000			24133cam a2205257Ii 4500
001			2670
008			120719t20132013caua b 001 0 eng
020			_a9781452203638 (paperback)
040			_aMEF _beng _erda
049			_aTR-IsMEF
050	0	0	_aHF5823 _b.A48 2013
100	1		_aAltstiel, Tom, _eauthor.
245	1	0	_aAdvertising creative : _bstrategy, copy, design / _cTom Altstiel, PKA Marketing, Jean Grow, Marquette University.
250			_aThird edition.
264		1	_aLos Angeles : _bSAGE Publications, _c[2013]
264		4	_c©2013
300			_axxii, 420 pages : _billustrations (some color) ; _c28 cm
336			_atext _2rdacontent
337			_aunmediated _2rdamedia
338			_avolume _2rdacarrier
504			_aIncludes bibliographical references (p. 395-410) and index.
505	0		_aCopy, design, and creativity : the nature of our business -- Strategy and branding : putting a face on a product -- Legal and ethical issues : doing the right thing -- Issues : the times they are a-changin? -- International advertising : it's a global marketplace -- Concepting : what's the big idea? -- Design : worth a thousand words -- Campaigns : synergy and integration -- Headlines and taglines : first get their attention -- Body copy : writing for readers -- Print : writing for reading -- Radio and television : interruptions that sell -- Digital : second screen, third screen and beyond -- Social marketing : creating communities that buy -- Direct response marketing : hitting the bullseye -- Beyond media : everybody out of the box -- Business-to-business : selling along the supply chain -- Survival guide : landing your first job and thriving -- Exercises -- Notes -- Appendix.
520			_aWritten in an accessible style, Advertising Creative has become a key resource on the most recent trends of strategy, concepts, design, and integration of media and technology. The Third Edition gets right to the point of advertising by stressing key principles, illustrating them, and then providing practical information students and working professionals can use. Drawing on their own personal experience as award-winning experts in the creative advertising field, Tom Altstiel and Jean Grow offer a unique blend of real world and academic perspectives as they examine relevant and cutting-edge topics, including global, social media, business-to-business, in-house, and small agency advertising. Indeed, this hands-on textbook takes you well beyond traditional media topics, offering engaging examples and case histories on hot issues such as digital technology and tools, diversity, and an ever-expanding global marketplace. In the new edition, Altstiel and Grow take a deeper dive into the exploration of digital technology and its implications for the industry, as they expose the pervasive changes experienced across the global advertising landscape. Their insightful discoveries reveal how brands now cut across geographic and cultural boundaries with lightning speed, and how the interplay of technology and culture, both local and global, is fast creating a marketplace that knows no boundaries. However, as cultural, geographic, and economic boundaries shift under our feet, the most important revelation of all is the identification of the three qualities that will define the future leaders of this industry: Be a risk taker. Understand technology. Live for ideas. KEY FEATURES Added chapters on Global Advertising and Social Media as well as expanded coverage of digital media reflect the rapidly changing advertising industry. Updated throughout with new illustrations and timely examples. "Survival Guide" chapter offers practical advice on how to land a job in the advertising business-and advance-illustrated with student portfolio examples. Dynamic four-color design throughout showcases vivid sample ads to clearly illustrate advertising strategies and trends. Engaging end-of-chapter exercises encourage creative thinking. Insightful stories from seasoned advertising creative professionals and rising stars provide an inspiring picture of the industry.
596			_a1
650		0	_aAdvertising.
700	1		_aGrow, Jean, _eauthor.
900			_aMEF Üniversitesi Kütüphane katalog kayıtları RDA standartlarına uygun olarak üretilmektedir / MEF University Library Catalogue Records are Produced Compatible by RDA Rules
910			_aÇağlayan
942			_2lcc _cBKS _01
970	1	2	_tCopy, design, and creativity : the nature of our business, _p1.
970	1	2	_tWho wants to be a creative?, _p1.
970	1	2	_tThe golden age of creativity, _p3.
970	1	2	_tThe creative team, _p4.
970	1	1	_tCo-captain of the creative team, _p4.
970	1	1	_tSo, what else does a writer do?, _p4.
970	1	2	_tControlling the creative process, _p5.
970	1	2	_tWhere do i go from here?, _p7.
970	1	2	_tCreativity and online media, _p10.
970	1	2	_tWhat's in it for me?, _p10.
970	1	1	_tKnowing the rules and when to break them, _p11.
970	1	1	_tYou don't have to be crazy, but it helps, _p11.
