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    Ant

    Interview with an Ant

    Posted on November 1, 2011 by fulfordcreative

    Some ants call him Summer Squash. Others call him White Smash or the Antecutioner. It’s well known in colonies far and wide that The Giant in the house is an ant murdering psychopath. Yet despite the evil and deathly aura of The House, the lure of the honey bear, the box of Kellogs Corn Pops, the poppyseed muffins, the Graham Cracker crumbs, and a brief taste of Children’s Cough Syrup are too strong to resist. Below is an anterview with one brave insect that consistently risks its life by crawling through the walls of murderer’s alley in search of warmth, crumbs and the meaning of life. The interview takes place in his living space within the ant colony.

    Why do you think The Giant murders your kind? Why doesn’t he just open his house and let you live together in harmony?

    ANT #2,945,832: He’s just pure evil. I’m convinced of it. All we’re doing is coming in for a little escape from the elements, maybe grabbing a few crumbs to bring back for the youngsters. We’ve got millions in our colony alone, so it’s nice to have the additional resources to help sustain our population. It’s not easy living in the wild. And with a house full of food right there (he points both antennas towards the house), I guess it’s worth the risk to go in there and get what we need. On the other hand, I personally think we have everything we need out here in the dirt. But I’m different like that. In a perfect world, we could go in the house and grab a few things without the fear of being butchered. I don’t understand why there’s not more of an open door policy. We’re just trying to survive. Is there something wrong with that?

    How have you managed to survive coming and going in the house? Have you had any brushes with death?

    ANT #2,945,832: Too many to count. I’ve seen hundreds, no thousands, of my friends squashed as if they were just a nuisance. There was one incident in particular, we call it the Death Mist Massacre. The Giant came outside and watched us filing out of the dirt and onto the patio. I’ll be the first to admit, us ants are a bunch of followers. We tend to take the same path into the house, so it’s easy for The Giant to see a long line of us and either wash us away or stomp on us from time to time. I don’t understand why we blindly follow each other. Perhaps it’s our nature. One ant will ask, “Hey where we going?” and the other will answer “I don’t know I’m just following this guy ahead of me.” It’s the same conversation on and on up the line, all the way to the house. No one really has any plan, it’s just go, go, go, then die. But you see, I’m an outlier. I do my own thing. It’s safer that way. Anyway, back to the the Death Mist story.

    So all of a sudden, I’m making my way to the house, off to the side of course, and down comes this mist. I mean, it was awful. Ants scattered everywhere, choking and yelling and screaming “why? why?” and “the Antmanity, the Antmanity” and other horrible things I don’t want to mention. Antennas went haywire. Ants everywhere fought as hard as they could, legs kicking until their dying last breath. I stood there and watched it all go down. It was horrific. A thousand ants died that day. Everyone who could retreated back to the colony. It took us hours to gather the nerve to go back out there.

    Then there was the time The Giant caught me in the sink. We made eye contact, and I made a run for it. He turned on the water and I went down the sink. It was awful, but I kept my wits about me. A few moments later he turned on the, um, what do you call that thing? that mechanical doodad that rips things to shreds? Anyway, he turned that machine on and blades started whirling around me. I managed to jump onto the wall, squeeze through a crack, and crawl into the dishwasher. I thought I’d died and gone to heaven.

    We’ve heard about the popularity of the dishwasher. Why is it so appealing to ants?

    ANT #2,945,832: The dishwasher is the best. There’s tons of food on the plates, plenty of water to drink. Every once in a while, the water flows in and then the unbearable heat occurs, killing off everyone in there. My strategy is to go in there for short periods of time. In and out. The ants that linger in there too long don’t make it out alive. In order to survive, and this goes for anywhere in the house, you gotta play it smart. Move around a lot, crawl in the darker corners, when walking in the open always, and i mean always, stay on the dark cracks and crevices. Never ever crawl on the wall or across the floor. I’ve seen ants crawl on toilets. Toilets! I try to warn them about crawling on white objects, but they don’t listen, perhaps their antennas are faulty. It’s funny, before we ever leave the colony, we all go through Safety Training. Every inch of the house has been mapped out. We know where all the hot spots and danger spots are located. But you should see the horseplay that goes on during these training seminars. Hardly anyone listens to the instructor. The Queen Ant asked me to lead a class awhile back, I said “No Thanks.” No one listens so why bother.

