Freelance Creatives; spare a thought for your clients – Jonathan Wilcock

Freelance creatives; spare a thought for your clients

Once upon a quite a while ago, I ran a market stall with the Missus, selling pottery.

I’d been made redundant from my cosy Soho advertising job and I’d had enough.

The romantic idea of buying and selling actual stuff you can touch was massively appealing.

Early mornings joggling for the best pitch; punter banter; cash-in-hand, real world haggling with real people handing over real grubby fivers. It felt earthy and back to basics, new and exciting.

Hard work for soft hands

It was also hard work and not quite as romantic as I’d imagined.

The early mornings soon lost there lustre and the banter with punters, who weren’t reaching into their pockets, wore thin very quickly.

By week eight, if you ignored the lack of salary, we’d just about broken even. Then the storm of ’92 came along and kicked us in the danglys – don’t look it up, this was our own personal storm, it probably didn’t make the headlines.

We’d sold nothing all day, which was bad enough, but the wind was picking up, and coping with a trestle table of delicate pottery was becoming a bit of a challenge.

A gust hit the stall and seven pots crashed to the floor. I looked down and wanted to cry. Why hadn’t I invested in something a bit more resilient than biscuit ware? Maybe vulcanised rubber vases or something.

Breaking even was disappointing. Breaking pots and making an actual loss was a message.

Lesson learned, now back to the creative department

So, back to copywriting I headed and a good few happy years zipped by full-timing and freelancing. Foreign shoots, plenty of nice briefs and enough money to keep the family in bread and cheese shut me up for a while.

Then along came another redundancy and the bright idea of running a creative agency.

The agency lasted a bit longer than the 8-week market stall fiasco, but it was equally hard, if not harder.

This time, we (my business partner and I) had office overheads and employee salaries to fret about. Real, grown-up stuff that all of our clients have to deal with every day.

Both the market stall and the agency were huge learning opportunities. I found out about selling at the sharp end (it hurts), stock control (it sucks), HR (stands for Horrific Reality) and investing large sums of money with absolutely no guarantee of any return (it’s scary).

Spare a thought for your client

As I’ve said elsewhere, for freelance creatives, empathy is our best friend. Having an insight into a target audience’s lives and attitudes is gold dust, but understanding the problems and obstacles our clients have to face is priceless.

Our clients have bigger headaches than we do, so we need to do all we can to make their jobs easier and their businesses work better.

Buying in creative work isn’t straightforward. When your head’s filled with the other pressures of running a business or a marketing department, it can be tricky to spot a good idea or decide which creative option works best.

It’s our job as Copywriters, Art Directors and Graphic Designers to not only solve problems, but also to remove barriers so that our clients are confident they’re buying the work they need.

Even when working remotely (some of my clients have never met me), this is a partnership. It may be a cliché, but the best freelance creatives don’t work for their clients, they work with them.

Even when a client says, “I trust you, just do what you think works best”, it’s up to us to make sure they understand why we’re making recommendations.

Now, this may fly in the face of other advice you’ll read about client/creative relationships, but until I find something that works better, here are:

Three golden rules for freelance creatives

– Put yourself in your client’s shoes
– Give them creative choice (but help them to decide which choice is right for them)
– If the respect isn’t a two-way thing, it’s time to say goodbye.

And three golden rules for clients

– You may be commissioning the work, but invariably you aren’t the target audience
– Freelance creatives are experts, but without the right information, they know nothing
– If the respect isn’t a two-way thing, it’s time to say goodbye.

Working in the creative industries is a privilege.

Freelance creatives dip in and out of other worlds, solve problems, play with words and images and earn a decent living without having to wear pinstripes. We don’t have to worry about the stresses of running a business with all its overheads, risks and responsibilities.

Saying that, it’s not all roses and everybody needs a change of view now and again.

So if your job is losing its appeal, my suggestion would be to abscond for a while and find out how the other half lives.

Stack shelves, dig ditches, sell fruit and veg, become a Sorcerer’s Apprentice… my guess is, once the novelty’s worn off, you’ll soon be diving for creative cover again.

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me line here, or email jonathan@sowhatif.co.uk

Bratwurst_Lamazing – Jonathan Wilcock Freelance Copywriter

From German sausages to made up words, a Freelance Copywriter never stops learning.

One of the best things about being a Freelance Copywriter is the variety.

New clients and new projects add more juice to the old creative brain sponge.

Not least of all, I’m constantly discovering new words and word combinations.

Here are a few, that before 2018, I’m sure I’d never had the occasion to use in copy, some I hadn’t heard of and one of them I think I may have invented.

KAMALARI
This word came up when working with the international development charity, Nepal Youth Foundation.

‘For generations, the Tharu community of Western Nepal has adopted a practice known as Kamalari, whereby girls as young as six years old are bonded into domestic slavery.’

But it’s not all gloom and doom, because…

KATHAA
‘Kathaa, ‘story’ in Nepalese, is a contemporary, ethical fashion brand owned and operated by NYF in the UK. Everything in the Kathaa range is made by freed Kamalaris and our very first collection is a range of stunning, waterproof down jackets.’

VIVE LA DIFFERENCE
‘Let’s get one thing straight before we go any further. If you’re looking for just another firm of Estate Agents, you’re going to be disappointed.’

I knew my grade ‘D’ in GCSE French would come in handy one day. Never thought it would be for a posh West End estate agent though.

LAMAZING
Anyone who played Christmas copy bingo last year would have got extra points for spotting this in my copywriting for Church Urban Fund:

‘So, please join with thousands of others this Christmas and raise your voices with us to do something fa la la la la la la lamazing.’

If you really want to push the boat out with new words, healthcare copywriting takes some beating:

DYSPHAGIA
‘We all know that water is essential for life, unfortunately, not everyone finds it easy to drink enough. If you have been diagnosed as having dysphagia (difficulty swallowing), you could be at risk of dehydration.’

I got to write ‘dysphagia’ dozens of times – in leaflets, training aids, ads, posters video script… It’s a funny old world being a Freelance Copywriter.

PHILANTHROPIST, TRAILBLAZER, RULE BREAKER, HERO
No, I wasn’t writing about myself, this was part of a 100 years Remembrance Day social media campaign for genealogy website, findmypast.com

BRATWURST
How much German do I know? Not a sausage. That’s why working for the German Tourist Office was such fun. To put it into context:

‘IT’S NOT ALL BEER AND BRATWURST
How about a slice of Flammkuchen, some Königsberger Klopse or a Prinzregententorte? If you think that’s a bit of a mouthful, just wait ‘til you taste them.’

