Once Upon A Deadline Digital

ONCE
UPON
A
DEADLINE
A BIOPSY OF STORY
Harendra Kapur
This ones for all the suckers who still believe in love.
Breaking Old Habits
Establishing new ones
Prologue
Story
28
Give a sh*t
Minimalism
38
Idiots
14
Cut!
40
1 on 1
20
6 steps to story
42
Contagions
24
Identity
44
Awesome
46
Device
48
Originality: The Curse
52
Epilogue
56
This book has been written and designed for several reasons.
Some arrogant and self serving - some wishful and idealistic.
But the belief that this book should exist within the vast narrative of
creativity, is based on a series of observations.
The bulk of my experience of marketing and creativity is as a student.
As a student of Mass Media.
As a student of corporate machineries.
As a student of Graphic Design.
But more significantly, as a student of people and what makes them
tick.
This book starts out as observations ond learnings that relate strictly
to advertising.
It ends as observations on living happier, healthier, motivated lives.
This book exists, above all, to help bring brands and the
creatives charged with communicating for them away from
the context of business, and into
The
Context
of
Humanity.
7
GIVE
A
SH*T
8
and youll always get one back

At that point you better be certain the other guys giving of a shit is
duly rewarded.
Its easy to forget with all the jargon and agency infighting that we put
ourselves through every day, but at the end of the day what all of us
are paid to do, is have conversations.
Most of our conversations are forced on the listener and that makes it
even more important that we remember this.
When youre communicating with someone else, do so as a human.
Every time youre writing a line of copy, or drawing a logo

youre basically hitting on someone.
B*tches, right? Always complaining we dont listen and sh*t,

said the idiot.
They came to this club to have a good time.

Are you sure you want to be the dickhead
screaming in her ear and groping at her ass?
The nicest thing you can do for anybody,
audience, friend, foe or shopkeeper?
Just give a shit.
Either you arent listening, or you havent conveyed the fact that you
are listening very well.
But your relationship with anyone can only work if you suck it up and
listen to what theyre saying.
LISTEN!
Fight your instinctual presumptions,
and listen to every tiny detail you would have missed if you didnt.
Your lack of a sh*t given is always going to shine through if you dont.
10
11
Whether youre presenting a project in a classroom, or youre

responding to a brief, you can only communicate successfully if you do
so in response.
In response to a new market trend,
In response to the girl at the back yawning.
But the second you lose interest in a conversation with another person,
youve willingly left the interaction.
Good luck communicating when that happens.
12
13
Did they watch that piece of sh*t video and not yours?
Are they not coming to your amazingly designed website?
Dont they get that this is good design and that is bad design?
IDIOTS!
There is a tendency, conscious and subconscious,
to think of our audiences as ill informed or stupid.
Most audiences arent as smart as your average creative, right?
14
The
Onus of
Communication
is on
The Sender.
(Hint:Thats you.)
15
Everything you do is done to look like its by your client.

But everything you do is for your audience.
You live to serve them. They live to live their own f*cking lives.
Everyone is the center of their own universe.
You come into work every day struggling with all sorts of sh*t.
But you, dear reader, have picked a job where you need to become the
center of someone elses.
You are at any given point hungover, clinically depressed, generally

irritable, sick or mad at some c*nt in the office.
Now youre going to spend hours fixating on the tiniest of details that
even your creative director wont notice.
And youre doing it all for a f*cking client.
WRONG!
16
17
Your 30 second cameo appearance between

the TV show Im going to watch this Saturday is
a privilege I have afforded you.
Make it good, ad man. Make it real good.
You have interrupted my life to sell me

a box of tissues.
18
19
When News anchors go to work every day, they do so knowing that

theyre going to end their day talking to millions of people.
Thats a lot of responsibility. Millions of people = millions of variables.
What if they only hear one part of it? What if theyre busy doing
something else? What if they misunderstand my elaborately long yet
perfectly balanced sentence?
What if, they just arent that into it?
The difference between a good news anchor and a bad news anchor
lies in the response to the following question:
How many people will you be talking to tonight?
A bad news anchor will calculate the shows average viewing
audience and factor in a few variables to reach a well thought out
answer.
A good news anchor will answer:
One.
20
21
It is the inherent contradiction at the base of all mass communication.