    Sounds like you have a rare will power that most ants don’t possess.

    ANT #2,945,832: Yeah, you could say that. But it comes at a cost. Being a rogue ant certainly isn’t as fun as being a follower. I don’t get to enjoy the camaraderie that occurs when finding something sweet. I’ve never participated in a honey raid. I tell ya, that’s the stupidest thing ants do. They know most will die by going into the honey. It’s too sticky. But I guess some ants have no self-control. I mean, we don’t live long anyway right? The lifespan of an ant is only about 90 days. I’ll be 92 tomorrow. Call it luck, call it antelligence, whatever. I enjoy life. I’ll take the risks I have to, but I’m smart about it as well.

    Any advice you want to give to the younger ants?

    ANT #2,945,832: I tell young ants all the time to investigate the garden. Sure there are other predators around, but the dirt is our true home. Everyone seems to want to live the life of luxury inside The House, and many lose sight of our true nature. Sometimes I think that we aren’t supposed to be in The House. Hey, I understand why it’s so appealing to the majority of our population. I get it. But we tend to gloss over the death and tragedy that occurs there as well. Is it worth the risk to bring back a cracker crumb to the colony when at the same time hundreds of your friends die during the mission? Sure ants get the hero’s welcome when they return. They sit around and tell their tales of fortitude, how they escaped certain death while carrying something that weighed twice its body weight. As always, stories get embellished. I get the appeal of that. But, we kind of gloss over the lives of all the ants that die every day from being in The House. I ask this: what’s the matter with staying in the dirt? It has everything we need right? It’s our true home. I don’t know. I guess the lure of The House is too strong. Maybe there will be a time, not in my lifetime of course, but someday, where we live solely off the earth, and don’t rely on the scraps of creatures like The Giant. Many might say that would make life too boring, and that adventure is in our nature. I guess I can’t argue with that. Like I said, I understand the appeal of it all. Maybe I’m just old, and wanting things to be a bit more simple.


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    Lockout at Fulford Creative

    Posted on October 26, 2011 by fulfordcreative

    FOR IMMEDIATE RELEASE:

    In an unprecedented move among sole proprietorships, Fulford Creative is announcing it has locked out its only employee, Pete Fulford. Fulford Creative, a creative copywriting and scriptwriting business based in Portland, OR, has worked with a collective bargaining agreement between Owner Pete Fulford and Employee Pete Fulford since the company’s inception in 2004. But that agreement expired at 5:00pm on June 30, 2011. The lockout will commence at 4:00pm on Friday, July 1, 2011, the beginning of the July 4th holiday weekend.

    In a statement, Owner Pete Fulford said: “We apologize in advance to our partners and clients, but there will be no business being conducted over the holiday weekend. Any issues regarding projects will be taken up once the lockout is lifted.”

    Despite a three-hour closed door meeting on Thursday held in the upstairs bathroom of the Fulford Estate, the final proposal from Employee Pete Fulford was met with a roll of toilet paper thrown in his face. Employee Pete Fulford said in a statement: “The whole thing stunk from the start. I mean bad. There was no interest in making a deal. He was obviously taking care of some other business in there.” Owner Pete Fulford commented: “I’ll admit, some bombs were dropped. Tempers flared, and it was obvious no deal was going to happen.”

    Owner Pete Fulford admits the owners of the National Football League and the National Basketball Association, in which players from both leagues are currently locked out, inspired him. “Needless to say we’re disappointed that this is where we find ourselves,” Owner Pete Fulford said. “But he’s sadly mistaken if he thinks he’s getting another penny out of me.”

    At issue is the ownership’s reluctance to provide additional monetary funds into the Fulford Creative Employee Spending Account. Ownership cites other accounts that take priority – the Tax Savings Account, the 529 College Savings Account, the SEP IRA Savings Account, as well as the Rainy Day Fund, among others. Employee Pete Fulford contends he doesn’t receive enough funds to live on. “By the time any money gets to me, it’s chicken scraps. Just the dark meat. I hate the dark meat, unless it’s hidden in an enchilada or something. Then I can’t tell what it is. I just eat it and it’s usually delicious. But we’re not here to talk about enchiladas; we’re talking about moolah-chiladas. I put in a lot of hard work for this company. I deserve some white meat. And by white meat I mean mo money.”

