lies of a real housewife free download pdf

lies of a real housewife free download pdf

Terms of service. Privacy policy. Cookie policy. Sign In. Baby and Funny NTL Movies. Srivastava Full Online. Joseph Mercola Full Pages. Klein Full Books. Full Pages. Giancoli Full Pages. Wibraham Full Online. McMurry Full Epub. Khurmi Full Books. Young Full Books. In July , Adweek magazine published an article entitled "The Knights of New Business," which chronicled a number of recent high-profile pitch wins that had been attributed in large part, by both clients and agency insiders, to the influ- ence of planning.

My own agency's successful pitch for the Sega video game business was one of those featured, so I was not heard complaining at the time. But since then, whenever I have had the opportunity, I have begged to differ with both Mr. Chiat's now-famous statement and the message of the Ad week piece. But that is relative to the inevitable hour of agency self-promotion, the agency's rehashing of the original client brief to prove that the agency "gets it" , the media presentation which is legendary for coming last, when all assembled hope that there will only be time for a brief sum- mary , and the presentation of initial creative ideas, the majority of which are never likely to see the light of day again.

If the individual planner making the presentation is compelling, and the agency tells a good story about how important effectiveness is in their philosophy, and how well integrated their planning department is compared to others, planning may very well appear to be a good new business tool.

In the end, though, clients tend to hire an agency based on their belief in what that agency can do for their brand and company. The whole agency, not just one part of it. That decision is not likely to be made based on what the agency says on the day of the presentation, but rather on the evi- dence of what it has done for other clients in the past and present.

And while many agencies can talk a good game, not all can play one. In my view, planning, when used properly, is the best old business tool ever invented. Because if the agency has a true planning philosophy, it is interested in only one thing, and that is getting the advertising right for its existing clients.

Its planners are being smart about their strategic research; they have good working relationships with other departments, especially the creative department; and most important, when they take out rough advertising concepts and show them to target consumers, they are not only honest in their appraisal, but they are listened to.

Not always necessarily agreed with, but at least their point of view is seriously con- sidered. Under such circumstances, it is much more likely that the advertising will be effective, and that advertising will then become a powerful tool with which to attract new clients.

And contrary to what some agencies appear to believe, simply hiring a planning department does not auto- matically open the gates to a flood of new business. If only it were that easy. There are some agencies who use planners extensively at the front end of the process to gather intelligence, and then exclude them from the rest of the process, except perhaps to conduct some research to prove that a creative idea that seems to the client to be so off-target that it threatens his or her career is in fact enthusiastically endorsed by consumers and should run, "because the consumer opinion is the only one that matters.

What both parties often mean is that "consumer opinion matters when it endorses my own. Using both consumer research and plan- ners in this way is usually the fastest way to remove the trust that is the basis of the planner's power.

In truth, there is only so much a planner or planners can do to affect the outcome of their agency's advertising in the absence of a number of factors that Stanley Pollitt regarded as essential to the successful delivery of planning's promise to clients.

Getting it right being more important than maxi- mizing agency profits, than keeping clients happy, or building an agency shop window for distinctive-looking advertising. The distinction, if one existed at all, was merely one of order, or priority.

If you got the advertising right, Pollitt reasoned, the rest would follow naturally. It is worth noting that at the time he wrote this, almost all advertising agen- cies in London were compensated on the commission sys- tem, whereby media operators would return a percentage between 15 and 20 percent of the money a client paid for space or time to the agency that produced the advertising.

This meant that until advertising actually ran, the agency did not make any money. I worked on a campaign at BMP where the process of getting the advertising right, from the client's initial briefing to the advertising appearing on- air, took more than a year.

This may sound like very bad business, which in the short term I'm sure it was, but in the long term it provided an immovable foundation for some unusually long client relationships, which provided in turn a wonderful shop window of distinctive advertising and healthy profits besides.

The client trusted the agency to do the right thing, however long it took. The second prerequisite for successful planning is that the agency commits the resources to allow planners to be more than temporary role players. If they are going to have the necessary command of all the data relevant to a par- ticular piece of business and be able to conduct their own research besides, they cannot work on more business than an agency would expect of an account director.

If planners are stretched between too many accounts, the depth of their involvement will suffer, and with it their abil- ity to contribute in a substantive way. If they are not attend- ing client meetings, then they do not have the necessary understanding of business issues against which to balance consumer opinions.

If they are not spending enough time with consumers, their opinions on the marketplace will be outdated, ill-informed, and inevitably come to reflect the agency or client point of view. And if they are not working with agency creatives, providing useful information and insight, then they might as well not be working in an adver- tising agency at all. Creatives will soon enough start to regard them as "internal clients," a hole that is very deep and difficult to climb out of.

The relationship between planner and account director is worthy of further comment. Pollitt regarded the two as equal partners, with equal status within the agency, and in some respects it is important that this equality be maintained. I have always thought of the ideal relationship between the two in the same way as the working relationship between a copywriter and art director.

Both have a common aim, but bring different sets of skills to the table. The account director brings more of a business perspective, while the planner has more of a consumer orientation, yet between the two there is a considerable area of overlap. As previously noted, they work together on strategic positioning and share responsibil- ity for working with creative teams to help the work along some creatives may disagree with the word "help," but that's what they should be doing, at least.

