Psychologists have studied the dynamics of what advertisers call “fear appeals,” and they have found that while fear is very good at getting our attention, it’s not very good at keeping it. For that, the scary stuff must be followed by solutions that are small enough to be practical but large enough to be meaningful.

Advertisements are now so numerous that they are very negligently perused, and it is, therefore, become necessary to gain attention by magnificence of promises, and by eloquence sometimes sublime and sometimes pathetick. Promise, large promise, is the soul of an advertisement.

Research has shown that commercials which open with a dramatic visual hold their audience better than commercials which don’t. If you are advertising a fire extinguisher, open with the fire.

advertising attracts attention, attention brings prospects, and prospects lead to sales.

the desperate need to belong is perhaps never as great as during adolescence. Advertisers seek to communicate with teenagers by frequently using that powerful appeal.

When I was in the advertising game, we used to use nude women. Now I use the swastika and storm troopers. You use what brings them in.

It takes a big idea to attract the attention of consumers and get them to buy your product. Unless your advertising contains a big idea, it will pass like a ship in the night. I doubt if more than one campaign in a hundred contains a big idea.

Think of the power of repetitive imagery in advertising, especially to suggestible viewers and readers. It can make us believe almost anything — even that smoking cigarettes is cool.

The American conception of advertising is to arouse desires and stimulate wants, to make people dissatisfied with the old and out-of-date and by constant iteration to send them out to work harder to get the latest model—whether that model be an icebox or a rug or a new home.

Many a small thing has been made large by the right kind of advertising.

What is a good advertisement? An advertisement which pleases you because of its style, or an advertisement which sells the most? They are seldom the same. Go through a magazine and pick out the advertisements you like best. You will probably pick those with beautiful illustrations, or clever copy. You forget to ask yourself whether your favorite advertisements would make you want to buy the product. Says Rosser Reeves, of the Ted Bates agency: ‘I’m not saying that charming, witty and warm copy won’t sell. I’m just saying that I’ve seen thousands of charming, witty campaigns that didn’t. Let’s say you are a manufacturer. Your advertising isn’t working and your sales are going down. And everything depends on it. Your future depends on it, your family’s future depends on it, other people’s families depend on it. And you walk in this office and talk to me, and you sit in that chair. Now, what do you want out of me? Fine writing? Do you want masterpieces? Do you want glowing things that can be framed by copywriters? Or do you want to see the goddamned sales curve stop moving down and start moving up?

I guess edgy things tend to get my attention.

Many a small thing has been made large by advertising.

Just as in literature, where memorable characters like Hamlet or Heathcliff or even Dirty Harry stand out and become symbols for a larger segment of humanity, so in marketing can whole target-customer populations become imagined as teenyboppers, yuppies, pickups and gun racks, or the man in the gray flannel suit. These are all just images—stand-ins for a greater reality—picked out from a much larger set of candidate images on the grounds that they really “click” with the sum total of an informed person’s experience. These were, in short, the memorable ones.