"Good copy is made from good blueprints! What should we write, and how should we write it?"
Only a former TBWA copywriter and current Baemin marketer can tell you
10 Formulas for Creating Easy-to-Write, Selling Sentences

Marketing meetings, concept meetings, planning meetings... for all the office workers who rack their brains, unable to come up with any sentences or words to present before countless meetings, the super-speed copywriting textbook "Who Wrote This Copy?" has been published.
Even if you thought, "I don't have to write copy," we live in a fiercely competitive personal branding era where people are shouting, "Hateful comments are better than no comments."
From marketers and planners to individual creators and even small business owners, there comes a time when everyone must write at least one line that represents their business concept.


The author, who worked as a copywriter at advertising agency TBWA and is currently working as a brand marketer at the delivery platform Baemin, preaches only the essence of 'one-line writing' in this book.
For anyone who wants to write something that "moves people's hearts" and even "sells," this book teaches you how to craft a single, powerful line.
We present 10 blueprints for creating copy that moves readers' hearts, along with a fast and powerful 'copy cheat key' to complete it.
If you're still writing with your butt, I recommend "Who Wrote This Copy?", a daily copywriting course that focuses on skill rather than passion (it's easy, quick to read, and, as a bonus, fun).

Before we begin, I would like to point out one last thing.
Honestly, copywriting is something you have to do with your butt, whether you like it or not.
It's not easy for someone who thought about it for a long time to win over someone who thought about it for a short time.

However, in today's busy society, office workers are not given much time to think of a single line of copy that will be remembered for a long time.
The most important thing is to get the most efficiency in a short period of time.
So, let's resolve not to use our mindset as a butt.
Just looking at the monitor won't solve the problem.
--- p.13

There's something as important as numbers that I'd like to explain.
The question is, 'What is the situation of the viewer?'
This is a copy that takes into account the so-called TPO (Time/Place/Occasion).
Depending on whether it's a theater commercial that viewers are likely to be paying close attention to, a YouTube ad that viewers are just about ready to skip, or a subway commercial on the hectic commute to and from work, the copywriting will have to be different.
--- p.42

If you read books on branding or marketing, you'll often see the term "positioning" used in a fancy way.
Sometimes I get tired because it often seems like an effort to put all the good words in the world together.
When a good word party doesn't go well, let's have a bad word party with our colleagues instead.
We'll find all the things we can say that might offend our competitors and upload them to a shared worksheet in real time.

As we do this, the path our brand and our copy should take will naturally become clear.
Positioning is not a sentence that makes you look like you exist, but a sentence that makes the other person look like they don't exist.
--- p.68

A veteran in the industry once asked me this question.
“What makes a good brand a good brand?” “Well,
“A good image?” “Of course.
“Are you a copywriter?” “(Getting worked up) That’s a good adjective, isn’t it? Image is just an adjective, after all.” “No, that’s too obvious.
“A good brand should have good verbs.” Adjectives like “stylish,” “hip,” and “cool” are modifiers that will be lost in a few years.
That's what 'debt' is.
But the verbs that the brand promises to consumers can have unchanging value.
In other words, if you are a number one brand, you must have a verb.
That's what 'asset' is.
--- p.83

Copywriting should also follow this tactic.
In that sense, the first way to become a trend is to rely on trendy expressions.
That's why all kinds of buzzwords and memes are incorporated into copy.
But there are side effects too.
There is no copyright on words that have become popular.
If I can write, then everyone else can write, right?

There was a time when a character called 'chill guy' became so popular that it became a meme all over the world.
In Korea, the use of the character's word chill as a play on words has become a sort of established practice.
And then, all the news outlets and brand advertisements on the feed started using this chill drip, which was a really chill situation.
--- p.95~96

Humans feel a certain pleasure when they see a gap.
I think that's an instinct engraved in our mental world.
In the world of sports, when underdogs beat champions, in the world of romance, when lovers fight for forbidden love, and when small brands try to overtake big ones.
So, exploiting gaps in copywriting is probably one of the cleverest ways to exploit human instinct.
--- p.169~170

If elevator instructions are the epitome of writing that doesn't take the reader into consideration, then advertising copywriting should be at the very opposite end of the spectrum.
No matter how much you want to say or how important it is, think about who will be listening.
The listener will see the advertisement while moving somewhere.
If you just keep talking about what you want to say, can you really get that person's attention? It's impossible.

That's why the term 'consumer benefit' is often used in copywriting.
It's a weird expression that's like a mishmash of English and Korean, but you'll understand it right away (I couldn't bring myself to call it consumer benefit...).
--- p.195~196

I once read a saying that the one who loves more loses, but losing is actually winning in love.
It's suddenly like an IU song, but in the end, copy is also love, and the one who loves more wins.
If we define love as 'taking more care of the other person'.

The easiest way to understand Benefit's perspective is through letters.
There's something I always say when I open a copybook.
Write it like you're writing a letter to a consumer.
Honestly, I was dumbfounded every time I saw that kind of talk.
You're telling me to write a letter to someone I know, but to a person named 'Bija' with the last name 'So' whose name I don't know and who he is?

But as my experience writing copy gradually grew, I realized
The best copy is the one that is written as if it were a letter to the consumer, as if 'the answer was in the textbook after all.'
--- p.200

More important than deciding what to write is deciding what not to write.
(I don't think there's a saying like this in the industry) but I think thinking about "not to say" is more important now than ever.
Because we live in a time when the risks of a brand making an incorrect statement, whether politically or gender-wise, are so great.
Even if you really like the copy, if it could make someone uncomfortable, it would be right not to put it out there.
--- p.218~219

As some of you may have noticed, T and F, who were the 'owners' of the copy in the episode 'Easy Live', in some ways show a long-term and a short-term perspective.
T is a bit closer to the perspective of considering the long-term breathing and broad vision of a brand or service.
F can also be interpreted as a view to create a bigger impact and repercussion in a shorter period of time.
It may just be a difference in personality, but depending on whether you are a practitioner or a leader, the perspectives of T and F can be mixed.

If you're thinking about the direction of your brand, put a little more emphasis on T.
Instead of waiting for your team members to come up with good copy, you should give direction based on the nature of the suggestion.
If you're a team member, instead of waiting for the leader's interpretation, it would be good to think about how to approach it from the customer's perspective, considering the immediate impact, and then delve a little deeper into the F.
Because when it comes to thinking from the customer's perspective, practitioners are better at it than leaders.
Good copy isn't created without a mix of these two perspectives.

--- p.226