10 Quick Lessons from Ogilvy on Advertising
Here are 10 timeless pieces of Ogilvy knowledge — colloquially referred to as Ogilvyisms — from my read-through of Ogilvy on Advertising. Truthfully, I could run through 100 of these, so consider this part one of many.
Did you know Warren Buffett once referred to David Ogilvy as a genius?
It’s true, and it’s especially high praise considering it’s coming from the guy nicknamed “The Oracle of Omaha.” Like his stock picks, though, Buffett's instincts about Ogilvy were dead on. Ogilvy is one of the fathers of modern advertising and responsible for the industry’s seminal text Ogilvy on Advertising. In it, Ogilvy outlines his thoughts, best practices, and sagely wisdom on nearly everything related to advertising — and does so with his signature flair for the English language.
And while the book has a few Hoover-Dam-sized gaps as it relates to modern technology (television advertising was in its infancy, after all), it remains a north star because, for as much as advertising has changed, it’s also stayed pretty much the same. Think about it. The goal of advertising has and will always be to sell to customers. Yes, the packaging today is different, but all the fundamentals are still there because selling is something we’ve done since we could trade flint for fur — when you think about it, cave paintings were probably the first ads. It’s in our DNA.
Here are 10 timeless pieces of Ogilvy knowledge — colloquially referred to as Ogilvyisms — from my read-through of Ogilvy on Advertising. Truthfully, I could run through 100 of these, so consider this part one of many.
“You don’t stand a tinker’s chance of producing successful advertising unless you start by doing your homework. I have always found this extremely tedious, but there is no substitute for it.”
Homework is no one’s favorite chore—whether it’s math problems in high school (this was my kryptonite) or market research as a grown-up. But Ogilvy is right: it’s essential. Think of research like stretching before a workout. Skipping it may save time, but it sets you up for disaster. Sure, digging into your audience’s point of view might feel like slogging through a swamp of statistics and reports, but without it, your advertising is just a dart thrown in the dark. When you know who you’re talking to, what they care about, and what makes them tick, you don’t just advertise—you connect. And connection makes the cash register ring.
“You aren’t advertising to a standing army; you are advertising to a moving parade.”
Audiences don’t all hear or see your message the first time—it’s okay to repeat it. Ogilvy reminds us that advertising is like speaking to a parade rather than a stationary crowd. New people are always joining, others are moving on, and repetition ensures your message reaches everyone. This isn’t about being redundant; it’s about being strategic. Re-running your best ads or sticking to consistent themes helps cement your message in people’s minds. Think of it as adding layers to a song chorus—by the third or fourth time, everyone’s singing along.
“In my experience, committees can criticize, but they cannot create. ‘Search the parks in all your cities. You’ll find no statues of committees.’”
Ever tried planning a group trip? Then you know. Committees are excellent at nitpicking but abysmal at original thought. Great ideas don’t come from groupthink; they come from bold, decisive individuals willing to take risks. Ogilvy reminds us that innovation thrives on clarity and conviction, not endless debate. So, whether you’re crafting an ad or pitching a project, trust your instincts. Take input where it’s useful, but remember: the best work often comes from a single, focused vision.
“‘Raise your sights!’ I exhort them. ‘Blaze new trails! Hit the ball out of the park!! Compete with the immortals!!!’ Leo Burnett said it better, ‘When you reach for the stars, you may not quite get one, but you won’t come up with a handful of mud either.’”
Playing it safe might keep you in the game, but it won’t get you remembered. In advertising and in life, it's much better to aim high. Even if you miss, you’ll land somewhere way better than where you started. No one remembers the ads that played it safe. They remember the ones that took risks and left an impression. You have permission to grip it and rip it.
“The Benton & Bowles agency holds that ‘if it doesn’t sell, it isn’t creative.’ Amen.”
Creativity is not just about making something beautiful; it’s about making something effective. Clever slogans and stunning visuals mean nothing if they don’t move the needle. Advertising is art, yes, but it’s art with a purpose. Ogilvy’s point is simple: the ultimate measure of creativity is results. Did the ad drive sales? Did it shift perceptions? Did it solve a problem? If the answer to any of those questions is no, then it's time to rethink your approach.
“Pay peanuts, says Jimmy Goldsmith, and you get monkeys.”
Investing in quality is not optional. Sure, you can save money by cutting corners, but the results will speak for themselves—and not in a good way. It’s like buying a knockoff superhero costume for Halloween. Sure, it looks fine from a distance, but up close, Superman’s logo is upside down, the cape is missing, and the tights are way too tight. Paying for quality means you’re investing in outcomes that work, not just appearances.
“On the average, five times as many people read the headlines as read the body copy. It follows that unless your headline sells your product, you have wasted 90 percent of your money.”
Your headline is your first (and often only) chance to grab attention. Treat it like prime real estate. Make it bold, make it compelling, and most importantly, make it work. A great headline is a promise—a reason for the reader to stick around. It’s the handshake that leads to the conversation. And in a world of endless scrolling, that handshake better be firm.
“Do not, however, address your readers as though they were gathered together in a stadium. When people read your copy, they are alone. Pretend you are writing each of them a letter on behalf of your client. One human being to another, second person singular.”
Imagine you’re chatting with a friend over coffee, not yelling at a crowd through a megaphone. Connection beats projection every time. Writing to one person makes your message feel personal, relatable, and real. It’s not about being formal or flashy; it’s about being human. Remember, the best advertising is a conversation.
Write your copy in the form of a story, as in the advertisement which carried the headline, ‘The amazing story of a Zippo that worked after being taken from the belly of a fish.’”
As a species, we've been telling stories since our days carrying around clubs and hanging out in caves. It's hard-wired into us. Stories are how we make sense of the world. If your ad tells a great one, people will remember it. Stories stick because they engage both the heart and the mind. They turn products into heroes, features into adventures, and brands into legends.
“The best way to increase the sale of a product is to improve the product.”
Advertising can’t fix a bad product. If what you’re selling doesn’t deliver, no amount of clever campaigns will save it. Get the product right first. You can't polish a turd.
These lessons from Ogilvy showcase that while trends and technologies in advertising evolve, the core principles remain as unshakable as ever. It’s a lot like Mr. Miyagi teaching Daniel to wax on and wax off—mastering the basics builds the foundation for greatness. Whether it’s the power of storytelling, the irreplaceable value of research, or the importance of aiming high, Ogilvy’s wisdom is a reminder that brilliance starts with the fundamentals. So, take a page out of the Miyagi and Ogilvy playbook: nail the basics, take big swings and watch your ideas flourish with a crane kick to win the All-Valley Karate Tournament. Metaphorically, of course.