Module 8 How To Present Work To
Your Client
In this module, we’ll cover:
How to present work to a client
13 phrases to avoid when presenting your work to the client
How to write a Creative Rationale
How to format a:
o Brochure
o Direct Marketing Letter
o TV Commercial o Radio Script
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Introduction
Prior to invoicing the client, you’ll need to present your work to the client for their approval.
This can be quite stressful for many writers as many writers prefer to shun the limelight and tap
away at their computer without being disturbed.
The bad news, dear writer, is that you need to be as good at presenting your work as you are at
writing it.
Rest assured, when you have built some rapport with your client and you have an ongoing
relationship with them, you will be able to email the copy to them, saving you and them both time
and energy in meeting up.
However, until you reach that stage, it is in your best interests to go and present the copy in person.
There are reasons for this.
1. The likelihood of your copy being approved on the spot (give or take some minor corrections) is
increased when you are sitting with your client and you have had the chance to present your copy
personally.
2. Presenting your copy in person also enables you to explain your Creative Rationale. This is the
background explanation as to why you chose the words you chose and why you think it is just about
the best piece of work you’ve ever created!
Never apologise for your work.
There is a direct correlation between the confidence with which you present and the likelihood of
the client approving it.
New copywriters often feel obliged to apologise for their work before presenting it. There is no need
to do this as it undermines your confidence in yourself and it plants seeds of doubt in the mind of your
client.
Even if you feel that the copy is substandard, you still need to present it as if it is magnificent. For all
you know, they may love it and if you are enthusiastic about it, they will find reasons to like it.
If they don’t like it, so be it, you can take the criticism on the chin and make the required revisions.
But whatever you do, don’t give them the ammunition to help them build their case against you
before you’ve even started.
If you really feel that the copy is woeful, the only other alternative you have is to ring the client and
explain that you’re not yet satisfied with it and you’d like extra time to work on it. This is a
legitimate way to behave but it is certainly not a habit you should get into.
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13 phrases to avoid when presenting your work to the client
These are the most common undermining phrases copywriters use when presenting their
work. You should eliminate them from your vocabulary:
1. I’m not sure if you’re going to like it or not…
2. I didn’t really spend as much time on it as I would have liked…
3. I hope you like it…
4. I wasn’t quite sure which way to go so…
5. I found this really difficult but…
6. There was so much to include and I had so little space…
7. I haven’t been doing this very long so…
8. I don’t know if this is going to work or not but…
9. My printer broke down so….
10. My baby wouldn’t stop crying so…
11. I’m more of a visual person really….
12. I didn’t know much about this product so I…
13. I couldn’t find any research on the net about this product so I…
The moral of the story is: if you are going to present, do it with conviction and gusto.
If you feel uncertain, ask for more time.
Don’t take the middle road and apologise for your work before you present. Your MAIN
objective as a copywriter is to GET THE COPY APPROVED. Once this is done, you can bill
the client, get paid and move onto the next job.
This is a business and turnover is the name of the game, so get in, get out and get paid.
How should I start the presentation? Step 1
Firstly, do the work. Put in the effort and energy to create work of which you’re proud. There
is no substitute for hard work and you will enjoy the presentation so much more if you feel
you’ve put the work in.
Once you’re in front of the client and you’re ready to present, you should take your time.
Breathe. Relax. The client may be as anxious as you so you need to put them at ease so
they are in a receptive mood to your presentation. If you’re stressed, they’ll pick up on
that and feel anxious for you. So try to relax.
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Step 2
You should start the presentation by setting up the meeting room so that it suits you.
For example, do you want the client to sit next to you? Do you want them to sit across
from you?
Do you want to stand up at the front of the room?
Ask the client if you can set up the room to accommodate your presentation style.
Once you are ready to start and have all your materials out, do not give the copy to the
client. If you give away the copy, you will lose control of your meeting instantly. Hold onto
your copy until you are ready to give it to them.
Step 3
You should present your Creative Rationale. This is a short summary that sums up the
thinking and philosophy that underpins your work.
You can either read it from your sheet or you can improvise it, providing you know what
you want to say. The latter is better as it enables you to have eye contact with your client
and to judge how you’re going.
Here’s a sample script for a Creative Rationale for a brochure*
* Further information on the Creative Rationales is included later in this module under
‘What is the purpose of Creative Rationale’.
“Firstly, thankyou for the opportunity to work on this brief. It’s been a very interesting
project to work on and I’ve really enjoyed writing this.
Before I present the work to you, I’d like to take you through some of the thinking behind
my creative decisions so that you can see where I’m coming from and why I made certain
choices.
You’ll know from our time working on the brief together that the main benefits you
wanted listed were (summarise them).
There are obviously lots more we would have liked to have included but space is always
limited and these benefits are the ones we agreed would appeal most to our target
market.
As we agreed, the key target market that we’ve talked about is (insert). Their main
concerns are (insert). What I think they are really looking for is (insert) so that’s what I’ve
focused on in this brochure.”
I did some research and I found that your main competitors are not using this
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particular benefit. They simply don’t offer it, so I think this is the best benefit for us to
use and you’ll see I’ve incorporated that into the headline.
You’ll also notice I’ve used a series of tropical images. The reason behind this is
(summarise reasons). As you know, I’m a copywriter, not a designer, so I’ve just used
stick figures to represent these images so that you can get a sense of what the images
would look like.
I have a rough layout here that I’d like to show you before I present this copy. This
layout shows you where I think the various headlines and images should go. This is
just a draft and the designer will have a much better grasp of where things should go,
but if you can see it on the page now it will help you visualize where the copy sits
within the context of the entire brochure.
Step 4
Show them the rough layout (a sample of a rough layout is included a few pages ahead).
The rough layout will indicate where the headlines, sub headlines, images and body copy
will go.
Step 5
You continue with your script:
“Now that you’ve got an overall sense of how the brochure will look, I’d like to read
the copy to you so that you can get a full picture of how the words flow, so please
feel free to relax, sit back, close your eyes if you want, and I’ll take you through it.
After I’ve finished reading it, I’ll give you all a copy of the material and we can work
through it in more detail.
Does that sound okay to you?”
If they agree, let them get settled, then start to read out the copy.
Step 6
Read the copy out slowly. Give it emphasis when it’s needed. Pause when you need to.
You are an actor and these are your lines. You need to present them with passion.
Reading it slowly is very important because it enables the client to really hear the words.
It takes a few moments for the brain to digest the words before it can actually process
them so the more time you give the client to absorb each word, the better.
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The other benefit of reading it out loud is that you get to place the emphasis where you
think it should go, which gives you the chance to really paint the picture for them. This
is not something you could do if you just handed it over to them to be read silently.
At this moment, you are an actor, and you are performing your piece to your audience,
so give it all you’ve got. This is advertising, not accounting, and you are allowed to be
flamboyant, cheeky and exuberant. This is theatre!
Note: You should rehearse your presentation before your meeting. You should also read
your copy out loud before you even think of presenting. If you find that it’s clunky, or
you run out of breath, or you get tongue-tied, chances are your readers will too so it’s a
good gauge as to whether the copy is flowing smoothly or not. If it’s not, change it.
The last thing you want to have happen at your presentation is to stumble over your
words. This is not a good way to present your work and should be avoided at all costs.
Step 7
Finish reading. Stop. Pause.
Don’t rush in and ask them for their opinion. Let them sit back and think about it so they
can process their thoughts.
You don’t want to appear too desperate for approval either so just sit
back, relax and wait.
A few things could happen:
1. They could be polite, tell you they love it and then a few days later
let you know their criticisms.
2. They could say they love it but still want to make some changes.
3. They may say it’s not quite what they had in mind.
4. They may say ‘I don’t know why, but it’s just not right.’
5. Or it could be a mix of any of those reactions.
Step 8
If the client doesn’t like the copy for whatever reason, you may feel despondent and
perhaps incompetent. But rest assured, it’s happened to everyone and every piece of
copy can be fixed.
The first thing you need to do is remain upbeat, take a breath, and ask the client if they
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can explain what they mean.
They may have specific areas of concern. If so, consider that a positive because it means
they know what needs to be fixed and you can drill down with some pertinent questions
to get to the heart of it.
It gets difficult when the client can’t explain what they don’t like about it; they simply
‘don’t like it’.
When this happens, the best thing to do is to go back to the approved brief and work
your way systematically through each section with the client. By doing this, you can
start to see how you and the client may have had a misunderstanding.
Ask the client to review the brief to see if they still agree with the facts as presented in the
brief.
Is the Tone right?
If your client has issues with the ad, but can’t put their finger on what’s wrong, one of the first
area you should discuss with them is the Tone/Personality section.
Check in with the client and ask them what they had in mind for the Tone and see if you’ve
covered that in your work. Maybe they need to be more specific about what the Tone should
be? Maybe the Tone they had in mind is all wrong and a different Tone altogether needs to be
created?
What can often be helpful is for the client to find an ad or brochure that reflects the tone of
what they would like to achieve in their ad. This can help you pinpoint with greater accuracy
what they are looking for. Likewise, you could bring in some samples you’ve collected that
enable the client to say ‘that’s what I’m looking for’. It can be a sample about anything.
And also, sometimes knowing what the client doesn’t want is as important as knowing what
the client does wants.
Don’t take it personally.
The key is to not take the criticism personally and to keep enthusiastic about the project. It’s
very rare for a piece of copy to be approved without any changes, and accepting revisions is
part and parcel of the job so you need to become comfortable with this aspect of the job if
you are to succeed as a copywriter.
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What if it’s long copy? Should I still read it out?
If the copy is more than 2 x A4 pages you may not want to read it out loud as it would take too
long.
If this is the case, the presentation of the rough layout becomes even more important
because that will be your chance to show them the general overview of the brochure and its
key elements before they settle in to read your copy unassisted.
You may want to leave the room and let them know you’ll be back in 10 minutes so that they
don’t feel pressured to speed read through it under your watchful presence. It can be quite
unnerving for the client to be watched while they read so it’s best to make them as
comfortable as possible.
What is the purpose of the Creative Rationale?
Although the presentation of the Creative Rationale is quite casual and informal, it’s actually a
very strategic document that can be used in your favour.
Part of the reason we copywriters create these rationales is to justify our fees for the relatively
few words we produce.
A large fee would have changed hands in exchange for the following Creative Rationale for
Country Road, and to justify that large fee, the client needs to feel reassured that the words
weren’t just ‘plucked out of thin air’ but that they were carefully crafted and artfully selected.
So too with your work. It’s your chance to show the client that you have consciously
deliberated about the words you’ve chosen, and that the placement of every full stop, comma,
headline, hypen and image was carefully considered.
In essence, what you are doing is reminding the client of what you agreed upon when the brief
was first approved – what would be included, what wouldn’t be included, what the main
objectives of the piece are, who the target market is, what’s unique about the product etc.
This is important because it pre-empts any questions or concerns that your client may have
before you start your presentation. It also lets your client know what they’re about to hear so
that they can relax in the knowledge that all the key points are covered.
Sample Creative Rationale for Country Road
Here’s another example of a Creative Rationale.
This is a real-life example, taken from a campaign to reposition the Country Road brand.
As you will see, it’s all designed to build up expectation and excitement about the new
positioning statement, which runs for a total of just 7 words.
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Creative Rationale for a new positioning statement for Country Road
“As a brand that has long been an icon of Australian fashion, the style of Country Road
has many positive values on which to build a fresh new campaign. The campaign to
revitalise Country Road into a relevant brand for today’s ‘forever 30’ customer takes its
essence from such core values.