Being a Freelance Copywriter isn’t always about using obscure words, but with so many available, it’d be a shame not to squeeze the odd ‘Bratwurst’ in now and again.

Goodness knows what 2019 will have in store; I’ve already managed ‘Kippers and custard’ for a VW script.

For more wordy fun and frolics, have a dip here:

How to tell a copywriter their work sucks
The Seven Deadly Skills of Copywriting
Copywriting for the worst client in the world

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me line here, or email jonathan@sowhatif.co.uk

Jonathan Wilcock Freelance Copywriter – Thick Skin, Self-belief

A copywriter needs thick skin and self-belief

Are you setting sail as a Copywriter / Graphic Designer / Art Director / Illustrator?

Or do you already have years under your belt, furrows on your forehead and awards on the shelf?

Whatever your creative bent and whatever stage you’re at in your career:

First rule: get your head down and work hard.
Second Rule: keep your head down and work harder.
Third rule: get tooled up.

Besides developing your craft, there are two weapons you’ll need, and without them you probably won’t survive life on the creative hard shoulder, never mind the fast lane.

You’re gonna need a thick skin
People are going to slag your work off.

There’s a battalion of grammar bullies out there looking for the one typo in the middle of your 1,500-word blog post. There are a million creative wannabes who only get out of bed to stick your lovingly crafted bits and bobs through the Twitter mill, telling the world they could have done better.

Being in a creative industry leaves you vulnerable to the lazily tossed rotten cabbages of armchair critics. But that’s a good thing. It toughens you up.

It’s never too early to take a beating
Turn the clocks back 30 something years to my first year of college, studying Graphic Design. This was a period of huge change for me. The year before, I’d been a schoolboy flailing around trying to pass GCSEs. Now I was expected to set my own timetables, make choices and work things out for myself.

This was a fab course with great lecturers and a fun bunch of misfit classmates. We threw paint around, watched movies and learned about colour theory, typography and art. But besides all the arty-farty-designery good times, there were two particular not-so-pleasant incidents that stick in my mind.

The mermaid with 10 tits
We’d been set a project to do a self-portrait as we saw ourselves.

I was a long-haired hippy. Kaftans, flares, afghan waistcoats… the whole unwashed freaky kit and caboodle. So I drew myself as a flower. Yes, you read correctly, a flower. My head was the stigma, my body the stem and petals grew out from where my neck joined my shoulders. I thought it was cool.

We stuck our drawings up for the group crit and when it came to mine, the tutor vomited out the immortal words:

“It looks like a mermaid with 10 tits”.

Everyone laughed while I died a little inside. This hippy was going to have to grow something else other than tits.

The second episode, another group crit, was following a life drawing session.

We stuck our work all over the walls. Rolling hills of flesh in charcoal, pastels and paint. The lecturer slowly worked her way around the collected masterpieces pulling out all the positives. “Love the use of light and shade”, “Great composition”, “The head is out of proportion, but it just works”…

We were all bathing in the glory of our collective genius; then she ripped into us.

“Look at you all nodding your ****ing heads like ****ing nodding dogs. It’s all a load of ***t. Don’t just agree with everything I say like a bunch of brainless ****ers. Now take this ***p off my walls and ***k off home”.

That told us, but most importantly it got our attention. And all these years later I realise what a huge favour her beasting had done us. It didn’t really matter how good or bad the work was, what mattered was that we learned how to take negative feedback and developed our own opinions.

Jonathan Wilcock Freelance Copywriter – Thick Skin, Self-belief Rocky-Ripped

Once you’re Rocky-ripped, all you need is self-belief
From personal experience, I’ve found that self-belief is a very fragile thing. Unlike a thick skin, which once developed is yours for life; self-belief can do a runner as soon as you turn your back on it.

While the negative opinions of others can hurt, there’s nothing more debilitating than you telling yourself how rubbish you are.

Having been a Copywriter since the mid ’80s, you’d think that self-belief would be a given by now.

Halfway through my career I spent a couple of years as a Creative Director in someone else’s agency, then several running my own (concentrating on everything other than being a Copywriter 75% of the time). But surely, going fulltime again as a freelance copywriter would be like stepping back into a familiar and comforting warm pool of rose-scented water.

Not one bit. I felt exposed, underqualified and smeared in rancid self-doubt jam from the sticky fingers of the imposter syndrome mind monster.

A couple of years freelancing later, dozens of very happy clients and a raft of new work, I’m well and truly back in the saddle of the self-belief pony.

Now that I’m out of the quagmire of non-worthiness, it’s weird to think that I was ever less than head-swellingly sure of myself. But when you’re up to your chinny-chin-chin in the muck of self-doubt you feel like everyone else is brilliantly creative and you’re a big fat dud.

It happens to the best of us
Yesterday I had a chat with an old friend of mine, a Graphic Designer (turned Creative Director, turned Managing Director, turned out-on-his-ear redundancy casualty).

This guy is very talented. Not only is he a very decent designer, he has the gift of the gab. He can hold the attention of a room. People like him; they hang on his every word, they believe in him; he has gravitas. Besides that, he’s just a bloody nice geezer. In short, anyone who snaps him up now would be getting a real gem on their team.

So with all this going for him, I was gobsmacked to hear him say that he reckoned he couldn’t cut it as a Creative Director anymore. To put this into perspective, he’s been CD at two agencies for a combined twenty odd years. Since hanging up his CD hat, he’s been MD of a high profile design agency for a mere six years, yet now he’s convinced he wouldn’t cut the mustard in his old Creative Director role.

Nonsense. The only thing stopping him is self-belief and I told him as much.

Knowing him, I’m sure the next time we meet up, he’ll be telling me the same thing as he breaks-in his £500 brogues, pacing the reclaimed oak floorboards of his Shoreditch Creative Director’s office. But that’s him, not everyone will find it so easy to find their lost confidence.

If your self-belief has taken a kicking, now what?
Let’s assume you already have skin that makes a rhino’s look like wet rice paper. If self-doubt has come knocking, what can you do to get on top again?