    Employee Pete Fulford says he intends to do nothing but drink beer, visit with friends, shoot bottle rockets from a Wiffle Ball bat, and watch fireworks throughout the holiday weekend. Owner Pete Fulford admits he will be doing the same thing. Both concur that negotiations will proceed over the next several days, in between social engagements, and that an agreement will most likely occur prior to the start of business on Tuesday morning.

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    Marketing With Humor Works

    Posted on July 12, 2011 by fulfordcreative

    Some say: Don’t even attempt incorporating humor into your marketing plan. It’s too subjective. Some might think it’s funny, others might be offended.

    I say: Phooey

    Who says a poop joke can’t be part of a marketing promotion?

    Let’s look at the Poop Fairy campaign in the link above. It’s simple. It’s clever, kind of a potty joke but not too dirty. It elicits giggles if not laughter. Yeah, the Legend of the Poop Fairy might go a little too far (never overplay a joke). But the overall idea is great. It’s silly AND contains real education on dog waste and appeals to our sense of community as well.

    Others say: You shouldn’t use humorous marketing ideas if you’re focused on selling or getting people to do something. It’s too likely to misfire rather than work as intended.

    I say: Malarky!

    Blendtec wants people to buy their blenders. So what do they do? They develop a hilarious campaign that SHOWS their blenders in action. Sales of Blendtec’s blenders have exploded out of the uh, blender, with its always entertaining Will it Blend web series. It’s goofy. It’s funny. Who wouldn’t want to see what happens when you put an iphone in a blender? Like I said, sales of Blendtec blenders are skyrocketing since the campaign launched several years ago.

    Humor also works in B2B. IBM’s viral video Mainframe: The Art of the Sale, Lesson One is a good example of a clever way to promote your business while gently poking fun, as is a video I wrote for HP called the HP King of Cowbell. In this realm, the mockumentary approach really works well in that it’s easy and relatable to poke fun at the business environment. We can thank “The Office” TV show for that.

    5 MORE reasons to add humor when promoting your brand:

    - Breaks through the clutter
    - Promotes customer loyalty
    - Shows that you’re a confident company (willing to poke fun at yourself)
    - Great way to spread a message (word-of-mouth marketing)
    - Great way to make your message more receptive

    Michigan-based Moosejaw has built a loyal following by with its outrageous marketing efforts, leveraging the company’s mail order catalog, website and branded blog, through its hilarious and nonsensical marketing vision executives call “The Madness.” Blogger Ralph Paglia profiles the company here “Humor Can Be Your Best Targeted Marketing Strategy.”

    Data shows that people take action to follow experiences that make them laugh. Whether it works for your brand depends on your creative vision, the writing, and the needs and interests of your audience.

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    This is Slappin’ the Bass

    Posted on July 7, 2011 by fulfordcreative

    Old soundie found on the Internet Archive of Reg Kehoe and his Marimba Queens. Stealing the show and showing us that even bass players can bang their heads is ‘hep-cat’ bassist Frank DeNunzio, Sr., of Hershey, Pennsylvania, who played his standup–slap bass almost until his death in February 2005.

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    Paranoid Android Video

    Videos of the Week – Music Edition

    Posted on June 24, 2011 by fulfordcreative

    Talented yet undiscovered musicians are finding viral success by posting their videos on YouTube and other video sharing sites. Some artists are really good, others might have a career in comedy. Here are the best of the week:

    Freddie25 and his clones do a GREAT Queen cover.

    YouTube musicians stitched together playing a collaborative version of Radiohead’s Paranoid Android.

    A fun trend in YouTube videos are “literal” translations of the action seen in the video. Like this one explaining the on-screen action of the Red Hot Chili Peppers (Under the Bridge). Here we see a video game trailer made into a music video, with the action being narrated exactly as we see it.

    Pro golfers form boy band, and rap badly.

    And for your dancing pleasure, a gorilla at the Calgary Zoo throws down some sweet electric boogaloo.

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    Flash Fiction

    What the heck is Flash Fiction?

    Posted on June 23, 2011 by fulfordcreative

    Hearing a lot about Flash Fiction these days. I’m picturing short little stories that briefly pull open their overcoat and expose themselves to a shocked and disgusted audience.

    But it seems it’s getting more, um, exposure (decent or not). It’s now a commercial entity now that the internet has successfully squeezed the pulp out of our collective attention span. Editors at online publications are looking for shorter works to meet the demands of our wandering, unfocused, meandering, taking a stroll in the park, that one near the zoo, right downtown, yeah, the one in Chicago, right in the middle of the city, do you think the animals like being in a busy downtown environment, wait, what was I talking about?