You create something so that millions will view it.
But every single time someone sees what youve done, they do so
alone. They do so in a place that only they know.
It is intimate and it is personal.
When someones eyes scan a magazine page in that F pattern they
taught you in school, theyre making a decision about commitment.
If they decide the page is adequately attractive, theyll let you in to their
home. Once youre in, you had better be worth the faith thats been put
in you.
So the next time youre crafting this moment, think about what youre
doing.
Are you wasting their time? Are you being a bit of a d*ckhead? Can
you look them straight in the eye and tell them this was worth the
minute and a half they invested?
Dont be fake. Dont talk to them like theyre a part of some
demographic.
Dont be loud. And certainly dont shout.
Talk. Softly. Calmly. Warmly. Proudly. Even excitedly.
But talk.
22
is for F*ck yes!
23
A few years ago

in the dark, dingy corner
of a dark, dingy bar
on a dark dingy street
in Mumbai, India,
a group of ad men were drinking after a long week of briefs, clients
and deadlines.
They were talking, as all drunken ad men inevitably do, about the
mysteries of life, love and of course - great advertising.
What makes something viral? one of them wondered despairingly.
Slurred but certain everyone pitched in with an answer.
Cats!
Tits!
It was at this moment that one of them understood a deep and all
encompassing rule about human interaction.
Things go viral
if they make me
feel cool
for sharing them
with you.
What is Viral?
24
Varun Joshua
25
The undeniable truth about all human beings is that everything they
do, they do for their own benefit.
If you give a homeless person money, you do so within your own
selfish world view of how things ought to be.
It doesnt mean youre a good person and it doesnt mean youre a bad
person.
It means that you, like every other living organism on the planet, exist
eternally as a response to your own survival.
When you create something and you want it to go viral, you are hoping
for not one but TWO responses from the viewer.
1. They like the content.
2. They think its worth sharing.
The goal is for millions of views, but you can only achieve that by
targeting single responses. Millions of single responses.
26
27
Anyone writing a book about the sh*t Ive written eventually reaches a
point where they have to say something vague about emotions.
The problem is emotions, being personal and volatile, are always hard
to target.
Emotions are essentially the consequence of what we do.
STORY
What we do, is
28
29
In a broad sense, you could say the world consists of two kinds of
people:
Those who started asking Why? and eventually stop in the interest of
living their lives.
And those who never quite stop asking Why?
I am uninhibitedly a member of group no. 2.
But regardless of whether you ask the question or not, I think every
single one of us has accepted at some level, that we do not know.
So what do we do?
We eat. We sleep. We f*ck.
We create.
Like characters in a film that has no apparent plot, we move on and we
start establishing our own stories.
Im going to marry her.
I quit.
Dude we should totally get hammered tonight!
But every so often, we find our own stories just arent enough. Theyre
either too stressful, too tiring or just too damn real.
.
So, we put the TV on and wonder if Sherlock Holmes is going to find
the killer.
30
This
is the
Human
Condition
31
Our job is to tell stories.

That shoe shop on main street is running a sale for one day only.
Thats our story to tell.
And weve got teams of media planners whove figured out just the
right time to make sure all the ladies in the city hear us tell that story.
But in the context of the human condition theres one truth we cannot,
ever, afford to forget. Yet almost always do
The second we start telling our story, it becomes a part of the blur and
chaos of our audiences story.
You arent competing with all the other shoe shops any more.
Youre competing with Sherlock Holmes, her kids incessant yelling,
and in all likelihood a husband whos inexplicably horny for a Thursday
night.
32
33
So how do you get her attention then?

You give her a story that matters to her.
You find the things that matter to her in your story.
Maybe its just a good deal on shoes.
Maybe you realize that in a world where she feels like shes carrying
everyone on her shoulders, she can always trust her shoes to carry
her.
You tell her a story worth finishing
34
35
Designing is the creation of situations and settings. They build the

mood and deal with a great deal of data that the viewer only decodes
at a very subconscious level. The curve of a font and the balance of
a layout are subtle details that illicit even subtler reactions from an
audience.
There is an eternal war between copywriters and designers. The most

obvious venue for this war is the office of any magazine publication.
A designer likes a big white page with a small, subtle piece of art at
the center of it.
A copywriter likes a big white page too. But the copywriter wants to fill
it with incredibly moving words that you can read over and over again
so you dont ever get sad.
In the context of the story, who wins?
Copywriting involves the creation of concepts using language. In

describing the abstraction of our reality, language is a code that comes
with many embedded values. The juxtaposition of words in a sentence
and a sentence in a book gravely influence an audiences reaction to
an idea.
36
37
In the context of the story, it is imperative that the communication is

done considering an over played yet undervalued ideology:
Minimalism
Essentially, the principles of Minimalism dictate the removal of all

elements that are unnecessary to the telling of the story.
This implies a ruthlessness on the part of both the writer and the
designer.
It forces you to realize that every element is only as valuable as the
function it provides.
Designers will remove the shapes in their logo that dont deserve to
pollute what someones looking at.
Writers will remove any copy that doesnt reveal useful information
about the character or move the plot forward.
Your audiences imagination fills in the rest.
38
39
Cut!
Man goes to field
Simply put, a story is a sequence of events.

And since everything that has ever happened is a sequence of events,
everything is a story.
But that one giant story cant possibly be understood or told all at once.
So instead of seeing the one big sequence, we focus on the singular
consequences.
In any sequence of events there is a near infinite number of sub plots

and thoughts to be explored.
Man sits under tree
Why did he choose the field?

Where should he sit?
What does he want to see?
It is after the exploration of all of them that we must become ruthless

and begin editing.
Maybe the tree was fine until he

showed up. Maybe the tree throws
the apple at him.
Ahh...
Every story has to serve a purpose. In reference to that purpose we

have to choose which moments really matter and which moments
really dont.
Maybe two birds are

consummating an illicit affair in
the tree. Maybe the collision of
passions and frustrations was so
strong that the apple shook loose.
Our purpose
Things happen because of other things that have happened.

We select a core story and title the story it comes from as context.
Which events in this story will make the punchline better?

Which events in this story will only dilute its significance?
Which elements of these events are better imagined than explained?
Apple hits mans head

A Man goes to a field.
He fought with his wife.
As the apple hit his head, it

confirmed what hed always
known:
Everyone hated him.
Why?
Our story
40
Our context
And gravity totally exists.
Apple falls from tree

The apple knew his time had
come. So he felt the wind against
his skin and silently accepted his
fate, hoping against hope, that
in his death, a greater purpose
would be served.
41
6 steps to story:
Identify the characters
Consider everyone.
The retailer, the manager, the
consumer and even the brand
itself.
If your character is abstract think
of an analogy or metaphor that
works.
Vodafone have used a pug to
depict themselves and the impact
was huge.
Remember: when you pick a
character you pick a personality.
You pick a tone and a mood that
should carry the communication.
Identify the values

Consider everything.
Maybe its just a great offer from
a brand everyone knows.
Again, consider all possible forms

of the story.
Identify the devices

Consider where and when your
consumer is going to have this
conversation with you.
From the straight forward:

Maybe its got a deeper emotional
significance.
Comb through the contents of
the brief and find anything of any
value to anyone.
It sounds difficult with certain
briefs but remember your brand
is doing things with an aim for
profit.
They arent f*cking around.
Find the most logical values, and
take it from there.
42
Identify the arc
A 20 year old pizza brand has put

up a contest.
Did they find your story? Or did

your story find them?
To the inventive:
Consider all the possible devices

at this moment of contact.
Seor Pizzas looking for a new

best friend.
Is there a technology that will

make the story hit home harder?
List them out. Even the sh*t ones.
Or is the story best served

simple?
Again, list them all out.
Edit
Pick your strongest candidates
from the first 4 steps.
Is every single element
necessary?
Does each element serve a
function on its own and as a part
of your story?
If the storys being told in a way
thats a little dull, consider rearranging the elements so the
important ones do their job better.
You know, end at the start and
start at the end, etc.
Finish
Put every single skill, technique
and magic trick youve ever
learned to use.
Do it in the spirit of your story
and do it like your jobs on the
f*cking line.
Keep in mind the personality of
your characters, though. Too often
communication shoots itself in
the foot for superficial reasons.
Your personal feelings of style
may have gotten you this far, but
you are an agent of a brand right
now.
Give them what they want.
43
When youre telling a story, it is said, its imperative that you raise
questions and answer them.
This keeps whoevers listening interested.
Is the murderer in the same house? Where is he right now?
Will the character have to die and what does that do to
the plot?
In the context of our own lives, as people
trying to tell stories, its extremely important
that we raise questions about the story
that ultimately matters most:
The story of our own lives.
What is this story?
Whos directing it?
Theres an awful lot of pressure on us to be certain types of people in

todays world.
Everyone wants to be the person theyll be for the rest of
their lives ASAP.
But rather than forcing ourselves to establish
a whole set of characteristics and
unimpeachable rules wouldnt it be easier
and more consistent to simply establish
a mission?
To find a mission that
enables all the values we
individually believe in.
Its hard to think about these kinds of things. For every pressure to act
like you have a set of values you believe in, theres as much pressure
to never talk about them.
But for our own sanity, for our own bigger picture, its necessary that
we find this mission- the mystical reason to wake up in the morning.
And when you do find that reason, whatever it may be, make sure you
believe in it with every fibre of your being.
Thats not to say be passionate about it. In fact, it is to say be
particularly analytical about it until your love for it is matched only by
your conviction of it.
But then what are our values?

Honesty and helpfulness? Success
and excellence?
It may take years, but once youre comfortable in the story you live and
the motivations behind it, youll find it much easier to spot the value in
other stories.
Whos starring in it?

Why should this story matter at all?
Who should it matter to?
44
Knowing what these values are helps us know

what our mission is,
which helps us know what our story is,
which lets us know what our role is,
which helps us know how wed like to respond to the other
people in our lives,
which helps us know why our story matters.
Youll find it much easier to appreciate other characters.

Youll find it much easier to handle everything.
45
SURROUND YOURSELF
WITH AWESOME
Advertisers have a pretty bad reputation. And deservedly so.

The average ad agency isnt exactly a bastion of values and good faith.
If we accept our role as purveyors of stories, we have to accept that

stories have a certain impact.
Consider the shows you watch or the books you read. Even if theyre
just guilty pleasures of no creative merit, what attracts you to them?
Instead, most of the stories around us are usually closer to spy films
full of intrigue and deceit. Except our versions are a whole lot less sexy
and often times a whole lot more dramatic.
What is that impact though?
As creatives we tend to consider ourselves our own little guinea pigs.

So consider this an experiment.
From experience we know its never as straight forward as Oo! I

should buy that candy.
For one week seek incredible success.
Almost always the impact is a deeper and subtler one.
Watch a Win! compilation on youtube and an episode of Nitro Circus.
So if we know that Nikes tagline can inspire us, why arent we

perpetually inspired?
Ensure that at every moment you can, you only search for stories of
positivity.
Lost in all of this, is the pursuit of excellence.
As storytellers were in the incredible position of constantly analysing

motivations and reactions.
The most successful people surround themselves with stories of

success.
When youre always looking over your shoulder you lose sight of why
youre doing the things you do.
We know that simply exposing ourselves to amazing things, can inspire

us to do amazing things.
Surround yourself with awesome, and awesome you shall reap.
If we arent worrying about our own team mates and bosses, were
worrying about some client and not losing our sh*t with him if and
when he makes some inane demand for the Nth time.
Theres also of course the intense pressure of hoping youll still be
creative tomorrow morning, ridiculous though the fear may be.
46
47
DEVICE
When coming up with ideas, creative or otherwise, we tend to think in
terms of device.
Clients will often tell you they have a new campaign theyre considering
and theyd like a video produced for it.
But when youre planning a holiday, you dont think to yourself:
I want to travel by plane. Where should I go?
The tool,
medium or
system used
to tell a story.
48
You can make an app that uses GPS to highlight every participants
phones while they run in shoes that leave a trail on a Google Map
with hidden digital clues that can only be cracked by scanning QR
codes that activate an amazing 3D drawing tool using augmented
reality so that you can send highly customized videos to all your
friends on Facebook as long as you tweet the brands tagline and
play a game in your web browsers URL bar and when you win it
you go to an amazing Youtube page that starts to explode every
time you click on a text box that lets you type in any command
and the dancing panda will do it while holding up a sign board
that uses data we got from that Flash mob the demographic was
invited to which counted footfalls until we reached a 1000 and then
our incredible interactive banner on the Yahoo! homepage starts
changing all the news headlines to your friends statuses while your
phones wallpaper becomes a collage of all the pictures of you on
Instagram but when you zoom out its actually one of those mosaic
image portraits and in the end you get an email that says with this
digital voucher you can redeem a plate of garlic bread from any of
our retail outlets for FREE!
49
We live in an amazing age of technology where new interactions are

thought up and realised almost daily.
When people remember the amazing device you used to tell your story
rather than the story itself, you f*cked up.
How many amazing interactions have you watched but cant for the life
of you remember who the interaction was made for?
If the device is incredible and it aids the telling of your story youve
succeeded.
Your goal isnt to show people good technology. Its to tell a paid
sponsors message in a memorable and meaningful way.
If on the other hand youre aware your story isnt the most interesting
story in the world, youre in luck.
You can take the most boring context of reading a magazine at the
barber shop and turn it into an interactive masterpiece using fairly
simple mobile technology.
Just make sure your logos really big.
50
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Even the best

idea needs
to have a point
F*ck originality. Chase Ideas.
But thats still not going to give you original work.

That most mystical of all things creative: the original idea.
The secret?
When you do the kind of job we do, theres a great deal of pressure on
us to produce ideas.
But we dont know where they come from.
Sometimes it comes to us in the shower.
Sometimes it comes to us after hours of racking our brains.
Sometimes it doesnt come to us at all.
Theres no such thing.
To people who dont do the creative work we do, it sometimes appears

to be a gift, a divinely sent blessing and purpose.
Seeking a good idea is like seeking a unicorn.
Everything you do from how you lay a page out, to how you frame a
sentence is unoriginal.
The fallacy lies in believing that this is somehow a bad thing.
The end result is made to basically satisfy your ego without actually
focusing on any functional value in the final result.
But we know its not.

So what do we do?
We minimize risk. We study every corner of the story presented to us
as a brief. We leave no stone unturned and along the way a spark flies.
The only way to come close to constantly guaranteeing good work is
the often unappreciated:
Hard work.
We know its just a tiny connection

between otherwise unrelated
elements of a story that
comes often inexplicably and
unexpectedly.
Chasing originality for the sake of originality is a pointless, maddening

road to take.
The only originality you can count on is in the specific sequence of
events that have now resulted in you recieving a brief.
No two stories are the same. Find what makes your story matter.
Thats what youre paid to do.
Lots of it. Produce as many ideas as is humanly possible. The more

bad ideas you produce the more you realize why and the more you
realize why the likelier you are to produce a good idea.
52
53
As beautiful as Johnny the Unicorn was, he never did win any of his races.
54
55
Lets be
If youre reading this book at least two of the following holds true:
1) You do/can eat something delicious every day.
2) You do/can drink as much alcohol as is necessary for you to want to
go back home and sleep on a bed.
3) You smoke/roll/boom/blaze/puff/toke/tap/drag/hit cigarettes and/or

better sh*t.
4) You can/did buy a book that talks about advertising like it really
matters.
5) You drink water whenever the hell you feel like it and usually get
baffled when you cant.
56
57
As much as we love complaining about all the things that make our
lives a pain in the ass (and lets face it, we do), were good.
We have reasonably stable lives and were in a position to do genuinely
interesting work.
The joy of seeing our work printed or live is something no accountant
will ever really know.
When we do our work well, we can make someone elses sh*tty day, a
little less sh*t.
Your work is a gift. You have the power to alter someone elses
consciousness.
Youre comfortable.
And there are teams of people dedicated to making sure it gets seen
by thousands and thousands of people.
Make it good, ad man. Make it real good.
Hell, we even get paid sometimes.
58
59
Credit where its due.

And Happy Birthday Romit.
What happens when a copywriter tries to study graphic

design?
He writes his first book. In Helvetica.
This book is a students perception of what modern day
advertising is and should be. It is an honest attempt to make
creatives appreciate the gravity of their roles in the lives of
their audiences.
Above all, its about learning to love stories and the impact
they can have on brands, creatives and audiences.

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ONCE

Breaking Old Habits

Establishing new ones

Originality: The Curse

and youll always get one back

Every time youre writing a line of copy, or drawing a logo

B*tches, right? Always complaining we dont listen and sh*t,

They came to this club to have a good time.

Whether youre presenting a project in a classroom, or youre

Everything you do is done to look like its by your client.

You are at any given point hungover, clinically depressed, generally

Your 30 second cameo appearance between

You have interrupted my life to sell me

When News anchors go to work every day, they do so knowing that

It is the inherent contradiction at the base of all mass communication.

is for F*ck yes!

A few years ago

Our job is to tell stories.

So how do you get her attention then?

Designing is the creation of situations and settings. They build the

There is an eternal war between copywriters and designers. The most

Copywriting involves the creation of concepts using language. In

In the context of the story, it is imperative that the communication is

Essentially, the principles of Minimalism dictate the removal of all

Man goes to field

Simply put, a story is a sequence of events.

In any sequence of events there is a near infinite number of sub plots

Man sits under tree

Why did he choose the field?

It is after the exploration of all of them that we must become ruthless

Maybe the tree was fine until he

Every story has to serve a purpose. In reference to that purpose we

Maybe two birds are

Things happen because of other things that have happened.

Which events in this story will make the punchline better?

Apple hits mans head

He fought with his wife.

As the apple hit his head, it

And gravity totally exists.

Apple falls from tree

Identify the values

Again, consider all possible forms

Identify the devices

From the straight forward:

Identify the arc

A 20 year old pizza brand has put

Did they find your story? Or did

Consider all the possible devices

Seor Pizzas looking for a new

Is there a technology that will

List them out. Even the sh*t ones.

Or is the story best served

Theres an awful lot of pressure on us to be certain types of people in

But then what are our values?

Whos starring in it?

Knowing what these values are helps us know

Youll find it much easier to appreciate other characters.

Advertisers have a pretty bad reputation. And deservedly so.

If we accept our role as purveyors of stories, we have to accept that

What is that impact though?

As creatives we tend to consider ourselves our own little guinea pigs.

From experience we know its never as straight forward as Oo! I

For one week seek incredible success.

Btches, right? Always complaining we dont listen and sht,