1) Work your socks off
You’ve seen your portfolio so much, even if it’s full of D&AD winners, it probably feels as stale as a budget airline donut. Do some new stuff to get excited about, even if it means making up your own creative briefs.

2) Collaborate
Without the wind of fresh input, self-doubt grows like mould . Get yourself out there and work with people you know and respect. If they’re not up for it, get in touch with new creative buddies via LinkedIn or platforms like singlecreatives.com The Dots or Freelance Heroes. Headhunters can also be a great source of potential creative partners to buddy up with.

3) Expose yourself
Old Creative Directors, creative colleagues from previous agencies, college mates… get in touch with anyone who knows your business. Get them to look at your portfolio, especially new stuff that you’re not sure about. They’ll sort the wheat from the chaff more easily than you can. However, ultimately, you have to be comfortable with your own work; you’ll be the one defending it when the time comes.

4) Start a blog
Get all your self-doubting stupid ideas down. Write about what you know and what you’re learning as you make up new stuff. Publish it and get feedback. If it’s rubbish you can always unpublish it, but it’s good to get whatever self-doubts are holding you back, out of your head. Committing them to the public domain tends to pull your thinking into focus.

5) Do something new
Only using one muscle makes you lopsided. If you’re a Digital Illustrator, do a series of large-scale abstract pieces with real paint and canvas. If you’re a Graphic Designer, sign up for a life drawing class. If you’re a Copywriter, write a short story or two.

6) Spend time with the masters
Who inspired you in the first place? Get your old Graphis Annuals, Creative Reviews and Lürzer’s Archives out. Surround yourself with work that gets you excited.

7) Spread the love
Once you’ve found the old you, do your little bit to help others on their way. Take the time to give honest, constructive criticism to newbies and oldies alike. Just one word of encouragement can make all the difference.

Thick-skinned and pumped up; now my friend, it’s time to don your creative cape and fly. Have fun.

If you’re a freelance copywriter (thick-skinned or otherwise), you’ll also find these 40 survival tips handy.

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me line here, or email jonathan@sowhatif.co.uk

We're drifting apart – blog post by Jonathan Wilcock, freelance copywriter

We’re Drifting Apart (handling life in the creative department Part 2)

Are you a Copywriter or Art Director working in a two-person creative team?

You know the quote, “It was the best of times, it was the worst of times…?”

If you’ve been beavering away as a team for more than the honeymoon period, you’ll know why it goes on to say:

“…it was the age of wisdom, it was the age of foolishness… it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us…”

Makes you wonder if Charles Dickens was an adman.

Being in a creative team can be like waltzing on rose-scented marshmallow clouds. Ideas, banter and giggles. Riding the crest of a big fat sexy creative wave, winning awards, rising through the ranks; you and your mucker against the world.

Then again, it can be a bloody war of attrition.

We're drifting apart 2 – blog post by Jonathan Wilcock, freelance copywriter

How to survive in a creative team

I’ve worked with a dozen creative partners over the years.

Before I go any further, may I take this opportunity to thank you all for some magical moments and also to apologise for any episodes, tantrums or AWOLs that I may have subjected you to along the way.

Without you, I wouldn’t be half the creative Herbert that stands before you now, so here’s to you, Ladies and Gents.

A recipe for success

When the planets align, the synergy of Art Director and Copywriter working together in harmony is a joy to behold.

We're drifting apart 3 – blog post by Jonathan Wilcock, freelance copywriter

Now, this beautiful relationship can go one of two ways:

1) The creative work flows and the boss loves you. Your production rate goes up, you’re given the best briefs and the portfolio just keeps getting better.

2) You’re the star team and everyone wants to hang out with you. You’re having a right laugh. It’s all 8-hour lunches and sleeping under the desk. What deadline? One more for the road? Ay-I-reallyreally-luv-you-yermybezfreninth’world-fanzee-a-kebab?

It’s great to be mates. But, if the work isn’t being done, the cracks will eventually show. When you get to the end of the year and you realise that you’ve done nothing portfolio-worthy, and half of your salary went on fine wine and pork scratchings, you know trouble will be poking its snotty nose around the next corner.

A recipe for disaster

Creative teams can be thrown together in all manner of ways. You meet at college, through a headhunter, online at singlecreatives.com or you get hired and the CD shoves you in a cell with a stranger that you’re going to have to learn to get along with.

We're drifting apart 4 – blog post by Jonathan Wilcock, freelance copywriter

Here are the signs that it may not work out the way you’d both hoped.

1) One of you is in 2 hours before the other every day, trying to make up for lost time.

2) You won’t share ideas until they’re almost fully formed.

3) You enjoy the days that your partner is off more than the days they are in.

4) You never do anything socially together, not even popping out for a coffee.

5) They close their laptop and look guilty every time you walk into the office.

6) You have their picture on a dartboard at home.

How can you rekindle the magic?

If you work with someone 5 days a week, you spend more time with them than your boyfriend/girlfriend/partner/spouse…

Like diving buddies or Arctic explorers, you rely on each other for your survival.

And like an old married couple that stare into space at the dinner table, sometimes you need to spice things up.

1) Get out of the office to walk and talk to each other.

2) Get out of the office to chat ideas over a cuppa or a pint.

3) If you’re not getting the best briefs, nick them or make up your own and come up with something for the book that gets you excited.

4) Be honest with each other. If they’re driving you mad, get it out in the open (don’t forget to tell them why you love them too).

5) Do something together that takes you out of your comfy jumper zone: white water rafting, karaoke, pottery classes, whatever makes you feel slightly uneasy, but in a nice way.

What do you do if the magic’s completely fizzled out?

If you’ve stopped learning from each other, if it’s getting progressively more difficult to tease decent work out, or if you want to smashtheirflippinfaceineverytimetheyopentheirstupidmouth; it’s time for action.

We're drifting apart 5 – blog post by Jonathan Wilcock, freelance copywriter

Stick two creative egos in a room together 8 hours a day, 5 days a week for two years and the oddest things can happen.

I worked with a creative partner who went completely off the rails. One minute they were their usual lovable selves, the next they were tearing up my layouts because they were convinced they could see the devil in them.

I tried to cope with it for a few weeks, but in the end I had to talk to the Creative Director.

Cut a long story short, we were split up and teamed with different Art Directors and Copywriters from the same department. My new partner was a genius and we had a fantastic time until mass redundancies hit (see my previous post ‘Problem Schmoblem‘).

