries of conditioning, the words themselves—regardless of the content of the statements to which they are attached—now carry conviction. Therefore, they should be woven throughout your ad, wherever they logically apply.

因此，经过几个世纪的条件反射，这些词语本身——无论它们所附加的陈述内容如何——现在都具有说服力。因此，它们应该在你的广告中贯穿始终，无论在何处合乎逻辑。

For example, let’s look at some individual lines, in a number of different ads. Let’s see how each of these words (which I’ll italicize) gives a tone of reason and logic to those sentences in which they’re incorporated.

例如，让我们看看一些不同广告中的个别句子。让我们看看这些词（我会将其斜体）如何为它们所包含的句子赋予理性和逻辑的语气。

For example, in the famous Sherwin Cody ad:

例如，在著名的 Sherwin Cody 广告中：

Why do so many find themselves at a loss for words to express their meaning adequately? The reason for this deficiency is clear… Most persons do not write or speak good English simply because they have never formed the habit of doing so…

为什么这么多人在表达自己的意思时感到无言以对？这种缺陷的原因很明显……大多数人之所以不会写或说好英语，仅仅是因为他们从未养成这样的习惯……

Or, in this ad for a book on how to manage difficult people:

或者，在这本关于如何管理难相处的人的书的广告中：

Take, as an example, the man who habitually refuses to follow your instructions. There is a basic, underlying reason for this. Mr. Given shows you how to find that reason and then explains the means of correcting it. The whole solution can be surprisingly easy once you have realized the underlying causes…

以一个习惯性拒绝遵循你指示的男人为例。这背后有一个基本的原因。Mr. Given 向你展示如何找到这个原因，然后解释纠正它的方法。一旦你意识到潜在的原因，整个解决方案可能会出乎意料地简单……

Or, for a book on learning how to learn:

或者，对于一本关于学习如何学习的书：

… but simply by putting your LOCKED-UP LEARNING POWERS to work—today—as easily and logically as this…

… 但只需将你的 LOCKED-UP LEARNING POWERS 发挥出来——今天——就像这样简单和合乎逻辑……

And so on. There are dozens of such phrases for you to use. Among them are:

等等。你可以使用数十个这样的短语。其中包括：

“This has been proved by thousands…”

“这已经被成千上万的人证明了……”

“Sound impossible? Not at all. It’s actually as simple…”

“听起来不可能？一点也不。实际上，这非常简单……”

“Here’s why…”

“这就是为什么…”

“And, most important of all, is the fact that…”

“而最重要的是，事实是……”

“Therefore …”

“因此……”

“This was, without a doubt, the most thorough…”

“这无疑是最彻底的……”

“They discovered—in case after case—that…”

“他们发现——在一个又一个案例中——…”

This, again, is the language of logic. It is a language equally as filled with emotion as the language of desire. Interwoven into your promises, so subtly that the reader never even notices that it is there, it gives your claims the invaluable air of conviction.

这再次是逻辑的语言。它是一种充满情感的语言，和欲望的语言一样。它巧妙地交织在你的承诺中，以至于读者甚至没有注意到它的存在，它赋予你的主张无价的信服感。

5. Syllogistic Thinking

5. 三段论思维

Now we go from the language of logic to the mechanisms of logic. This is the role that reason plays in your ad. This is the moment when you prove that your product works, through the mechanism of logical reasoning.

现在我们从逻辑的语言转向逻辑的机制。这就是理性在你的广告中所扮演的角色。这是你通过逻辑推理的机制证明你的产品有效的时刻。

For example, in one of the most successful automotive accessory ads of all time, the copywriter wanted to prove that his spark plug was superior to the ordinary plug—even though it costs twice as much. Since the point of difference was simply that his plug delivered a larger spark, the copywriter built up his case in this way:

例如，在有史以来最成功的汽车配件广告之一中，文案撰写者想要证明他的火花塞优于普通火花塞——尽管它的价格是普通火花塞的两倍。由于区别的关键在于他的火花塞产生了更大的火花，文案撰写者是这样构建他的论点的：

Your car runs because gasoline is fed into the cylinders where a spark causes it to fire. This action causes the gas to explode … this explosion pushes down the piston. Now here is the important thing to you. The larger the spark is, the more powerful the explosion. The more powerful the explosion, the more power you get from your gasoline.

你的汽车之所以能运转，是因为汽油被输送到气缸中，火花使其点燃。这一动作导致气体爆炸……这次爆炸推动活塞向下。现在对你来说重要的是，火花越大，爆炸就越强烈。爆炸越强烈，你从汽油中获得的动力就越大。

Poor explosion means wasted gas—loss of power, poor getaway, bad starting, a sluggish car.

糟糕的爆炸意味着浪费燃气——动力损失、起步不良、启动困难、汽车迟缓。

Good explosion means more miles per gallon—more horsepower; a more exciting car to drive!

良好的爆炸意味着每加仑更多的英里——更多的马力；更令人兴奋的驾驶体验！

Notice the power of these three simple paragraphs. Power derived as much from their underlying formal structure as from their claims. One statement inevitably leads into another. Every word is logical. There is a constant process of equation: spark to power, power to performance. Size equals power—and his plug delivers the largest size.

注意这三段简单文字的力量。这种力量既来自于它们潜在的形式结构，也来自于它们的主张。一个陈述不可避免地引出另一个。每一个词都是合乎逻辑的。这里有一个不断的等式过程：火花到力量，力量到表现。大小等于力量——而他的插头提供了最大的尺寸。

Such structure—and the copy based on such a structure—develops the feeling of inevitability. The reader feels that the product must work. He has not only been told it works; he has been shown proof that it works.

这样的结构——以及基于这种结构的文案——会产生必然性的感觉。读者感觉这个产品一定有效。他不仅被告知它有效；他还看到了它有效的证据。

Such structure—though hidden behind the words it clothes itself in—is actually a physical entity. You can seek it out of hundreds of ads, if you look beneath the words themselves. You can trace it, codify it, and then repeat it. Once learned, it becomes a powerful tool in selling hundreds of products.

这种结构——尽管隐藏在它所穿着的词语背后——实际上是一个物理实体。如果你深入词语本身，你可以从数百个广告中找到它。你可以追踪它、编码它，然后重复它。一旦学会，它就成为销售数百种产品的强大工具。

We will explore these structures in more depth in the next two chapters—on Redefinition and Mechanization.

我们将在接下来的两章中更深入地探讨这些结构——关于重新定义和机械化。

6. Other Belief Forms

6. 其他信念形式

Once you grasp the fundamental idea that form—structure—determines believability, then all sorts of opportunities open up to you. You realize that simply by the arrangement of your claims, you can add to their believability.

一旦你掌握了形式——结构——决定可信度的基本理念，各种机会就会向你敞开。你会意识到，仅仅通过对你的主张的排列，你就可以增加它们的可信度。

For example:

例如：

Contingency Structures—such as “If… then …”, or “Is your… then….”

应急结构——例如“如果……那么……”，或“你的……那么……”。

Repetition of Proof: Echoing—such as “These experts found… These experts found… These experts found…”

重复证明：回声——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—承诺变体。每个承诺的句子后面（理想情况下）都跟着另一个证明、验证或文档的句子。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.

段落平行性。在一个被接受的陈述中使用的相同词结构被完全提取，并用于借用对新主张的接受。

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，有些仅仅是页面上文案的物理排列。

All have the same objective. To gain continued acceptance. To prevent rejection. To build conviction. Belief is the goal.

所有人都有相同的目标。获得持续的接受。防止被拒绝。建立信念。信仰是目标。

Now let us look at some other methods of reinforcing it.

现在让我们看看一些其他加强它的方法。

5 - The Fourth Technique of Breakthrough Copy: Redefinition

5 - 《突破性广告》的第四种技巧：重新定义

How to Remove Objections to Your Product

如何消除对您产品的异议

Time and time again, you are going to have to sell a product that has built-in handicaps. That—along with its promises and its functions—also has certain aspects to it that actually repel the prospect.

一次又一次，你将不得不销售一个内置缺陷的产品。这个产品——连同它的承诺和功能——也有某些方面实际上会让潜在客户感到反感。

No product, of course, is perfect. If only for the reason that he must pay money for what you have to sell, your prospect starts with a basic minimum of resistance against buying your product. But this resistance is intensified by certain drawbacks in some products, often to the point where—unless you take definite action in your ad to redefine them—these drawbacks will actually kill your sale.

当然，没有产品是完美的。仅仅因为他必须为你所销售的东西付钱，你的潜在客户在购买你的产品时就会有基本的抵触情绪。但这种抵触情绪会因某些产品的缺陷而加剧，往往到达一个地步——除非你在广告中采取明确的行动来重新定义这些缺陷——否则这些缺陷实际上会扼杀你的销售。

Let us now look at the three general categories of drawback, and then at the three types of redefinition that eliminates them. First, of course, there is the product that is (or that sounds) too complicated—too hard to use.

现在让我们看看三种一般的缺点类别，然后再看看消除它们的三种重新定义类型。首先，当然，有一种产品是（或听起来）太复杂——太难使用。

Second, there is the product that is not important enough—whose basic appeal doesn’t have a statistically broad enough market.

其次，有些产品的重要性不足——其基本吸引力在统计上没有足够广泛的市场。

And third, there is the product that just costs too much. Its price is so much above the price of other products in its class that people simply turn away when it’s mentioned.

第三，产品的价格实在太高。它的价格远高于同类产品，以至于人们一提到它就会转身离开。

It’s amazing how many products fall into one or all of these categories. Fortunately, the same mechanism—redefinition—helps you deal with all three.

令人惊讶的是，有多少产品属于一个或所有这些类别。幸运的是，同样的机制——重新定义——可以帮助你处理这三者。

Redefinition is the process of giving a new definition to your product. It says that the product is this rather than that. Its objective is to remove a roadblock to your sale—if possible, before the prospect even knows it exists.

重新定义是为您的产品赋予新定义的过程。它表明产品是这个而不是那个。其目标是消除销售的障碍——如果可能的话，在潜在客户甚至知道它存在之前。

Perhaps the classic case of redefinition is that of Lifebuoy soap in the Thirties. Lifebuoy was a good soap that did a good cleaning job. But it had one overwhelming drawback—a horrible medicinal odor.

也许重新定义的经典案例是三十年代的 Lifebuoy 肥皂。Lifebuoy 是一种好的肥皂，清洁效果很好。但它有一个压倒性的缺点——可怕的药用气味。

Since the odor couldn’t be removed without removing the cleaning power, the problem became one of redefinition. Put simply: how do we change this odor from a liability into an asset?

由于无法在不去除清洁能力的情况下去除气味，因此问题变成了重新定义。简单来说：我们如何将这种气味从负担转变为资产？

The answer, of course, was the famous B.O. campaign. The prospect’s attention was focused on the odor of his own body—an odor which he was told would drive away people (and which does).

答案当然是著名的 B.O.广告活动。潜在客户的注意力集中在他自己身体的气味上——一种他被告知会驱赶人们的气味（而且确实如此）。

He was then told this odor must be eradicated—not with an ordinary soap, which was not powerful enough to do the job but with a soap with the odor-destroying power to make a longshoreman acceptable at a society ball. Lifebuoy was this super-powerful soap. And the overwhelming proof—that you could smell the moment you opened the wrapper—was the strong medicinal odor built into every cake.

然后他被告知，这种气味必须消除——不是用普通的肥皂，因为那种肥皂的力量不足以完成这个任务，而是用一种具有消除气味能力的肥皂，能够让码头工人在社交舞会上被接受。 Lifebuoy 就是这种超强肥皂。而压倒性的证据——你一打开包装就能闻到——就是每块肥皂中内置的强烈药用气味。

This is the simplest, and often the most effective kind of redefinition. A simple concept-judo. A complete reversal. Turning a liability into an asset, with a single idea.

这是一种最简单的，通常也是最有效的重新定义方式。一个简单的概念——柔道。完全的逆转。用一个想法将负担转变为资产。

Wherever you can use this flip-flop method, do so. But most problems of redefinition are more complicated, and demand more complicated means of dealing with them—using many of the devices we have just examined in the process of Gradualization.

无论何时你可以使用这种翻转法，就这样做。但大多数重新定义的问题更为复杂，需要更复杂的处理手段——使用我们刚刚在渐进化过程中检查过的许多工具。

Let us now turn to these devices, and see how they can present an entirely different image of the product to the prospect than you would have imagined, had you not thought them through beforehand.

现在让我们来看看这些设备，它们如何向潜在客户呈现出与您事先没有考虑到的产品截然不同的形象。

1. Simplification

1. 简化

Our first category is the overcomplicated product—the product that sounds too hard. To see how to replace this image with a more favorable one, let’s look again at the Television Repair Book ad that we discussed in the last chapter.

我们的第一个类别是过于复杂的产品——听起来太难的产品。为了看看如何用更有利的形象替换这个形象，让我们再看看我们在上一章讨论的《电视维修书》广告。

As you remember, the original ad for this product failed because it promised “Do your own TV repairs” in its headline. This was considered too difficult by the average set owner (even though the ad said “It’s easy, it’s simple, it’s quick” in the next paragraph). Therefore—since the ad confronted the prospect with the fact that he would have to make repairs before it made those repairs easy and simple and quick—he simply turned the page and tuned the ad out.

正如你所记得的，这个产品的原始广告失败了，因为它在标题中承诺“自己修理电视”。这被普通电视机拥有者认为太难了（尽管广告在下一段中说“这很简单，这很容易，这很快”）。因此——由于广告让潜在客户面对他必须先进行修理的事实，然后才会让这些修理变得简单和快速——他干脆翻过页面，忽视了广告。

The second ad did not discuss repairs. It discussed breakdowns and expenses. And, as we have seen, it spent its first several paragraphs showing that these breakdowns and expenses did not have to occur at all, if the sets were given the proper care. Up to this point, the ad has talked about the prospect’s world—and compared it with a far more promising world where expert care produces trouble-free TV viewing. Now the two worlds must be joined through the product.

第二则广告没有讨论维修。它讨论了故障和费用。正如我们所看到的，它在前几段中展示了这些故障和费用根本不必发生，只要设备得到适当的维护。到目前为止，广告谈论了潜在客户的世界，并将其与一个更有前景的世界进行了比较，在这个世界中，专业的护理可以带来无故障的电视观看体验。现在，这两个世界必须通过产品结合在一起。

This joining is called by the pitchman, “the turn.” It is a transition of great delicacy. It must be accomplished without a jar. In this ad, it begins in this paragraph:

这种连接被推销员称为“转折”。这是一个非常微妙的过渡。必须在没有突兀感的情况下完成。在这则广告中，它在这一段开始：

And most important, these experts have discovered that you do not have to be a handyman or a mechanic in order to coax this performance out of your set! Here’s why…

最重要的是，这些专家发现你不必是一个修理工或机械师，就能从你的设备中引导出这种性能！原因如下……

We have already seen how the repetition (…these experts have discovered…) and the paragraph parallelism tie this statement into the stream of belief that has been built up before it. Now, however, we are going to look at this same paragraph from another point of view—to see how it provides the first step in eliminating any fear of making your own repairs.

我们已经看到重复（……这些专家发现……）和段落的平行结构如何将这一陈述与之前建立的信念流联系起来。然而，现在我们将从另一个角度来看这一段——看看它如何提供消除自己修理恐惧的第一步。

Notice, of course, that the very fear of the average owner, that he is not a repairman, is here brought out in the open—specifically stated—but now framed as a promise.

当然要注意，普通业主最害怕的事情，即他不是修理工，现在被公开提出——明确说明——但现在被框架化为一种承诺。

Notice too that there is no mention of the word, “repair,” at this point. It is still too early at this point. Though the average owner might be willing to accept the idea that he could “coax” better performance out of his set, it would still be too much to ask him to believe that he could make repairs on that set at this point.

请注意，此时没有提到“修理”这个词。此时仍然为时尚早。尽管普通用户可能愿意接受他可以“引导”他的设备获得更好性能的想法，但此时仍然要求他相信他可以对该设备进行修理，还是太过分了。

This leads to the final step. The ad must now redefine what the reader thinks of when he hears the word “repairs.” It must now lay a new foundation of feet—showing that almost all the repairs the owner will have to make are actually only minor external adjustments.

这导致了最后一步。广告现在必须重新定义读者听到“维修”这个词时的想法。它必须建立一个新的基础——显示出业主需要进行的几乎所有维修实际上只是一些小的外部调整。

It now proceeds to do this, in the following three paragraphs which we have already studied in the last chapter, and which we will now look at again to see the second process of persuasion-redefinition—which is also occurring in them.

它现在开始这样做，在我们在上一章中已经研究过的以下三个段落中，我们现在将再次查看这些段落，以了解第二个说服过程——重新定义——也在其中发生。

Here are the paragraphs again:

这里是段落再次：

Five Minutes a Week for Perfect Reception.

每周五分钟，完美接收。

These TV experts have discovered that your TV set is a great deal like your body in this respect—that it gives you warning signals before it has a major breakdown. For instance, after your set was installed, it probably played perfectly for the first week. But then it began to suffer from the vibration, the jarring, the interference of other electrical appliances in your home. The picture might suddenly begin to flop over or flicker—lines may appear on your screen.

这些电视专家发现，在这方面，你的电视机和你的身体非常相似——它在发生重大故障之前会给你发出警告信号。例如，在你的电视机安装后，它可能在第一周内运行得非常完美。但随后，它开始受到振动、冲击以及家中其他电器的干扰。画面可能会突然开始扭曲或闪烁——屏幕上可能会出现线条。

Now—and this is important—if you had the knowledge to quickly make a few minor adjustments, on the outside controls of your set, then you could correct those symptoms, you could keep that set playing perfectly, and you could prevent major breakdowns in exactly the same way they were prevented in these manufacturers’ tests.

现在——这很重要——如果你有知识能够快速对你的设备外部控制进行一些小调整，那么你就可以纠正那些症状，保持设备完美运行，并且可以以与这些制造商测试中相同的方式防止重大故障。

If you do not have this knowledge … if you do not make these adjustments, then your set will weaken, you will get a consistently bad picture, and you will have to call a repairman.

如果你没有这些知识……如果你不做这些调整，那么你的设备将会变弱，你将会得到持续不良的画面，并且你将不得不叫修理工。

Now, what occurs in these four paragraphs is actually a redefinition of the term, “repairs” in the reader’s mind. This is done in three separate, but integrated, ways:

现在，这四段中发生的实际上是对读者心中“修复”一词的重新定义。这是通过三种独立但相互关联的方式完成的：

1. By immediately comparing the television set to the human body, and therefore minor maladjustments in the set to warning signals given off by the body before it becomes seriously ill.

1. 通过立即将电视机与人体进行比较，因此将电视机的轻微失调与人体在严重生病之前发出的警告信号进行比较。

By “making this comparison, the copy relates the intricate, technical working of a television set to something as commonplace and familiar as the running nose that warns you of an approaching cold. Because of this comparison, some of the mystery of the set is explained away; and the owner gains a new feeling of confidence in dealing with it himself, as something he understands.

通过“进行这种比较，文案将电视机复杂的技术运作与像流鼻涕这样平常而熟悉的事物联系起来，流鼻涕是提醒你即将感冒的信号。由于这种比较，电视机的一些神秘感被解释掉了；而拥有者在自己处理它时获得了一种新的信心，因为这是他所理解的事物。

And, at the same time, this comparison distinguishes between the relatively rare major breakdowns, and the far more frequent minor maladjustments, which he can now treat himself as easily as he’d take a cold tablet to stop his running nose.

同时，这种比较区分了相对少见的重大故障和更为频繁的小调整，他现在可以像服用感冒药止住流鼻涕一样轻松地自行处理这些小问题。

2. ‘By continuously describing these minor maladjustments as “warning signals” and “symptoms” rather than “breakdowns” or “repairs.” This makes them sound easily corrected—before real trouble, which might require technical skill and complicated tools, can develop out of them.

2. “通过不断将这些小的失调描述为‘警告信号’和‘症状’，而不是‘故障’或‘修理’。这使它们听起来容易纠正——在真正的问题出现之前，这可能需要技术技能和复杂的工具。”

3. And finally, by stating outright that these minor adjustments can be corrected by “making a few minor adjustments, on the outside controls of your set.”

最后，明确指出这些小调整可以通过“对您设备的外部控制进行一些小调整”来纠正。

Therefore, “repairs” are redefined as “adjustments.” Troubles on the TV screen are redefined as ‘warning signals” or “symptoms.” And “repair calls” or “breakdowns” are carefully segregated into the least-likely-to-occur 5% of all possible TV troubles.

因此，“修理”被重新定义为“调整”。电视屏幕上的故障被重新定义为“警告信号”或“症状”。而“维修电话”或“故障”则被仔细划分为所有可能的电视故障中最不可能发生的 5%。

Therefore, with this redefinition in mind—with this reorganization of facts accomplished by the copy—there is no longer any reason for the average set owner not to make his own minor adjustments, rather than pay a repairman to make them for him.

因此，考虑到这种重新定义——通过文案完成的这种事实重组——普通的套件拥有者再也没有理由不自己进行一些小调整，而不是支付修理工来为他进行调整。

The objective has been accomplished. The ad can now go on to specifically state how much money the owner will save by making these adjustments—and where he can buy the book that tells him how.