970	1	2	_tBefore you get started, _p12.
970	1	2	_tAdvertising, MarCom, IMC, or what?, _p12.
970	1	1	_tMarCom (marketing communications), _p13.
970	1	1	_tIMC (Integrated marketing communications), _p14.
970	1	2	_tAdvertising's role in the marketing process, _p14.
970	1	2	_tKnowing what makes the consumer tick, _p15.
970	1	1	_tCreating from the consumer's point of view, _p15.
970	1	2	_tWho's who?, _p18.
970	0	1	_aExercises, _p19.
970	1	2	_tStrategy and branding: putting a face on a product, _p21.
970	1	2	_tCreative strategy in the marketing mix, _p21.
970	1	1	_tMad men versus reality, _p21.
970	1	2	_tObjectives, strategies, and tactics, _p21.
970	1	2	_tAccounting planning-solving the client's problem, _p22.
970	1	2	_tGet the facts, _p23.
970	1	1	_tWhere to look for information, _p24.
970	1	1	_tSecondary research, _p24.
970	1	1	_tPrimary research, _p24.
970	1	1	_tEthnography-immerse yourseld in their world, _p26.
970	1	1	_tProjective techniques-eliciting inner feelings, _p26.
970	1	1	_tInterpreting research findings, _p26.
970	1	2	_tWho is the target audience?, _p26.
970	1	2	_tFeatures and benefits, _p26.
970	1	1	_tFrom the inside: features, _p27.
970	1	1	_tFrom the outside: benefits, _p27.
970	1	2	_tAssembling the facts, _p28.
970	1	1	_tCopy platform, _p28.
970	1	1	_tCreative brief, _p29.
970	1	1	_tConsumer profile, _p30.
970	1	2	_tTone: finding your voice, _p33.
970	1	2	_tWhat do you want them to do?, _p34.
970	1	2	_tPutting it all together, _p34.
970	1	2	_tThink like a planner, but write like a creative, _p35.
970	1	2	_tBranding, _p36.
970	1	2	_tBrand image, _p36.
970	1	2	_tBranded storytelling, _p38.
970	1	2	_tBrand agents, _p39.
970	1	1	_tAssume the position, _p39.
970	1	2	_tRepositioning and rebranding, _p40.
970	1	1	_tPositioning redux, _p41.
970	1	2	_tResonance: did you just feel something?, _p41.
970	1	2	_tExtending your brand, _p44.
970	1	2	_tWho's who?, _p47.
970	0	1	_aExercises, _p48.
970	1	2	_tLegal and ethical issues: doing the right thing, _p49.
970	1	2	_tCorporate social responsibility, _p51.
970	1	2	_tEthical challenges within the advertising industry, _p53.
970	1	2	_tMaking a difference, _p53.
970	1	2	_tLegal concepts that really matter, _p57.
970	1	1	_tStake your claim, _p57.
970	1	1	_tCopyrights and copywriting, _p60.
970	1	1	_tUse of archive photos, _p61.
970	1	1	_tPhotography-for-hire, _p62.
970	1	1	_tVoice talent, _p62.
970	1	1	_tMusic, _p62.
970	1	1	_tCopyrights in the digital age, _p62.
970	1	1	_tUsing celebrities, _p62.
970	1	1	_tLibel, _p63.
970	1	1	_tTrademarks, _p64.
970	1	2	_tWho's who?, _p65.
970	0	1	_aExercises, _p66.
970	1	2	_tIssues: the times they are a-changin', _p67.
970	1	2	_tIt's all there in black and white, _p69.
970	1	1	_tCan you hear me now?, _p69.
970	1	1	_tTapping into the African American market, _p70.
970	1	1	_tMusic is the rhythm of life, _p71.
970	1	2	_t¿Cômo se dice diversity en espanôl?, _p71.
970	1	1	_tSpanglish: the blending of cultures, _p74.
970	1	1	_tDigame mas (tell me more), _p75.
970	1	1	_tTapping into the Latino market, _p75.
970	1	2	_tYou're never too old to buy something, _p76.
970	1	1	_tConnecting with boomers and matures, _p77.
970	1	1	_tTapping into the boomer and mature market, _p78.
970	1	2	_tDon't ask. don't tell. just sell, _p79.
970	1	1	_tJust do it, _p79.
970	1	1	_tTapping into the Gay and Lesbian market, _p80.
970	1	2	_tChildren: walking a fine line, _p81.
970	1	1	_tEngaging kids, _p82.