Last thing I heard, my previous creative partner found his niche in fine art and the guy he ended up with went on to do great work at some of the best agencies in town.

If you’re in an unhappy, destructive or non-productive creative team; move on as soon as you possibly can. Life and your career are far too short to plod along miserably with a Copywriter or Art Director who’s the wrong fit.

And if you do find the Yin to your Yang, play nicely together. You’re career may depend on it.

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me a line here, or email jonathan@sowhatif.co.uk

Problem?Schmoblem! – Freelance Copywriter, Jonathan Wilcock

Problem? Schmoblem! (handling life in the creative department Part 1)

At the risk of getting a bit deep and philowotsical on you, I’ve come to realise that problems are our friends.

Without problems, we would grind to a halt.

Not that I’d wish great big problems on anyone, but the right problem has a habit of manifesting itself at exactly the right time for the right person.

Let’s take redundancy as a good example of a fairly juicy problem.

Being a member of the creative department in an advertising or design agency is a fairly precarious place to be. The curse of the big account win, followed by the big account loss, leaves us all vulnerable. In a money-saving exercise, even the senior creatives and creative hotshots are at risk.

If you’ve been in advertising or design for 15 years and not been made redundant yet, you’re either some sort of bullet-dodging superhero, so badly paid that it makes no sense in getting rid of you or you’ve always been self-employed.

Redundancy saga 1
Two years into my advertising career, I was called in to the Creative Director’s office and given the bad news. Something about recession, budget cuts, wiffle-waffle and the sound of mashed potato hitting a sponge in an echo chamber with the reverb button set at 11. The Head of Art bought me a bottle of Champagne and told me it was the best thing that could’ve happened to me (while I stared into space).

I spent the next 3 months in a daze, wondering what the hell I would do next. No one was hiring and more and more creatives were being shown the door. The competition was intense.

Then out of the blue, a senior Art Director who’d also been made redundant from the same agency (bless your cotton socks Keith) got me in for a chat with the boss at a big PR Agency in Bloomsbury. They’d been invited to pitch for a project, jointly funded by Harrods and the Spanish Government, to promote a month of Spanish fashion and culture at the world-famous Knightsbridge store.

This was my first foray into freelancing and culminated in three weeks in Spain (Barcelona, Madrid, Seville, Granada and Toledo), Art Directing press ads and a TV commercial. I was working with a great photographer and commercials director, was on a fab day rate, being paid to see the world, staying in stupidly expensive hotels and hanging out with beautiful models. Crumbs.

Problem?Schmoblem!2 – Freelance Copywriter, Jonathan Wilcock

Besides the fact that I’d managed to worry myself to the verge of a nervous breakdown after being made redundant, things were pretty good.

Redundancy saga 2
Fast-forward a couple of years, I was working in Soho’s Greek Street with the very lovely John Jessup. An old college friend had introduced us and it was a smashing little agency. I’d enjoyed freelancing, but it was good to be back splashing about in the full-time pool.

Then great news, the agency was going to merge with another bigger, better agency, headed up by some serious creative big-hitters. Exciting times, but they were going to be overstaffed, so it was back into the CD’s office for the “sorry, but…” pep talk.

Now this time I took the news very differently. No blind panic or “nobody loves me” dramas. With a nice little pay-off in my pocket, I picked myself up and waltzed out of the door with every confidence that things would work themselves out.

I disappeared to Kashmir for 6 weeks and forgot all about ad land, came back raring to go and pretty much walked straight into my dream job.

Redundancy Saga 3
A proper, big agency with proper, big accounts. A creative department of 32, two Creative Directors, smack-bang between Soho and Seven Dials… what could possibly go wrong?

Problem?Schmoblem!3 – Freelance Copywriter, Jonathan Wilcock

Ha! About 3 and a half years in, having survived one mini round of redundancies, a new CEO came in and decided to have a spring clean.

I was out on my ear again and fell back into freelancing. This was to be probably the most creatively consistent and stable patch of my career. 11 years, great work, wonderful people and no one could make me redundant. In your face – the man!

Then one thing led to another and I got back on the PAYE rollercoaster – Creative Director then Agency Partner then full time employee – and jumped back off in 2017.

The point is, on the surface and especially when you’re in the thick of it, redundancy is easily mistaken to be a bad thing. With the wrong mind-set, it brings pain, worry, confusion, fear, anger…

Seen from a different vantage point, every redundancy has added depth to my life experience and strength to my character. It’s opened new doors and shown me new possibilities.

It’s only life (or, it’s all good, especially the bad bits)
Nothing goes too smoothly for long. Life is meant to have ups and downs. We just need to work out how to deal with them.

So if you’re facing redundancy or any other life-changing ‘problem’, know that no matter how bad it may seem; it’s exactly what you need to help you move on to the next chapter.

It may be easier said than done and I’m sure that many will disagree, but for me, the best thing to do with a problem is welcome it in, tickle its tummy and make it your friend.

Oi, what’s your problem?
If you’re facing problems of a creative nature, give Uncle Jonathan a shout and he’ll help you you through it with a new blog post (maybe, no guarantees).

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me a line here, or email jonathan@sowhatif.co.uk

How to tell a creative copywriter their work sucks – Jonathan Wilcock

How to tell a creative copywriter their work sucks (without getting blood or tears on the carpet)

A creative copywriter is a sensitive soul. It doesn’t take much to shatter his or her funny little world.

The best way to make them cry is to tell them their work is rubbish. And if you want to twist the knife, don’t tell them why.

Besides a woolly creative brief, destructive criticism is a sure fire way to get the worst out of your creative resource.

They’re human beings. More than that, they’re artistic pixie people that need buckets of TLC.

So, how do you tell a creative copywriter their work sucks and leave them feeling inspired?

The first thing is to be honest with yourself. Did the brief have more holes in it than a pound of Swiss cheese in a Wild West shootout?

Basically, if you gave them a bum steer in the first place, it’s time to suck it up and pay for more of their time.

Let’s assume the brief was tighter than a bodybuilder’s showtime pants, but the creative results are disappointing. Where do you go from here?

1) The main point of the brief, ‘the most important thought to leave behind’, isn’t coming across.

Go back over the brief and explain why this is important to you/your audience. Ask them to look at ways of pulling this message out more clearly.

2) The tone of voice is wrong for your audience.