目标已经实现。广告现在可以具体说明通过进行这些调整，业主将节省多少钱——以及他可以在哪里购买告诉他如何做的书。

In exactly the same way, whenever there is a process which is difficult… whenever there is a product which is hard to use, or difficult to apply—the copy writer’s first task is to simplify that application in his prospect’s mind.

以完全相同的方式，每当有一个过程很困难……每当有一个产品难以使用或难以应用时，文案撰写者的首要任务就是在潜在客户的脑海中简化该应用。

This holds especially true for new inventions which actually simplify processes which formerly were too difficult for the average prospect. A new breakthrough is not merely accepted because its manufacturer says so. Its claims for ease and simplicity must be proved, in the ad, or the reader will simply shrug his shoulders and say “it’s just another copywriter gone wild.”

这尤其适用于那些实际上简化了以前对普通潜在客户来说过于困难的过程的新发明。一个新的突破并不仅仅因为其制造商这么说就被接受。其在广告中对易用性和简单性的主张必须得到证明，否则读者会只是耸耸肩说“这只是另一个失控的文案”。

Such a situation is one of the most frustrating experiences you can have. Here is a product which you know is far easier to use than anything ever introduced in this field before—because you’ve used it! But no matter how loud you scream EASY in your ads, people just seem to ignore you.

这样的情况是你可能经历的最令人沮丧的体验之一。这里有一款产品，你知道它比这个领域之前推出的任何东西都要容易使用——因为你已经使用过它！但是无论你在广告中多么大声地喊“简单”，人们似乎就是忽视你。

What do you do? The answer is twofold:

你做什么？答案是双重的：

1. Redefine (as this chapter shows you).

1. 重新定义（如本章所示）。

2. Mechanize the new simplicity (as you’ll see in the next chapter).

2. 机械化新的简单性（如你将在下一章看到的）。

Remember, innovation without acceptance is valueless. The more people know that something is difficult, and the more revolutionary (and therefore different) your product is—the more resistance you will meet from them in accepting it.

记住，创新没有接受是没有价值的。越多人知道某件事是困难的，而你的产品越具有革命性（因此越不同）——你在接受它时所遇到的阻力就会越大。

You must, therefore, lay a base for acceptance by redefining the entire field for them, before you bring in your product.

因此，在引入你的产品之前，你必须通过重新定义整个领域来为接受打下基础。

Let’s look at one more example of such breakthrough advertising, and see the solutions the copy offered that made the product a success.

让我们再看一个这样的突破性广告的例子，看看文案提供的解决方案是如何使产品成功的。

One of the great ads of all times, of course, is the Sherwin Cody ad. Though most advertising men are familiar with the ad, they do not realize that the course itself was a tremendous departure for the times—far easier and simpler than anything else that had gone before.

当然，所有时代最伟大的广告之一是 Sherwin Cody 广告。尽管大多数广告人都熟悉这则广告，但他们并没有意识到这门课程本身在当时是一次巨大的突破——比之前的任何东西都要简单得多。

But the prospects for such a course were absolutely convinced that good English was too hard for them. They had tried to learn it before, and had failed. Therefore, any new course that could be successfully sold to them would have to redefine English for them … redefine mistakes in English for them … and certainly redefine the process of turning; bad English into good English for them.

但这样的课程的前景让他们完全相信，良好的英语对他们来说太难了。他们之前尝试过学习，但失败了。因此，任何能够成功销售给他们的新课程都必须为他们重新定义英语……为他们重新定义英语中的错误……并且肯定要为他们重新定义将糟糕的英语转变为良好的英语的过程。

The Cody ad is a masterpiece of Gradualization. It should be memorized—not merely studied—by every copywriter. However, within it, in four paragraphs, is contained another masterpiece of breakthrough redefinition—from hard to easy with a few simple ideas—that goes like this:

Cody 广告是渐进化的杰作。每位文案撰写者都应该记住它——而不仅仅是学习。然而，在其中，四个段落中包含了另一个突破性重新定义的杰作——从困难到简单，只需几个简单的想法——内容如下：

Only 15 Minutes a Day. Nor is there very much to learn. In Mr. Cody’s years of experimenting, he brought to light some highly astonishing facts about English.

每天仅需 15 分钟。要学习的内容也不多。在科迪先生多年的实验中，他揭示了一些关于英语的惊人事实。

For instance, statistics show that a list of sixty-nine words (with their repetitions) make up more than half of all our speech and letter-writing. Obviously, if we could learn to spell, use and pronounce these words correctly, we would go far toward eliminating incorrect spelling and pronunciation.

例如，统计数据显示，六十九个单词（包括它们的重复）构成了我们所有言语和写信的一半以上。显然，如果我们能够正确拼写、使用和发音这些单词，我们将大大减少错误的拼写和发音。

Similarly, Mr. Cody proved that there were no more than one dozen fundamental principles of punctuation. If we mastered these principles, there would be no bugbear of punctuation to hamper us in our writing.

同样，科迪先生证明了标点符号的基本原则不超过十二条。如果我们掌握了这些原则，就不会有标点符号的困扰妨碍我们的写作。

Finally he discovered that twenty-five typical errors in grammar constitute nine-tenths of our everyday mistakes. When one has learned how to avoid these twenty-five pitfalls, how readily one can obtain the facility of speech which denotes the person of breeding and education!

最后，他发现二十五个典型的语法错误占我们日常错误的九成。当一个人学会如何避免这二十五个陷阱时，便能轻松获得标志着教养和教育的口才！

When the study of English is made so simple, it becomes clear that progress can be made in a very short time. No more than fifteen minutes a day is required

当英语学习变得如此简单时，很明显可以在很短的时间内取得进展。每天只需十五分钟。

Thus the complicated becomes simple—the hard becomes easy. This is the first use of Redefinition. Now let’s look at the second:

因此，复杂变得简单——困难变得容易。这是重新定义的第一次使用。现在让我们来看第二个：

2. Escalation

2. 升级

Here you are dealing with a product which works, and which is acknowledged to be easy enough to use—but which simply does not have an appeal broad enough to assure it of a mass market.

在这里，您所处理的是一种有效的产品，并且被认为足够易于使用——但它的吸引力并不够广泛，无法确保其拥有一个大众市场。

Your job here is to escalate your product. To give it more importance in your prospect’s eyes.

你在这里的工作是提升你的产品。让它在潜在客户眼中更重要。

You do this again by Redefinition. You broaden the horizon of benefits of the product. You redefine the role that the product plays in the prospect’s life. You widen the area of reward that your product yields to the prospect—showing him that it enters into dozens of vital situations every day, paving off for him where he might least expect it.

你通过重新定义再次做到这一点。你拓宽了产品的利益视野。你重新定义了产品在潜在客户生活中的角色。你扩大了产品为潜在客户带来的奖励范围——向他展示它每天进入数十个重要场景，给他带来意想不到的好处。

For example, let’s look at another ad for another English course forty years later. By now people are not as sensitive to their punctuation or grammar. Now the negative aspect has lost its appeal; people want good English as a persuasion tool to win over other people.

例如，让我们看看四十年后另一个英语课程的广告。到现在，人们对标点或语法的敏感度降低了。现在，负面因素失去了吸引力；人们希望良好的英语作为说服工具来赢得他人。

So good English must cease to be an end in itself. It must be redefined, to become instead a means to a more important end—one which is desired by far more people. And, since the positive aspect must now be dominant, that part of good English which has the greatest value for persuading people—vocabulary—must now be featured.

因此，良好的英语必须不再是一个目的本身。它必须被重新定义，成为实现更重要目标的手段——这是更多人所渴望的。而且，由于积极的方面现在必须占主导地位，良好英语中对说服人们最有价值的部分——词汇——现在必须被突出。

Here is the ad:

这是广告：

Revolutionary new Word Power Machine makes you a master of English overnight.

革命性的全新 Word Power Machine 让你一夜之间成为英语大师。

Automatically gives you a power-packed vocabulary—to make your ideas crackle with excitement … to hold others spellbound with the power of your speech and your written word.

自动为您提供强大的词汇，让您的想法充满激情……让他人被您的演讲和书面文字的力量所吸引。

Automatically spots embarrassing errors in grammar, spelling, pronunciation you didn’t even know you were making. Clears them up at once. Frees your mind from worry … lets you feel at ease in any company … gives you the blazing new self-confidence you need to make anybody like you—to win people over irresistibly to your point of view… .

自动发现你甚至不知道自己犯的语法、拼写、发音上的尴尬错误。立即清除这些错误。让你的思维摆脱担忧……让你在任何场合都感到轻松……赋予你所需的炽热新自信，让任何人都喜欢你——不可抗拒地赢得人们对你观点的支持……。

This approach redefines the benefits of the product, shifting them from a less desirable area to one that will generate more sales appeal.

这种方法重新定义了产品的好处，将其从一个不太理想的领域转移到一个能够产生更多销售吸引力的领域。

But this use of escalation—to increase benefit appeal—is only one of the ways it can serve you. Another is to increase the importance of the product—showing that something the prospect wants very much hinges directly upon the performance of your product.

但这种升级的使用——以增加利益吸引力——只是它能为您服务的方式之一。另一个方式是提高产品的重要性——表明潜在客户非常想要的东西直接依赖于您产品的表现。

For example, in an ad for spark plugs, this fact was pointed out to the reader:

例如，在一则关于火花塞的广告中，这一事实被指出给读者：

Yes. You pay $2,000 … $3,000 … $4,000 for your car. And a single 99c part robs you of the real power and enjoyment that car should give you.

是的。你为你的车支付 2000 美元……3000 美元……4000 美元。而一个 99 美分的零件却剥夺了你本该享受的真正动力和乐趣。

Or here, in an advertisement for a speed math course:

或者在这里，一则关于速算课程的广告中：

If you want to get ahead fast… if you want a position of real importance and responsibility—then a knowledge of this kind of super-fast, super-accurate mathematics is AN ABSOLUTE NECESSITY for your future!

如果你想快速取得进展……如果你想要一个真正重要和有责任感的职位——那么掌握这种超快速、超准确的数学知识对你的未来来说是绝对必要的！

Or escalation can be used to show the prospect that your product is not something to be put to work just once or twice a week—but that it will be needed, and used, by him almost even waking minute. Here’s how this was done, in a single sub headline, in an ad for a course on handling people:

或者升级可以用来向潜在客户展示你的产品不是每周只使用一两次的东西——而是他几乎每时每刻都需要并使用它。以下是如何在一则关于处理人际关系的课程广告中，通过一个子标题实现这一点的：

Your Entire Life is Spent Trying to Get Others to Do What You Want—Without Friction

你的一生都在努力让别人做你想要的事——没有摩擦

You must agree with this statement. And therefore you must redefine the importance to yourself of a technique which allows you to accomplish the all-pervading task more easily, more effectively and more rapidly

你必须同意这个说法。因此，你必须重新定义对一种技术的重要性，这种技术可以让你更轻松、更有效和更快速地完成无处不在的任务。

This is the second use of Redefinition—escalation. Now let’s look at the third.

这是重新定义的第二次使用——升级。现在让我们来看第三个。

3. Price Reduction

3. 降价

Here you have the product which, quite simply, costs too much. Your job is to make that price seem less. You do it by a very simple act of redefinition, like this:

在这里，你有一款产品，简单来说，价格太高。你的工作是让这个价格看起来低一些。你可以通过一个非常简单的重新定义行为来做到这一点，像这样：

Why does the product cost too much? Because it’s being compared with other products in the same field. And how do you whittle away, psychologically, at this price? By switching the comparison, and relating it to some other, more expensive standard.

为什么这个产品价格太高？因为它与同领域的其他产品进行比较。那么，如何在心理上削弱这个价格呢？通过改变比较对象，将其与其他更昂贵的标准联系起来。

For example, here is an enormously successful mail order ad for spark plugs, which sold for $1.49 each, or one and a half times the standard for the field, and twice as much as the discount price. Did the copywriter therefore say that “They may cost a little more, but they’re worth every cent of it.” Of course not. He made them cheap, and he did it in these two paragraphs of psychological redefinition:

例如，这是一则极其成功的火花塞邮购广告，售价为每个 1.49 美元，或是该领域标准价格的 1.5 倍，甚至是折扣价的两倍。因此，文案撰写者是否说过“它们可能贵一点，但每一分钱都值得”？当然没有。他让它们显得便宜，而他在这两段心理重定义中做到了这一点：

Up to now these extraordinary SA FIRE INJECTORS were practically made by hand and would have to sell for as high as $5 each. But we knew that 30 or 40 dollars was more than the average driver could afford—so we decided to get the price down so low that these injectors would pay for themselves 12 times in one year of driving. So here is my astonishing proposition. If you will check your cars performance before and after you install your SA Fire Injector System and then tell your friends and neighbors about them, here is what I am prepared to do for you:

到目前为止，这些非凡的 SA FIRE INJECTORS 几乎是手工制作的，售价可能高达每个 5 美元。但我们知道，30 或 40 美元对于普通司机来说是负担不起的——所以我们决定将价格降低到足以让这些喷油器在一年驾驶中自我偿还 12 次的水平。那么，这就是我令人惊讶的提议。如果您在安装 SA Fire Injector 系统前后检查您的汽车性能，然后告诉您的朋友和邻居，以下是我为您准备的：

You can have a set of SA FIRE INJECTORS for the year and model of your ear for only a fraction of their value. If you act now they are only $1.49 each…

您可以以其价值的一小部分购买一套适合您耳朵年份和型号的 SA FIRE INJECTORS。如果您现在行动，每个仅需 1.49 美元……

Do you see how he does it? Do you see how many times he does it in these two short paragraphs? As a last review of redefinition—because its techniques are so important to you—let’s just list the individual phrases that build up again and again, the feeling of value and bargain.

你看到他是怎么做的吗？你看到他在这两段简短的文字中做了多少次吗？作为对重新定义的最后回顾——因为它的技巧对你来说是如此重要——我们就列出那些一次又一次构建出价值和优惠感的个别短语。

Here they are. Did you catch them all?

它们在这里。你都抓住了吗？

“practically made by hand …”

“几乎是手工制作的……”

“would have to sell for as high as $5 each …”

“每个可能需要卖到高达 5 美元……”

“30 or 40 dollars …” (Notice that he repeats the hand-made price twice. First he gives it to you per plug; and then for the entire set. Thus the new comparative price is reinforced; you practically wince at the $40 figure since you want the plugs by this time. And you’re going to feel pretty good when he brings in the now-lower figure in the next paragraph.)

“30 或 40 美元……”（注意他重复了手工价格两次。首先他给你的是每个插头的价格；然后是整个套装的价格。因此新的比较价格得到了加强；当你此时想要插头时，你几乎会对 40 美元的数字感到不适。而当他在下一段中提出现在更低的数字时，你会感到相当不错。）

“get the price down so low …” (Here is the magic word, “low”; now legitimatized in your eyes by the description of the hand-made set in the phrases that preceded it.)

“把价格压得这么低……”（这里是魔法词，“低”；现在通过前面描述的手工套件在你眼中得到了合法化。）

“that these injectors would pay for themselves 12 times in one year of driving…” (Not only value, but reward. Not only low-priced, but gas-saving. And again, the comparison to a higher figure—this time the money you’ll save on gas.)

“这些喷油器在一年驾驶中将自我偿还 12 倍……”（不仅是价值，还有回报。不仅价格低廉，还有节油。再一次，与更高的数字进行比较——这次是你在油费上节省的钱。）

“astonishing proposition …” (Now the price becomes so low that the mere statement of it may cause you surprise. It may sound slightly corny as we dissect it here, but it is incredibly effective in the context of the ad. And most of it—perhaps all of it—is never consciously noticed by the prospect. He simply realizes that he feels that a bargain is being offered to him.)

“惊人的提议……”（现在价格变得如此低，以至于仅仅陈述它可能会让你感到惊讶。我们在这里分析时可能听起来有些老套，但在广告的背景下，它是非常有效的。而且大部分内容——也许全部内容——在潜在客户的意识中是从未被注意到的。他只是意识到自己觉得有一个交易在向他提供。）

“If you will check your car’s performance… and tell your friends and neighbors about them …” (The introduction of a condition—an action you must perform—in order to get the now-low price. Used before in the last chapter in a different context: here we see how the same device works again to substantiate with equal power, the feeling of value.)

“如果你检查一下你汽车的性能……并告诉你的朋友和邻居……”（引入一个条件——你必须执行的一个动作——以获得现在的低价。在上一章的不同上下文中曾使用过：在这里我们看到同样的手法再次发挥作用，以同样的力量证实价值感。）

“prepared to do …” (Again the connotation of favor, of allowance, of discount.)

“准备去做……”（再次强调了偏好、允许、折扣的含义。）

“You can have …” (Not, “You can buy.” He is letting you have the plugs at the low price. Again, he is doing you a favor. You are getting a bargain.)

“你可以拥有……”（不是“你可以购买。”他让你以低价获得插头。再一次，他是在帮你。你得到了一个便宜货。）

“only $1.49 each …” (The classic modifier. The tenth bargain-phrase in these two paragraphs.)

“每个仅需 $1.49 …” （经典修饰语。这两段中的第十个优惠短语。）

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.

注意渐进化和重新定义是多么相似。注意它们如何在意识的表面之下运作。渐进化通过其结构——通过事实和短语的排列。重新定义通过其视角的重新排列。

Each is an extremely subtle and powerful way of building belief. Each deserves much more study than we can give it in this book.

每一种都是建立信念的极其微妙而强大的方式。每一种都值得比我们在本书中能给予的更多的研究。

Let us now turn to some equally powerful but more apparent mechanisms that also build belief.

现在让我们转向一些同样强大但更明显的机制，这些机制也能建立信念。

6 - The Fifth Technique of Breakthrough Copy: Mechanization

6 - 《突破性广告》的第五种技巧：机械化

How to Verbally Prove That Your
Product Does What You Claim

如何口头证明您的产品确实如您所声称的那样有效

As we have observed repeatedly, good advertising copy exists simultaneously in two different places. Part of that copy is words on a page. Or sounds carried by radio waves. Or pictures and sounds coming out of a television set. But the other part of that copy—the crucial part—takes place in your prospect’s brain. It is the series of reactions—planned reactions and anticipated reactions—that your copy causes in his mind and his emotions.

正如我们反复观察到的，好的广告文案同时存在于两个不同的地方。部分文案是纸上的文字，或通过无线电波传播的声音，或从电视机中发出的图像和声音。但文案的另一部分——关键部分——发生在你潜在客户的大脑中。它是你的文案在他心中和情感中引发的一系列反应——计划好的反应和预期的反应。

Actually, when your prospect reads your copy, he is engaging in a silent dialogue with you. You are feeding him ideas and images and emotions, in a planned pattern; and he is feeding back to you reactions to these ideas and images and emotions.

实际上，当你的潜在客户阅读你的文案时，他正在与你进行一种无声的对话。你以一种有计划的方式向他传递想法、图像和情感；而他则向你反馈对这些想法、图像和情感的反应。

You hope—you plan—that these reactions will be favorable. That they will be controlled reactions. That he will see the images you are projecting. That he will understand and agree with the ideas that you are advocating. That he will share the emotions you are suggesting he feel, and even embellish and intensify them.

你希望——你计划——这些反应会是积极的。它们会是可控的反应。他会看到你所投射的图像。他会理解并同意你所倡导的观点。他会分享你建议他感受的情感，甚至会加以美化和强化。

But also, at the same moment, you must be aware of the fact that—included among these reactions—are also a number of inevitable anticipations, or demands, or questions on his part. And you must answer these questions or your copy will fail.

但与此同时，你必须意识到，在这些反应中，也包括他的一些不可避免的期待、要求或问题。你必须回答这些问题，否则你的文案将会失败。

What are these demands he is going to make from time to time on your copy? Basically they fall into three classes:

他不时会对你的文案提出哪些要求？基本上，这些要求可以分为三类：

1. Demands for more information, more image, more desire. You have whetted his appetite; now you’ve got to satisfy it. He is saying to you: “Tell me more.”

1. 对更多信息、更多形象、更多欲望的需求。你已经激发了他的兴趣；现在你必须满足它。他在对你说：“告诉我更多。”

2. Demands for proof. He knows he wants it; now he wants to know that it’s true. He is telling you: “Oh yeah? Who says so?”

2. 对证明的要求。他知道自己想要它；现在他想知道这是否真实。他在告诉你：“哦，是吗？谁这么说？”

3. Demands for a mechanism. He knows he wants the end result; now he wants to know how you’re going to give it to him. He is saying: “How does it work?”

3. 对机制的需求。他知道自己想要最终结果；现在他想知道你将如何给他这个结果。他在说：“它是如何运作的？”

To write good copy, you have to play a dual role. At the same time, you have to be copywriter and prospect. You have to develop an almost foolproof sensitivity to these inevitable reactions. You have to know the exact point that they are going to come in. You have to anticipate them. You have to switch copy direction, fill in the wanted material, at the precise point that your prospect loses interest in one theme and demands the other. This is one of the most difficult parts of writing copy, and the exact spot where many good ads break down and lose their prospect. And—since such anticipation points occur several times in a single ad—you will find yourself working over the same paragraph of “unimportant” copy hour after hour. All you know is that at this point something went wrong—at this point your prospect is dissatisfied.