    Flash Fiction are tales on the small end, between 300 and 1,000 words. To compare, short stories in publications like the New Yorker or Esquire typically run 3,000 to 5,000 words. Flash Fiction can be an in the moment story or a rehashing of multiple events. It’s a compressed tale where the tiniest movement matters. It’s a sudden realization that needs to be told. It’s so short that there’s no margin for error. Every word is essential. Every letter must be in the exact rihgt place.

    The most widely-accepted example of flash fiction is a short, short, really short story by Ernest Hemingway:

    “For sale: baby shoes. Never worn.”

    Did you hear that? That was my imagination opening then slamming shut almost simultaneously.

    I recently found a cool Sci Fi Flash Fiction site called 365 Tomorrows. I like sci fi, and I like short fiction. So I like the stories on this site. Here’s what these folks say about themselves.

    “365 tomorrows is a collaborative project designed to present readers with a new piece of short science and speculative ‘flash’ fiction each day. Launched August 1st 2005 with the lofty goal of providing a new story every day for a year. We’ve been on the wire ever since.”

    There are Flash Fiction contests, Flash FanFiction, Flash Non-Fiction, Flash Novels, you name it. Check out my own Flash Fiction attempt on my storytelling page here.

     

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    Picture Hero Journey Suitcase

    Joseph Campbell Snippets

    Posted on June 16, 2011 by fulfordcreative

    Quotes from Joseph Campbell:

    ***

    The goal of life is to make your heartbeat match the beat of the universe, to match your nature with Nature.

    ***

    The goal of your quest for knowledge is to be found at that burning point in yourself, that becoming thing in yourself, which is innocent of the goods and evils of the world as already become, and therefore desireless and fearless. That is the condition of a warrior going into battle with perfect courage. That is life in movement.

    ***

    Myths and dreams are manifestations in image form (metaphors) of all of the energies of the body, moved by the organs, in conflict with each other.

    ***

    A bit of advice given to a young Native American at the time of his initiation:

    “As you go the way of life, you will see a great chasm.

    Jump.

    It’s not as wide as you think.”

    ***

    The warrior’s approach is to say “yes” to life: “yea” to it all.

    ***

    Nothing is routine, nothing is taken for granted. Everything is standing out on it’s own, because everything is a possibility, everything is a clue, everything is talking to you. It’s marvelous.

    ***
    I don’t think of God as up there. I think of God as right here in whatever I’m knowing and loving and serving.

    ***

    It’s very difficult to find in the outside world something that matches what the system inside of you is yearning for.

    ***

    (Han) Solo was a very practical guy, at least as he thought of himself, a materialist. But he was a compassionate human being at the same time and didn’t know it. The adventure evoked a quality of his character that he hadn’t known he possessed.

    ***

    MOYERS: What about this idea of good and evil in mythology, of life as a conflict between the forces of darkness and light?

    CAMPBELL: That is a Zoroastrian idea, which has come over into Judaism and Christianity. In other traditions, good and evil are relative to the position in which you are standing. What is good for one is evil for the other. And you play your part, not withdrawing from the world when you realize how horrible it is, but seeing that this horror is simply the foreground of a wonder: a mysterium tremendum et fascinans.

     

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    Lester Dent

    Lester Dent Pulp Fiction Formula

    Posted on June 7, 2011 by fulfordcreative

    Lester Dent Pulp Fiction Formula

    By Lester Dent

    This is a formula, a master plot, for any 6000 word pulp story. It has worked on adventure, detective, western and war-air. It tells exactly where to put everything. It shows definitely just what must happen in each successive thousand words.

    No yarn of mine written to the formula has yet failed to sell.

    The business of building stories seems not much different from the business of building anything else.

    Here’s how it starts:

    1. A DIFFERENT MURDER METHOD FOR VILLAIN TO USE
    2. A DIFFERENT THING FOR VILLAIN TO BE SEEKING
    3. A DIFFERENT LOCALE
    4. A MENACE WHICH IS TO HANG LIKE A CLOUD OVER HERO

    One of these DIFFERENT things would be nice, two better, three swell. It may help if they are fully in mind before tackling the rest.