If you have a brand language document that they haven’t been exposed to, then it isn’t their fault if they’ve gone slightly off course. If there was no such document to share, the brief should have at least defined the kind of people you need to talk to.

Go back over this part of the brief and expand if necessary – point them at other brands that are talking in the right kind of way. Explain the sort of newspapers your target might read and the brands they buy. Pick out words the copywriter’s used that particularly jar.

3) The creative execution lacks impact.

It could be the headline, imagery, colours… If you feel that it would get lost amongst the competition, say so. Show examples that have the sort of impact you’re looking for.

4) You just don’t like it.

The onus is on you to work out why you don’t like it. The absolute worst thing you can say to a creative copywriter is, “I don’t know why, but it’s just not doing it for me”. If that’s all you’ve got, don’t be surprised if by draft 7 it’s still not floating your boat.

5) You’ve seen it before.

Is it just like something you’ve seen in your sector, an idea that’s been run by a competitor or is it an obvious rip-off of a famous piece of advertising/design (but not a knowing parody or homage)? Don’t assume your copywriter knows the piece you’re referring to. Dig it out so you can show how similar the thinking is.

This is a particularly interesting area. The amount of times I’ve heard someone say, “It looks like XXX’s logo”, then when said logo’s been found, there’s no resemblance whatsoever. Be sure your memory isn’t playing tricks on you.

6) It has no redeeming features whatsoever.

Tricky one this. Your objective here should be to inspire, not deflate. Unless you know each other well enough to be totally blunt, find something that you can put some kind of positive spin on. It could be as simple as, “I know this is a difficult brief…”, “There’s some really interesting thinking here…” or “Not sure this is up to your usual standard…”.

Don’t be patronising, but find a way of letting them down as gently as possible. Then make your feedback constructive. Leave them with a clear understanding of which direction to head in and feeling fired up, ready to wow you when it comes to Round 2.

Getting it right first time every time is the ideal, but it isn’t a given.

Copywriting is an art, not a science. A tight brief, open dialogue and working with someone you know you can trust will get you 99% of the way, but then it’s down to interpretation, magic and taste – all the flowery stuff that can’t be bottled.

If you want to work with a seasoned creative copywriter, who can help with the briefing process and has a thicker skin than most, please give me a shout – but not aggressively in my face – even I have my limits.

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me a line here, or email jonathan@sowhatif.co.uk

What is copywriting? Jonathan Wilcock – Freelance Copywriter

What is copywriting? Art or Science?

What is copywriting?

It’s not journalism, it’s not writing novels and it’s not writing just for the fun of it. So, what is copywriting?

Copywriting, in simple terms, is the use of words to persuade someone to do something.

This could be to make a donation, click on a link, go out and buy a new pair of pants, write to their MP, sign up to a newsletter, reassess their opinion of a brand or hit the share button.

Art or science?

Many will tell you that copywriting is a science*, but in fact it’s an art†.

My job as a copywriter is, more often than not, to capture the attention of a marketing-saturated, ad-frazzled, disinterested punter. Once I’ve got them reading, I then need to persuade them that the widget I’m selling is the absolute best widget in the entire widgety universe.

This takes wit, guile and intuition. It’s an art form.

A love of words, the ability to spell and lots of writing experience are all handy, but without an intuitive creative spark; a scientific, data-driven approach to copywriting won’t save anyone.

Where does this artistry come from?

In the last 18 months, the stuff I’ve written has been ridiculously diverse:

• On-pack copy for a vodka brand
• Press ads for a law firm
• Social media posts for a genealogy website
• Web copy for a children’s nursery
• Video scripts for a car manufacturer
• Sales aids for teeth aligners…

I don’t drink vodka, I don’t hang out with lawyers and I’ve never traced my family tree.

I don’t own a toddler, I don’t run a 4×4 and I’m perfectly happy with my dodgy teeth.

So how am I qualified to write persuasive copy for any of these clients?

Beyond having a great brief and lots of background information, if I relied on the ‘science’ of copywriting, I’d probably still be at “Err…”.

The art is in getting my head around what the client needs to say and then slipping my feet into the moccasins/flip-flops/toe tectors/louboutins/high tops/brogues of the target audience, so that I pull all the right strings.

For this, empathy is the copywriter’s best friend.

Empathy is a wonderful human quality nurtured through the richness of life experience. So as copywriters, we’re fortunate in the respect that the more we do and the longer we live, the better we get at the job.

“When dealing with people, remember you are not dealing with creatures of logic, but creatures of emotion.”
Dale Carnegie

Do you have to be born with it?

To a certain extent, yes. Like all art forms, there are plenty of chancers who get by with a lucky break or two, but then there are the maestros. Those that are born with an abundance of empathy and creative ingenuity.

To anyone who’s into copywriting, it will be no surprise to hear that I place David Abbott at the very top of the maestro category.

Mr. Abbott had a God-given gift for advertising copy. No doubt he worked hard at it, but without the creative seed that he was born with, I doubt he could have written this, one of his most famous ads, for Chivas Regal.

What Is Copywriting? The blog of Jonathan Wilcock – David Abbott

David Abbott makes it seem completely effortless. It feels more like a heart pouring out its contents than a copywriter selling booze.

Try doing that armed only with a spreadsheet of consumer insight data and a laptop.

“Use your life to animate your copy. If something moves you, chances are, it will touch someone else too.”
David Abbott

Can it be learned?

By studying those that have the gift and then writing, writing, writing; again, yes.

If you have a love for it and are willing to put the effort in, there is no doubt you can get better at it. Put it this way, I am definitely a better copywriter now than I was a year ago. And unless I’m mistaken, I’ll be a better copywriter this time next year.

Can anyone do it?

Yes, absolutely.

However, the real question should be, can anyone do it really well? And the answer to that is most definitely, and fortunately for the likes of me, “NO NO NO NO NO”.

“I’ve learned that any fool can write a bad ad, but that it takes a real genius to keep his hands off a good one.”
Leo Burnett

So, to recap, what is copywriting again?

It’s the ability to empathise, to intrigue and persuade. It just so happens that the tools we use to do this are words.

For more on the art of copywriting, have a look at:

Copywriting for the worst client in the world

The Seven Deadly Skills of a Great Copywriter

* OK, there is a bit of science to it, but mostly that’s in getting the brief right.