要写出好的文案，你必须扮演双重角色。与此同时，你既要是文案撰写者，又要是潜在客户。你必须对这些不可避免的反应发展出几乎无懈可击的敏感度。你必须知道他们将要出现的确切时刻。你必须预见到它们。你必须在潜在客户对一个主题失去兴趣并要求另一个主题的确切时刻，切换文案方向，填补所需的材料。这是写文案中最困难的部分之一，也是许多优秀广告崩溃并失去潜在客户的确切点。而且——由于这样的预见点在一则广告中会出现多次——你会发现自己一小时又一小时地反复修改同一段“无关紧要”的文案。你所知道的只是，在这一点上出现了问题——在这一点上你的潜在客户感到不满。

We will discuss these problems of copy direction … anticipation points … etc. in Chapter 14, on Interweaving. At this point, however, let’s look more closely at the third demand: the demand for Mechanism.

我们将在第 14 章“交织”中讨论这些文案方向的问题……预期点……等等。然而，此时让我们更仔细地看看第三个需求：机制的需求。

Verbal Proof

口头证明

This is the vital question: “How does it work?” Your prospect is asking you here to give him a mechanism. He likes what you promise—he wants what you promise—but he has to be convinced that your product can actually give it to him.

这是一个至关重要的问题：“它是如何运作的？”你的潜在客户在这里要求你给他一个机制。他喜欢你所承诺的——他想要你所承诺的——但他必须相信你的产品真的能给他提供这些。

You have to demonstrate your product, in words, logically, so that he can understand exactly HOW it gives him the end result you promise.

你必须用语言逻辑地展示你的产品，以便他能够准确理解它是如何实现你所承诺的最终结果的。

Since the beginning of advertising, of course, the copy that furnishes this information—that provides this mechanism—has been called “Reason Why” copy. Claude Hopkins was its master. But there have been few great selling ads of any period that do not use it to convince their prospect that their product actually works.

自广告开始以来，提供这些信息——提供这种机制的文案被称为“理由为什么”文案。克劳德·霍普金斯是其大师。但几乎没有哪个时期的伟大销售广告不使用它来说服潜在客户他们的产品确实有效。

In fact, the basic question you must ask yourself, about this device, when you sit down to write a piece of copy, is not, “Should I use it?” Or “Should I build a mechanism into this copy?” But simply: “How much?”

事实上，当你坐下来写一篇文案时，关于这个工具你必须问自己的基本问题不是“我应该使用它吗？”或“我应该在这篇文案中构建一个机制吗？”而是简单地：“多少？”

How much mechanism does this copy need? This, of course, depends—as so many other things in your copy—on the State of Awareness of your prospect. Is he familiar with the mechanism by which this product works? Does he accept it? If so, then this part of your job is done for you. Other advertisers have spent their money to make this mechanism familiar to your prospect.

这段文案需要多少机制？这当然取决于——就像你文案中的许多其他事情——你潜在客户的意识状态。他是否熟悉这个产品的工作机制？他是否接受它？如果是这样，那么你这部分的工作就完成了。其他广告商已经花钱让你的潜在客户熟悉这个机制。

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.

您现在可以通过简单地命名机制来利用他们的投资，并继续以您的价格或其他特征击败他们。

For instance, in the conventional camera ad, to back the headline claim, all that you’d have to do is name your mechanisms, like this:

例如，在传统的相机广告中，为了支持标题的主张，您只需列出您的机制，例如这样：

TAKE FOOLPROOF PHOTOS WITH THE XENOPHON 1750

使用 XENOPHON 1750 拍摄万无一失的照片

With Electronic Light Setter… Push-Button Zomar Lens … Magazine Load … Only $135.

使用电子光设置器……按键变焦镜头……杂志装载……仅需$135。

Here, the three mechanisms which ensure the perfect pictures are simply named, and not described at all. The prospect is already familiar with the way they work from the other ads he has seen, and any further detailing of their nuts and bolts would simply bore him. Therefore, you name them in as bold type as possible, and go on to compete with your price.

在这里，确保完美图片的三种机制仅被简单命名，而没有任何描述。潜在客户已经熟悉它们的工作方式，因为他看过其他广告，进一步详细说明它们的细节只会让他感到无聊。因此，你尽可能用粗体字命名它们，然后继续与价格竞争。

Most catalog copy and retail copy needs to assume only this abbreviated form. It deals with products which are already known, and whose mechanisms are already understood and accepted. Therefore, any further wordage on these points would only be wasted.

大多数目录文案和零售文案只需采用这种简化形式。它涉及的产品已经为人所知，其机制也已被理解和接受。因此，关于这些点的进一步文字只会是浪费。

But now we come to that vast array of products whose mechanism cannot simply be named. Why? For two basic reasons:

但现在我们要谈到那一大堆产品，其机制无法简单地命名。为什么？有两个基本原因：

Stage Two: Describe the Mechanism

第二阶段：描述机制

1. Because the prospect doesn’t understand their mechanism. And:

1. 因为潜在客户不理解他们的机制。并且：

2. Because everybody else has the same mechanism, and the same promise, and the same price. And the market is getting tired, and you need a new way to compete.

因为其他人都有相同的机制、相同的承诺和相同的价格。市场正在变得疲惫，你需要一种新的竞争方式。

Let’s look at the simplest case—case #1—first:

让我们先看最简单的情况——案例 #1：

Here your mechanism is not so well known, or not known at all, and you can’t simply name it. You have to go into more detail; you have to describe it.

在这里，你的机制并不是那么知名，甚至根本不为人知，你不能简单地命名它。你必须更详细地描述；你必须对其进行描述。

So you have the classic situation of Promise—Reason Why. You build a strong, quick promise—and then you follow up with the reason why you can deliver that promise.

所以你有了经典的承诺—理由。你建立一个强大、快速的承诺——然后你跟进说明你为什么能够实现这个承诺。

This one-two punch of promise and reason why is as old as advertising itself. Here, for instance, is how Rinso used it in 1926. First they give the promise, like this:

这种承诺和理由的双重打击与广告本身一样古老。例如，1926 年 Rinso 是这样使用的。首先，他们给出承诺，像这样：

Who else wants a whiter wash—with no hard work? How would you like to see your wash come out of a simple soaking—whiter than hours of scrubbing could make it!

还有谁想要更白的洗涤效果——而不需要辛苦工作？你想看到你的洗涤经过简单浸泡后——比几个小时的擦洗还要白吗！

Millions of women do it every week. They’ve given up washboards for good. They’ve freed themselves forever from the hard work and reddened hands of washday.

每周都有数百万女性这样做。她们已经彻底放弃了洗衣板。她们永远摆脱了洗衣日的辛苦和红肿的双手。

Now they just soak—rinse—and hang out to dry! In half the time, without a bit of hard rubbing, the wash is on the line—whiter than ever!

现在他们只需浸泡、冲洗，然后晾干！用一半的时间，毫不费力地，洗好的衣物就挂上了——比以往任何时候都要白！

Notice how the original promise in the headline has been taken and intensified in these first three paragraphs of copy. The promise is repeated, in different words and from different perspectives, over and over again in those first three paragraphs.

注意到标题中的原始承诺在这前三段文案中被提取并强化了。这个承诺在这前三段中以不同的措辞和不同的视角反复出现。

But notice too that—as the copy builds desire—it also builds a growing reaction on the part of the woman reading it. This reaction can be expressed in one word: “How?” This promise sounds better and better … it begins to sound too good to be true … now she needs reassurance fast.

但也要注意——随着文案激发欲望——它也在女性读者心中产生越来越强烈的反应。这种反应可以用一个词来表达：“怎么？”这个承诺听起来越来越好……它开始听起来好得令人难以置信……现在她需要迅速得到安慰。

So the whiteness claims stop. The copy shifts direction—and now begins to sell the mechanism, like this:

所以关于白度的主张停止了。文案转变方向——现在开始销售机制，像这样：

Dirt floats off—stains go. The secret is simply Rinso—a mild, granulated soap that gives rich, lasting suds even in the hardest water.

污垢浮起——污渍消失。秘密就在于 Rinso——一种温和的颗粒状肥皂，即使在最硬的水中也能产生丰富、持久的泡沫。

Just soak the clothes in the creamy Rinso suds—and the dirt and stains float off. Rinse—and the wash is spotless.

只需将衣物浸泡在奶油状的 Rinso 泡沫中，污垢和污渍就会浮起。冲洗后，洗涤干净无瑕。

Even the most soiled parts need only a gentle rub between the fingers to make them snowy. Thus clothes last longer, for there’s no hard rubbing against a board.

即使是最脏的部分，只需在手指间轻轻摩擦即可使其变得洁白。因此，衣物的使用寿命更长，因为没有在板子上用力摩擦。

Notice, first of all, that this mechanism—the suds that float off dirt—is sold just as hard as the whiteness story it is brought in to prove. 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. Every word in good copy—including mechanism copy—sells. Only in these paragraphs, the copy is selling a secondary claim (dirt floating off) that proves the primary claim (a whiter wash). But still—it sells.

首先注意，这个机制——漂浮在污垢上的泡沫——的销售力度与它所证明的白度故事一样强。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。你必须让它充满承诺，充满情感。优秀文案中的每一个字——包括机制文案——都是在销售。在这些段落中，文案销售的是一个次要的主张（污垢漂浮），以证明主要主张（更白的洗涤）。但仍然——它在销售。

Secondly, of course, you’ll immediately notice how simple the mechanism is in this 1926 copy, as compared with the same field today. In those days it was enough to mention the facts that the suds floated off the dirt; the reader accepted, as an evident truth, the fact that they would do so.

其次，当然，你会立刻注意到这本 1926 年的书中机制是多么简单，与今天的同一领域相比。在那个时代，仅仅提到泡沫能漂浮掉污垢这一事实就足够了；读者将这一事实视为显而易见的真理。

Today, of course, in our much more sophisticated and exploited market, she would no longer do so. Today you would need far more mechanism. You would have to explain more, promise deeper, perhaps even invent a miracle ingredient to do the work for you.

当然，在我们如今更加复杂和被开发的市场中，她不再会这样做。今天你需要更多的机制。你必须解释得更多，承诺得更深，甚至可能需要发明一种奇迹成分来为你完成工作。

Stage Three: Feature the Mechanism

第三阶段：突出机制

Which brings us to case #2 and the difficult problem of what to do when your market is highly sophisticated … when promises sound alike … when price competition becomes suicidal?

这就引出了案例#2，以及当你的市场高度成熟时该如何应对的难题……当承诺听起来相似时……当价格竞争变得自杀性时？

This takes us back to Chapter 3, where we discussed market-sophistication from another perspective. Here we discovered that mechanism—strong mechanism—saleable mechanism—is not only a way to build belief, but may actually become so important to the success of your product that you must put it into the headline.

这让我们回到了第三章，在那里我们从另一个角度讨论了市场成熟度。在这里我们发现，机制——强大的机制——可销售的机制——不仅是建立信念的一种方式，而且可能对你产品的成功变得如此重要，以至于你必须将其放入标题中。

These headlines are all mechanism headlines:

这些标题都是机制标题：

“FLOATS FAT RIGHT OUT OF YOUR BODY.”

“将脂肪从你的身体中浮出。”

“FIRST WONDER DRUG FOR REDUCING.”

“首个减少的神奇药物。”

“RUN YOUR CAR WITHOUT SPARK PLUGS.”

“无火花塞驾驶您的汽车。”

“SHRINKS HEMORRHOIDS WITHOUT SURGERY.”

“无需手术缩小痔疮。”

“TOMMY ARMOUR SAYS SMACK HELL OUT OF THE BALL WITH YOUR RIGHT HAND.”

“汤米·阿莫尔说用你的右手狠狠击打球。”

And hundreds more. Every one of them offers you a new way to get what you’ve been wanting. A NEW WAY; a new mechanism; a new chance to satisfy your desire—even if everything else you’ve tried has failed you.

还有数百种。它们每一个都为你提供了一种新的方式来获得你一直想要的东西。一种新方式；一种新机制；一个新的机会来满足你的渴望——即使你尝试过的其他一切都让你失望。

Mechanism, therefore, can be inside your ad, to prove your main claim, or on top of the ad, elevated by the state of your market to becoming the main claim.

因此，机制可以在您的广告内部，以证明您的主要主张，或者在广告顶部，由您市场的状态提升为主要主张。

If people assume that they know how your product works, or if your claim is so new that they don’t care, then all the mechanism you need can be summed up in a word or a phrase.

如果人们认为他们知道你的产品是如何工作的，或者如果你的主张是如此新颖以至于他们不在乎，那么你所需的所有机制可以用一个词或一个短语来概括。

If people are not quite sure how it works, describe the mechanism—in selling language—until they have enough reason-why to believe you.

如果人们不太确定它是如何运作的，就用销售语言描述机制，直到他们有足够的理由相信你。

If you have, however, an exceptionally strong or dramatic mechanism, or if you want to establish definite superiority to other competing products, then sell hell out of that mechanism. We’ll see some expert examples of how to do this in our next chapter, on Concentration—when we’re shown how to compare your product with the rest of your field.

然而，如果你有一个特别强大或戏剧性的机制，或者如果你想要确立对其他竞争产品的明显优势，那么就要全力推销这个机制。在下一章关于集中力的内容中，我们将看到一些专家如何做到这一点，当时我们将学习如何将你的产品与其他产品进行比较。

On the Importance of Mechanism When You Want to Convince
Your Reader That You’re Giving Him a Bargain

当你想说服读者你在给他一个优惠时，机制的重要性

One of the sad truths of our time—and profession—is that our readers do not always believe the truth when we tell it to them. Every copy writer has had, at one time or another, a perfectly marvelous product that just couldn’t be sold—because people wouldn’t believe that it could do what he knew it could do.

我们这个时代和职业的一个悲哀真相是，我们的读者并不总是相信我们告诉他们的真相。每个文案写手在某个时候都有过一个完美无瑕的产品，却无法销售——因为人们不相信它能做到他所知道的事情。

In the same way many manufacturers, and their agencies, are startled when they cut a price—advertise the reduction—and see no increase in sales.

许多制造商及其代理商在降价、宣传降价后却没有看到销售增长时，感到震惊。

What happened? No one believed them. A price cut—like a product advantage—is only as good as your words, and your strategy, makes it.

发生了什么？没有人相信他们。降价——就像产品优势一样——只有在你的言辞和策略的支持下，才有价值。

Price cuts must be justified. There must be a reason for them. A mechanism behind them. Without such a mechanism—without such a reason-why you should give this bargain—you are going to get only a fraction of its real sales power.

降价必须有理由。必须有一个原因支撑它们。背后必须有一个机制。如果没有这样的机制——没有这样的理由来说明为什么你应该提供这个优惠——你将只能获得其真正销售力的一小部分。

The great master of price-cut mechanization was Robert Collier. His book—The Robert Collier Letter Book—is one of the great classics of copywriting know-how. Here is just one example of how Collier made his price-cuts, not only believable, but dramatic:

价格削减机械化的伟大大师是罗伯特·科利尔。他的书《罗伯特·科利尔信件集》是文案写作技巧的经典之一。以下是科利尔如何使他的价格削减不仅可信，而且引人注目的一个例子：

Before the Price Goes Up! Dear Sir: A short time ago one of the old, reliable mills that makes the finer qualities of woven Madras for shirts began sending out S.O.S. calls.

在价格上涨之前！尊敬的先生：不久前，一家生产优质织造马德拉斯衬衫的老牌可靠工厂开始发出求救信号。

They had kept their plant going steadily for months, thinking that the usual demand would easily take care of their excess output.

他们已经稳定地运营了几个月，认为通常的需求会轻松消化他们的过剩产量。

But, with the weather so generally unseasonable, the usual demand didn’t materialize. And there they were, heavily overstocked—and needing money.

但是，由于天气普遍不合时宜，通常的需求并没有出现。他们的库存过剩，急需资金。

If we would take all their surplus stock of the finer grades of woven Madras, amounting to a quarter of a million yards, they offered to let us have them at way below any price we had ever paid for shirtings in all our years in business—at far less than they could make the materials and sell them for today.

如果我们愿意接受他们所有的多余优质马德拉斯织物库存，总计达 25 万码，他们愿意以远低于我们多年来在商业中为衬衫支付的任何价格让我们获得这些库存——远低于他们今天制造这些材料并出售的价格。

We took them—the whole quarter-million yards—at a tremendous savings in cost…

我们以巨大的成本节省拿下了它们——整整二十五万码……

A Bargain You May Never Get Again…

你可能再也无法得到的交易……

Let me point out the difference between this logical, carefully prepared introduction to the price slash, and a simple, bare announcement of that slash. Here, the copy writer not only emphasizes bargain over and over again, but brings in quality as a counter-desire time after time. He thus uses a mechanism within a mechanism: (1) the unseasonable weather causing (2) the factory to become overstocked resulting in the primary markdown—to build belief upon belief.

让我指出这段逻辑严谨、精心准备的价格削减介绍与简单、直接的削减公告之间的区别。在这里，文案撰写者不仅一次又一次地强调了优惠，还一次又一次地引入了质量作为对立的欲望。因此，他在一个机制内使用了另一个机制：(1) 不合时宜的天气导致 (2) 工厂库存过剩，从而导致主要的降价——以建立信念之上的信念。

Here the copy starts with the mechanism, and only goes into the bargain claims six paragraphs later. Again, he has taken the Creative Gamble: in this case, that he could hold the reader’s interest for those six paragraphs. And, because of this gamble, he reaps ten times the believability for even word he said about the bargain-value of his offer from that point on.

这里的文案从机制开始，六段后才进入交易声明。同样，他进行了创意冒险：在这种情况下，他认为自己可以在这六段中保持读者的兴趣。正因为这个冒险，他从那时起所说的关于他提议的交易价值的每一个字都获得了十倍的可信度。

7 - The Sixth Technique of Breakthrough Copy: Concentration

7 - 突破性文案的第六个技巧：集中注意力

How to Destroy Alternate Ways for
Your Prospect to Satisfy His Desire

如何摧毁潜在客户满足其欲望的替代方式

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，归根结底，任何成功的文案都不会直接销售产品。它销售的是满足特定欲望的方式。而它的销售力量最终来自于那种欲望的强烈程度。

If the desire is commercial—that is, if it is shared by masses of people, and if each of these people want that satisfaction enough to pay the price required for a mechanism to satisfy it—then it is highly probable that many firms will try to deliver that mechanism, or product, to them.

如果这种欲望是商业性的——也就是说，如果它被大量人们所共享，并且这些人中的每一个都愿意为满足这种欲望支付所需的价格——那么许多公司很可能会尝试向他们提供这种机制或产品。

The almost universal condition of commercial life is competition. No one who sells anything, of course, can avoid it. As you write, one eye is fixed on your market, and the other on your competitors.

商业生活几乎普遍的状态是竞争。当然，任何销售商品的人都无法避免这一点。当你写作时，一只眼睛盯着市场，另一只眼睛盯着竞争对手。

We have described in this book several different ways of beating competition. Let’s stop for a moment and review them:

在本书中，我们描述了几种击败竞争对手的不同方法。让我们停下来回顾一下这些方法：

First, of course, is superiority of product. This is the ultimate weapon in the war for the consumer’s dollar. If you produce the best product, your advertising has a hundred times the chance of success than if you produce only a fair product. Most great ads have been associated with great products. Most great copy claims come from the assembly line. If yours does not, if your copy is better than your product, then send it to your client instead of your prospect, and tell him to make it a reality.

首先，当然是产品的优越性。这是争夺消费者美元的终极武器。如果你生产出最好的产品，你的广告成功的机会将比仅生产一般产品时高出一百倍。大多数伟大的广告都与伟大的产品相关联。大多数优秀的文案声明来自生产线。如果你的文案不来自生产线，如果你的文案优于你的产品，那么把它发给你的客户，而不是你的潜在客户，并告诉他将其变为现实。

But even the best product needs equally as effective copy to induce people to try it. Otherwise, the excessive cost of getting the first purchase may drive the product off the market, before the repeat sales can build up high enough to earn it through. So we come to our second weapon to beat competition—superiority of promise. A stronger promise, that evokes more desire. A wider promise, that causes more people to buy. A more believable promise, that brings in the skeptics as well as the susceptible. This entire book has been a blueprint for developing such promises.

但即使是最好的产品也需要同样有效的文案来诱使人们尝试它。否则，获取首次购买的过高成本可能会使产品在重复销售足够高以赚回成本之前就退出市场。因此，我们来到了打败竞争的第二个武器——承诺的优越性。一个更强的承诺，激发更多的欲望。一个更广泛的承诺，促使更多人购买。一个更可信的承诺，吸引怀疑者和易受影响者。本书的全部内容都是为开发这样的承诺而制定的蓝图。

Third, we have the weapon of product-role. The role the product allows its consumer to play. The personality, the identification, the prestige, the status, the excitement you can bring out of your product, or graft onto it.

第三，我们拥有产品角色的武器。产品让消费者扮演的角色。你可以从产品中引发的个性、认同、声望、地位和兴奋感。

Fourth, we have response and reaction as a competitive force—the ability to one-up the competition: to escalate claims when necessary; to shift mechanisms; to invade new markets.

第四，我们将反应和回应视为一种竞争力量——超越竞争对手的能力：在必要时升级主张；调整机制；进入新市场。

And fifth—the technique we will discuss in this chapter—is direct attack.

第五个——我们将在本章讨论的技术——是直接攻击。

Direct attack—the mechanism of Concentration—differs completely from the other four methods we have discussed above. All these techniques have the common element of ignoring the competition. They concentrate on your story, your promises, your benefits, your product. They act as though there is no other one possible of gaining the satisfaction your prospect desires.