    A different murder method could be–different. Thinking of shooting, knifing, hydrocyanic, garroting, poison needles, scorpions, a few others, and writing them on paper gets them where they may suggest something. Scorpions and their poison bite? Maybe mosquitos or flies treated with deadly germs?

    If the victims are killed by ordinary methods, but found under strange and identical circumstances each time, it might serve, the reader of course not knowing until the end, that the method of murder is ordinary.

    Scribes who have their villain’s victims found with butterflies, spiders or bats stamped on them could conceivably be flirting with this gag.

    Probably it won’t do a lot of good to be too odd, fanciful or grotesque with murder methods.

    The different thing for the villain to be after might be something other than jewels, the stolen bank loot, the pearls, or some other old ones.

    Here, again one might get too bizarre.

    Unique locale? Easy. Selecting one that fits in with the murder method and the treasure–thing that villain wants–makes it simpler, and it’s
    also nice to use a familiar one, a place where you’ve lived or worked. So many pulpateers don’t. It sometimes saves embarrassment to know nearly as much about the locale as the editor, or enough to fool him.

    Here’s a nifty much used in faking local color. For a story laid in Egypt, say, author finds a book titled “Conversational Egyptian Easily Learned,” or something like that. He wants a character to ask in Egyptian, “What’s the matter?” He looks in the book and finds, “El khabar, eyh?” To keep the reader from getting dizzy, it’s perhaps wise to make it clear in some fashion, just what that means. Occasionally the text will tell this, or someone can repeat it in English. But it’s a doubtful move to stop and tell the reader in so many words the English translation.

    The writer learns they have palm trees in Egypt. He looks in the book, finds the Egyptian for palm trees, and uses that. This kids editors and readers into thinking he knows something about Egypt.

    Here’s the second installment of the master plot.

    Divide the 6000 word yarn into four 1500 word parts. In each 1500 word part, put the following:

    FIRST 1500 WORDS

    1–First line, or as near thereto as possible, introduce the hero and swat him with a fistful of trouble. Hint at a mystery, a menace or a problem to be solved–something the hero has to cope with.

    2–The hero pitches in to cope with his fistful of trouble. (He tries to fathom the mystery, defeat the menace, or solve the problem.)

    3–Introduce ALL the other characters as soon as possible. Bring them on in action.

    4–Hero’s endevours land him in an actual physical conflict near the end of the first 1500 words.

    5–Near the end of first 1500 words, there is a complete surprise twist in the plot development.

    SO FAR: Does it have SUSPENSE?
    Is there a MENACE to the hero?
    Does everything happen logically?

    At this point, it might help to recall that action should do something besides advance the hero over the scenery. Suppose the hero has learned the dastards of villains have seized somebody named Eloise, who can explain the secret of what is behind all these sinister events. The hero corners villains, they fight, and villains get away. Not so hot.

    Hero should accomplish something with his tearing around, if only to rescue Eloise, and surprise! Eloise is a ring-tailed monkey. The hero counts the rings on Eloise’s tail, if nothing better comes to mind.
    They’re not real. The rings are painted there. Why?

    SECOND 1500 WORDS

    1–Shovel more grief onto the hero.

    2–Hero, being heroic, struggles, and his struggles lead up to:

    3–Another physical conflict.

    4–A surprising plot twist to end the 1500 words.

    NOW: Does second part have SUSPENSE?
    Does the MENACE grow like a black cloud?
    Is the hero getting it in the neck?
    Is the second part logical?

    DON’T TELL ABOUT IT***Show how the thing looked. This is one of the secrets of writing; never tell the reader–show him. (He trembles, roving eyes, slackened jaw, and such.) MAKE THE READER SEE HIM.

    When writing, it helps to get at least one minor surprise to the printed page. It is reasonable to to expect these minor surprises to sort of inveigle the reader into keeping on. They need not be such profound efforts. One method of accomplishing one now and then is to be gently misleading. Hero is examining the murder room. The door behind him begins slowly to open. He does not see it. He conducts his examination blissfully. Door eases open, wider and wider, until–surprise! The glass pane falls out of the big window across the room. It must have fallen slowly, and air blowing into the room caused the door to open. Then what the heck made the pane fall so slowly? More mystery.

    Characterizing a story actor consists of giving him some things which make him stick in the reader’s mind. TAG HIM.

    BUILD YOUR PLOTS SO THAT ACTION CAN BE CONTINUOUS.

