Creative is dead;
So, long live
Creative
Authors for agencies; agencies forever
We partner with agencies to deliver projects undertaken by prize-winning playwrights, poets & novelists.
This is creative that sweats, sparkles or seizes. And it's a talent model for the ages.
How we work with agencies
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Pen our oeuvre - we're looking to arrange the romance of the century
At this level, your client becomes our writer's living muse. They're under her skin; they're the shadows on the milk of his cornflakes.
Think deep tone of voice consulting & workshops
Think an evolving, curated vocabulary (desc flex)
Think long-form product histories (something something channels and socials)
In this retainer-based model, we're both a supplier of skills heretofore unseen and a key strategic partner, leading on content development and deployment across channels.
Silly Stunts - we want a summer fling with a published author
A test drive, or simply a good time. At this level, your writer is the medium and the message. Look what we did. Look who we did it with. Isn’t it nice?
Haikus on high tops
A love story in 12 heart-rending chunks, delivered with the monthly subscription
Think product embellishment, think in-app storytelling - think big
In this project-based model, we work with you to make a cloud-soaking splash on socials, sites, shirts or Scotch bottles.
We can be leader or follower in campaign ideation. And yes, it’s very nice.
Bookworm the in corner - we want you in the room
At this level, our writer functions as a seamless extension of you or your clients' creative team(s).
Your client is their home away from home. They barely remember our faces.
Longer term contracts more akin to traditional copywriters'
Direct communication and project management
A line back to HQ whenever you need it
In this retainer-based model, you set the agenda.
Connect our writer with your client directly or manage them like a third-party supplier.
Why we matchmake brands and authors
Because it feels good. Because we want to. Because you and I and all of them are bored by the same syntaxes droning on and on.
Because when you read this. This bit of copy, based on a poem out of the 1960s New York School.
You notice, just like I did, the minds keys to grooves between words and the half rhymes slip past barely heard though registered… somewhere.
Where is that somewhere? It is pleasure. It is slowness.
It is that place that “copy” only reaches with stubby, one-track fingers, tugging always in the same way direction.
To buy. Please. Now. Wouldn’t you like to offer something different?.
We think you would. We think you didn’t get into the business of experience, emotion and action because you were fundamentally indifferent the human cognitive landscape they take place in; because you’re incurious about the ways media changes; because you do not care if you supply something new or something essentially fungible.
This is the argument from beauty. And from aspiration. But there is a more pragmatic one.
In 1888, the Kodak No. 1 became the first commercially viable, mass-market camera. The tagline, ‘you push a button; we do the rest’ will be eerily resonant with anyone who’s prompted an LLM and watched as a blank mind performs a rapid simulacrum of thought.
The Kodak No. 1 gutted the traditional portrait market; and the Kodak Brownie (1900) was none too gentle, either.
This is the position many copywriters, and, by extension, their agencies, find themselves: staring down the barrel-shaped lens of a democratised technology.
Many copywriters and agencies are taking the plausible line that LLMs are a tool which enables scaling. This is true. And it will likely be so for a few more models.
Though the chargeable labour, the expertise, will be squeezed and squeezed.
On the plus side, when you examine what you can still charge money for in the realm of portraiture, an alternative blueprint suggests itself.
People pay for minds behind devices. Photos aren’t valuable. Anyone can produce a photograph. Photographers are valuable. Photographers fill galleries and empty magazine racks.
While we’re at it, you wanna know another industry that, while shrunk, is still lucrative for the best practitioners? Portraiture. Oils, watercolour, graphite and pastels. And a piece fetches more than a photo by a double or triple digit factor.You see where this is going.
Essentially, we’re pitching a ride back down Madison Avenue, in Oglivy’s silent Rolls, via the timely reappropriation of another medium’s prestige.
This is the argument from business: that, as with so many forms of automation, the middle gets eaten, and the top eats well, provided they make the right adjustments.
What you get
Something old, something new, something borrowed, just for you
A 100% unique approach to talent and service
We matchmake agencies and their clients with prize-winning authors to deliver copy with drips with vim and brims with vigour. But we don't stop there. This is an oppurtunuty
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Back up by tried and tested methods
We're not just a pretty (type) face. From voice of customer research based on UGC to integrated social campaigns, we can bake the cake as well as placing the cherry atop it.
Deployed with tantric flexability
We can lead on client calls, follow a brief or remain a distant sage. White label or big neon look-what-we-got-you label. It's all the same to us. We're here to flex, not filch.