直接攻击——集中机制——与我们上面讨论的其他四种方法完全不同。所有这些技术都有一个共同点，即忽视竞争。它们专注于你的故事、你的承诺、你的利益、你的产品。它们的表现就像没有其他方法可以获得你潜在客户所渴望的满足一样。

Therefore, they are most effective when you dominate a field, when your primary problem is to protect your customers’ loyalty against the claims of your competitor, or when your story is so powerful, so different, or so fresh that the competition has nothing to match it. In these cases, it’s better not to give him the prestige of attack, not to mention his claims or his product, even invidiously, in the space which costs you such a dear dollar.

因此，当你主导一个领域时，当你面临的主要问题是保护客户的忠诚度免受竞争对手的挑战，或者当你的故事如此强大、如此不同或如此新颖，以至于竞争对手无从匹敌时，它们最有效。在这些情况下，最好不要给予他攻击的声望，更不用说他的主张或他的产品，即使是以嫉妒的方式，在这个花费你如此昂贵的空间中。

But in many other cases—especially where your advertising budget is much less than his—especially where the bulk of your prospects are already customers of his—your first problem may be to crack his image, to shatter their loyalty, before you can re-channel their desire around to you.

但在许多其他情况下——尤其是当你的广告预算远低于他的情况下——尤其是当你的潜在客户大部分已经是他的客户时——你面临的第一个问题可能是打破他的形象，摧毁他们的忠诚，才能将他们的欲望重新引导到你这里。

What Concentration Is

什么是浓度

But this process of Concentration—this careful, logical, documented process of proving ineffectual other ways of satisfying your prospect’s desire—is much more than mere attack. 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!

但这种集中过程——这种小心、逻辑、记录的证明其他满足你潜在客户欲望的方法无效的过程——远不止于单纯的攻击。如果你只能攻击另一种产品——而没有同时通过比较展示你的产品如何提供其他产品所缺乏的东西——那么就什么都不要说！除非你能同时提供解决方案，否则永远不要攻击一个弱点！

The reason for this is simple. Your prospect knows that your attack is biased. If, therefore, you are attacking another product only for your own good—in other words, to win the sale by disparaging your competitor—what you will probably evoke in his mind is skepticism and dislike, and very little else.

原因很简单。你的潜在客户知道你的攻击是有偏见的。因此，如果你只是为了自己的利益而攻击另一种产品——换句话说，就是通过贬低竞争对手来赢得销售——那么你在他心中引发的很可能是怀疑和厌恶，而很少有其他反应。

But—and this is the critical point in this process—if you can show your customer that this attack is for his own good, in his service, because your product will eliminate this weakness, then you have a sales story he will accept. Then you will make him question even the most ingrained loyalty.

但是——这是这个过程中的关键点——如果你能向客户展示这种攻击是为了他的利益，为了他的服务，因为你的产品将消除这个弱点，那么你就有了一个他会接受的销售故事。这样你就会让他质疑甚至是最根深蒂固的忠诚。

Concentration, therefore, is the process of pointing out weaknesses in the competition … emphasizing their disservice to your prospect … and then proving to him that your product gives him what he wants without them.

因此，集中注意力的过程是指出竞争对手的弱点……强调他们对潜在客户的损害……然后向他证明你的产品能够在没有他们的情况下满足他的需求。

Notice that all the techniques that we have developed in the last few chapters are used here. Intensification to show the penalties of continuing with the old product. Gradualization to show the logical cause of the weaknesses and how they can now be cured. Mechanization to prove that your product removes the weakness. And so on.

注意到我们在前几章中开发的所有技术都在这里使用。强化以显示继续使用旧产品的惩罚。渐进化以展示弱点的逻辑原因以及如何现在可以治愈它们。机械化以证明您的产品消除了弱点。等等。

Concentration is therefore a complicated process, taking up sizable space to do its job properly, and combining almost every trick you have learned in this book. To see how incredibly effective it can be, however, let us look at two masterful examples.

因此，集中注意力是一个复杂的过程，需要占用相当大的空间以正确完成其工作，并结合你在本书中学到的几乎所有技巧。然而，为了看看它的效果有多么惊人，让我们来看两个精妙的例子。

The first is our spark plug ad again. As you remember, in the copy, the copy writer has told his prospect that he can run his car without spark plugs, that he can get more gas mileage and more power if he puts “fire injectors” into his car instead of the old-fashioned plugs.

第一个是我们的火花塞广告。如你所记得，在文案中，文案撰写者告诉他的潜在客户，他可以在没有火花塞的情况下驾驶汽车，如果他将“火焰喷射器”放入汽车中，而不是使用老式的火花塞，他可以获得更好的油耗和更大的动力。

Now he goes on to:

现在他继续：

1. Provide the mechanisms which prove his own claim; and

提供证明他自己主张的机制；并且

2. To destroy the prospect’s confidence in plugs forever, in this brilliant piece of interweaving copy:

2. 在这篇精彩的交织文案中，永远摧毁潜在客户对插头的信心：

MECHANICS AND ENGINEERS READ THIS CAREFULLY

机械师和工程师请仔细阅读此内容

And for you mechanics and engineers let me tell you why fire injection must give you these results.

对于你们这些机械师和工程师，让我告诉你为什么火焰喷射必须给你们这些结果。

A spark plug jumps a spark of electricity across an air gap. This is the most wasteful and power consuming way to get electricity from one place to another and it limits the size of the spark.

火花塞在空气间隙中跳跃出一束电火花。这是将电力从一个地方传输到另一个地方最浪费和耗电的方式，并且限制了火花的大小。

A fire injector fires on the surface of an electrical conductor. This is the most efficient way to get a big powerful spark into your cylinder.

火喷射器在电导体表面喷射。这是将强大火花引入气缸的最有效方法。

On ordinary spark plugs the air gap between the electrode and the firing point is always getting bigger because the electrode is always burning away. This means you have misfiring which means loss of power plus wasted gas plus raw gas to damage the cylinders and piston rings. On fire injectors there is no air gap and no electrode to burn away. That means maximum gas explosion which means full power, full economy and no raw gas to wash away the oil protection from cylinder walls and pistons.

在普通火花塞中，电极与点火点之间的空气间隙总是在增大，因为电极总是在燃烧。这意味着会出现失火，导致动力损失、燃气浪费以及原油气体损坏气缸和活塞环。在火焰喷射器中，没有空气间隙，也没有电极会燃烧。这意味着最大气体爆炸，意味着全功率、全经济，并且没有原油气体冲刷气缸壁和活塞上的油保护。

A spark plug accumulates filth and carbon because oi inefficient firing. This means you need regular cleaning, setting and expensive replacement!

火花塞因点火效率低而积累污垢和碳。这意味着你需要定期清洁、调整和昂贵的更换！

A fire injector never needs cleaning or setting. It actually “breaks in” and becomes more efficient with use. It will actually outlast your car, delivering maximum efficiency without servicing or replacement.

火喷射器无需清洁或调节。它实际上会“磨合”，随着使用变得更加高效。它的使用寿命实际上会超过你的汽车，提供最大效率而无需维护或更换。

A spark plug gives you a thin skimpy spark that actually blows out under pressure of less than 120 pounds.

火花塞给你一个细小的火花，实际上在低于 120 磅的压力下就会熄灭。

A fire injector gives you a heavy powerful flame that will not blow out at pressures far heavier than those created by even the highest compression engine…

火喷射器为您提供了一种强大而猛烈的火焰，即使在比最高压缩发动机产生的压力还要大的情况下也不会熄灭……

With ordinary spark plugs you are using, or should be using premium gas which costs from 4 to 8 cents more than ordinary gas, and despite this you’re getting inefficient, wasteful gas consumption.

使用普通火花塞时，您应该使用的高档汽油价格比普通汽油贵 4 到 8 美分，尽管如此，您仍然在消耗低效且浪费的汽油。

With fire injectors regular gas will give you up to 8 more gas miles per gallon, up to 31 more horsepower, plus easier starting in all weather. Add these savings together and see for yourself why I say that fire injectors will pay for themselves every single month that you drive your car. Ordinary spark plugs have to be replaced regularly. In some of the new high-compression cars, a set of plugs will burn up in a couple of months.

使用火喷射器，普通汽油每加仑可以多行驶 8 英里，增加 31 马力，并且在各种天气条件下更容易启动。将这些节省加在一起，看看为什么我说火喷射器每个月都会为您节省费用。普通火花塞需要定期更换。在一些新的高压缩比汽车中，一组火花塞几个月内就会烧坏。

A fire injector installation is guaranteed for the life of your car without cleaning, servicing, or replacing.

火喷射器的安装在您的汽车使用寿命内无需清洁、维护或更换。

These are some of the reasons that the U.S. Air Force pays premium prices for surface supported injectors for their aircraft and why you will ultimately find fire injectors in all automobiles…

这些是美国空军为其飞机支付高价购买地面支持喷油器的一些原因，以及为什么你最终会在所有汽车中发现火喷油器……

Let’s See How He Does It

让我们看看他是怎么做到的

I hope that by now you have spotted many of the techniques he uses to gain his effects … to build the overall power of this sequence. Let’s just check off a few of them right now:

我希望到现在为止你已经发现了他用来获得效果的许多技巧……以增强这个序列的整体力量。我们现在就来检查一下其中的一些：

First, of course, is the interweaving contrast. A weakness in the operation of the spark plug is pointed out, and then immediately counteracted by the benefit the injector gives you. Bad—good; bad—good; bad—good: this is the underlying structure of this sequence.

首先，当然是交织的对比。指出火花塞操作中的一个弱点，然后立即被喷油器带来的好处所抵消。坏—好；坏—好；坏—好：这是这个序列的基本结构。

But this is only one use he makes of parallelism. He repeats words to contrast the inherent weakness of the plug with the inherent strength of the injector. “A spark plug jumps a spark.” “A fire injector fires on…” Spark is a weak word; fire is much stronger visually. And he later intensifies this contrast of image by saying: “A spark plug gives you a thin skimpy spark, against “A fire injector gives you a heavy, powerful flame…” You can picture the difference.

但这只是他对平行结构的一个用法。他重复词语以对比火花塞固有的弱点与喷火器固有的强度。“火花塞跳出一个火花。” “喷火器喷出……”火花是一个弱词；火在视觉上要强得多。后来，他通过说：“火花塞给你一个细小微弱的火花，而喷火器给你一个沉重而强大的火焰……”来加深这种意象的对比。你可以想象出这种差异。

Throughout the copy, definition and re-definition take place. Spark firing is the “most wasteful and power consuming way” as opposed to “the most efficient way to get a big powerful spark.” Misfiring means “loss of power plus…” while maximum gas explosion means “full power, full economy…” (Notice the parallel sentence structure here sharpening the contrast.)

在整个文案中，定义和重新定义不断发生。火花点燃是“最浪费和耗能的方式”，与“获得强大火花的最有效方式”相对。误点火意味着“损失动力加上……”而最大气体爆炸意味着“全功率，全经济……”（注意这里平行的句子结构加深了对比。）

And, in a beautiful image, the fire injector actually “breaks in”—a masterpiece of redefinition by analogy.

而在一幅美丽的图像中，火焰喷射器实际上“打破了”——通过类比重新定义的杰作。

Of course, almost every benefit has its documentary mechanism. The air gap in ordinary plugs gets bigger “because the electrode is burning away.” The spark plug gets dirty “because of inefficient firing.” And so on.

当然，几乎每个好处都有其文档机制。普通插头中的空气间隙变大“是因为电极在燃烧。”火花塞变脏“是因为点火效率低。”等等。

Let me point out again the general structure of this sequence. It is:

让我再指出一下这个序列的一般结构。它是：

Bad.

坏。

Good.

好。

Bad.

坏。

Good.

好。

Bad.

坏。

Good.

好。

And so on. It thus offers repeated, direct, one-for-one contrast. It explores a number of performance factors of vital interest in the prospect—showing the bad and then the good side of each of them.

等等。因此，它提供了重复的、直接的、一对一的对比。它探讨了潜在客户中几个至关重要的表现因素——展示了它们的坏的一面和好的方面。

A Second Strategy

第二种策略

This is one way of accomplishing your Concentration. But, of course, it is not always feasible, because the points you wish to contrast may not be so easily and clearly broken down, one by one. You may be dealing, instead, with a time sequence—a recurring, unpleasant experience with which the prospect is familiar, and which you wish to sharpen before you provide him with the antidote.

这是一种实现你集中注意力的方法。但当然，这并不总是可行，因为你希望对比的点可能并不那么容易和清晰地逐一分解。相反，你可能在处理一个时间序列——一个潜在客户熟悉的、反复出现的不愉快经历，而你希望在提供解药之前先将其加以强调。

In this case your Concentration copy would adopt a different structure. Something that looks more like this:

在这种情况下，您的 Concentration 文案将采用不同的结构。看起来更像这样：

What happens to you now, with the product or products you are using currently?

你现在使用的产品会发生什么？

What will happen when you switch to the new product?

切换到新产品后会发生什么？

Here is such a structure, for an ad selling a reducing pill. Let’s look first at the negative copy:

这里有一个结构，用于销售减肥药的广告。我们先来看一下负面文案：

For years doctors have known that ordinary reducing plans—that you pay $5, $10 and even $15 for in the stores—are completely passive! That they depend strictly on your own will power—on your ability to starve that fat off your body. All that these ordinary reducing plans are able to give you … for your $5 or 810 or S15—are HUNGER-APPEASING PRODUCTS—pills, powders and liquids that do nothing more than swell up in your stomach—that do nothing more than “dull” your hunger a little.

多年来，医生们知道，普通的减肥计划——你在商店里支付 5 美元、10 美元甚至 15 美元的那些——是完全被动的！它们完全依赖于你自己的意志力——依赖于你让脂肪从身体上消失的能力。这些普通的减肥计划所能给你的……为你的 5 美元、10 美元或 15 美元——只是让人感到饥饿的产品——药丸、粉末和液体，它们只是在你的胃里膨胀——只是在“麻痹”你的饥饿感。

But not one of these products could do anything to ACTIVELY help you reduce your weight. To take the strain off that starvation diet. To actually help you BURN UP that ugly fat… OXIDIZE that fat… MELT IT AWAY—FOREVER!

但这些产品没有一个能够积极帮助你减轻体重。减轻那种饥饿饮食的压力。实际上帮助你燃烧掉那些难看的脂肪……氧化那些脂肪……让它永远消失！

So what happened? If you were overweight, you struggled to do the job of reducing BY YOURSELF! You took your hunger-appeasing pills religiously. You pushed away the foods you love. You spent week after week of torture. And finally, if you were lucky; you carved off 5, 10, or even 12 precious pounds.

那么发生了什么？如果你超重，你就得独自努力减肥！你虔诚地服用抑制食欲的药丸。你拒绝了你喜欢的食物。你经历了一周又一周的折磨。最后，如果你幸运的话；你减掉了 5、10，甚至 12 磅珍贵的体重。

And then your will power snapped! You broke your terrible diet. You discovered that your little pills were useless to keep you away from the foods you loved. And the fat flowed back—heavier and uglier and more deadly than ever before!

然后你的意志力崩溃了！你打破了可怕的饮食。你发现那些小药丸对你远离你喜欢的食物毫无用处。脂肪又回来了——比以往任何时候都更沉重、更丑陋、更致命！

Again, let’s glance at the means the writer used to get his total effect.

再一次，让我们看看作者用来达到整体效果的手段。

In the first and second paragraphs—Definitions and Redefinition. Ordinary reducing plans are passive. They depend on your own will power. They can do nothing to actively burn up fat.

在第一和第二段——定义和重新定义。普通的减肥计划是被动的。它们依赖于你自己的意志力。它们无法主动燃烧脂肪。

And in the third paragraph, the equating of taking ordinary reducing pills with “doing the job of reducing yourself.”

在第三段中，将服用普通减肥药与“减肥的工作”等同起来。

Next, logic—cause and effect. Given the acceptance of these definitions by the reader, the third and fourth paragraphs become a logical necessity. This tone of cause and effect is conveyed in the phrase: “So what happened?”

接下来，逻辑——因果关系。鉴于读者接受这些定义，第三和第四段成为逻辑上的必然。这种因果关系的语气体现在短语：“那么发生了什么？”

Now, of course, the third and fourth paragraphs condense an experience which is all too common to every woman who has ever tried to reduce. She has lived through this herself, time after time. She recognizes each of the symptoms. And so she finds herself nodding her head, agreeing with each in its turn, building up a stream of acceptances which carries more and more conviction as she finds her own experiences more and more thoroughly described.

现在，当然，第三和第四段浓缩了每个曾经尝试减肥的女性都非常常见的经历。她自己经历过这一切，一次又一次。她认识到每一个症状。因此，她发现自己在点头，逐一同意，建立起一系列的认同，随着她发现自己的经历被越来越彻底地描述，这种认同感也越来越强烈。

And then, at the climax, in the last line of the fourth paragraph, the destruction of the old methods of reducing is complete. Notice the use of the word “And” to tie this final indictment in structurally with the stream of sensory experiences that have gone before it. There is no doubt that the fat has come back again in this woman’s life—if it hadn’t, she wouldn’t have read this much of the ad. But here the inevitable implication buried in a sentence with which no woman could disagree—is that it was the failure of the pills that caused the failure of the diet.

然后，在高潮部分，在第四段的最后一句，旧的减肥方法的破坏是完全的。注意“和”这个词的使用，它将这一最终的控诉在结构上与之前的感官体验串联起来。毫无疑问，这位女性的生活中又出现了脂肪——如果没有，她就不会读到这么多的广告。但这里不可避免的含义埋藏在一句没有女性会反对的句子中——就是药丸的失败导致了饮食的失败。

Thus the stage is set for the hero-product to emerge. It has already been foreshadowed in the second paragraph—in the negative accusations that these ordinary methods can do nothing “actively” to “burn away” fat.

因此，英雄产品的舞台已经搭建好。它在第二段中已经有所预示——在对这些普通方法的负面指控中，这些方法无法“积极”地“燃烧”脂肪。

Now the copy goes on, from failure to promise, like this:

现在文案继续，从失败到承诺，如下所示：

And so you tried another passive plan. And another. And another. And then if you were like the men and women whose fantastic case histories were reported by leading medical journals—perhaps you went to your doctor and asked him for an easy way out—without torture—and without sliding back!

于是你又尝试了另一个被动计划。又一个。再一个。然后，如果你像那些在知名医学期刊上报道的奇妙案例中的男女一样——也许你去找你的医生，问他有没有简单的方法可以解决——没有折磨——也不想退步！

These doctors had the answer in a tiny grey pill—and a common-sense plan.

这些医生在一颗小小的灰色药丸中找到了答案——以及一个常识性的计划。

In their hands—so tiny that they could balance it on the tip of their little finger—was perhaps the greatest weapon ever discovered against deadly, excess fat. It was a miraculous compound called LECITHIN—brand-new—whose amazing fat-dissolving properties had been discovered by a Nobel prize winner—the co-discoverer of insulin…

在他们手中——如此微小，以至于可以在小指尖上平衡——或许是发现的对抗致命过剩脂肪的最伟大武器。它是一种名为 LECITHIN 的神奇化合物——全新的——其惊人的溶脂特性是由一位诺贝尔奖得主发现的——胰岛素的共同发现者……

Because this product was perfectly safe—and as easy to take as an aspirin—many had used it themselves when they wanted to lose weight…

因为这个产品非常安全——而且和阿司匹林一样容易服用——许多人在想要减肥时自己使用过它……

They were not given am starvation diets … they never experienced a single hungry moment … they reported, in case after case, that they felt more pep, more energy, more youth and vitality than they had known in years!

他们没有被给予饥饿饮食……他们从未经历过一刻饥饿……他们在一个又一个案例中报告说，他们感到比多年来更有活力、更有精力、更年轻和充满生机！

And then, day after day faster and easier and safer than they had ever known before, the ugly excess fat around their bodies melted away! While they were eating three delicious meals a day, they were shedding as much as 5 pounds a week. While they were feasting on mouth-watering steaks…

然后，日复一日，他们的身体周围丑陋的多余脂肪以比以往任何时候都更快、更简单、更安全的方式融化了！在他们每天享用三顿美味的饭菜时，他们每周减掉多达 5 磅。尽管他们在大快朵颐美味的牛排……

And so on. Right back into Intensification copy, with its strong picture-image sell.

等等。直接回到强化文案，带有强烈的图像销售。

Here are your contrast—your mechanization—your documentation—your reference to authority—and then your return to promise, in the form of case history, which now has many times its original power, based on both the elimination of alternate channels of fulfillment, and the strong supporting mechanism which documents its claims.

这里是你的对比——你的机械化——你的文档——你的权威参考——然后是你的承诺回归，以案例历史的形式，现在基于消除替代满足渠道和强有力的支持机制，文档化其主张，拥有了原始力量的多倍。

One Final Word on Concentration

关于集中注意力的最后一句话

I have purposely chosen extreme examples to illustrate each mechanism. These copy blocks are longer than Concentration need logically be. The same effect may be boiled down into two or three sentences, or even a single phrase, as in this classic headline:

我故意选择了极端的例子来说明每个机制。这些文案块比集中所需的逻辑上要长。相同的效果可以浓缩成两三句话，甚至一个短语，就像这个经典的标题：

“SHRINKS HEMORRHOIDS WITHOUT SURGERY.”