970	1	2	_tWomen in advertising: have we really come a long way, baby?, _p83.
970	1	1	_tHey, big spender, spend a little time with me, _p83.
970	1	1	_tTapping into this influential "Niche" market, _p84.
970	1	1	_tRespect women, reap rewards, _p87.
970	1	2	_tDid we miss anyone?, _p87.
970	1	1	_tA humble disclaimer, _p89.
970	1	2	_tWho's who, _p90.
970	0	1	_aExercises, _p91.
970	1	2	_tInternational advertising: it's a global marketplace, _p92.
970	1	2	_tGeopraphic context, _p92.
970	1	2	_tCultural dimensions, _p93.
970	1	2	_tGlobal growth, _p95.
970	1	1	_tBRIC nations, _p96.
970	1	1	_tMIST nations, _p99.
970	1	2	_tGlobal survival, _p102.
970	1	2	_tStrategic approaches, _p103.
970	1	1	_tGlobalized approaches, _p103.
970	1	1	_tStandardized approaches, _p104.
970	1	1	_tStrategies for success, _p104.
970	1	1	_tStrategy in action, _p105.
970	1	1	_tLost in translation, _p106.
970	1	1	_tGood-bye, До свидия, and Adîos, _p107.
970	1	2	_tWho's who, _p108.
970	0	1	_aExercises, _p109.
970	1	2	_tConcepting: what's the big idea?, _p110.
970	1	2	_tHow to be creative (concepting strategies), _p110.
970	1	1	_tWorking backward: there's got to be a strategy in there somewhere, _p110.
970	1	1	_tConcepting by the book, _p111.
970	1	2	_tConcepting approaches, _p112.
970	1	1	_tShow the product, _p113.
970	1	1	_tShow the benefit, _p113.
970	1	1	_tShow the alternative, _p114.
970	1	1	_tComparison, _p114.
970	1	1	_tMetaphors, _p116.
970	1	1	_tBorrowed interest, _p117.
970	1	1	_tTestimonials/case histories, _p118.
970	1	2	_tThe concepting process, _p118.
970	1	1	_tSay it straight, then say it great, _p118.
970	1	1	_tBrainstroming, _p119.
970	1	1	_tIdea starters, _p119.
970	1	1	_tTen tips for better concepts, _p120.
970	1	2	_tConcept testing, _p121.
970	1	1	_tSelf-evaluation, _p121.
970	1	1	_tCreative director/account executive evaluation, _p122.
970	1	1	_tClient evaluation, _p122.
970	1	2	_tDo the twist, _p123.
970	1	1	_tFinding the edge, _p123.
970	1	1	_tDoes sex sell?, _p123.
970	1	1	_tBefore you get edgy, _p124.
970	1	2	_tWhat to do when you're stuck, _p125.
970	1	2	_tCrowdsourcing: curse or salvation?, _p126.
970	1	2	_tWho's who, _p128.
970	0	1	_aExercises, _p129.
970	1	2	_tDesign: worth a thousand words, _p131.
970	1	2	_tWhy every creative needs to be a designer, _p131.
970	1	1	_tSo you want to be an art director, _p132.
970	1	2	_tDon't throw away your pencil, _p132.
970	1	2	_tBasic design principles, _p133.
970	1	1	_tProximity, _p133.
970	1	1	_tAlignment, _p134.
970	1	1	_tRepetition, _p136.
970	1	1	_tContrast, _p136.
970	1	2	_tSome essentials, _p137.
970	1	1	_tTypography, _p137.
970	1	1	_tColor, _p139.
970	1	1	_tSelecting your visiuals, _p141.
970	1	1	_tFinding your visiuals, _p143.
970	1	1	_tDesign and campaign continuity, _p144.
970	1	2	_tBetter print layouts, _p144.
970	1	1	_tLayout patterns, _p144.
970	1	1	_tLayout considerations, _p145.
970	1	2	_tBasic web design, _p147.
970	1	1	_tDesigning for the web, _p147.
970	1	1	_tDesigning mobile advertising, _p149.
970	1	2	_tParting thoughts on social media and nontraditional advertising, _p149.
970	1	2	_tPutting it all together, _p150.
970	1	1	_tThoughts on software, _p150.
970	1	1	_tEvaluating your work, _p150.
970	1	2	_tWho's who, _p152.
970	0	1	_aExercises, _p153.
970	1	2	_tCampaigns: synergy and integration, _p155.
970	1	2	_tWhat is a campaign?, _p155.
