Acknowledgements
If I’ve enjoyed some success in my career then it’s largely down to working with colleagues who were industrious and talented and for clients who were shrewd and brave enough to buy the work we did.
My good fortune has persisted during this foray into publishing. Having written my manuscript I was lucky enough for it to be read by Sam Jackson at Pearson Education. She’s taken a chance on and helped guide this previously unpublished author and I am very grateful to her for doing so. I would also like to thank her colleagues Emma Devlin and Josephine Bryan, who as desk and copy editors, could not have been more fastidious. Suffice to say, I’d hate to be the one to leave the cap off the toothpaste in their bathrooms. The same dedication has been shown by Caroline Jordan who has worked like a Trojan on the research and admin jobs that’ve brought this book to publication.
Speaking of which, we couldn’t have gathered together all the creative work that’s featured in the book without the help and generosity of these individuals: Robert Corbishley at Xerox; Alan Flack at IBM; Gavin Hill-Smith at the AA; Anna Caig and Nicki Lidbetter at Anxiety UK (formerly The National Phobics Society); Daniel Ramsey at the British Heart Foundation and Mike Parsons who took the shot for the BHF’s campaign; Rebecca Emery at Amnesty International Aotearoa, New Zealand; Chiara Lamma, Ben More, James Kennedy and Giles Morris at Sony UK; Ysabel Vazquez at Mini; Michelle Rowley at Macmillan Cancer Relief; Harry Ward at Help the Aged; Santiago Mazon at Banco Gallego; Emma Knight at Honda; Gonzalo Lanata at Papa John’s Peru; Uwe Lussem and Heino Hilbig at Olympus Europa; Ralf Maltzen and Torsten Skoracki at Volkswagen; Deepa B Bose and Louise D?Muhlauer at American Express; and Sean O’Donnell at Speight’s Beer.
On the agency side, I would like to express my gratitude to Meike Scharnhorst and Amir Kassaei at DDB Berlin; Tanja Braune and Sandra Atwell at Springer and Jacoby Werbeagentur, Hamburg; Dave King at AIM Proximity, New Zealand; Nick Worthington at Colenso BBDO, New Zealand; Karl Fleet, Evaan Miocevich, Lachlan McPherson and Martin Yeoman at Publicis Mojo, New Zealand; Sarah Cooper at AMV BBDO, London; Brendan Tansey at Wunderman, London; Gail McClelland, Kim Papworth and Neil Christie at Wieden + Kennedy, London; Rebecca Leggett at DDB, London; Stephen Sapka, Katie Kempner and Alex Bogusky at Crispin Porter + Bogusky; and Mauricio Paez at Quorum Nazca Saatchi & Saatchi, Peru.
When it came to rummaging for not just ads but also stats on the M&G?case study, I should also thank Joanna King of the Insitute of Direct Marketing’s Business Performance Awards and Steve Martin of the Account Planning Group’s Creative Planning Awards. I am also very grateful to Maxine Delahunty of SOFII which provides a very useful showcase of fundraising innovation and inspiration; Jamie Gunn at comScore and Kathrine Everard at the IPA.
For providing valuable help and advice on content and style I’m indebted to Kevan Ansell, Mark Fiddes, Polly Jones, Simon Sinclair and my cousin Iain Harrison.
And for their guidance and encouragement I would like to thank my expert readers Jon Steel, Paul Ferraiolo, Larissa Vince, Charlie Smith, Pablo Alzugaray, Hugh Burkitt and especially Mark Cridge for being so adroit and alert.
If those individuals have made the book read a lot better then David Eldridge, its designer, and his colleague Kevan Westbury, have made it look splendid. So a big thanks to them, too.
I’d also like to take this opportunity to pay tribute to my late friend Christopher Radcliffe Dearden whose inspiring courage in the face of both MS and bipolar disorder helped put in perspective the relatively minor problems I encountered while trying to run an agency and get some ads out. May God rest his soul.
And finally and most importantly I’d like to acknowledge the love and support of Morag Brennan. Throughout the low points she never let me forget that the whole thing was supposed to be an adventure. And during the high points I always knew that the best thing to come was waiting for me at home.
Publisher’s acknowledgements
The publisher would like to thank the following for their kind permission to reproduce their images:
Page 24, © Tim Klein/Stone/Getty Images; Page 36, The History of Advertising Trust; Page 37, American Express; Page 39, Mini UK; Page 40, The Economist; Page 41, Help The Aged; Page 42, Mike Parsons and the British Heart Foundation; Page 46, Peter Funch and Sony UK Ltd; Page 71, The AA; Page 73, Gonzalo Lanata D. and Papa Johns; Page 75, Honda (UK), Weiden and Kennedy and The History of Advertising Trust; Page 77, Amnesty International (NZ); Page 79, Olympus Imaging Europa GmBH; Page 81, with permission of IBM UK Ltd; Page 83, Xerox Ltd; Page 85, Anxiety UK (formerly The National Phobics Society); Page 87, Macmillan Cancer Support; Pages 95-101 © Account Planning Group, www.apg.org.uk and IDM Business Performance Awards; Page 104, Lion Nathan and Speights; Pages 105-106, Volkswagen AG; Page 121, from Perfect Pitch by Jon Steel. Copyright © John Wiley & Sons, Inc. 2006. Reproduced with permission of John Wiley & Sons, Inc; Page 122, © Bettmann/CORBIS.
Every effort has been made to trace the copyright holders and we apologise in advance for any unintentional omissions.