“无需手术缩小痔疮。”

Here is contrast—implied weakness in other products—compensating promise in your own.

这里是对比——其他产品的隐含弱点——在你自己的产品中补偿的承诺。

Again, it is not the content, nor is it the length of copy used in a mechanism that makes it effective. It is simply and solely the problem it solves for you in the development of your copy—by the emotional reaction it produces on your reader when he encounters it.

再一次，这并不是内容，也不是在机制中使用的文案长度使其有效。它仅仅是它为您在文案开发中解决的问题——通过它在读者遇到时产生的情感反应。

If, in this case, you have caused him to question a habit … shift a loyalty … take a chance on your product—you have done your job, no matter how few or how many words you have used to do it.

如果在这种情况下，你让他质疑一个习惯……转变一种忠诚……冒险尝试你的产品——你就完成了你的工作，无论你用了多少字。

8 - The Seventh Technique of Breakthrough Copy: Camouflage

8 - 《突破性广告》的第七种技巧：伪装

How to Borrow Conviction for Your Copy

如何借用信念为你的文案服务

We have now discussed five separate ways to build believability into your copy. I do not think we should leave this subject without at least mentioning one other, entirely different, approach—that of borrowing believability from all the places in our society where it is stored up.

我们现在已经讨论了五种将可信度融入文案的不同方法。我认为我们不应该在这个话题上结束，而至少提到另一种完全不同的方法——从我们社会中储存可信度的所有地方借用可信度。

The process by which you do this is quite simple. As you know, people do not buy a newspaper, or a magazine, or any other medium of communication for its ads at all. They buy this publication—or they turn on their radio and television set—to keep in touch with the world around them; to learn what’s happening, and why it’s happening. To be entertained, or enlightened, or simply kept up to date.

你这样做的过程非常简单。正如你所知道的，人们并不是为了广告而购买报纸、杂志或任何其他传播媒介。他们购买这份出版物——或者打开他们的收音机和电视——是为了与周围的世界保持联系；了解发生了什么，以及为什么会发生。为了娱乐、启发，或者仅仅是保持最新信息。

Now, when a person chooses one of the publications (and for a moment we’ll disregard radio and television), he does so because he believes that that publication is telling him the truth. He has faith in that publication. He believes in it.

现在，当一个人选择其中一本出版物时（暂时不考虑广播和电视），他这样做是因为他相信那本出版物在告诉他真相。他对那本出版物有信心。他相信它。

And, as long as he has faith in that publication (as any space buyer can tell you) it remains an excellent medium for advertising—because some of his trust carries over from the editorial pages to the advertising pages. He simply assumes that his publication wouldn’t carry the ad if it weren’t true.

而且，只要他对该出版物有信心（任何广告购买者都可以告诉你），它仍然是一个优秀的广告媒介——因为他的一些信任从编辑页面延续到广告页面。他只是认为，如果广告不真实，他的出版物就不会刊登该广告。

And, on the other hand, when he loses faith in that publication, the effectiveness of its advertising just goes to pieces. If he no longer believes in the publication, he won’t believe in the advertising it carries. This factor—the believability in the medium itself—I think is a far more important consideration in buying space than mere circulation.

另一方面，当他对该出版物失去信心时，其广告的有效性就会崩溃。如果他不再相信该出版物，他也不会相信它所刊登的广告。我认为这个因素——对媒介本身的可信度——在购买广告位时比单纯的发行量更为重要。

All this is of vital interest to the space buyer, of course, but we have to go a step further. You see, not only does this reader come to believe in the publication which he buys repeatedly, but after a while he becomes used to receiving his truth couched in the style and format and phraseology of that particular publication. In other words, a conditioned reflex has been formed here. The man believes in the publication. The publication phrases its material in a certain way. After a while, that phraseology begins to carry an aura of truth all by itself no matter what material it embraces.

所有这些对空间买家来说当然至关重要，但我们必须更进一步。你看，这位读者不仅开始相信他反复购买的出版物，而且过了一段时间后，他习惯于以该出版物特有的风格、格式和措辞来接受真相。换句话说，这里形成了一种条件反射。这个人相信这个出版物。该出版物以某种方式表达其内容。过了一段时间，这种措辞开始自带一种真理的光环，无论它所包含的材料是什么。

Thus, you have waiting for your ad—if it is adapted the right way—a stored believability. A believability reflex. Which you can tap by adopting this particular publication’s phraseology when you address its audience.

因此，如果您的广告以正确的方式调整，就会有一个存储的可信度在等待着您。一个可信度反应。您可以通过采用该出版物的措辞来吸引其受众。

Let’s Look at a Few Examples

让我们看几个例子

I’ll try to show you the three different ways you can borrow this built-up believability:

我将尝试向你展示三种不同的方式，你可以借用这种建立起来的可信度：

First, of course, and most obvious, is Format. Each publication has its own look. You have your copy. Your job is to merge both of them into a combination that will:

首先，当然，最明显的是格式。每个出版物都有其独特的外观。你有你的文案。你的工作是将两者合并成一个组合，以便：

1. Allow the reader to enter into your ad with the least possible mental shifting of gears from “editorial” to “advertisement.”

1. 让读者以最少的心理转换，从“编辑内容”进入到“广告”中。

2. Carry along the greatest possible amount of believability through every sentence of the ad.

2. 在广告的每一句话中尽可能传达最大的可信度。

I have not discussed layout in this book, because I do not believe layout is nearly as effective as copy in determining the results of your ad. Here, however, layout is important. A single change in format can add 50% to your readership, and your results.

在本书中我没有讨论布局，因为我认为布局在决定广告效果方面远不如文案有效。然而，在这里，布局是重要的。格式的单一变化可以使你的读者人数和结果增加 50%。

Your job here, once again, is to approximate as closely as possible the format of the medium in which you are advertising. This means, ideally, letting them set your ad … using their kind of headline-to-body-copy transition … using their illustrations, their sub heads, their break-up of space.

您在这里的工作，再一次，是尽可能接近您所广告的媒介的格式。这意味着，理想情况下，让他们设置您的广告……使用他们的标题到正文的过渡……使用他们的插图、他们的小标题、他们的空间分割。

On the following pages are two ads for the same book on handling people. The first is an all-purpose, house-set magazine ad that was shotgunned over twelve or fifteen media. It was mildly successful.

在接下来的页面上，有两则关于同一本处理人际关系书籍的广告。第一则是一个通用的、家庭杂志广告，投放在十二到十五个媒体上。它的效果一般。

The second is the same ad, adapted feature for feature for the Wall Street Journal. It was enormously successful—so much so that it has been repeated (at the time of this writing) nineteen times, once a month, with no drop-off in pull.

第二个是相同的广告，逐项调整以适应《华尔街日报》。它取得了巨大的成功——以至于在撰写本文时已经重复了十九次，每月一次，效果没有下降。

Let’s look at the changes that give this adapted format such continued believability:

让我们看看这些变化是如何使这种改编格式保持持续可信度的：

1. The headline, set by the Journal in Journal type. There is no difference between this old-fashioned, upper-and-lower-case headline and any other headline in the editorial content of this issue. Therefore, it does not immediately signal the reader: “This is an ad: beware!” To have made it bolder, or more modern, or in all caps, would simply diminish its effectiveness.

1. 该标题由《期刊》以期刊字体设置。这个老式的大小写标题与本期编辑内容中的任何其他标题没有区别。因此，它并没有立即向读者发出：“这是广告：小心！”的信号。将其加粗、现代化或全部大写，只会降低其有效性。

2. The sub headlines—two of them, one following directly on the other. Very Nineteenth Century, really. Abandoned years ago by 99% of all American newspapers. But the Journal uses it, and therefore the ad uses the same treatment. And the very fact that it is so unusual, and so old-fashioned, makes its adaptation that much more belief-carrying in this context.

2. 副标题——两个，一个紧接着另一个。真的非常十九世纪。99%的美国报纸早已放弃。但《华尔街日报》使用它，因此广告也采用了相同的处理方式。而它如此不寻常且如此过时的事实，使得在这个背景下的适应性更加令人信服。

3. The two bars directly above and below the first sub head. One of those small touches that defines individuality. The ad would lose some of its atmosphere without them. And atmosphere (believability, trust) is what you’re seeking with these adaptations.

3. 第一个小标题上方和下方的两个条形。定义个性的那些小细节之一。没有它们，广告会失去一些氛围。而氛围（可信度、信任）正是你在这些调整中所追求的。

4. The placement of subheads to the extreme left of the column. Another minute detail. Bad layout according to the agency art director. But again, in perfect harmony with the format of the editorial content.

4. 副标题放置在栏目最左侧。另一个细节。根据广告公司的艺术总监，这样的布局不好。但再次强调，这与编辑内容的格式完美协调。

5. The line drawing of the author. An ugly rendering. Far less attractive than the photograph of the same man in the magazine ad. And yet the Journal does not use photographs of the men they picture in their editorial columns. And so this ad must do the same, even at the cost of harrowing screams of pain from its authors (until they see their royalty checks).

5. 作者的线条画。一个丑陋的渲染。远不如杂志广告中同一男子的照片吸引人。然而，《期刊》并不在其社论栏目中使用他们所描绘的男性的照片。因此，这则广告也必须如此，即使要付出其作者痛苦尖叫的代价（直到他们看到自己的版税支票）。

Thus, what has been done by these adaptations, is that a corny, old-fashioned, rather ugly advertisement has been developed for this specific medium—which has about twice the believability, twice the pulling power, and twice the staying power of the same exact copy and illustration presented the mass-produced way.

因此，这些改编所做的，是为这一特定媒介开发了一种老套、过时、相当丑陋的广告——其可信度、吸引力和持久力大约是以大规模生产方式呈现的相同文案和插图的两倍。

Is it worth the extra cost? Yes. Should it be done for each important medium in turn? Yes.

额外的成本值得吗？值得。每个重要媒介都应该依次进行吗？应该。

Why? Because in so doing, you are tapping the ingrained trust that the reader has for each medium in turn, and channeling at least part of it, unconsciously, onto your product.

为什么？因为这样做时，你正在利用读者对每种媒介的根深蒂固的信任，并在无意识中将其中至少一部分转移到你的产品上。

This, then, is the first method of borrowing this built-in believability: adopting format.

因此，这就是借用这种内置可信度的第一种方法：采用格式。

The Second Way to Borrow Believability

借用可信度的第二种方式

The second—slightly less specific—is adopting phraseology.

第二个——稍微不那么具体——是采用措辞。

This method stems from the fact that certain media, or classes of media, use certain stereotyped phrases over and over again, which after a while take on a believability of their own.

这种方法源于某些媒体或媒体类别反复使用某些刻板印象短语的事实，这些短语经过一段时间后会获得自身的可信度。

In newspapers, to take the most obvious example, there is usually an issue date, a city of origin, and perhaps a by-line. Each of these news-indicators may be picked up by the copy writer to add believability to his opening, as in this extremely successful example:

在报纸上，最明显的例子通常有一个发行日期、一个来源城市，以及可能还有一个作者署名。这些新闻指示符中的每一个都可能被文案撰写者采纳，以增加他开头部分的可信度，就像这个极为成功的例子一样：

SKIN SPECIALIST DEMONSTRATES HOW TO RINSE AWAY YOUR BLACKHEADS

皮肤专家演示如何清洗黑头

By Claire Hoffman

由克莱尔·霍夫曼撰写

New York, N.Y.—A leading doctor today showed an audience of men, women and skin-troubled teenagers how to clean oily skin and shrink enlarged pores with a 10-minute home medical treatment he has perfected…

纽约，纽约——一位领先的医生今天向一群男性、女性和皮肤问题青少年展示了如何通过他完善的 10 分钟家庭医疗治疗来清洁油性皮肤和缩小扩大的毛孔……

And so on. The news tone has been set by the opening phrases. The entire remainder of the copy has been given the atmosphere of a report rather than a sales story by these first few sentences.

等等。新闻的语气已经由开头的短语设定。这几句开头的话使得整篇文稿的氛围更像是一份报告，而不是一个销售故事。

The same principle can be used for each of the other classes of media you employ. In direct mail, look for the key correspondence your prospect receives that are opened instantly without exception. Some examples would be refund checks, government correspondence, dividend notices, confidential reports, high-priced newsletters, etc.

相同的原则可以用于您使用的其他媒体类别。在直接邮件中，寻找您的潜在客户收到的那些毫无例外地立即打开的关键信件。一些例子包括退款支票、政府信件、红利通知、机密报告、高价通讯等。

In radio and TV, adopt the news format and the news phraseology. Even, if possible, adopt the news “sound”—the clipped phrase of the newscaster, the insider tone of the analyst, the documentary feel of the news, hand-held camera.

在广播和电视中，采用新闻格式和新闻用语。甚至，如果可能的话，采用新闻的“声音”——新闻播报员的简洁短语、分析师的内部语气、新闻的纪录片感觉、手持摄像机。

Study the channels of communication that people believe in. Adopt their tone, their feel, their style, their sincerity. Make your ads blend in, so there is no jarring transition. Camouflage them.

研究人们相信的沟通渠道。采用他们的语气、感觉、风格和真诚。让你的广告融入其中，这样就没有突兀的过渡。伪装它们。

Believability-Borrowing Strategy #3

可信度借用策略 #3

In a later chapter, we’ll deal with mood directly. However, as the last method of borrowing believability, I want to mention two mood adaptations that rightly belong in this discussion. We’ve seen that you borrow your publications format and your publications phraseology or style. These two methods of adding confidence to your copy depend directly on the particular medium you are using at am particular moment.

在后面的章节中，我们将直接讨论情绪。然而，作为借用可信度的最后一种方法，我想提到两种情绪适应，这两者在这个讨论中是合理的。我们已经看到你借用了你的出版物格式和你的出版物措辞或风格。这两种增强你文案信心的方法直接依赖于你在特定时刻使用的特定媒介。

You pick up that publications appearance and idiom, as it were, because people have come to contrast that editorial manner of presentation with “advertising language” in general and because they automatically trust the first, and automatically approach the second with an ingrained skepticism.

你会接受那种出版物的外观和风格，因为人们已经开始将这种编辑风格的呈现与“广告语言”进行对比，并且他们自动信任前者，而对后者则带着根深蒂固的怀疑态度。

In other words, advertising language, which is a more naturally-biased language and emotionally-charged language, tends to produce a counter-reaction in its prospects by its very appearance.

换句话说，广告语言是一种更自然偏向和情感充沛的语言，其外观往往会在潜在客户中产生反作用。

To overcome this instant and automatic skepticism—besides borrowing our host publications idiom—we also have two other idioms which allow us to escape the “hard-sell” stereotype.

为了克服这种即时和自动的怀疑——除了借用我们主办出版物的语言外——我们还有两种其他的表达方式，可以让我们摆脱“硬性推销”的刻板印象。

The first is Understatement. Simplicity. A lack of color words. Fewer adjectives than the reader would expect to superlatives. Short sentences, that fall rather than rise in tone at their end.

第一个是低调。简单。缺乏色彩词。比读者预期的更少的形容词来修饰最高级。短句，结尾的语调下降而不是上升。

For example, take any Volkswagen ad. Count the number of nouns per sentence, and compare it to the number of adjectives. See how the ad kids itself—never takes itself too seriously. Notice how it makes its point quietly, and then stops. Even how the extremely short, extremely simple sentence structure adds to the reeling of sincerity.

例如，拿任何一则大众汽车的广告。计算每个句子中的名词数量，并与形容词的数量进行比较。看看广告是如何自我调侃的——从不太认真。注意它是如何悄悄地表达观点，然后停止的。甚至极其简短、极其简单的句子结构如何增加了真诚感。

Here is a complete Volkswagen ad, which features one superiority of the car over competitive models. Could you have told the story as well, even if you used ten times as many words?

这是一个完整的大众汽车广告，展示了该车相对于竞争车型的一个优越性。即使你用了十倍的字数，你能讲得一样好吗？

You never run out of air.

你永远不会缺空气。

You also won’t have am worries about draining or flushing the radiator in spring. There is no radiator.

您也不必担心春天排放或冲洗散热器。没有散热器。

Or hoses.

或软管。

Or water pump.

或水泵。

Or rust.

或生锈。

And so there are no worries about anti-freeze in the fall or cracked blocks in the winter.

因此，秋天不必担心防冻液，冬天也不必担心裂缝。

If you feel that you owe your Volkswagen engine a little something special every spring and fall, you can do this much.

如果你觉得每年春秋季节应该给你的大众汽车发动机一些特别的关照，你可以做到这一点。

Just run it once around the block and let it air itself out.

就让它在街区转一圈，透透气。

This is great copy because of its simplicity and its image and its sell, all of which interact to give a very powerful argument to anyone looking for a new car.

这是一篇出色的文案，因为它的简单性、形象和销售，这些因素相互作用，为任何寻找新车的人提供了一个非常有力的论据。

Also, I’d suggest that you study any of the old Claude Hopkins ads, or John E. Kennedy (from the old Lord & Thomas days) to get the same power of sincerity without the limiting whimsy. Or the great radio and TV pitches of the Fifties.

此外，我建议你研究任何老的 Claude Hopkins 广告，或者 John E. Kennedy（来自老的 Lord & Thomas 时代），以获得同样的真诚力量，而不受限制的异想天开。或者五十年代伟大的广播和电视推销。

There is little advertising being written this way, and its very rarity makes it even more effective. It will not solve every selling problem, but where it is effective—especially in continuous campaigns—it is very effective indeed.

这种方式写的广告很少，而它的稀有性使其更具有效性。它并不能解决所有的销售问题，但在有效的地方——尤其是在持续的广告活动中——确实非常有效。

The second mood you may employ to break away from the “advertising” stereotype is what I call Deadly Sincerity. This is the technique of leaning over backwards to point out the flaws in an offer, so that the benefits, when you bring them in, will be believed that much more deeply.

你可以用来打破“广告”刻板印象的第二种情绪是我所称之为致命真诚。这是一种竭尽全力指出提议缺陷的技巧，这样当你引入好处时，人们会更加深信不疑。

Since this is not done in ordinary advertising—since ordinary copy does not knock its product as well as praise it—it carries great emotional impact, especially in highly-competitive fields. Here is an example, for a book on getting ahead on your job, which had to run after a hundred books on the same subject had already appeared in the same publication:

由于普通广告中并没有这样做——因为普通文案既不如赞美产品那样有效，也不如批评产品那样直接——它带来了巨大的情感冲击，尤其是在竞争激烈的领域。这里有一个例子，关于一本关于在工作中取得成功的书，这本书必须在同一出版物中已有一百本关于同一主题的书籍之后发布：

TO THE MAN WHO WILL SETTLE FOR NOTHING LESS THAN THE PRESIDENCY OF HIS FIRM

对那个不愿意接受低于自己公司总裁职位的人

And who is willing to make the incredible sacrifices necessary to get there in the shortest possible time.

而谁愿意做出令人难以置信的牺牲，以在最短的时间内到达那里。

Here is the most realistic handbook ever written for you—and you alone.

这是为你——以及你一个人——写的最真实的手册。

This is a private advertisement.

这是一个私人广告。

It is not meant for ninety-nine men out of every hundred. These men do not have the drive—the impossible pride—the absolute compulsion to succeed that this advertisement demands …

这并不是为了每一百人中的九十九人。这些人没有那种动力——那种不可能的自豪感——没有这种广告所要求的绝对成功的冲动……

And so on. You can see immediately, in the first few paragraphs of this ad, how the tone of utter frankness is set. The use of such “non-advertising phraseology” as “incredible sacrifice”… “impossible pride”… “absolute compulsion”… “this advertisement demands” set the ad off from the others around it—give it an air of unpredictability that induces the reader to go on.

等等。你可以立即看到，在这则广告的前几段中，坦率的语气是如何确立的。使用诸如“不可思议的牺牲”……“不可能的自豪”……“绝对的强迫”……“这则广告要求”这样的“非广告用语”使这则广告与周围的其他广告区分开来——赋予它一种不可预测的气息，促使读者继续阅读。

In our next chapter when we discuss Reinforcement, we shall see how this tone of complete fairness, and even criticism, can make a comparatively minor claim take on immense emotional impact. But for now it is sufficient to point out that this is one more way to break out of the hard-sell stereotype, and gain almost the same type of believability that would be given to a factual report.

在我们下一章讨论强化时，我们将看到这种完全公正甚至批评的语气如何使一个相对较小的主张产生巨大的情感影响。但现在指出这一点就足够了，这又是一个打破强硬推销刻板印象的方法，并获得几乎与事实报告相同的可信度。

9 - The Final Touches

9 - 最后的润色

Let’s now review what we’ve done up to this point, and the last few problems that we have to consider.

现在让我们回顾一下到目前为止我们所做的工作，以及我们需要考虑的最后几个问题。

We started this book 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 of our book to this creative search.

我们开始这本书的想法是，有一种明确的技巧可以产生比你昨天使用的更好的标题。而且，由于标题对广告的成功或失败至关重要，我们将书的第一部分专门用于这种创造性的探索。

Then, in the second part, 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.

然后，在第二部分，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所激发的兴趣和好奇心，逐步建立起对这个产品的坚定信念，认为它拥有他所想要的东西，并且绝对能够提供给他。

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.

