A Quote by John Caples

What good is all the painstaking work on copy if the headline isn't right? If the headline doesn't stop people, the copy might as well be written in Greek. — © John Caples
What good is all the painstaking work on copy if the headline isn't right? If the headline doesn't stop people, the copy might as well be written in Greek.
On the average, five times as many people read the headline as read the body copy. When you have written your headline, you have spent eighty cents out of your dollar.
Based on hundreds of tests conducted, a good headline can be as much as 17 times more effective than a so-so headline. And this is with exactly the same body copy!
The business of judging a headline AFTER you read the copy is wrong. It takes for granted that everybody reads the copy.
If you use a poor headline, it does not matter how hard you labor over your copy because your copy will not be read.
There's still a place for someone to come up with a strong headline, some copy in a commercial that's well written. I'm not saying it was better in the old days; it's just a totally different way of communicating.
If the headline is a good one, it is a relatively simple matter to write the copy.
Alexander Liberman was very smart, very elegant. At the end, he didn't have much patience with me because I was a young, anxious, nervous photographer. I worried that I was copying too many other people. And he said, "It's all right to copy people, as long as the people you copy are good and you copy them well."
Copy is not written. If anyone tells you ‘you write copy’, sneer at them. Copy is not written. Copy is assembled. You do not write copy, you assemble it. You are working with a series of building blocks, you are putting the building blocks together, and then you are putting them in certain structures, you are building a little city of desire for your person to come and live in.
Start copying what you love. Copy copy copy copy. At the end of the copy you will find your self.
I have very talented art directors in my agency who start out telling me, 'Well, this is what the picture is... ' I ask, 'Well, what's the headline?' and they say, 'We haven't done that yet, but it looks this way.' But I'm still writing copy, almost every day.
The gleam in their eyes telegraphs only too clearly that they are hoping for a headline, which of course means something disparaging, because nothing makes such good copy as a feud.
I believe that every paper in the country should have one headline that when you read it, you laugh so hard you can't stand it. It has to be that way. What about a headline like this: 'Hippo Eats Dwarf'? How good is that? You read that headline, and you immediately close the paper and say, 'Wow, it's gonna be a great day.
Every single element in an advertisement - headline, subhead, photo, and copy - must be put there not because it looks good, not because it sounds good, but because testing has shown that it works best!
I get nostalgic for things that didn't really exist. I might have a cassette from the first time a Melle Mel track, say, got played on radio in Manchester. And it might be a copy of a copy of a copy of a tape and there's all these weird nuances and distortions that have affected what I know as the truth, if you like, of that track.
The headline is the most important element in most advertisements. It is the telegram which decides the reader whether to read the copy.
Every copywriter knows what it is to struggle with a copy for hours, for days - fixing it, polishing it, rearranging it. We have all been quilty of leaving the headline until the last and the spending half and hour on it - or perhaps only ten minutes.
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