970	1	2	_tCampaigns and IMC, _p156.
970	1	1	_tCampaign components, _p156.
970	1	2	_tHow to enhance continuity, _p157.
970	1	1	_tContinuity does not mean conformity, _p157.
970	1	1	_tExtendability, _p158.
970	1	1	_tRepeatability, _p158.
970	1	1	_tHow to maximize extendability and repeatability, _p158.
970	1	2	_tConsumer-generated campaigns, _p163.
970	1	2	_tIntegrated digital campaigns, _p165.
970	1	2	_tPutting it all together, _p166.
970	1	1	_tCampaign tips, _p167.
970	1	2	_tWho's who?, _p168.
970	0	1	_aExercises, _p169.
970	1	2	_tHeadlines and taglines: first get their attention, _p171.
970	1	2	_tWhy have a headline?, _p171.
970	1	2	_tTypes of headlines, _p172.
970	1	1	_tProven styles of headlines, _p172.
970	1	1	_tCreating headlines from product information, _p174.
970	1	2	_tWriting headlines with style, _p174.
970	1	1	_tIneffective headlines, _p176.
970	1	1	_tEvaluating headlines, _p178.
970	1	2	_tHeadline checklist, _p180.
970	1	2	_tSubheads, _p181.
970	1	1	_tSubhead traps, _p181.
970	1	2	_tPreheads, _p182.
970	1	2	_tWhy have taglines?, _p183.
970	1	2	_tHow to write more effective taglines, _p185.
970	1	2	_tCreating taglines from product information, _p186.
970	1	2	_tTaglines need your support, _p189.
970	1	2	_tWho's who?, _p189.
970	0	1	_aExercises, _p190.
970	1	2	_tBody copy: writing for readers, _p192.
970	1	2	_tWho needs body copy?, _p192.
970	1	1	_tYou never know when you'll need it, _p192.
970	1	1	_tAds aren't the only place you'll need copy, _p192.
970	1	1	_tWhat you need to know...and use, _p193.
970	1	1	_tWhy do we need copy in ads?, _p193.
970	1	2	_tThe case for long copy, _p194.
970	1	2	_tWriting structure, _p195.
970	1	1	_tTypes of copy, _p195.
970	1	2	_tWriting style, _p198.
970	1	1	_tAdvertising is not English (even in English-Speaking countries), _p198.
970	1	1	_tPersuade, don't impress, _p199.
970	1	2	_tThe "seven deadly sins" of copywriting, _p199.
970	1	2	_tPower writing, _p204.
970	1	2	_tChecklist for better copy, _p205.
970	1	1	_tYou're not done yet, _p207.
970	1	2	_tWho's who?, _p208.
970	0	1	_aExercises, _p209.
970	1	2	_tPrint: writing for reading, _p211.
970	1	2	_tMagazines, _p211.
970	1	1	_tWhy magazines?, _p211.
970	1	1	_tMagazine and campaigns, _p212.
970	1	1	_tWhere to find the best magazine ads, _p212.
970	1	2	_tNewspapers, _p216.
970	1	1	_tWhy newspapers?, _p216.
970	1	1	_tRetail advertising, _p217.
970	1	1	_tNational newspaper ads, _p218.
970	1	1	_tNewspapers and campaigns, _p218.
970	1	1	_tMaking your newspaper ads work better, _p218.
970	1	2	_tCollateral, _p220.
970	1	2	_tWho's who?, _p224.
970	0	1	_aExercises, _p225.
970	1	2	_tRadio and television: interruptions that sell, _p227.
970	1	2	_tRadio, _p227.
970	1	1	_tWhy radio?, _p227.
970	1	1	_tStreaming music services versus local broadcast radio, _p228.
970	1	2	_tProduction considerations, _p229.
970	1	1	_tIt takes talent to cast talent, _p229.
970	1	1	_tTiming is everything, _p230.
970	1	1	_tIs this funny? (comedy in commercials), _p231.
970	1	2	_tA word or two about dialogue, _p232.
970	1	1	_tProblem: consumers become salespeople, _p233.
970	1	1	_tProblem: stilted language, _p233.
970	1	1	_tProblem: gaps in conversation, _p234.
970	1	1	_tGive me a jingle, _p234.
970	1	1	_tTips and techniques, _p235.
970	1	2	_tTelevision, _p237.
970	1	1	_tChanging standards, _p237.
970	1	1	_tWhy television?, _p238.