您使用正文来实现第二个目标——可能很多，也可能很少。在任何情况下，我们已经研究了创造这种有效需求的三条相互关联的路径：首先是欲望的强化；然后是创造一个潜在客户希望认同的可接受的产品个性或角色；最后是您文案安排背后相对抽象的结构，这种结构产生了您故事的可信度。

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如何在三个情感层面上接触到你的潜在客户的心智：渴望……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，作为我们最后的问题，我们必须将所有这些元素结合在一起。我们必须将所有这些承诺、这些形象、这些手段、这些结构——编织成一个统一的整体，从头到尾吸引您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，在分析了广告的有效元素后——我们现在必须处理相反的问题：将其重新结合在一起。

We have several additional devices that help us do this. We’ve already touched on them in passing in previous chapters. Now let’s examine them more closely see what makes them operate, formalize them into working rules. Like this:

我们有几个额外的设备可以帮助我们做到这一点。我们在前面的章节中已经简要提到过它们。现在让我们更仔细地研究它们，看看是什么使它们运作，将它们形式化为工作规则。像这样：

Verification—How to Offer Authorities and Proof

验证—如何提供权威和证明

Now, of course, comes the most obvious kind of believability copy. Your proof: your statistics; your tests; your testimonials: your authorities; your trends; your documentation; your seals of approval; your awards won. Any fact at all that you can use, anywhere in the copy, to show that your product does what you says it does.

现在，当然，最明显的可信度文案来了。你的证明：你的统计数据；你的测试；你的推荐信；你的权威；你的趋势；你的文档；你的批准印章；你获得的奖项。任何你可以在文案中使用的事实，以证明你的产品确实如你所说的那样。

The key words here are anywhere in your copy. Because, as I have tried to show in the last four chapters, the placement of your proof is as important to its overall effect as the content itself.

这里的关键词是你文案中的任何地方。因为，正如我在过去四章中所尝试展示的，证据的放置对其整体效果与内容本身同样重要。

I can’t tell you anything about gathering proof that your own research department doesn’t know a hundred times better. Or, if you have no research department, that good hard digging won’t give you.

我无法告诉你任何关于收集证据的事情，因为你的研究部门对此了解得比你好一百倍。或者，如果你没有研究部门，那些深入的挖掘也不会给你带来帮助。

There are no special rules to phrasing proof—except, perhaps, to keep it as short as possible, as dramatic as possible, as specific as possible.

在措辞证明时没有特别的规则——也许，唯一的要求就是尽可能简短、尽可能戏剧化、尽可能具体。

And, above all, remember that proof copy, like every other word in your ad, is selling copy. It cannot merely offer proof alone. It must offer the kind of proof that makes the prospect hungry to read every word of it, and it must make him want the product more and more at the end of every line.

而且，最重要的是，请记住，校样就像你广告中的每一个字一样，都是销售文案。它不能仅仅提供证明。它必须提供那种让潜在客户渴望阅读每一个字的证明，并且在每一行的结尾都要让他对产品的渴望越来越强烈。

Fine. But the next question is: where do you place the proof in your ad? At what point or points will it be most effective?

好的。但下一个问题是：你在广告中放置证明的位置在哪里？在哪个点或哪些点效果最好？

And, next, how many different proofs or tests or testimonials or what-have-you should you include in the ad? When do you put them in, and when (if ever) do you leave them out? When do they make the ad too heavy? When do they make it dull? When do they make it too much to be believed?

接下来，你应该在广告中包含多少不同的证明、测试、推荐或其他内容？你什么时候放入这些内容，什么时候（如果有的话）又不放？它们什么时候会使广告显得过于沉重？什么时候会使广告变得乏味？什么时候会让人觉得难以置信？

We have been discussing these questions, though not in this context, for the last four chapters. For the last four chapters we have been discussing the placement and structure of claims, of promises. We have found that the more you prepare for those claims, and the more agreeable you have made your reader to accepting them, the more powerful they become.

在过去的四章中，我们一直在讨论这些问题，尽管不是在这个上下文中。在过去的四章中，我们讨论了主张和承诺的定位和结构。我们发现，越是为这些主张做好准备，越是让读者更容易接受它们，它们就变得越强大。

The same exact rules hold for your proof. Proof—like claims—is most effective when the reader unconsciously demands it, and when he is ready to accept its content as necessary and logical.

相同的规则适用于你的证明。证明——就像主张一样——在读者无意识地要求它时，以及当他准备好接受其内容为必要和合乎逻辑时，效果最佳。

This is the rule. As simple and concrete as this. All the rest is application.

这就是规则。简单而具体就是这样。其余的都是应用。

We’ve gone over, quite carefully, the four processes that determine position in your ad. They are, once again:

我们已经仔细讨论了决定您广告中位置的四个过程。它们再次是：

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.

渐进化——从读者对你陈述的接受逐渐发展，最终导致读者对你产品的不可避免的需求。

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——通过为潜在客户提供该产品的新定义，消除他们对您产品的先入之见。

3. Mechanization—the verbal proof that your product works—that it does what you say it does.

3. 机械化——证明你的产品有效的口头证据——它确实如你所说的那样运作。

4. Concentration—the verbal proof that other alternate products do not do this essential function as well.

4. 集中——口头证明其他替代产品无法很好地完成这一基本功能。

Now, every one of these processes is effective, not only in increasing the believability of your claims, but also in increasing the believability of your proof.

现在，这些过程不仅有效地提高了你主张的可信度，也有效地提高了你证据的可信度。

And, in exactly the same way, in every one of these processes, there is a place for your proof to appear where it will do twice as much good for your copy as it would anywhere else.

而且，以完全相同的方式，在这些过程中的每一个环节，都有一个地方可以展示你的证明，在那里它对你的文案的帮助将是其他地方的两倍。

For example, go back and look at the Concentration copy in the spark plug ad that we analyzed in Chapter 12. Here was a point-after-point comparison of the weaknesses of spark plugs contrasted with similar strengths in fire injectors.

例如，回过头来看看我们在第 12 章分析的火花塞广告中的集中文案。这是对火花塞的弱点与燃油喷射器的类似优点逐点比较的结果。

At the end of this sequence, the writer had built up tremendous believability. He could have done many things with that believability. He could have switched it into an immediate restatement of his main claims. He could have channeled it directly into asking for the order. He could have gone into a money back guarantee, etc.

在这一系列的结尾，作者建立了巨大的可信度。他可以利用这种可信度做很多事情。他可以将其转化为对他主要主张的直接重述。他可以直接将其引导到请求订单上。他可以提出退款保证等等。

Instead, he chose to pile proof upon believability in this way: “These are some of the reasons that the U.S. Air Force pays premium prices for surface supported injectors for their aircraft …”

相反，他选择以这种方式增加可信度的证据：“这些是美国空军为其飞机支付高价购买地面支持喷油器的一些原因……”

And, in so doing, strengthens the power of both the believability copy that went before, and the authority-reference that now follows.

并且，这样做增强了之前的可信度文案和现在随之而来的权威参考的力量。

Thus, and we’ll take this up in greater detail in the Reinforcement section that follows, in copy 1 + 1 can often equal 10. By adding one powerful piece of copy—at precisely the right moment—to another, you can get an overall effect far greater than these two pieces of copy would ever produce, if they were just spread out all over the page.

因此，我们将在接下来的强化部分中更详细地讨论这一点，在文案中 1 + 1 往往可以等于 10。通过在恰当的时刻将一段强有力的文案添加到另一段文案中，您可以获得的整体效果远远超过这两段文案单独分散在页面上所产生的效果。

Position increases power. We continue to find new examples of this every time we explore another copy process.

位置增加权力。每当我们探索另一个文案过程时，我们继续发现新的例子。

And how about the other three processes? How does your proof interact with them?

那么其他三个过程呢？你的证明是如何与它们互动的？

Well, take Gradualization. Study the TV Repair Manual ad again. Notice the exact point that the ‘“manufacturer’s test rooms” are brought into the copy—at the very moment that the reader is begging for some sort of solution to the problems that the copy has intensified over and over again.

好吧，看看渐进化。再研究一下电视维修手册的广告。注意“制造商的测试室”被引入文案的确切时刻——就在读者恳求某种解决方案来应对文案一再加剧的问题的那一刻。

Here, at this point, the reader is searching for an answer. Here the exact same proof which might be merely dull statistics if it were presented earlier, suddenly takes on a sharpened drama—because the reader now is fully aware of its importance, and is ready to explore every word.

在这一点上，读者正在寻找答案。在这里，如果之前呈现的证明仅仅是乏味的统计数据，那么现在它突然变得充满戏剧性——因为读者现在完全意识到它的重要性，并准备探索每一个字。

Again, I must repeat that the main problem with documentation is that it is inherently dull. Your job, therefore, is to add excitement to it. You have to stage it. You have to develop a drama, in your reader’s mind, into which your documentation enters as the hero. In which statistics suddenly become charged with emotion—because you’ve made them the solution to whatever stands between your reader and the satisfactions that he craves.

再一次，我必须重申，文档的主要问题在于它本质上是乏味的。因此，你的工作是为其增添兴奋感。你必须将其呈现出来。你必须在读者的脑海中发展出一场戏剧，让你的文档作为英雄进入其中。在这个戏剧中，统计数据突然充满了情感——因为你让它们成为了读者与他渴望的满足之间的解决方案。

I could go on, and give examples of the interaction of proof and each of the remaining mechanisms, but I think you would gain far more by doing it yourself. Instead, let me sum up by saying this:

我可以继续下去，举出证明与其余机制相互作用的例子，但我认为你自己去做会获得更多。相反，让我总结一下：

Documentation is any sort of proof—statistics, facts, tests, etc.—that your product works.

文档是任何形式的证明——统计数据、事实、测试等——证明您的产品有效。

Mechanization on the other hand (in case there may be a confusion in your mind) is the verbal and logical demonstration, and thus also proof, that your product works. Mechanization does not necessarily have to incorporate any outside documentation at all to prove its point—it does this on the strength of its logic and its structure alone.

另一方面，机械化（以防你心中有任何混淆）是口头和逻辑的演示，因此也是证明你的产品有效的证据。机械化不一定需要任何外部文档来证明其观点——它仅凭其逻辑和结构的力量来做到这一点。

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——与它们两者不同——是将您的文档安排在您的文案中，以便获得读者的最大即时接受度，并对他产生最大的情感影响的过程。

Thus, I would suggest that you stop thinking of placing your documentation only in the headline of your ad, or in the sub-head, or in a separate box labelled. “Here’s Proof.”

因此，我建议你不要只考虑将你的文档放在广告的标题中，或在副标题中，或放在一个标记为“这是证明”的单独框中。

I would suggest instead that you start thinking of documentation as one more element (along with promises, belief-words, momentum-builders, image-sharpeners, emotion-definers, and all the rest which we’ll explore before we finish) to be interwoven together, side by side—so that, combined, they give you far greater emotional power and believability than any one of them could separately.

我建议你开始将文档视为一个额外的元素（与承诺、信念词、势头构建者、图像锐化器、情感定义者以及我们在结束之前将要探讨的所有其他内容一起）交织在一起，肩并肩地结合在一起——这样，它们结合起来所带来的情感力量和可信度远远超过任何一个单独的元素。

Reinforcement—How to Make Two
Claims Do the Work of Four

强化—如何让两个声明发挥四个的作用

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.

所有文案的第一条规则，当然是它必须产生情感冲击。正如我们一再看到的，即使在可信的文案中，甚至在文档中，每一个字都必须传达形象、画面和感觉。

Now, the wonderful thing about emotional writing, of which copy is one form, is this: That 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.

现在，情感写作的奇妙之处在于，文案就是一种形式：如果你巧妙地运用它，那么一种情感的影响，加上第二种情感的影响，往往会非数学性地加起来——等于四种情感的影响。

In mathematics, one plus one always equals two—never more. In emotional writing, one plus one can often equal ten. In other words, two emotional images, joined together in the right way can often have TEN TIMES the impact that either of these images has by itself.

在数学中，一加一总是等于二——从不多。在情感写作中，一加一往往可以等于十。换句话说，两个情感图像以正确的方式结合在一起，往往可以产生这两个图像单独存在时的十倍影响。

For example, in the classic Avis campaign, the main theme was “We try harder.” Good by itself; but nowhere near as powerful as it became when it was reinforced by the reason why Avis tries harder: “We’re only second.”

例如，在经典的 Avis 广告活动中，主要主题是“我们更努力。”这本身很好；但当它被 Avis 更努力的原因所强化时，就远不如它变得强大：“我们只是第二。”

These two separate ideas: (1) We’re second; (2) Therefore, we try harder.—when they are combined, take on a joint impact far greater than you could ever logically expect if you simply examined each one of them by itself.

这两个独立的想法：（1）我们是第二；（2）因此，我们更加努力。——当它们结合在一起时，产生的共同影响远远超过你仅仅单独审视每一个想法时所能逻辑上预期的。

In fact, we can even define one type of creativity as the ability to combine separate images into a new identity that is much more powerful than the mere logical sum of its parts.

事实上，我们甚至可以将一种创造力定义为将独立的图像结合成一种新的身份的能力，这种身份的力量远远超过其部分的简单逻辑总和。

This is how new words are born. As well as new phrases, slogans, concepts, ideas. And, of course, headlines.

这就是新词诞生的方式。还有新短语、口号、概念、想法。当然，还有标题。

Your job—and it’s a tough one—is to do just this, image by image, throughout the entire body copy of your ad.

你的工作——这是一项艰巨的任务——就是在广告的整个正文中逐图像地做到这一点。

For example, in the ad for “the man who will settle for nothing less than the presidency of his firm’’ that we quoted in the last chapter, this sequence occurs:

例如，在我们在上一章引用的“愿意为自己公司的总裁职位而不妥协的男人”的广告中，这个顺序出现了：

This is John Horn’s first book, he is not an accomplished writer, and it has flaws. If you read for style, or for literary quality this is not your book.

这是约翰·霍恩的第一本书，他并不是一位出色的作家，这本书有缺陷。如果你是为了风格或文学质量而阅读，这本书不适合你。

Bui there are paragraphs in his book—ideas in this hook—whole chapters in this book which have never been put down on paper before that may open doors to you—tomorrow—that otherwise might take a lifetime of waiting for you to walk through!

但是他书中的段落——这本书中的思想——这本书中的整章内容以前从未写在纸上，可能会为你打开明天的门——否则你可能需要一生的时间才能走过！

Notice how the startling frankness of the first paragraph, which goes out of its way to call the reader’s attention to flaws in its product, serves as an intensifying contrast to the positive claims of the second paragraph—making them far more believable and therefore far more powerful to the reader who is now convinced that he is receiving a fair report on this book.

注意到第一段的惊人坦率，它特意引起读者对其产品缺陷的关注，这与第二段的积极声明形成了强烈的对比——使得这些声明更加可信，因此对现在确信自己正在获得这本书公正报告的读者来说，显得更加有力。

It is the juxtaposition of these two paragraphs—one following right on top of the other—that makes their combination so effective.

这两段文字的并列——一段紧接着另一段——使它们的结合如此有效。

Copywriting, in many phases, is the search for such juxtapositions. The last five chapters have been full of examples of them. I suggest that you go back and read these examples again, and underline the combination points—and junctures—where one claim blends into another, and either sharpens it, pours strength into it, or makes it more believable.

文案写作在许多阶段都是对这种并置的探索。最后五章充满了这些例子的内容。我建议你回去再读一遍这些例子，并划出组合点——以及一个主张与另一个主张交汇的地方——这些地方要么使其更加尖锐，要么注入力量，或者使其更具可信性。

So, one way you tie your ad together is to constantly build one claim on top of another—always seeking to make each stronger and more believable by the combination.

因此，你将广告结合在一起的一种方式是不断在一个主张之上建立另一个主张——始终寻求通过组合使每个主张更强大、更可信。

This same principle applies in a smaller way in our next device.

这个相同的原则在我们下一个设备中以更小的方式适用。

Interweaving—How to Blend Emotion, Image and Logic Into the Same Sentence

交织—如何将情感、形象和逻辑融入同一句话中

Let me mention at this point a thought that has probably occurred to you several times over the past few chapters:

在这一点上让我提到一个在过去几章中可能多次出现在你脑海中的想法：

The big trouble with analysis of the kind we’ve been doing in the second part of this book is that after a while it begins to sound quite mechanical. You’ve probably thought that I’m suggesting that you abandon any kind of creative flow, and work like a sort of phrase-carpenter. Here you put in a promise; there you nail on a believability sentence; then cover both of them with a good strong identification.

我们在本书第二部分所做的分析最大的问题是，经过一段时间后，它开始听起来相当机械。你可能认为我在建议你放弃任何形式的创造性流动，而像一个短语木匠一样工作。在这里你放入一个承诺；在那里你钉上一个可信度句子；然后用一个强有力的认同感覆盖它们两个。

This is what it sounds like because it takes so long to identify each one of these devices and show you how to work them. Because of this need for analysis—which always requires that you cut individual elements out of the “life-flow” of a growing ad—it sounds like you should actually be conscious of each device as you are using it to write that ad—even going so far as to name the device as you weave it in.

这听起来就是这样，因为识别每一个设备并向你展示如何使用它们需要很长时间。由于这种分析的需求——这总是要求你将个别元素从不断增长的广告的“生活流”中切割出来——听起来你在使用这些设备写广告时，实际上应该对每个设备保持意识，甚至在将其融入时给设备命名。

I don’t think I have to tell you that this mechanical approach is not my idea, and that it won’t work. What I’m trying to do is exactly the same procedure that a golf pro uses when he wants to improve your game. He doesn’t just let you go out and play. He stops you, makes you notice your hands, rationalize your grip, shift your fingers, get used to the new feel of the club as you lift it this new way, and then take a few practice swings—all at the same time that he’s telling you why you’re doing it this way.

我想我不需要告诉你，这种机械的方法不是我的主意，而且它不会奏效。我想要做的正是高尔夫职业选手在想要提高你的球技时所采用的相同程序。他不会让你直接出去打球。他会让你停下来，让你注意你的手，理清你的握杆，调整你的手指，习惯以这种新方式提起球杆的感觉，然后进行几次练习挥杆——同时告诉你为什么要这样做。

When you’re swinging for the first few times, this new way, you feel pretty awkward, and you’re conscious of every muscle in your arms. That’s why he has you keep swinging—through one bucket… two buckets … ten buckets of balls.

当你第一次以这种新方式挥杆时，你会感到相当尴尬，并且意识到你手臂中的每一块肌肉。这就是为什么他让你继续挥杆——经过一桶……两桶……十桶球。

Pretty soon, though, those arm muscles are going to feel comfortable in that new swing. And you’re going to lose your conscious awareness of them. At that point, what was mechanical before becomes intuitive now. But it’s a new kind of intuition—far more, skillful and effective than you had before.

不过，很快那些手臂肌肉就会在新的挥杆中感到舒适。你会失去对它们的意识。到那时，之前机械的动作变得直觉化。但这是一种新的直觉——比你之前的更加熟练和有效。

This is the kind of intuition I’m trying to build in you. I’m trying to take you from Creativity #1 to Creativity #2. Both are intuitive states, where you write from the full depths of your emotions as well as your mind, and when you are no more conscious of the mechanisms and devices that you are employing to gain your effects, than you are of the movements of your fingers on the typewriter keys.

这就是我试图在你身上建立的直觉。我想把你从创造力#1 带到创造力#2。两者都是直观的状态，你从情感和思维的深处写作，当你对自己所使用的机制和手段的意识不再比你对手指在打字机键盘上移动的意识更强时。

But, to get you from State #1 to State #2. 1 have to bring all these details to consciousness—and make you awkward in a new and more effective way than you were when you first learned to write copy—so that you can take these insights and techniques and bury them inside your own talent—so that you can automatically employ them, without thinking about them at all, when you want to express most powerfully your ideas, your emotions and your sales philosophy.

但是，为了让你从状态#1 到达状态#2，我必须将所有这些细节带入意识中——并以一种比你第一次学习写文案时更尴尬、更有效的方式让你感到不适——这样你才能将这些洞察和技巧埋藏在你自己的才能中——以便在你想要最有力地表达你的想法、情感和销售理念时，能够自动运用它们，而无需思考。

This whole process of “New Awkwardness leading to New Ability” is seen quite clearly in the very simple technique of Interweaving, which I learned from a brilliant man by the name of Walter S. Campbell.

“新尴尬导致新能力”的整个过程在我从一位名叫沃尔特·S·坎贝尔的杰出人士那里学到的非常简单的交织技巧中得到了清晰的体现。

Every copy writer should read Campbell’s book, Writing Non-Fiction (The Writer, Inc., 1961). In the next chapter I’ll list other books you should have. But this is certainly one of the important ones that you can probably master in a weekend.

每位文案写手都应该阅读坎贝尔的书《写作非虚构》（The Writer, Inc., 1961）。在下一章中，我会列出你应该拥有的其他书籍。但这无疑是你可能在一个周末内掌握的重要书籍之一。

Campbell is talking about reporting and not copy writing, but the structural principles are the same. He says that even in the most factual reporting, no sentence can be effective if it contains only the facts alone. It must also contain emotion, evaluation, impact—if those facts are to be given meaning and importance to the reader.

坎贝尔谈论的是报道而不是文案写作，但结构原则是相同的。他说，即使在最事实的报道中，如果句子仅包含事实，它也无法有效。它还必须包含情感、评估、影响——如果这些事实要赋予读者意义和重要性的话。

The same is true for every sentence you write of copy. That sentence should contain not only promise … not only image not only logic—but as much of all three as possible.