† Let’s get this straight. The end result isn’t art. Advertising, commercial websites, brochures and the like can’t be compared to a Picasso or a Rembrandt. However, there is an art to the copywriting process.

If you’ve enjoyed this post, please give it a share.

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me a line here, or email jonathan@sowhatif.co.uk

The 7 deadly skills of a great copywriter

The Seven Deadly Skills of a Great Copywriter

Anybody can be a writer of sorts, but what does it take for an ‘anybody’ to become a proper, worth-every-penny, great copywriter?

For dramatic effect, I’ve boiled it down to what we’ll call:

THE SEVEN DEADLY SKILLS OF COPYWRITING

The 7 deadly skills of a great copywriter – ideas

1) A mind stuffed with ideas

Spelling and stringing sentences together are the bricks and mortar, but ideas are the foundations. A great copywriter isn’t just great with words; they’re also a great ideas person.

There’s an overload of marketing messaging out there, so copywriters use smart creative thinking to give their clients an edge. A great copywriter isn’t afraid to try something different to get noticed.

Copywriting rule number one says, ‘headlines should be short and snappy’. Great copywriter says, ‘Lipsmackin’ thirstquenchin’ acetastin’ motivatin’ goodbuzzin’ cooltalkin’ highwalkin’ fastlivin’ evergivin’ coolfizzin’ Pepsi’.

Perfect spelling and grammar don’t make copy stand out, ideas do.

A great copywriter also knows the difference between ideas for ideas sake and ideas that are centred in the product or its character, values or attributes.

Bill Bernbach: “Be provocative. But be sure your provocativeness stems from your product. You are not right if in your ad you stand a man on his head just to get attention. You are right if you have him on his head to show how your product keeps things from falling out of his pockets.”

The 7 deadly skills of a great copywriter – detail

2) A love of the details

Idea first; telling the story second; then editing, editing editing. One word too many is one word too many. One typo stands out like a dog’s wotsits. A slip in tone of voice grates on the reader.

Details are important to a great copywriter.

At the same time, deadlines are deadlines and we have to cut-off at some point. Balancing the pursuit of perfection with the constraints of economic pressures is a constant reality for any copywriter. A great copywriter gets that balance just right.

Robert Fleege: An ad is finished only when you no longer can find a single element to remove.

The 7 deadly skills of a great copywriter – up to speed

3) Up-to-speed-ability

Some people are born with it, but most require practice. The ability to write to order is gold dust.

I wake up one morning with a dull headache. The client’s changed their mind about a chunk of copy for the fifth time. I’m not in the mood. I’m no longer excited by the brief, the product or, with this throbbing bonce, not even the paycheque at the end. Now what?

Great copywriters can turn ‘it’ on when they have to. They cut through the problems to find new solutions even when there seem to be more problems than an over-order at the problem factory.

They’re not phased by compromise or the idea of ripping it up and starting again. A great copywriter is a great copywriter any day of the week*.

*A great copywriter will also know how long it takes to decipher, research, understand, write and re-write. Just because they’re great doesn’t mean it’s instant.

Dave Trott: But before we can do anything with other people’s minds, we have to be able to control our own.”

The 7 deadly skills of a great copywriter – start and stop

4) Working start and stop buttons

Great copywriting always starts with a great brief, but just as important are research and asking the right questions.

It can be tempting to write a few thousand words based on a slither of information or a germ of an idea (and in the right hands, that can sometimes be enough), but a great copywriter is also a detective/forager/investigator.

Whether given a verbal, 2-minute briefing in a Soho coffee bar or a 20-page brief document in a 3-hour strategy meeting; a great copywriter will sift and sort, quiz and question until he or she has the right information at their fingertips.

Just as much as knowing where to start, copywriters know when to stop.

Clients sometimes mistakenly think that writing hundreds of words takes much longer than writing a few.

Getting to the point, persuasively, entertainingly and convincingly can take 10 times longer than writing paragraphs of meandering waffle.

A great copywriter knows when enough is enough. They know that their audience is busy and imapatient. They know all the tricks to get them to take in the juiciest bits of information and keep them reading.

The world is complicated and confusing. Our job as copywriters is, as much as anything else, to simplify. There is so much stuff to think about, so many decisions to make. After we’ve grabbed their attention, we need to make things as easy as possible.

Do I like the look of this? Does it speak my language? Do I know what to do next?

Great copywriters are happy to hack away, even at the bits they love, to leave just the bits that work.

Great copywriters Keep It Simple.

Leo Burnett: Make it simple. Make it memorable. Make it inviting to look at. Make it fun to read.

The 7 deadly skills of a great copywriter – nice people

5) A (nice) way with people

A great copywriter is on your side. They fight for you and whatever you are selling. They gain your trust and become a part of your team. They do this because it makes all round good business sense.

When a client is onboard, when they like and trust you, they will listen to your opinion and allow you to do the best possible job.

A great copywriter will tell you if you are asking them to polish a turd. If you want them to tell the world that your terrible product is the best ever, then they have the guts to explain why that won’t work.

They may be the experts, but they know that everyone involved has a part to play.

They listen as well as challenge. They fight their corner as well as empathise with the client’s position.

They are confident, but know when to back down.

The best copywriters are usually nice people to work with.

David Ogilvy: “We exist to build the business of our clients. The recommendations we make to them should be the recommendations we would make if we owned their companies, without regard to our own short-term interest. This earns their respect, which is the greatest asset we can have.”

The 7 deadly skills of a great copywriter – visual

6) An eye for pictures

Words are powerful. Pictures grab the attention. When the two work together in harmony, then that’s often where the magic happens. Copywriters need to spend time with Art Directors and Designers. They need to pore over the pages of D&AD annuals, visit art galleries and fall in love with images as much as they have with words.

Copywriting is about communication, not just writing. An intimate knowledge of how words and pictures can work together to communicate is a huge advantage to any copywriter who aspires to greatness.

David Abbott: Think visually. Ask someone to describe a spiral staircase and they’ll use their hands as well as words. Sometimes the best copy is no copy.

The 7 deadly skills of a great copywriter – connected

7) A connection with the audience

‘Clever’ writers fill their prose with ‘clever’ words to show off just how ‘clever’ they are. A great copywriter uses the language that their audiences respond to.

Unlike literary writers, copywriters can’t afford to use their own style of writing over and over. Every job is different.