970	1	1	_tLimitations of television advertising, _p238.
970	1	1	_tHow to solve those special problems, _p239.
970	1	1	_tTechnology and trends that affect the creative process, _p240.
970	1	2	_tHow to show your concept, _p240.
970	1	1	_tScript, _p240.
970	1	1	_tStoryboard, _p241.
970	1	1	_tKey frame, _p241.
970	1	1	_tScenario, _p241.
970	1	2	_tStyles of commercials, _p241.
970	1	1	_tSlice of life (problem-solution), _p241.
970	1	1	_tSpokesperson (testimonial), _p242.
970	1	1	_tCelebrity, _p242.
970	1	1	_tStory line, _p243.
970	1	1	_tVignettes, _p243.
970	1	1	_tMusical, _p244.
970	1	2	_tHumor in TV, _p244.
970	1	1	_tWhat makes it funny?, _p245.
970	1	1	_tWhat makes it good?, _p246.
970	1	2	_tTips and techniques, _p246.
970	1	1	_tPower writing for TV and video, _p247.
970	1	2	_tChecklist for your TV commercial, _p247.
970	1	2	_tPresenting your TV commercial, _p248.
970	1	2	_tBeyond television, _p250.
970	1	2	_tWho's who?, _p251.
970	0	1	_aExercises, _p252.
970	1	2	_tDigital: second screen, third screen, and beyond, _p254.
970	1	2	_tOur predictions came true: we didn't know anything!, _p254.
970	1	2	_tThe three things, _p255.
970	1	2	_tDigital advertising, _p256.
970	1	2	_tWeb content, _p258.
970	1	1	_tContent management systems, _p258.
970	1	2	_tMicrosites, _p261.
970	1	2	_tWidgets and apps, _p262.
970	1	2	_tWriting web content, _p262.
970	1	1	_tWriting for a worldwide web, _p263.
970	1	2	_tWeb copy and SEO, _p264.
970	1	2	_tBounce rates, _p265.
970	1	2	_tBranded entertainment, _p265.
970	1	2	_tWeb 3.0 and the future, _p267.
970	1	2	_tWho's who?, _p271.
970	0	1	_aExercises, _p272.
970	1	2	_tSocial marketing: creating communities that buy, _p274.
970	1	2	_tSocial media versus social networking, _p275.
970	1	2	_tWord-of-mouth marketing, _p276.
970	1	1	_tSocial media and word of mouth, _p278.
970	1	2	_tViral marketing, _p279.
970	1	2	_tWriting company blogs, _p280.
970	1	2	_tSocial network platforms, _p281.
970	1	1	_tFacebook: the rise of "likenomics", _p284.
970	1	1	_tFacebook's impact on retail, _p285.
970	1	1	_tBeyond the brand: social networking for social good, _p286.
970	1	1	_tTwitter: tweeting its way into the mainstream, _p286.
970	1	2	_tKeeping up with social trends, _p289.
970	1	2	_tIt's not about technology-it's about engagement, _p291.
970	1	2	_tWho's who, _p292.
970	0	1	_aExercises, _p293.
970	1	2	_tDirect response marketing: hitting the bull's-eye, _p295.
970	1	2	_tDirect marketing defined, _p295.
970	1	1	_tWhy direct response marketing?, _p295.
970	1	2	_tComponents of direct response marketing, _p296.
970	1	1	_tDatabase marketing: using the list, _p297.
970	1	1	_tWhere to get information to build your database, _p297.
970	1	2	_tCustomer relationship management, _p297.
970	1	2	_tDirect mail, _p297.
970	1	1	_tEnvelope mallers (letter package), _p298.
970	1	1	_tFlat self-mallers, _p299.
970	1	1	_tDimensional mailers, _p300.
970	1	1	_tThe fine art of writing a cover letter, _p300.
970	1	1	_tCustomization and variable printing, _p301.
970	1	2	_tPURLs: where direct mail interfaces with the internet, _p303.
970	1	2	_tE-mail, _p305.
970	1	1	_tWriting more effective e-mails, _p306.
970	1	1	_tSubject line, _p306.
970	1	1	_tE-mail and integrated marketing communications, _p307.
970	1	1	_t"Mocial"-integrating with social media and mobile, _p308.
970	1	1	_tFuture of e-mail, _p308.
970	1	2	_tMobile: the third screen has come of age, _p309.
970	1	1	_tQR codes and tagging, _p311.
970	1	1	_tTake one tablet and you're hooked, _p312.