For too long, perhaps, Country Road has just ‘been there’. Undoubtedly reliable, yet
without the presence in the market place that it deserves. To return Country Road to
its rightful place in the hearts and minds of the target market does not require a leap
into ‘out-there’ advertising territory. More like an evolutionary gear-change up one
notch.
It’s time to warm the brand up. Make it more accessible. More real. More vibrant.
And in turn, more relevant (and top of mind) to the customer. Yes, Country Road is
about a way of life, but not to be followed slavishly. Our confident style-seeking
customer would never do this.
Therefore, this new campaign is about, a feeling, an approach to life. It’s full of
personality, with plenty of style, and a healthy dose of reality. It’s a campaign to which
the target market can easily relate by using a positioning line that encapsulates the
brand’s essence without taking itself too seriously:
Country Road
Life’s how you wear it.
A simple, refreshing and genuine positioning statement that’s relevant to the Country
Road brand today and in the future.”
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What format should I use when putting the written word onto the page?
How should copy look on the page?
How do you present it in a written format to the client?
Every advertising agency will have their own ‘house style’ as to how copy is laid out, but in
general, they will all look more or less the same.
Because the piece e.g. a brochure, has not yet been produced, we need to be as specific and as
clear as possible with our copy formatting so that the client can visualize what it will
eventually look like.
You cannot assume anything, because if it’s not written on the page, it won’t appear in the
final brochure. Everything you want mentioned in the brochure must be listed in the copy.
Let’s look at a brochure that has already been created. Working backwards, we can see what
the formatted copy on the page would have looked like before it was designed and printed.
Here’s the actual brochure.
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Sample of how the copy should be formatted for a brochure
Client: Ambulance Victoria
Contact Deb Sample
Writer Katie Smith
Contact 0419123456
Job A4 brochure, 2-sided
Date September 2, 2006
Version 1
Front Page
Logo: Ambulance Victoria
Headline: Lights and Sirens
www.ambulance.vic.gov.au
Sub‑head: Membership renewal – now at BILL EXPRESS newsagents!
• Paramedics’ gold medal performance
• Membership milestones
• Attention Skiers
• Ambulance in Schools
• Helping students deal with it Sub
sub‑head:
RENEW YOUR MEMBERSHIP TODAY! CALL 1300 366 141
Graphic: 2 male ambulances on bikes (picture to be supplied by client) Caption: MAS Bicycle Response Unit on patrol
Sub‑head: Paramedics’ gold medal performance
Body copy: The Commonwealth Games was the biggest operational
response that the Metropolitan Ambulance Service has
ever undertaken, both in size and duration.
About 200 paramedics and 40 extra ambulances and
support vehicles were assigned to the Games as 4500
athletes and the attention of the sporting world
descended on Melbourne.
Paramedics attended more than 1000 cases across Games
sporting and entertainment venues and the CBD over the
11 days of competition.
But the increased caseload was no burden thanks to
more than 18 months of meticulous planning and the
appropriate allocation of resources.
Back Page
Mast head: Lights and Sirens
Headline: Attention Skiers!
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Sub‑headline: If you are planning on going skiing this year please renew
your Ambulance Membership promptly so your cover is
100% when you hit the slopes.
Body copy: If any member of your family isn’t covered by your
membership or any of your friends are skiers, mention
to them that they should have Ambulance Membership
just in case they have an accident on the mountain.
Going skiing is expensive… (and so on). The rest of the
body copy for this story would appear here.
Sub‑headline: Membership Milestone – 900,000 members!
Body copy: In February this year Ambulance Victoria Membership
reached the membership milestone of 900,000 main
members. When the family members of all these
members are considered, Ambulance Victoria
Membership now covers over 2 million Victorians.
Ambulance Membership numbers have grown
steadily…(and so on). The rest of the body copy for this
story would appear here.
Sub‑headline: Paramedics’ gold medal performance
Body copy: Throughout Melbourne’s biggest-ever sporting event,
paramedics helped care for athletes, VIPs, spectators,
and the general public, sometimes providing transport
to hospital for assessment and admission.
From the athletes at the MCG through to the mountain
bike competition at Lysterfield… (and so on.) The rest of
the body copy for this story would appear here.
Graphic: Two paramedics with life vests on a boat. (picture to be
supplied by client).
Caption: MAS paramedics patrolling the Yarra River.
Base line
Sub‑head:
Ambulance Victoria Membership is the joint membership
scheme of Metropolitan Ambulance Service and Rural
Ambulance Service.
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In addition to giving the client this format of the copy, you would also give her a rough layout of
how you think the brochure should be laid out.
You can do this by hand (hence the term ‘rough’) or you can do it on the computer if you have
the technical skills. It really doesn’t matter so long as the client gets the idea of where the copy
sits in the big picture.
You don’t write everything on this layout, just the headlines, subheadlines and indications
where the graphics might go.
Your ‘rough layout’ might look like this:
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Sample Formatting for a Direct Marketing Letter
Client: MBF
Contact: Deb Sample
Writer: Katie Smith
Contact: 0419 123 456
Job: Direct mail letter “Rates Going Up”
Date: September 2, 2006
Version 1
Date
Ms B.
Schwerdt 123
Sample Rd.
Sample City, VIC 3000
Dear Miss Schwerdt,
We are writing to let you know that your health insurance premium will
soon be going up. This increase won’t just affect MBF members – we
expect millions more people in other private health funds may also have
their premiums raised as part of their fund’s annual review.
The increase is largely due to the growing number of private health
fund members using hospital services. At the same time, the cost of
providing these services is increasing. The table below gives you some
typical examples.
(and so on). The rest of the body copy for this letter would appear here.
Yours sincerely
Bill Cotter
Group Executive
Private Health Insurance
Turn the page to see how the real letter looks on the page.
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Sample Formatting for TV Commercial Copy
Copy formatting for TV and Radio commercials can vary depending on who the advertising
agency is.
For example, the following layout divides the page into two: one side outlines the video i.e.
what the audience will see. The other side outlines the audio i.e. what the audience will hear.
The other example uses a different style altogether.
Client: Jane’s Fashions
Contact: Deb Sample
Writer: Katie Sample
Contact: 0419 123 456
Job: 30-sec TVC
Title: “Focus On Fashion”
Date: September 1, 2006
Version 1
Video Audio
An elegant female news
reporter is standing with a
microphone outside Jane’s
shop.
Jane: (In professional TV
news style) I’m standing
outside Jane’s Fashions in
Chapel St. Prahran. And from
the window it looks like
they’ve got some bargains.
Let’s have a look inside.
Cut to: Inside shop as
reporter rummages. Holds
up jumper.
(2 seconds silence). Well, it’s true;
there are some super bargains
here.
Look at this jumper – just $40
in the Sale. (Voice becomes
more enthusiastic, less
professional). And these dresses
are only $10.
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Disappears towards back of
shop, puts down microphone,
talking to herself, forgets
camera.
And look what’s over here.
Holds clothes against herself.
Oh isn’t this super...Oh I don’t
believe it…
Cut to: Film director
(In a desperate voice) Er, sweetie…
Cut!
End title: Jane’s fashions.
Addresses.
FVO*: Jane’s. Where the
focus is on fashion.
* FVO = Female Voice Over.
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Another agency may use a prosaic form to layout their copy:
Client: So Natural
Product: Smooth White
Duration: 15 seconds
Date: September 1, 2006
Title: Future Shock
It’s the morning after the night before. A couple have met and spent the
night together. They’re in their late 30s, early 40s. The scene is set in her
kitchen. She’s wearing a long t-shirt – he’s just got jeans on. She’s putting
breakfast stuff out and he’s already sitting down pouring some cereal.
An on-screen graphic reads: “The Morning After”.
She comes around behind him and while placing Smooth White on the
table, nuzzles into his ear.
WOMAN: Glad you stayed.
He smiles and reaches for the ‘milk’ and pours, only to realize it’s Smooth
White. The camera crash zooms on the guy’s face.
MAN: Soy MILK!!!
His face registers shock and horror, the music echoes this sensation. His
imagination takes over and a mental image appears. It’s his nightmare
projection of their life together.
She’s aged 10 years and is strikingly less attractive. She’s become a
dominating feminist. She’s butch, aggressive and while standing over
him, says with exasperation…
WOMAN: Just try it.
He shakes his head as to clear the image and takes a mouthful. It’s
actually not too bad after all. He’s relieved, even happy.
MAN: Alright!
She’s now back to normal and looks at him as if to say “what else
would you expect”.
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Sample Formatting for Radio Scripts
(These radio ad won the highest awards at the Cannes Advertising awards. The
client is Anheuser-Busch and the product is Bud Light Beer.
Script
ANN*: Bud Light Presents Real Men of Genius.
SINGER: Real Men of Genius
ANN: This Memorial Day, we salute you Mr. Backyard Bug Zapper Inventor.
SINGER: Mr. Backyard Bug Zapper Inventor.
ANN: Not content to harmlessly repel insects with lotion, you discovered a
way to fry them with electricity until their bodies explode.
SINGER: Zap, Kaboom.
ANN: Ah the sounds of summer. Crickets chirping. Birds singing. The blood-
curdling scream of a moth having 700 volts of electricity shoot
through its body.
SINGER: Music to my ears.
ANN: Every night, a magical explosion of exoskeleton and insect goo that
can only mean one thing. Summer’s here.
SINGERS: Die bugs, die!
ANN: So crack open an ice cold Bud Light, Mr. June Bug Blaster. Then sit
back and watch the fireworks.
SINGER: Mr. Backyard Bug Zapper Inventor.
ANN: Bud Light Beer. Anheuser-Busch, St Louis, Missouri.
* ANN = Announcer
Title: MR 80 SPF SUNBLOCK WEARER
Script
ANN: Bud Light presents Real Men of Genius.
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SINGER: Real Men of Genius!
ANN: Today we salute you, Mr. 80 SPF Sunblock Wearer.
SINGER: Mr. 80 SPF Sunblock Wearer!
ANN: There are 24 hours in a day. You’re wearing 80 hour protection. If the
sun fails to go down, you’ll be ready.
SINGER: Don’t forget the moon light.
ANN: Your coconut-scented force field blocks out all the sun’s rays. And any
stray rays, from another sun, in another galaxy.
SINGER: You’re a star!
ANN: 30 SPF? Please. You might as well be wearing cooking oil.
SINGERS: Something smells delicious.
ANN: So, crack open an ice cold Bud Light, Mr. 80 SPF Sunblock
Wearer. In fact, feel free to crack one open at high noon in
the middle of the Sahara desert.
SINGER: Mr. 80 SPF Sunblock Wearer!
ANN: Bud Light beer, Anheuser-Busch, St. Louis, Missouri.
Title: MR NOSEBLEED SECTION FAN
Script
ANN: Bud Light presents Real Men of Genius.
SINGER: Real Men of Genius.
ANN: Today we salute you, Mr. Nosebleed Section Ticket Holder Guy.
SINGER: Mr. Nosebleed Section Ticket Holder Guy.
ANN: Congratulations, with the help of two Sherpas and a
mountain goat, you have finally reached your seats.
SINGER: Touch the sky!
ANN: Tickets. Check. Souvenir. Check. Oxygen mask. Check.
SINGER: Gettin’ dizzy!
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ANN: From where you sit, you can see your house. And Canada.
And Japan.
SINGER: I see Okinawa!
ANN: The one thing you can’t see? The game.
SINGER: Oh no!
ANN: So crack open an ice cold Bud Light, oh Chairman of the
Cheap Seats. Because you, sir, sit on top of the world.
Literally.
SINGER: Mr. Nosebleed Section Ticket Holder Guy
ANN: Bud Light beer, Anheuser-Busch. St. Louis, Missouri.
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Envelope and Paper Size Guide
Use this handy reference guide when you need to work out the size of your next brochure.
