1.TRADITIONALADVERTISING WORKS BYINTERRUPTING AMESSAGE WITH A LESSINTERESTING MESSAGEDaniel Stein

2. WHAT EXACTLY ISTRADITIONAL MEDIA? 3. edwardboches.com 4. WHY DOES IT GET ABAD NAME? 5. RESEARCH THE MEDIAAND HOW YOURCOMMUNITY REALLYCONSUMES IT 6. TRANSMEDIANARRATIVE 7. Advertising strategy is no longer aboutinspiring the creation of only an an ad.*Edward Boches 8. Stefan Mumaw: Chasing the Monster Idea 9. 1. IS IT EMOTIONAL?2. DOES IT CREATE AN EXPERIENCE?3. DOES IT ENTERTAIN?4. IS IT NOVEL?5. IS IT AUTHENTIC?6. DOES IT TELL A STORY?7. DOES IT SCARE YOU?Stefan Mumaw: Chasing the Monster Idea 10. PRINT 11. AD PLACEMENT 12. SHELF LIFE 13. DEMOGRAPHICS 14. SO, WHAT ARE WETALKING ABOUT 15. SIMPLE = GOOD 16. WHY USEMAGAZINES,PERIODICAL, TRADEJOURNALS, ETC? 17. SELECTIVEAUDIENCE 18. PRINT QUALITY &FLEXIBILITY 19. BETTER SHELF LIFE 20. OPTIONS & DESIGNFLEXIBILITY 21. MISSINGSOMETHING? 22. WHY NOT USE IT? 23. EVENTUALLY THEYGET TOSSED 24. IT CAN BE PRICEY 25. CLUTTER 26. WHAT ABOUTNEWSPAPERS? 27. COLUMN INCHES 28. WHY USE IT? 29. TARGET A DEMO 30. TIMELY 31. SPECIALIZED 32. CONVENIENT 33. SIZE 34. WHERE IT FALLSSHORT: 35. EXTREMELY SHORTSHELF LIFE 36. NOT FOCUSEDREADING 37. PRINT QUALITY 38. ITS DYING 39. OUTDOOR 40. OUTDOOR ISCONSTANT 41. YOUR OUTDOORSHOULD DELIGHTPEOPLE 42. IT FORCES YOU TOBE SIMPLE 43. ITS A GREAT PLACETO GETOUTRAGEOUS 44. LOCATION MATTERS 45. SIMPLE = GOOD 46. DIGITAL OUTDOOR 47. TRANSIT 48. WALLSCAPES 49. TRANSITSHELTERS 50. THE LIST GOES ONAND ON 51. GUERILLAMARKETING 52. Achieving conventional goals, such asprots and joy, with unconventionalmethods, such as investing energyinstead of money.*Jay Conrad 53. WHY USE IT? 54. FLEXIBILITY 55. HIGH IMPACT 56. OPTIONS 57. ECONOMICAL 58. INTERACTIVE 59. BUILDS BRANDAWARENESS 60. ITS ALWAYS ON 61. WHY NOT USE IT? 62. DOESNT CHANGEOFTEN 63. PAYING 24 / 7 64. YOU ONLY HAVE AFEW SECONDS 65. People arent looking at a billboard, theyarent even looking at the freakin roadanymore.*Gary Vaynerchuk 66. TV 67. IN ORDER TO CREATEA GREAT TV SPOTYOU MUST FIRSTWRITE ONE Luke Sullivan: Hey Whipple Squeeze This 68. DONT SELL A SO-SOTV SPOT 69. KNOW YOURBUDGET 70. DONT GET CARRIEDAWAY, YETLuke Sullivan: Hey Whipple Squeeze This 71. STUDY THE REELSLuke Sullivan: Hey Whipple Squeeze This 72. SOLVE THE PROBLEMVISUALLYLuke Sullivan: Hey Whipple Squeeze This 73. CAN YOU MAKE THEVISUAL DO ALL OFTHE HEAVY LIFTING? Luke Sullivan: Hey Whipple Squeeze This 74. THINK IN TERMS OFA STORYLuke Sullivan: Hey Whipple Squeeze This 75. SIMPLE = GOODLuke Sullivan: Hey Whipple Squeeze This 76. Luke Sullivan: Hey Whipple Squeeze This 77. ITS OKAY TO THINKBIG TOO Luke Sullivan: Hey Whipple Squeeze This 78. OPEN STRONG Luke Sullivan: Hey Whipple Squeeze This 79. ENTERTAINTHROUGHOUT THEENTIRE SPOT Luke Sullivan: Hey Whipple Squeeze This 80. DONT FORCE TV TOLOOK LIKE APRINT ADLuke Sullivan: Hey Whipple Squeeze This 81. WRITE SPARINGLYLuke Sullivan: Hey Whipple Squeeze This 82. AVOID SHOWING WHATYOURE SAYING ANDSAYING WHAT YOUARE SHOWING Luke Sullivan: Hey Whipple Squeeze This 83. TV IS GOING TOCONSTANTLYCHANGE, KNOW THEVIEWING HABITS 84. CHOOSE HOW YOUWANT TO PITCHYOUR CONCEPT Luke Sullivan: Hey Whipple Squeeze This 85. SCRIPT 86. SUPER: WORDS ON SCREENVO: VOICE OVERSFX: SOUND EFFECTSANNCR: ANNOUNCER 87. STORYBOARD 88. KEYFRAME 89. SCENARIO Luke Sullivan: Hey Whipple Squeeze This 90. WHAT MAKES AGOOD TV SPOT? 91. DIRECTION 92. ATTENTION TODETAILLuke Sullivan: Hey Whipple Squeeze This 93. TALENT / ACTING 94. EDITING 95. WHY TV? 96. IMPACT 97. UNIVERSAL ACCESS 98. HUGE AUDIENCE 99. SEGMENTATION 100. WHY NOT TV? 101. TIME LIMITS 102. HIGH COST 103. ITS INTRUSIVE 104. DVR 105. DVRHULU+ 106. DVRHULU+NETFLIX 107. STILL INTERESTED? 108. RADIO 109. RADIO CAN BEVISUALLuke Sullivan: Hey Whipple Squeeze This 110. Sometimes Ive believed as many as siximpossible things before breakfast*Lewis Carrol 111. AVOID THE CLICHSLuke Sullivan: Hey Whipple Squeeze This 112. GRAB THEIRATTENTION Luke Sullivan: Hey Whipple Squeeze This 113. FUNNY IS FINE, BUTBE INTERESTINGFIRST Luke Sullivan: Hey Whipple Squeeze This 114. 10s = 25-25 WORDS20s = 40-45 WORDS30s = 60-70 WORDS60s = 130-150 WORDS Luke Sullivan: Hey Whipple Squeeze This 115. THE BED 116. THE DONUT 117. WHY RADIO? 118. ITS EVERYWHEREAND ITS FREE 119. SUPPORT 120. WHO, WHAT, WHY,WHEN, & WHERE 121. WHY NOT RADIO? 122. ITS NOISE 123. LISTENERS 124. TIME CONSTRAINTS 125. LACK OFCONNECTIVITY 126. PANDORASPOTIFYRDIO 127. As long as there are carpenters, painters,lifeguards and cars, there will also beradio.*Luke Sullivan 128. THE OLD CRITERIA: 129. edwardboches.com 130. FRESHORIGINALUNEXPECTEDBEAUTIFUL edwardboches.com 131. NOW INCLUDES: 132. edwardboches.com 133. SHAREABLEINTERACTIVECONTINUOUSPARTICIPATORYedwardboches.com 134. AND, NO, IT IS NOTDONE BY JUSTUSING THIS: