8. Use of argument..,--In argumentative copy, the advertiser's purpose is to convince a reader of the truth of a proposition. Statements which are not self-evident should be supported by proof. Some times this proof consists only of illustrative facts, showing like conditions, or causes that produce similar results.
Arguments should develop readily and easily and shoilld follow each other naturally and with increas ing force. Argumentative copy which precludes any question of appeal or reply belongs to the peremptory type. Still other argumentative copy is designed to set at rest any doubts in the reader's mind, by 'conced ing as well as contending. Both methods have their strong points.
9. Use of the simplest form of the narrative method is the incident. The use of an incident as illustration often serves to make an adver, tisement much clearer and stronger. The following short incident indicates the use of the narrative form: "Hes jumped from behind a tree and came toward me. He was powerful and desperate looking. The only thing that saved me wa's this COLT that brother Bert gave me when I took the school here. I thought then it was absurd to carry a pistol, but I will never again say that it is foolish for a woman to own a COLT." A different method of using the incident is illus trated in the following advertisement which, more over, has news value: When the Illinois cavalry started on a hike, their canteens were filled with tea and in each soldier's knapsack was a tin of•tea. This idea was borrowed from the Japanese. In their war with Russia, every Jap carried a little tea-making outfit. Then, no matter how polluted the water he could be sure of a safe, sterile drink after boiling it, then brewing a tasty, refreshing draught of tea. And what was left he could carry with him, for tea is the one drink that's good hot, cold or in-between—when properly made.
When thus made and served with sugar and cream, LIPTON'S TEA' is an excellent FOOD as well as a harmless stimulant.
10. Use of the monolog.—Sometimes the article which is advertised is personified. This method is ex actly like that of the well-known "Adventures of a Penny" of our early school days. One of the best
illustrations is the following: A leaf from the diary of a Cake of Soap.
(Being a day's adventure with "Packer's") 11. Use of dialog furnishes a varia tion of the narrative form. The danger in its use lies in the tendency to make the dialog too long and the attempt to present too many opposing views. The extract, on the page which follows, is taken from an actual advertisement and is a good illustra tion of the use of 'the dialog as a form of advertising copy.
A talk with Leopold Godowsky, world-famous Pianist, Composer, Teacher, concerning the remarkable new Duo-Art Pianola For awhile he sat silent as if adjusting himself to the tremendous import of what he had heard. . . .
And then he spoke.
"It is truly a remarkable experience," he said at length, "to hear the Duo-Art mirror in every essen tial quality of tone and expression the Fantasie as I played it a week ago! "It would be inconceivable if I had not actually heard—if I had not recognized my touch, my char acteristics, my art itself.
"It is as if," he continued, "I looked at a color photograph not of my face, but of the music-self that is within me!" • "Are you content that your performance shall go down to posterity, represented as it must be, on a record-roll of this Duo-Art Pianola?" I asked. "Don't hesitate to state a doubt if you feel one." "I recognize the fact that it will be so—and I am satisfied that it SHOULD be so," replied he simply.
The shorter form of dialog is illustrated by the following lines which are indirectly suggestive: "Will you tuck these into your coat?" said our host. "Will a duck swim?" chuckled Mr. Learning in reply as he eagerly took the Virginia cigarettes.
12. Use of the story.—The story is the most dra matic and perhaps the most useful of narrative ap peals. Like any other story, the advertising story is strongest when it his a good plot and a logical succession of incidents that will suggest a final out come while it conceals what that outcome is to be. The story must arrest the attention at the beginning and hold it to the end. There must be little descrip tion ; if description is used at all, it should be made subordinate to the narrative.