Last week I was working on scripts for a software provider. The week before it was web copy for an overseas development charity. A one-size-fits-all approach won’t cut it.

A great copywriter wears a hundred different hats: comedian, best friend, business adviser… Copywriters need to be actors, getting into the role and speaking in the appropriate voice.

Tony Brignull: “Great lines don’t have to be clever, they just have to speak to people.”

For me, these are the most important skills that any copywriter needs. Add to this a massive shovel full of patience, confidence and a sense of humour, and you’re going to be at least halfway to greatness.

– – – – – – –

While writing this post, imposter syndrome raised its ugly head and whispered in my ear, “So, are you a GREAT copywriter Mr Wilcock?”

I’m sure even David Abbott would have felt uncomfortable wearing that badge, but I’m practicing all of the above, at least most of the time. I reckon I’m better this year than I was the year before, so let’s just say I’m heading in roughly the right direction.

But here’s an idea; give me a brief and put me to the test, then you be the judge.

More on copywriting and creativity:

Why you don’t need a specialist freelance copywriter
Where do creative ideas come from?
How freelance copywriters conquer writer’s block

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me a line here, or email jonathan@sowhatif.co.uk

The Rule Breakers – The blog of Jonathan Wilcock

Rules are great. Let’s break ’em.

Next time someone tells you the headline you’re writing HAS TO be 9 words or less, or that it HAS TO go above the picture, tell them that there are no HAS TO’s when it comes to creativity.

If they need proof, tell them to read this.

Here’s to the mavericks, the rule breakers; those who put their unique creative stamp on the world and left their mark in my heart.

Without rules there would be chaos, but if no one ever broke them, then where would we be?

Vanilla. Magnolia. Salt-free Rice Cakes.

Rule breakers give the world its pizzazz and open up new possibilities.

Without these rule breakers, I wouldn’t be the person I am today, so here’s a mini tribute to four of them:

Spike Milligan: Author, comedian, actor, playwrite, poet and titillator of the teenage me.

Born in 1918 in India to an Irish Father and English Mother, Spike Milligan was perhaps best known as one beautifully bonkers fourth of the Goons. Along with Harry Secombe, Peter Sellers and Michael Bentine, he introduced a generation who had grown up with Ealing comedies and Carry On films to a new style of comedy and paved the way for the likes of Monty Python and Vic & Bob.

The books he wrote that chronicled his wartime experiences as ‘Gunner Milligan, 954024’, found creativity and humour where many would have only seen darkness and desperation. I read and re-read Adolf Hitler: My Part in His Downfall and “Rommel?” “Gunner Who?”: A Confrontation in the Desert, with absolute glee. I fell hook line and sinker for his use of language – a silliness that completely captivated me.

Sadly, Spike Milligan lived with a ton of depression on his shoulders, but for me he was a first class hero. Although his mental condition often made him spiral down into a whirlpool of grey, he still managed to bring joy, beauty and mischief into the world.

Favourite quote: “I’m not afraid of dying I just don’t want to be there when it happens.”

David Lynch: Painter, film maker, writer, musician, photographer and weaver of dark tales.

If you’ve only seen Twin Peaks, you probably think you’ve seen the oddest nuggets of David Lynch’s imagination. If so, get hold of a copy of Eraserhead and strap yourself in. Here’s a trailer to test the water with.

I remember the first time I saw Eraserhead, I was completely blown away. Never mind the woman with a head like a cauliflower that lives behind a radiator, or the roast chicken that spasms and spews blood. There’s one scene where the camera pans around a group of people, like a spinning bottle observing a circle of oddbods and misfits. It completes its circle so slowly that it builds the most incredible tension. I’d never seen anything like it before. After the first minute, you find yourself screaming inside “please make it end”, but at the same time it’s like some kind of excruciating visual poetry.

In his book, Catching the Big Fish, Lynch describes Eraserhead as his “most spiritual movie,” but for me it taps into a dangerous and unpredictable style of storytelling. Like Luis Buñuel and Salvador Dalí’s short film, Un Chien Andalou, few dare to go there.

Favourite quote: “The ideas dictate everything, you have to be true to that or you’re dead.”

The Rule Breakers Art – The blog of Jonathan Wilcock

Mahatma Gandhi: Philosopher, spiritual leader, activist and rebel.

Mohandas Karamchand Gandhi was born in 1869 and was assassinated in 1948. For many of his followers he was Bapu, or Father, but most of us know him as Mahatma or ‘Great Soul’.

At a time when one half of India was trying to kill the other half, Gandhi stood out as a guiding light. He was principled, single-minded and driven by a belief that mankind could live in peace. It would be impossible to exaggerate the influence that he had on a whole nation (and on me).

His autobiography, The Story of My Experiments with Truth, is Gandhi laid bare. Here is a man who was truly on a mission to know himself and to bring about justice for millions of people.

In one inspirational passage, Gandhi says, “If I believe I cannot do something, it makes me incapable of doing it. But when I believe I can, then I acquire the ability to do it even If I didn’t have it in the beginning.” This remarkable book showed me in no uncertain terms what self belief and the spirit of sacrifice can achieve.

Favourite quote: “First they ignore you, then they laugh at you, then they fight you, then you win.”

Dr. Seuss: Author, cartoonist, artist, poet, animator, publisher and children’s mesmerist.

I can still visualise the cover of the copy of ‘Cat in the Hat’, that I had as a nipper. The pictures were amazing, but the words were on another level. Compared to Squirrel Nutkin or The Famous Five, The Cat in the Hat was pretty out there, but to an early years reader like me it was pure, unadulterated joy on a page.

In 1954, Life magazine published a report that stated that children weren’t learning to read because kids’ books were boring. William Spaulding, the director of the education division of publishers, Houghton Mifflin, compiled a list of words that he felt were important for young children to learn. Spaulding challenged Dr. Seuss (real name Theodor Seuss Geisel) to “bring back a book children can’t put down”, using 250 of the words on the list. Nine months later, The Cat in the Hat was born. Here’s a snippet:

‘now look what you did!’
said the fish to the cat.
‘now look at this house!
look at this!  look at that!
you sank our toy ship,
sank it deep in the cake.
you shook up our house
and you bent our new rake.
you SHOULD NOT be here
when our mother is not.
you get out of this house!’
said the fish in the pot.