    THIRD 1500 WORDS

    1–Shovel the grief onto the hero.

    2–Hero makes some headway, and corners the villain or somebody in:

    3–A physical conflict.

    4–A surprising plot twist, in which the hero preferably gets it in the neck bad, to end the 1500 words.

    DOES: It still have SUSPENSE?
    The MENACE getting blacker?
    The hero finds himself in a hell of a fix?
    It all happens logically?

    These outlines or master formulas are only something to make you certain of inserting some physical conflict, and some genuine plot twists, with a little suspense and menace thrown in. Without them, there is no pulp story.

    These physical conflicts in each part might be DIFFERENT, too. If one fight is with fists, that can take care of the pugilism until next the next yarn. Same for poison gas and swords. There may, naturally, be exceptions. A hero with a peculiar punch, or a quick draw, might use it more than once.

    The idea is to avoid monotony.

    ACTION:
    Vivid, swift, no words wasted. Create suspense, make the reader see and feel the action.

    ATMOSPHERE:
    Hear, smell, see, feel and taste.

    DESCRIPTION:
    Trees, wind, scenery and water.

    THE SECRET OF ALL WRITING IS TO MAKE EVERY WORD COUNT.

    FOURTH 1500 WORDS

    1–Shovel the difficulties more thickly upon the hero.

    2–Get the hero almost buried in his troubles. (Figuratively, the villain has him prisoner and has him framed for a murder rap; the girl is presumably dead, everything is lost, and the DIFFERENT murder method is about to dispose of the suffering protagonist.)

    3–The hero extricates himself using HIS OWN SKILL, training or brawn.

    4–The mysteries remaining–one big one held over to this point will help grip interest–are cleared up in course of final conflict as hero takes
    the situation in hand.

    5–Final twist, a big surprise, (This can be the villain turning out to be the unexpected person, having the “Treasure” be a dud, etc.)

    6–The snapper, the punch line to end it.

    HAS: The SUSPENSE held out to the last line?
    The MENACE held out to the last?
    Everything been explained?
    It all happen logically?
    Is the Punch Line enough to leave the reader with that WARM FEELING?
    Did God kill the villain? Or the hero?

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    SF 1906

    Market Street, SF circa 1906

    Posted on June 6, 2011 by fulfordcreative

    A trip down Market Street, San Francisco – 1906.

    This now famous footage (downloaded from the Internet Archive) was apparently filmed just four days before 1906 San Francisco earthquake and fire that destroyed most of the city. As I watch this slow trek through downtown SF – with the horse and carriages plodding by, early automobiles criss crossing the road, and paper boys running along side the trolly – I think about the stories of all these people. Was this a typical day in SF? We usually see grainy, weathered still images from this time in history, so it’s really cool to see living, breathing people going about their day in busy San Francisco. What lively and historic imagery.

    Someone should film a modern day excursion down Market and show the two versions side by side via split screen. Perhaps I’ll do that when I take my family to SF July.

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    Sumo Lake

    This Week on the Web

    Posted on May 27, 2011 by fulfordcreative

    Happy Friday. Now that the week is almost over, let’s take a look back at some of the best videos on the internet you might have missed.

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    • About

      Pete Fulford is a copywriter, scriptwriter, and new media storyteller based in Portland, OR. He is the Big Cheese, Head Honcho, & Numero Uno at Fulford Creative.
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      "Pete is by far one of the best copywriters I’ve ever worked with. He is organized, creative, forward thinking and has great attention to detail. He handles multiple projects with ease, never dropping the ball or missing a deadline. He is flexible and adapts quickly to changing business needs and shifting priorities. I would highly recommend Pete to anyone and hope to work with him again in the future.”

      Kristin Welch, Vice President, Marketing Production Manager, Bank of America

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      “Pete is a gifted writer and a consummate professional. His writing is fresh, strategic, and innovative. Pete always delivers beyond our expectations and continues to drive creative throughout the process. He is focused, detailed, creative and a great collaborator. I know when Pete is on a project it will be successful.”

      Julie Jenkins, Executive Producer at Bestlight Creative

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      “What can I say? Pete just "gets it." He's a superb writer and excellent at client relations as well. He has always maintained a high degree of integrity while managing a number of high-stress projects. Plus, he's dependable. It is always a pleasure working with Pete.”

      Laurie Falconer, Sr. Corporate Communications Manager at Qualcomm Atheros

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