970	1	2	_tThe changing face of direct response marketing, _p313.
970	1	2	_tWho's who, _p314.
970	0	1	_aExercises, _p315.
970	1	2	_tBeyond media: everybody out of the box, _p317.
970	1	2	_tOut-of-home advertising, _p317.
970	1	1	_tWhy out-of-home?, _p317.
970	1	2	_tPosters and bulletings (aka billboards), _p318.
970	1	2	_tDigital and interactive out-of-home media, _p321.
970	1	1	_tTips and techniques, _p322.
970	1	2	_tTransit, _p322.
970	1	2	_tPosters, _p323.
970	1	2	_tAmbient advertising, _p323.
970	1	2	_tGuerrilla marketing, _p323.
970	1	2	_tOut-of-home and campaigns, _p327.
970	1	2	_tSales promotion, _p328.
970	1	1	_tWhy sales promotion?, _p329.
970	1	1	_tWhy not?, _p329.
970	1	1	_tTypes of sales promotions, _p330.
970	1	1	_tPromotional strategy and tactics, _p333.
970	1	1	_tComponents of the promotion, _p333.
970	1	1	_tTips and techniques for promotion, _p334.
970	1	2	_tPromotional public relations, _p334.
970	1	2	_tEvent marketing and sponsorships, _p336.
970	1	2	_tProduct placement, _p337.
970	1	2	_tIn-game advertising, _p338.
970	1	1	_tSocial gaming and marketing, _p338.
970	1	2	_tHybrid marketing, _p339.
970	1	2	_tWho's who, _p340.
970	0	1	_aExercises, _p341.
970	1	2	_tBusiness-to-business: selling along the supply chain, _p343.
970	1	2	_tB2B: challenges and opportunities, _p343.
970	1	1	_tWhy B2B is different, _p344.
970	1	1	_tWhy B2B is the same, _p344.
970	1	2	_tDon't forget those wants and needs, _p345.
970	1	1	_tAgricultural advertising: its another animal, _p345.
970	1	1	_tProfessional advertising, _p347.
970	1	2	_tB2G: a specialized target audience, _p347.
970	1	2	_tB2B and campaigns, _p348.
970	1	2	_tOnline marketing tools for B2B, _p351.
970	1	1	_tOnline events, _p351.
970	1	1	_tB2B and social media, _p352.
970	1	2	_tWho's who?, _p356.
970	0	1	_aExercises, _p357.
970	1	2	_tSurvival guide: landing your first job and thriving, _p359.
970	1	2	_tHow to build your portfolio, _p359.
970	1	1	_tInside a junior copywriter's portfolio, _p360.
970	1	1	_tInside a junior art director or designer's portfolio, _p360.
970	1	1	_tWhat not to put in your book, _p361.
970	1	1	_tHow should you format your book?, _p362.
970	1	2	_tHow to write your cover letter, _p363.
970	1	2	_tHow to write your resume, _p363.
970	1	1	_tWhat not to include, _p365.
970	1	2	_tHow to get that entry-level job, _p366.
970	1	1	_tWhat agencies are looking for in entry-level creatives, _p366.
970	1	1	_tHow to survive as an entry-level creative, _p367.
970	1	1	_tWhat every junior woman creative needs to know, _p368.
970	1	2	_tHow to talk the talk, _p369.
970	1	2	_tHow to sell your work, _p372.
970	1	1	_tHow to make it memorable, _p373.
970	1	1	_tHow to handle questions, _p374.
970	1	1	_tHow to think on your feet, _p375.
970	1	2	_tHow to get that next great job, _p376.
970	1	2	_tHow to get more information, _p376.
970	1	1	_tTrade publications and creative magazines, _p376.
970	1	1	_tBooks, _p377.
970	1	1	_tDigital resources, _p378.
970	1	2	_tWho's who?, _p379.
970	1	2	_tWords of wisdom, _p380.
970	0	1	_aExercises, _p382.
970	1	1	_tAppendix, _p383.
970	1	1	_tCopy platform (creative strategy statement), _p383.
970	1	1	_tCopyediting and proofreading symbols, _p385.
970	1	1	_tRadio production terms, _p386.
970	1	1	_tTV and video production terms, _p388.
970	1	1	_tDigital production terms, _p392.
970	1	1	_tThe whole book in one page, _p394.
970	0	1	_aNotes, _p395.
970	0	1	_aIndex, _p411.
970	0	1	_aAbout the authors, _p420.
999			_c11952 _d11952
003			KOHA