Statistics vary, but according to most sources, by the time he died in 1991, Dr. Seuss had already sold well over 500 million copies of his children’s books. To put that into perspective, that’s more than Enid Blyton, JK Rowling or Roald Dahl. And more than 60 years since first being published, The Cat in the Hat still outsells most children’s books.

Favourite quote: “I like nonsense; it wakes up the brain cells.”

Although these heroes of mine all live(d) and work(ed) in different spheres, they have many qualities and values in common – all worth clinging on to.

– Self confidence
– A sense of humour
– A belief that anything is possible
– Creativity
– Determination
– Guts.

What’s that I hear you cry, “What about Christo, Florence Nightingale, Jimi Hendrix, Spike Lee, Edward Lear, Picasso, Aphex Twin, Walt Disney…” well maybe that’s another blog post for the future.

Enjoyed this? These articles might be worth a dip:

Where do creative ideas come from?
What I learnt in 2017

Jonathan Wilcock (that’s me) is a Senior Freelance Copywriter.
You can drop me a line here, or email jonathan@sowhatif.co.uk

Creative freelancer v Creative agency – Jonathan Wilcock

Creative freelancer v Creative agency

You’ve got a brief and you need a creative freelancer or agency to work their magic.

You’ve dismissed your mate’s sister’s boyfriend who “has a Mac and a GCSE in art”.

And you don’t have the time, skills, objectivity or inclination to do it yourself.

Let’s assume the budget won’t cover a protracted pitching process and the deadline means you can’t spend ages meeting dozens of people for a coffee and a chat.

So now there are two basic options.

Do you hook up with a freelancer or an agency? There are pros and cons in either direction.

These are my personal opinions based on a career as an agency employee, agency owner and freelancer. I can’t guarantee total lack of bias, but I’ve done my best to be objective. So let’s get ready to rumble…

Creative freelancer v Creative agency

• Agenda
In an agency, the creatives want to do great work to show off to their contemporaries and help land the next job. The Account Directors want to impress the boss and get on the board. The MD wants the account to be as profitable as possible. These conflicting, hidden agendas can see your brief being tugged in different directions. The lone freelancer is often creative, account handler and MD all in one, so even though different motives may still be lurking beneath the surface, its easier to corale them into one cohesive force.
Creative freelancer: 10 / Creative agency: 7

• Priority
To an agency or a freelancer, your business is important. Without clients there’s no work and if there’s no work… well you get the idea. However, in agencies there is often a client priority list – big budget + trophy brand name = top of the list, then everything else on a sliding scale. With freelancers, you will usually find that every client is as important (client 1 pays the utility bills, client 2 buys the weekly shop, client 3 helps towards the growing collection of Star Wars memorabilia, client 4 pays for the Friday night curry…)
Creative freelancer: 10 / Creative agency: 8

• Cost
Agencies have overheads; great big, shiny, turbo-charged, Shoreditch-flavoured overheads. Smaller agencies have smaller overheads, but still, someone has to pay for them. A creative freelancer usually has a spare bedroom and laptop to feed at most. You know your budget and you know what you want to spend it on.
Creative freelancer: 9 / Creative agency: 3

• Capacity
No matter the size of the organisation you work with, there is a limit to how much throughput they can handle. Both freelancers and agencies can over-promise, but generally speaking, the creative freelancer’s right hand is more likely to know what their left hand is doing.
Creative freelancer: 9 / Creative agency: 8

• Transparency
Large agencies are infamous for putting their star players forward to win the business. Once the contract’s signed you’re left with junior account execs and creative teams on placement. With smaller agencies and individual freelancers, what you see is what you get. If you like working with these people day one, you should still be bobbing along quite happily a year later.
Creative freelancer: 10 / Creative agency: 6

• Availability
We all need a holiday to re-charge the creative batteries. If you’re dealing with a one man/woman/person band, then inevitably there will be two or three weeks every year when they’re not so easy to get hold of. Saying that, you’d be amazed how much work can be done pool-side, using the hotel’s WiFi. Agencies of course don’t all go on holiday at the same time.
Creative freelancer: 6 / Creative agency: 10

• Commitment
When it’s called for, agencies pull all-nighters, so do freelancers. Both camps want to impress and hit those deadlines, but the further you go down the agency employee ecosystem, the quicker resentment starts to build. If everyone’s pulling their weight, then no one feels hard done by. With the freelacer, it’s them or no one, commitment goes with the territory.
Creative freelancer: 10 / Creative agency: 9

• Turnaround
The old analogy of the oil tanker changing course couldn’t be more appropriate. If you need to hit tight deadlines, I wouldn’t recommend choosing a large agency. Smaller creative agencies (3-6 employees-ish), without unwieldy, hierarchical structures can be much more flexible. The same goes for working with a creative freelancer – if they’re on the ball, they can juggle workloads to fit.
Creative freelancer: 8 / Creative agency: 7

• Quality
Whether you go for a freelancer or an agency, you can expect to find a huge disparity in the quality of the work between the best and the worst. The portfolio cannot lie – unless it’s been nicked from someone else.
Creative freelancer: 5 / Creative agency: 5

• Consistency
Like a great restaurant, when the chef changes, everything changes.
Agencies can get better or worse as the years go by and the team you originally worked with moves on. Generally speaking, individual creatives just get better with age.
Creative freelancer: 10 / Creative agency: 8

• Resource
Even if your trusted freelancer has several strings to their bow and a load of software skills, they simply can’t do everything. Most agencies of a decent size can handle concepts, copy, art direction, design, artwork, web development… all in-house. The lone freelancer will sometimes have to bring in people from their network to work alongside them.
Creative freelancer: 8 / Creative agency: 10

• Value
Quite separate from cost, value is a more subtle thing. Add up all the scores above, divide by the hourly rate and then multiply by the return on investment. I think it would be fair to say that agencies and freelancers can equally deliver anything between stinking, rotten awful and 10 gold stars.
Creative freelancer: 6 / Creative agency: 6

By my reckoning, the scores come in at:

Creative freelancer: 102 / Creative agency: 87

If you disagree, you’re welcome to pipe up here or have a go at me on twitter

Related articles:
Does brainstorming work?
Where do creative ideas come from?

Jonathan Wilcock (that’s me) is a freelance Copywriter, Art Director and Creative Director.
You can drop me a line here, or email jonathan@sowhatif.co.uk