你写的每一句文案也是如此。那句话不仅应该包含承诺……不仅仅是形象，不仅仅是逻辑——而是尽可能多地包含这三者。

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 it’s almost impossible to pull out the individual threads of the rich pattern of conviction and desire you’re weaving.

将你的承诺、逻辑、情感和形象交织在一起。让你的句子充满它们每一个元素。让它们相互融合，直到几乎不可能将你编织的信念和欲望的丰富图案中的单独线索抽出来。

For example, go back to the fire injector ad in Chapter 12, and see how promise is interwoven in even sentence of the believability copy where the injectors are being contrasted with the old-fashioned plugs. In these two sentences, for instance:

例如，回到第 12 章的火喷射器广告，看看承诺是如何在每一句可信度文案中交织的，其中喷射器与老式插头形成对比。在这两句话中，例如：

“With ordinary spark plugs you are using, or should he using premium gas (disadvantage) which costs from 4 to 8 cents more than ordinary gas (disadvantage), and despite this (disadvantage) you’re getting inefficient (disadvantage), wasteful (disadvantage) gas consumption (disadvantage).”

“使用普通火花塞，或者他应该使用高级汽油（缺点），其成本比普通汽油高出 4 到 8 美分（缺点），尽管如此（缺点），你仍然在获得低效（缺点）、浪费（缺点）的汽油消耗（缺点）。”

In this first sentence, which is part of a logical sequence offered as proof of superiority through comparison of performance characteristics, the copy writer has managed to insert six disadvantage-images for the reader to remember the next time he considers buying ordinary plugs.

在这第一句话中，作为通过性能特征比较提供的优越性证明的一部分，文案撰写者成功地插入了六个劣势形象，以便读者在下次考虑购买普通插头时记住。

Now the copy writer goes on to his contrasting sentence about the injectors:

现在文案撰写者继续谈论关于喷射器的对比句子：

“With fire injectors regular gas (promise) will give you up to 8 miles more per gallon (promise), up to 31 more horsepower (promise), plus easier starting (promise) in all weather (promise).”

“使用火喷射器，普通汽油（承诺）将为您提供每加仑多达 8 英里（承诺），多达 31 匹马力（承诺），并且在任何天气条件下（承诺）更容易启动（承诺）。”

Five promises in this second sentence. The packing in of image upon image to build an overwhelming effect.

第二句话中的五个承诺。将一个个图像叠加以产生压倒性的效果。

Or, as an even more complicated example, involving the interweaving of almost every copy element in the book, let’s look at this sentence:

或者，作为一个更复杂的例子，涉及到书中几乎每个文案元素的交织，我们来看这句话：

“And, most important, (a mood-builder, indicating the value to the reader of the promises which are about to follow) these experts (reference to authority to build believability) have discovered (more believability through the use of the scientific idiom) that you do not have to be a handyman (the core-promise) or a mechanic (restatement of the core-promise) in order to coax (promise of ease) this performance (promise, condensing all the claims of superior reception that have already been detailed in the previous copy) out of your set.”

“而且，最重要的是，（一种情绪营造者，表明即将到来的承诺对读者的价值）这些专家（引用权威以建立可信度）发现（通过使用科学术语增加可信度）你不必是一个修理工（核心承诺）或机械师（核心承诺的重述），就可以引导（轻松的承诺）你的设备（承诺，浓缩了之前文案中已经详细说明的所有优越接收的主张）实现这种表现。”

Now, is this done consciously? Not at all. But the copy writer knew the principle of interest-building, has experimented with it before … and had it stored away in his unconscious as one more tool to be used—intuitively—to bring in the effect he wanted, at the exact moment he needed it.

现在，这种做法是有意识的吗？一点也不是。但文案撰写者知道兴趣建立的原则，之前也曾对此进行过实验……并将其存储在他的潜意识中，作为一个可以直觉使用的工具，以在他需要的确切时刻带来他想要的效果。

Try it yourself. See how many different emotions you can pack into a single sentence … paragraph … sequence. See how much richer and more powerful your copy becomes. How much more you can say in the same space. How you begin to build reinforcement-multiplied impact into more and more of your copy.

自己试试看。看看你能在一个句子……段落……序列中融入多少种不同的情感。看看你的文案变得多么丰富和强大。在同样的空间中你能说多少更多。你是如何开始在越来越多的文案中构建增强倍增的影响力。

Sensitivity—How to Give Your Reader What He Demands Step In Step Throughout the Copy

敏感性——如何在整篇文案中一步一步地满足读者的需求

Now; if you continue to pile promise upon promise, identification upon identification, documentation upon documentation, element upon element… where do you stop? Where does it become too much? Where does the reader become satiated or bored and want to go on to a new image or new promise, or even the close?

现在；如果你继续将承诺堆积在承诺之上，身份堆积在身份之上，文档堆积在文档之上，元素堆积在元素之上……你在哪里停止？在哪里变得太多？读者在哪里变得满足或厌倦，想要转向新的形象或新的承诺，甚至是结束？

At what point are you starting to oversell? How do you catch yourself, and switch off?

你在什么情况下开始过度推销？你如何发现自己，并停止？

We have already touched on this problem before in Chapter 11. I suggest that you reread that discussion now, even though we’re going to expand on it at this point.

我们在第 11 章中已经提到过这个问题。我建议你现在重新阅读那部分讨论，尽管我们将在此时对此进行扩展。

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.”

在这里，你依赖于自己的同理心。你必须同时不仅是广告的撰写者，也是它的读者。你必须预见到在文案流中——当它转化为读者心中的一系列印象时——他将会说：“我已经读够了这个。给我这个吧。”

And then you must shift the direction of the copy to meet his new direction of interest.

然后你必须调整文案的方向，以符合他新的兴趣方向。

In other words, what we are talking about now is the overall structure of your ad. Not a sentence, or a paragraph, or a sequence: but the architecture of the ad as a whole.

换句话说，我们现在讨论的是你广告的整体结构。不是一个句子，或一个段落，或一个序列：而是广告作为一个整体的架构。

Every ad has an architecture, as I’m sure YOU know. This is the overall pattern of the ad, including when and where and how many times you shift from one type of copy to another. It is the ability to recognize these shift points, and to change when YOU encounter them from—say—promise copy to mechanism copy to documentation copy to promise copy again, that makes your ad stick together, or fall apart.

每个广告都有一个架构，我相信你知道。这是广告的整体模式，包括何时、何地以及多少次你从一种文案类型转变为另一种文案类型。识别这些转变点的能力，以及在遇到它们时从——比如——承诺文案转变为机制文案，再转变为文档文案，再转变为承诺文案的能力，决定了你的广告是紧密结合在一起，还是分崩离析。

This is an almost impossible skill to communicate, since it relies so much on the feel of each individual situation. However, I can show it to YOU after it’s occurred, in a series of four ads on the same general type of product—books—and how each differs from the others in the way large blocks of copy elements are blended in and out of the overall sell.

这是一项几乎不可能传达的技能，因为它非常依赖于每个个体情况的感觉。然而，我可以在事情发生后向你展示它，通过一系列四个关于同一类产品——书籍——的广告，以及每个广告在大块文案元素的融合和整体销售方式上的不同。

As I’ve said before, I use mail order as my example because mail order is the longest general form of copy, because it usually sells the hardest, and because the techniques I’m talking about are usually outlined most clearly in this type of copy.

正如我之前所说，我以邮购作为例子，因为邮购是最长的一般形式的文案，因为它通常销售得最艰难，并且我所谈论的技巧通常在这种类型的文案中最清晰地列出。

Let’s look at our four ads, and see how each approaches the basic task of selling a similar product in a different way and with a different blend of elements:

让我们看看我们的四个广告，看看每个广告是如何以不同的方式和不同的元素组合来处理销售类似产品的基本任务的：

Sample Ad #1

样本广告 #1

This is the friend-winning ad we looked at in our last chapter. I’ve indicated each major block of copy, in sequence, by a letter of the alphabet; and each of the shift points by a number. I am using as examples all direct-promise headlines. The promise in this headline is almost universal (A): that you can make anybody like YOU.

这是我们在上一章中看到的赢得朋友的广告。我已按顺序用字母标示每个主要的文案块；并用数字标示每个转折点。我使用的都是直接承诺的标题作为例子。这个标题中的承诺几乎是普遍的（A）：你可以让任何人喜欢你。

Instead of intensifying the promise immediately, however, as many other ads in this category have done, this copy starts out by restating the original headline promise (making anybody like you becomes popularity) and by defining the previously unrecognized fact that this popularity can be taught. (B).

然而，这段文案并没有像该类别中的许多其他广告那样立即强化承诺，而是通过重申原始标题承诺（让任何人都喜欢你就变得受欢迎）并定义之前未被认识的事实，即这种受欢迎程度是可以被教授的，来开始。 (B)。

Why was this done? For two reasons: (1) because this novel, almost paradoxical redefinition (Can popularity be purchased?) established an immediate point of difference between this book and the dozens of similar titles that had come before it always a critical problem. And (2) because this ad’s subject was a teacher, and the ad’s whole believability rested upon the fact that so many large and respected corporations had paid this man so much money to reach these techniques to their employees.

为什么要这样做？有两个原因：（1）因为这种几乎矛盾的重新定义（流行性可以被购买吗？）在这本书和之前出现的数十本类似书籍之间建立了一个立即的差异点，这始终是一个关键问题。 （2）因为这则广告的主题是一位教师，而广告的整体可信度建立在许多大型和受人尊敬的公司为让这个人将这些技巧传授给他们的员工而支付了如此高的费用这一事实之上。

This is established by the ads first shift point and first transitional sentence (1). “This has been proved by …” leads directly into the first documentation block in which the corporations are named.

这是通过广告的第一个转折点和第一个过渡句（1）确立的。“这已经被证明为……”直接引入了第一个文档块，在该块中列出了公司名称。

Thus we have the developing pattern of the ad as:

因此，我们得到了广告的发展模式为：

Promise

承诺

Definition

定义

Documentation …

文档 …

Right up to the next transition sentence (2), which brings in the first detailed promise block (D), and which then echoes again the documentation (E) and price comparison.

直到下一个过渡句（2），引入第一个详细的承诺块（D），然后再次回响文档（E）和价格比较。

Now, after a brief transitional promise (F), the ad defines again the importance of the over-all promise (G), backs it up with a third restatement of the documentation (H), and then states directly the price comparison and money-back guarantee (I).

现在，在简短的过渡承诺（F）之后，广告再次定义了整体承诺的重要性（G），用第三次重述的文档（H）来支持它，然后直接说明价格比较和退款保证（I）。

Then, with the classic transition (3), it goes on to devote the rest of the ad to a detailed cataloguing of the promise (J). A recitation of promises that are far stronger now—because of the preparation of definition and documentation that has been laid for them, than they would have ever been had they simply been put at the beginning of the ad without such preparation.

然后，使用经典的过渡（3），广告的其余部分致力于详细列举承诺（J）。这些承诺的陈述现在要强得多——因为为它们所做的定义和文档准备，而不是如果它们仅仅在广告的开头被提出而没有这样的准备。

Incidentally, notice how the negative promises (K), and the full list of documentation (L), have been placed out of the main stream of the ad where they can be read, or not read, by those who are interested in them.

顺便提一下，注意到负面承诺（K）和完整的文档列表（L）是如何被放置在广告的主流之外，以便那些对它们感兴趣的人可以选择阅读或不阅读。

Sample Ad #2

样本广告 #2

An ad for a book on improving the power of your mind. Again the promise-headline (A), intensified by—this time—an elaboration of this promise (B). (See page 212.)

一本关于提升思维能力的书的广告。再次是承诺标题（A），这次通过对这一承诺的详细阐述（B）来加强。（见第 212 页。）

Now, using its first transitional sentence (1), the ad moves into two paragraphs of negative (C) and positive (D) redefinition. And then, with a single transition-word (Simply—2), again elaborates the promise, making it stronger and stronger and more and more detailed, and at the same time giving it the believability-tone of definition.

现在，使用其第一个过渡句（1），广告进入了两个段落的负面（C）和正面（D）重新定义。然后，使用一个过渡词（Simply—2），再次详细阐述承诺，使其越来越强烈、越来越详细，同时赋予其定义的可信度语气。

This definition-tone is unchanged throughout (F), where promise is again interwoven with fact, leading immediately into a transition (3) in which the tone is that of proof, but the content is straight promise (G).

这个定义的语气在整个过程中保持不变（F），其中承诺再次与事实交织在一起，立即过渡到一个证明的语气（3），但内容是直接的承诺（G）。

Then this proof is connected (4) with the entire promise catalog (H) which fills the rest of the ad.

然后这个证明与整个承诺目录（H）相连，填充了广告的其余部分。

This ad—enormously successful—is one of the best examples of interweaving we have. There is so subtle a blending here of definition, documentation and promise, that every word of the copy soon takes on the aura of pure fact.

这则广告——极其成功——是我们所拥有的交织的最佳例子之一。这里对定义、文档和承诺的融合如此微妙，以至于文案的每一个字很快都带上了纯粹事实的光环。

Sample Ad #3

样本广告 #3

Now we move on to the straight-promise ad. This is the rock-em, sock-em type, dominated by promise and mechanism-promise, which gains its power from the sheer momentum and relentlessness of its claims. (See page 216.)

现在我们进入直接承诺广告。这是一种强烈的、充满冲击力的类型，以承诺和机制承诺为主导，其力量来自于其主张的巨大动力和不懈性。（见第 216 页。）

It again starts with the over-all promise (A), which it immediately follows up with a second, elaborating promise (B).

它再次以整体承诺（A）开始，紧接着是第二个详细承诺（B）。

Then it moves directly into its fundamental definition (C), which it equates in a single phrase (then you could—1) with a greatly detailed promise (D), and then follows up with a beautifully condensed paragraph which consists of a transition in (2) to a restatement of its fundamental redefinition (E), and out again (3) to the remainder of the ad. (F), which is sheer promise and promise-mechanism from then on.

然后它直接进入其基本定义（C），并在一个短语中将其等同（然后你可以—1）与一个详细的承诺（D），接着跟随一个优美的简洁段落，其中包含一个过渡（2）到其基本重新定义的重述（E），然后再次（3）回到广告的其余部分（F），从那时起完全是承诺和承诺机制。

Here, documentation is disregarded entirely. The full weight of the sale depends on the power and momentum of the promise-train.

在这里，文档完全被忽视。销售的全部重担依赖于承诺列车的力量和动量。

Sample Ad #4

样本广告 #4

And finally, we have a beauty book. Here, the main promise-headline (B) is preceded by the critical authority-reference (A) which: first, sets it apart from the other similar products it must erase from the prospects mind: and second, brings in immediately the key persuader of its author. (See page 220.)

最后，我们有一本美容书。在这里，主要的承诺标题（B）之前是关键的权威参考（A），它首先将其与其他类似产品区分开来，这些产品必须从潜在客户的脑海中抹去；其次，立即引入了其作者的关键说服者。（见第 220 页。）

(C) block, while promise copy, also serves the simultaneous purpose of being a momentum-builder—a technique we will discuss in a moment.

(C) 块，同时承诺复制，也同时起到建立势头的作用——这是我们稍后将讨论的一种技巧。

Using the different type faces and sizes as transitional elements, the copy then introduces its crucial concentration copy (D), in which it redefines what the woman can now expect from her appearance, and in which it outdates other approaches to giving this fulfillment to her.

通过使用不同的字体和大小作为过渡元素，文案接着引入其关键的集中文案（D），在其中重新定义了女性现在可以期待的外貌，并且超越了其他提供这种满足感的方法。

After (1) Because… comes the first promise-elaboration block.

在（1）因为……之后是第一个承诺详细说明块。

But there is no piling up of claim upon claim here. There is too much ingrained skepticism in this prospect—too much awareness of other, previous claims that have disappointed her in the past. This skepticism must be anticipated, and answered. This is done, first (F) by agreeing with it, and then (G) by shifting the entire story onto the doctor for twelve paragraphs—by far the longest reference to authority of any of our four sample ads.

但这里并没有一层层的索赔叠加。这个前景中有太多根深蒂固的怀疑——对过去那些让她失望的其他索赔的过多意识。必须预见并回应这种怀疑。首先（F）通过同意它来做到这一点，然后（G）将整个故事转移到医生身上，持续十二段——这是我们四个样本广告中对权威的最长引用。

Then a transition (2) back to promise (H), which fills out the rest of the ad.

然后过渡回承诺（H），这填补了广告的其余部分。

See How the Structure Differs

查看结构的不同之处

Let me say this. Although I have not pointed out every transition, nor every blending of different types of copy, I have, 1 hope, given you enough material to see clearly how ads differ in overall structure, as they differ in content, as the demands of their material differ.

让我这样说。虽然我没有指出每一个过渡，也没有指出不同类型文案的每一个融合，但我希望我提供了足够的材料，让你清楚地看到广告在整体结构上是如何不同的，正如它们在内容上是不同的，因为它们的材料需求不同。

They range from the simplest promise-elaboration (example 3), to the most subtle blending of all the various elements of desire, image, proof, definition and what have you (example 2), to the most complicated promise-and-proof… promise-and-proof reinforcement (example 4).

它们从最简单的承诺阐述（示例 3），到各种欲望、形象、证明、定义等元素的最微妙融合（示例 2），再到最复杂的承诺与证明……承诺与证明的强化（示例 4）。

Each problem demands a different structure. Each signals as you write it, that here—at this precise point—your copy has left your reader. You have gone on straight when lie wants to turn left. You are piling on promise after promise, when lie no longer believes you. You are burying him under a sea of statistics, when he is convinced you are telling the truth, and wants you to make those delicious promises all over again.

每个问题都需要不同的结构。每当你写下它时，它都会发出信号，表明在这里——在这个精确的时刻——你的文案已经让读者失去了兴趣。你一直在直行，而他想要左转。你不断堆砌承诺，而他已经不再相信你。你在一堆统计数据下埋葬了他，而他确信你在说真话，并希望你再次做出那些美好的承诺。

This is what you feel when you are writing the ad. Probably a kind of irritating confusion. A blockage. A sense that the copy has suddenly gone dead, and all you are writing now is words.

这就是你在写广告时的感觉。可能是一种恼人的困惑。一种阻塞感。感觉文案突然变得无生气，而你现在写的只是一些文字。

So you stop, and think, and look for a new direction. I hope, in this section, that I have given you a faint indication of what some of these directions might be.

所以你停下来，思考，寻找新的方向。我希望在这一部分中，我能给你一些这些方向可能是什么的微弱暗示。

What, on the other hand, can you learn from analyzing the structure of your ads (or other writers’) after you have finished them?

另一方面，在你完成广告（或其他作者的广告）后，分析它们的结构可以让你学到什么？

Primarily—what kind of ad you have written. Is it straight promise? Too much documentation? Too little definition of the new world of possibilities your product has created?

主要是——你写的广告是什么类型的。是直接承诺吗？文档太多？对你的产品所创造的新可能世界定义得太少了吗？

Does it still sound too much like everyone else’s copy. Or product? Could you put another brand-name on it, and not make any difference?

它听起来仍然像其他人的文案或产品吗？你能把另一个品牌名放上去，而没有任何区别吗？

Have you left anything out? Will this bare promise carry the sale? Or could you increase its impact by paving its way with some mechanism or believability copy? How about a proof section? A use photo? A fuller description of the way it works?

你有没有遗漏什么？这个简单的承诺能促成销售吗？或者你能否通过一些机制或可信度的文案来增强它的影响力？比如一个证明部分？一张使用照片？更详细的工作原理描述呢？

Mind you, this is not content alone that ice are discussing. If you take the same content, and give it a new structure, you are going to create a new ad. Try it. See for yourself. If you’re stuck sometime, throw away your headline, throw away your rough copy flow, and start off again 180 degrees away from where you started before.

请注意，这不仅仅是我们讨论的内容。如果你拿相同的内容，给它一个新的结构，你将会创造出一个新的广告。试试看。亲自体验一下。如果你有时候陷入困境，抛掉你的标题，抛掉你的粗略文稿流程，从你之前开始的地方 180 度转身重新开始。

I want to repeat this again: A new structure is a new ad. It brings out new ideas. Gives your promises new sharpness, new flavor, new believability and even begins to create whole new sections that you never dreamed were there in the product before. So we’ve come full circle. You start your ad by creating your headline. You develop your copy story from that headline. But if the copy story doesn’t develop—if you gradually find that the headline isn’t really that good after all—then perhaps the very elements that are begging to come out of your 6-point type should be at the top of your ad.

我想再重复一遍：一个新的结构就是一个新的广告。它带来了新的想法。赋予你的承诺新的锐度、新的风味、新的可信度，甚至开始创造出你之前从未想过的全新部分。因此，我们已经回到了起点。你通过创建标题来开始你的广告。你从这个标题发展你的文案故事。但如果文案故事没有发展——如果你逐渐发现标题其实并没有那么好——那么或许那些急于从你的 6 号字体中显现出来的元素应该放在广告的顶部。

This is what makes this copy writing so interesting. You’re always being surprised—with ideas from the most ungodly places. Just make sure you’ve got your eyes open wide enough to catch all of them.

这就是让这篇文案写作如此有趣的原因。你总是会被来自最不可思议地方的创意所惊讶。只要确保你睁大眼睛，能够捕捉到所有这些创意。

Momentum—How to Draw Your Reader
Deeper and Deeper Into Your Copy

动量——如何让读者越来越深入地阅读你的文案

There are two other devices we should discuss. Both of them help tie your ad together, though that’s not their primary function.

还有两个设备我们应该讨论。它们都帮助将你的广告联系在一起，尽管这并不是它们的主要功能。

The first is Momentum. How to draw your reader into your copy … keep him reading … making sure he doesn’t quit you in the middle.

第一个是动量。如何吸引读者进入你的文案……让他继续阅读……确保他不会在中途放弃你。

Copy’s first job, of course, is to be read. If it’s not read, it can’t sell. And if you take some time to make your points—to intensify your desire, to build and rebuild your believability, to reinforce one claim with another—then you’d better make darn sure that you’ve put plenty of momentum-builders into your copy

文案的首要任务，当然是被阅读。如果没有人阅读，它就无法销售。如果你花时间来阐述你的观点——增强你的欲望，建立和重建你的可信度，用一个主张来强化另一个主张——那么你最好确保在你的文案中加入了足够的推动力。

There are two types:

有两种类型：

1. Actual momentum phrases; and

1. 实际动量短语；和

2. Incomplete statements, or teasers, that draw the reader further into the copy in order to complete them.

2. 不完整的陈述或引子，吸引读者进一步阅读文案以完成它们。

The first type, the momentum-phrases, are time-honored. They are used in almost any sort of persuasive or educational writing. You insert them in your copy primarily in your transition-sentences, to keep interest from flagging, to indicate to your reader the general type of material that’s going to follow. They are “addy,” but they work. Here are a few examples, taken from the four book ads we looked at in the last section:

第一种类型，动量短语，是经过时间考验的。它们几乎用于任何类型的劝说或教育写作中。你主要在过渡句中插入它们，以保持读者的兴趣不减，并向读者指示接下来将要出现的材料的总体类型。它们是“addy”，但有效。以下是一些例子，取自我们在上一部分中查看的四个书籍广告：

“They paid up to $22.50 a person to learn priceless techniques like these:”

“他们每人支付高达 22.50 美元来学习像这样的无价技巧。”

“You can learn them all, in your own home next weekend, without risking a penny. Here’s how”

“你可以在下个周末，在自己家里学习所有这些，而不需要冒任何风险。方法如下。”

“Here is the information you will find in this hook.”

“这里是您在这个钩子中找到的信息。”

“Let me explain.”

“让我来解释一下。”

“All I ask from you is this.”

“我对你唯一的要求就是这个。”

“What you are going to do, in the very first hour that you receive the book, is this.”

“你在收到这本书的第一个小时要做的就是这个。”

“And yet it’s only the beginning.”

“然而，这仅仅是个开始。”

“THEN put this simple trick to work for you—that VERY SAME HOUR”

“那么把这个简单的技巧在你身上运用——就在那个小时”

“For example—”

“例如—”

“Read the thrilling answer below.”

“请阅读下面令人兴奋的答案。”

“… to start with …”

“… 首先 …”

“Just wait till you try this.”

“等你试试这个的时候。”

And so on. These are actual invitations to read on. If YOU write long copy, they should be spotted throughout it.

等等。这些是真正的邀请，鼓励继续阅读。如果你写长篇文案，它们应该在文中随处可见。

The second category of momentum-builder is much more subtle, and gives YOU thousands of ways to keep drawing your reader along after your developing thought. It’s based on the simple principle that if YOU make a statement that interests your reader, and if you purposely and skillfully do not complete that statement, so that there is a question of how it can be done, then he will read on to find out more.

第二类动量构建者则更加微妙，给你提供了成千上万种方法来持续吸引读者关注你正在发展的思想。它基于一个简单的原则：如果你提出一个让读者感兴趣的陈述，并且故意且巧妙地不完成这个陈述，使得读者心中产生一个如何实现的问题，那么他就会继续阅读以了解更多。

In other words, YOU are continually throughout the copy:

换句话说，整篇文案中你始终是：

1. Creating interest in a specific point;

1. 在特定点上引起兴趣；

2. Raising a question in his mind about that point; and

2. 在他心中对那个点提出一个问题；并且

3. Implying an answer to that question later in the copy.

3. 在文中稍后暗示对该问题的回答。

Here are some examples of this technique:

以下是这种技术的一些示例：

“And YOU will do it often using nothing more than ordinary tap water, your own ten fingers, and the contents of your garden and your refrigerator.”

“而你将经常仅使用普通自来水、你自己的十根手指，以及你花园和冰箱里的东西来做到这一点。”

“But now, when you turn on the ignition, a modern miracle of engineering science comes to life underneath your hood!”

“但是现在，当你打开点火开关时，现代工程科学的奇迹就在你的引擎盖下活了过来！”

“Yes! Here at last is the Engineering Miracle you’ve been hearing rumors about for months. The fantastic Power-Booster that Continental millionaires use to soup up the performance of $12,000 cars! The revolutionary new Gas-Saver that actually gives compact-car economy to Fords. Chevrolets, Plymouths and dozens of other American cars now driving in Europe! The sixty-second attachment that HAD TO BE BANNED from the great European raceways—because it gave so much added power, so much added efficiency to any car that used it—that the officials were forced to rule that it gave these cars an UNFAIR ADVANTAGE over those drivers who couldn’t obtain it!”

“是的！这里终于是你们听说了几个月的工程奇迹。这个神奇的动力增强器是大陆百万富翁用来提升价值 12,000 美元汽车性能的！革命性的新型省油器，实际上为福特、雪佛兰、普利茅斯以及现在在欧洲行驶的数十款其他美国汽车提供了紧凑型汽车的经济性！这个必须被禁止的六十秒附件——因为它为任何使用它的汽车提供了如此多的额外动力和效率——以至于官员们被迫裁定它给这些汽车带来了对那些无法获得它的驾驶者的 unfair advantage！”

“How to Grow Thousands of Flowers—Without Dirtying Your Hands.”

“如何种植成千上万的花朵——不弄脏你的手。”

“Here it is at last. Authoritative medical proof that men in their forties and fifties and sixties can enjoy a sex life in many ways as satisfying as when they were in their twenties—if they are only shown how to combat the hidden forces within their minds and bodies that literally drive them impotent!!”

“终于来了。权威的医学证明，四十、五十和六十岁的男性在许多方面可以享受与他们二十岁时一样令人满意的性生活——只要他们知道如何对抗隐藏在他们心灵和身体中的力量，这些力量实际上使他们失去性能力！！”

“Caught! 120 Fish in One Hour!”

“抓到了！一个小时内钓到 120 条鱼！”

“Just picture the scene as these college horticulturists began this amazing flowering test of roses. For here gathered in a test field were all the highly-prized queens of rosedom … rose blends that today sell for as high as $3.75 for a single plant. Row upon row of roses … prize-winners in international competition … the best the world has to offer … AND THEN, NEARLY-WILD STARTED TO BLOOM!”

“想象一下，当这些大学园艺师开始进行这个惊人的玫瑰开花测试时的场景。在这里，所有备受珍视的玫瑰女王聚集在一个测试田里……这些玫瑰混合品种如今单株售价高达 3.75 美元。成排的玫瑰……国际比赛的获奖者……世界上最好的……然后，近乎野生的玫瑰开始绽放！”

And so on. The objective here is to keep the reader going—for one more sentence, one more paragraph, one more sequence. Notice, of course, that every one of these examples not only produces momentum, not only raises questions in the reader’s mind that he virtually must read on to answer—but is also, at exactly the same time, loaded with sell. Again, interweaving—making each element in the ad accomplish two objectives. No waste words.

等等。这里的目标是让读者继续阅读——再多一句话，再多一段，再多一个序列。当然要注意，这些例子不仅产生了动力，还在读者的脑海中提出了他几乎必须继续阅读才能回答的问题——同时，它们也恰好充满了销售信息。再次强调，交织——让广告中的每个元素实现两个目标。没有废话。

Mood—How to Pack Your Copy With Drama, Excitement, Sincerity or Any Other Emotion You Wish

情绪——如何让你的文案充满戏剧性、兴奋、真诚或任何你想要的情感

Now we come to the matter of words—and the color which words create.

现在我们来谈谈文字以及文字所创造的色彩。

I have given you dozens of different examples in this book of selling copy. All these examples had certain elements in common—they were strong, successful, convincing and so on. But, at the same time, each of these copy blocks differed from the others in one immediately apparent way—in the mood that each set, simply by the rhythm and words that the copy writer used to express his thoughts.

在本书中，我给你提供了数十个不同的销售文案示例。所有这些示例都有某些共同的元素——它们都强大、成功、令人信服等等。但与此同时，这些文案块在一个显而易见的方面彼此不同——每一组的情绪，正是通过文案作者用来表达自己思想的节奏和词语。

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.

文字和节奏。它们对文案写作者来说，就像线条和颜色对画家一样。它们设定了你故事的氛围——以如此微妙的方式传达情感，以至于你的读者从未真正意识到兴奋、形象或信念究竟来自何处。

For example, here are several of the passages we’ve looked at before. Now let’s italicize the mood-builders within them, that make each so different from the others:

例如，这里是我们之前看过的几段文字。现在让我们对其中的情绪构建者进行斜体处理，使每一段与其他段落如此不同：

Objective: to emphasize color, beauty, excitement, visual image:

目标：强调色彩、美感、兴奋、视觉形象：

And when that third precious ingredient reaches those buds—then that very morning you will open the door to your house—AND YOU WILL BE BLINDED BY THE EXPLOSION OF COLOR THAT GREETS YOU IN YOUR GARDEN! … You will see rose bushes weighted down by masses of blossoms, of a richness and perfume and color you have never imagined before! You will walk past solid, blazing rows of chrysanthemums so thick that you can’t even see a leaf in between…

当第三种珍贵的成分到达那些花蕾时——那么在那个早晨你将打开你家的门——而你将被迎接你花园中色彩的爆炸所眩目！……你将看到玫瑰灌木被大量的花朵压弯，花朵的丰富、香气和色彩是你从未想象过的！你将走过厚重的、炽热的菊花行，密密麻麻到你甚至看不到中间的叶子……

Notice that you don’t even distinguish many of the separate images until they are called to your attention. Notice also that some of the words are primarily visual image-sharpeners (weighted down … solid, blazing rows … so thick you can’t even see a leaf in between). While others convey, not image, but emotion (precious … that very morning … blinded … greets … you never imagined before).

注意到你甚至在它们被提及之前并不能区分许多独立的图像。还要注意到，有些词主要是视觉图像的锐化器（沉重的……坚固的，炽热的行……厚得你甚至看不到中间的叶子）。而其他词则传达的不是图像，而是情感（珍贵的……就在那天早晨……失明……问候……你从未想象过）。

These words are emotion-definers. They tell the reader what to feel about the images and ideas you are presenting to him. Their very essence is that they are so subtle that he does not see them … that they do not call attention to themselves, but simply flavor and evaluate the images your copy is forming in his mind.

这些词是情感的定义者。它们告诉读者对你所呈现的图像和想法应该感受什么。它们的本质在于它们是如此微妙，以至于他看不见它们……它们并不引起注意，而只是为你文案在他脑海中形成的图像增添风味和评估。

Certain classes of readers will notice these emotion definers. When they do, your copy becomes either questionable or corny to them, and you have lost them. Therefore, you have to know always whom you are writing for. What their level of sophistication is—in tone as well as product-awareness. And you may have to change your tone when you take the same ad from one class of media to another—down as well as up.

某些类别的读者会注意到这些情感定义者。当他们注意到时，你的文案对他们来说要么显得可疑，要么显得老套，这样你就失去了他们。因此，你必须始终知道你是为谁写作。他们的成熟度是什么——无论是在语气上还是在产品认知上。当你将同一广告从一种媒体类别转移到另一种媒体类别时，你可能需要改变你的语气——无论是降低还是提高。

Of course, when everybody sees your emotion words, then you’ve got a bad ad, and you’d better rewrite, fast.

当然，当每个人看到你的情感词时，你的广告就糟糕了，你最好迅速重写。

And don’t forget the rhythms. Read the ad out loud. See how you can almost scan it, as though it were close to blank verse. This richness of rhythm parallels the richness of image—helps build the excitement and sensuousness of the mood.

并且不要忘记节奏。大声朗读广告。看看你是如何几乎可以快速浏览它，就好像它接近于无韵诗。这种节奏的丰富性与图像的丰富性相辅相成——有助于增强情感和感官的氛围。

Now let’s look at another piece of pounding copy, and see how words and rhythms add to the power and momentum that are put behind its staccato stream of claims:

现在让我们看看另一段强有力的文案，看看文字和节奏如何增强其断断续续的主张背后的力量和动量：

“This letter says that if you could only liberate the exact same talent and intelligence and ability that you have tied up inside you today—then you could:

“这封信说，如果你能够释放出今天被束缚在你内心的完全相同的才能、智慧和能力——那么你就可以：”

“read anything you wish, twice as fast as you can read it today…”

“阅读任何你想要的东西，速度是你今天阅读速度的两倍……”

“absorb facts like a sponge, and repeat them almost word for word years later …

“像海绵一样吸收事实，并在多年后几乎逐字重复它们……”

“flash through math, business, financial problems that have you stopped cold today…

“闪过数学、商业、财务问题，让你今天停滞不前……”

“hold people spellbound with the power of your speech and your written word …

“用你的演讲和文字的力量让人们着迷……”

“out-think others when you have to, tower over them in judgement, outshine them completely in imagination …”

“在必要时超越他人的思维，在判断上高人一筹，在想象力上完全超越他们……”

Here again, there are two types of emotion-definers. The power words (liberate … hold spellbound … out-think … tower over … outshine completely), which build a subconscious current of potency that permeates each individual claim as it occurs in the copy. And the frankness, man-to-man, lets-let-our-hair-down tone-builders (this letter says … tied up inside you … like a sponge … stopped cold) that say silently that there’s no nonsense here, no high-faluting phrases—just common-sense which can be absorbed by anyone.

这里再次出现了两种情感定义者。强有力的词汇（liberate … hold spellbound … out-think … tower over … outshine completely），它们在文案中每个个体主张出现时，构建了一种潜意识的力量流动。而坦诚的、平易近人的、放松的语气构建者（this letter says … tied up inside you … like a sponge … stopped cold）则默默地传达出这里没有废话，没有高深的词句——只有任何人都能理解的常识。

And, of course, the machine-gun rhythm. Short, choppy sentences. Verb … verb … verb. Claim … claim … claim. Propelling the reader through the copy. Piling promise upon promise, image upon image in an attempt to overwhelm him.

当然，还有那种机枪般的节奏。简短而断断续续的句子。动词……动词……动词。声明……声明……声明。推动读者阅读文案。一个承诺接着一个承诺，一个形象接着一个形象，试图让他感到不知所措。

Notice especially the vast difference between these two highly-successful pieces of copy. Their vocabulary, the type of emotions they strive to arouse, the images they use, the models of speech they borrow, the length of sentence and paragraph, the ratio of adjectives to nouns and verbs, etc.

特别注意这两篇非常成功的文案之间的巨大差异。它们的词汇、所努力唤起的情感类型、使用的图像、借用的语言模式、句子和段落的长度、形容词与名词和动词的比例等。

We could go on, of course. Go back to the Volkswagen copy, and see how the emotional tone of sincerity is conveyed by the absence of adjectives, in all the places you’d ordinarily expect to find them. As well as whimsy, a continuous self-kidding, which builds, first, a sort of corporate affection, and then trust.

当然，我们可以继续。回到大众汽车的文案，看看真诚的情感基调是如何通过缺少形容词来传达的，在所有你通常会期待找到它们的地方。还有一种异想天开的、持续的自我调侃，这首先建立了一种企业的亲切感，然后是信任。

Try the fire injector ad again. Notice how the long, rather clumsy sentences give a feeling of ingenuousness and reason to the copy Try to read them out loud. You can’t. They don’t scan; they have no definable rhythm: they don’t look like a “copy writer” wrote them at all. And, of course, there is the same straight-from-the-shoulder phraseology, to reinforce this feeling of honest appraisal.

再试一次火焰注射器广告。注意那些冗长而笨拙的句子如何给文案带来一种真诚和理性的感觉。试着大声读出来。你读不出来。它们没有韵律；它们没有可定义的节奏：它们看起来根本不像是“文案撰写者”写的。当然，还有同样直截了当的措辞，以加强这种诚实评估的感觉。

All this, I repeat, is done unconsciously. You do not see it unless you look for it. And sometimes you have to dig very deep indeed to get every piece of it.

所有这些，我重申，都是在无意识中完成的。你不会看到它，除非你去寻找。有时你确实需要深入挖掘才能得到每一部分。

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.

情绪构建是文案撰写者故意为之——而读者却未察觉。与广告的其他部分一样，它潜藏在表面之下，默默地发挥作用。

Epilogue: A Copy Writer’s Library

后记：文案写作人的图书馆

I have now given you what I’ve learned about writing copy. It has taken many years to learn it—three more to set it down to my own satisfaction. I hope it will help you in the only way that really counts: to do a better job and make a little more money.

我现在已经把我学到的写作文案的知识告诉你了。学习这些知识花了我很多年——又花了三年时间将其整理到我自己满意的程度。我希望这能以唯一真正重要的方式帮助你：做得更好，赚更多的钱。

There are, of course, many many men in this industry who know far more about these techniques, and who can produce far better copy than I. My excuse for writing this book is that they don’t seem to have included—at least to my present knowledge—many of the specific techniques which I’ve discussed with you here.

当然，这个行业中有很多人对这些技巧了解得远比我多，他们能写出比我更好的文案。我写这本书的理由是，他们似乎没有包括——至少根据我目前的知识——我在这里与你讨论的许多具体技巧。

Some of them have written books on the subject—great books—and I’d like to list them here for you. I think you should buy and read, every one of them, and then thumb through them again every year or so, just to catch what you may have forgotten.

他们中的一些人已经在这个主题上写了书——伟大的书——我想在这里列出它们。我认为你应该购买并阅读每一本，然后每年翻阅一次，以便回忆起你可能忘记的内容。

Here they are:

它们在这里：

Indispensable, of course, is Julian Watkins’ great anthology: The 100 Greatest Advertisements, Moore Publishing, 1949.

当然，必不可少的是朱利安·沃特金斯的伟大选集：《100 个最伟大的广告》，摩尔出版公司，1949 年。

Claude Hopkins wrote a great book, My Life in Advertising, Harper, 1927. Make them dig it up for you. And see if you can’t get some of the old Hopkins ads.

克劳德·霍普金斯写了一本伟大的书，《我在广告中的生活》，哈珀，1927 年。让他们为你找出来。看看你能否找到一些老霍普金斯的广告。

John E. Kennedy (not F.) wrote a little pamphlet many years ago called Intensive Advertising, which has just been republished by Printer’s Ink. Get it. It’ll be the most profitable evening’s reading you’ve ever done.

约翰·E·肯尼迪（不是 F.）多年前写了一本小册子，名为《强效广告》，最近由 Printer’s Ink 重新出版。去看看吧。这将是你有史以来最有利可图的一个晚上阅读。

J. K. Lasker, who worked with both these great writers, never wrote anything himself. But he did give a series of talks before his staff one week, and Printers Ink has again captured them. They’re called The Lasker Story.

J. K. Lasker，与这两位伟大作家都有合作，自己却从未写过任何东西。但他确实在某一周前对他的员工进行了系列演讲，而《Printers Ink》再次记录了这些演讲。它们被称为《The Lasker Story》。

Robert Collier’s Letter Book is published by Prentice-Hall. It’s a gold mine.

罗伯特·科利尔的信件集由普伦蒂斯-霍尔出版。这是一个金矿。

David Ogilvy wrote Confessions of an Advertising Man, which you can buy as a paperback. Charming and wonderfully profitable.

大卫·奥吉尔维写了《广告人的忏悔》，你可以购买平装本。迷人且极具盈利性。

Rosser Reeves’ very short book, Reality in Advertising, is published by Knopf, and must be read several times before you get everything out of it you should.

罗瑟·里夫斯的短小书籍《广告中的现实》由 Knopf 出版，必须多读几遍才能充分理解其中的内容。

Milton Biow’s book, Butting In, is marvelous in the first half, repetitive in the second.

米尔顿·比欧的书《插嘴》上半部分精彩，下半部分则显得重复。

And don’t forget Campbell’s book, Writing Non-Fiction. Or those by Caples, Young, Glim and Bedell. Or the motivation research books by Dichter and Martineau. Or the great book on layout, Visual Persuasion, by Baker.

别忘了坎贝尔的书《写作非虚构》。还有卡普尔斯、杨、格林和贝德尔的书。或者迪赫特和马丁诺的动机研究书籍。还有贝克的伟大书籍《视觉说服》。

Then there are the books on American society today—by Mills, Riesman, Fromm, Kardiner and all the rest. And the articles on the emerging trends in the media. And the media themselves. And of course—your primary source—the ads themselves. Keep reading. Keep analyzing. Keep writing. Keep looking for the new idea—the million dollars hidden somewhere in that typewriter of yours. Always shoot for the moon—it’s one of the few real thrills left today!

然后是关于当今美国社会的书籍——由米尔斯、里斯曼、弗洛姆、卡尔迪纳等人所著。还有关于媒体新兴趋势的文章。以及媒体本身。当然——你的主要来源——广告本身。继续阅读。继续分析。继续写作。继续寻找新的想法——你那台打字机里隐藏的百万美元。永远瞄准月球——这是今天为数不多的真正刺激之一！