Ultimately, though, the account director is the one who runs the account, and when- ever I work as a planner on a piece of agency business, I con- sider that I am working for the account director.

This isn't my being charitable or overly democratic, merely selfish. I am certain that most planners prefer to fade into the background once in a while to do their thinking, and this is not possible if the client regards them as being in charge, even in a shared capacity.

If the account director is truly running the show, he or she allows planners the luxury of distance from the client whenever they need it, and that is essential to balanced and insightful vision. The final point that Pollitt made about the implications of planning for an agency is that, as he put it, "it means changing some of the basic ground rules. Once consumer response becomes the most important element in making final advertising judgments, it makes many of the more con- ventional means of judgment sound hollow.

In the face of such prejudice, I agree that consumer response is probably the most impor- tant element. Having said that, not all clients or creative directors need to be regulated by consumer opinion, and in an ideal world, their points of view will complement and even enhance those of consumers.

This is where I disagree with Pollitt's point. I believe very strongly that consumer opinion is sometimes not the most important element, because, for reasons that are explored shortly in greater depth, there are many ways in which those opinions can be misleading.

Many consumers do not always say what they really feel; there are limits to their experience and imagination that make it difficult for them to imagine the way rough advertising ideas might be in finished form; and these factors combined, if taken literally, may well undermine the quality of the work.

I would like to add a final implication or prerequisite of my own, and that is that planning will only work in the pres- ence of very strong and confident creative people.

Their influence rubbed off on their respective departments, and the relationship between creatives and planners at all those agencies, while consistently evolving, is in large part both mutually challenging and constructive. There seems to be a very strong correlation between a creative person's level of talent and confidence, and his or her willingness to accept the input of anyone else to their work. That's not to say that the people named above and those who work in their creative departments never resist direction or argue with a planner's point of view I have had lively arguments myself with three of the names on that list , but at least they are prepared to listen to it.

Stanley Pollitt said of his relationship with Webster, "John Webster and his creative people have grown up with the system. John would say that 'planning' is very far from perfect — but like 'democracy,' it's better than the alterna- tives.

In the examples of my own agency's work that I cite in the following chapters Sega and Norwegian Cruise Line included , it should be obvious in every case that planning was only one of a number of sources of inspiration. The current "cult of the planner" in U. In defining the skills and personality traits that are essen- tial for successful planners, most people will talk about raw intellect, curiosity, the ability to think simultaneously with the left brain and right brain so that they can be logical and disciplined, and at the same time creative, innovative and instinctual , and possessing excellent communication skills both verbally and in writing.

All of those, I agree, are essen- tial. But there are other attributes that, for my taste at least, are equally important. The first is a blend of modesty and humility. In his introduc- tion to The Man in the Water, a collection of short stories and essays, the journalist and author Roger Rosenblatt writes about the process of good journalism that it "requires a van- ishing act on the part of the writer; the subject must appear to be exposing his soul to the reader directly, with no middle man intervening.

The only two reasons for including oneself in a story are to make oneself an Everybody, or into a char- acter who enhances the person who is the true center of attention.

Otherwise, one ought to be as small as possible. The fact that the job gets done is all that is important, and none of them ever get publicly recognized for their work. Officially, they weren't even there. A planner's job is to provide the key decision makers at both the agency and the client with all the information they require to make an intelligent decision.

It's not up to the planner to make that decision for them. The aim, as far as the planner is concerned, is the production of the best possible advertising to fulfill the client's business objectives, advertis- ing that will stand out from the crowd, say the right things to the right people, and cause them to take some action as a result of seeing or hearing the message.

It's that little reac- tion in their heads that the planner is seeking, and all of my planners are evaluated according to their advertising's abil- ity to do just that. Their performance in the agency, in other words, is evaluated in large part according to the effective- ness of campaigns that they have worked on, and it is there- fore very much in their own interests for their advertising to work. As indeed it is in the agency's interests, too. People often think we're being strangely philanthropic when we say that effectiveness is our number one priority, but they forget that if our advertising doesn't help the client's business we will probably get fired.

That's bad for business. Planners may have to work very hard to influence the way that the advertising turns out, carefully laying out a strategic foundation with the client, handing over tidbits of information to creative people when, in their judgment, that information will have the greatest impact, giving feedback on ideas, and hopefully adding some ideas of their own.

The kiss of death for any planner, however, is to claim credit for those ideas if they find their way into the advertising. Some of the most satisfying experiences I have ever had in my work were those few occasions when I subtly suggested something to creatives, and next day they told me that they'd had the idea I suggested to them the day before.

Of course I would never let on. A planner's job is to make ideas happen, not necessarily to have those ideas themselves. A good way to think about this is that the ratio of speaking to listening time in a conversation should be the same ratio as the number of mouths to ears that we all possess. It's remarkable how often people have, and express, good ideas without knowing it themselves.

Unfortunately, nobody else in the room hears them because they are all too busy thinking about what they are going to say next, assess- ing which of their potential comments will sound most impressive to the assembled group.

A good listener will rec- ognize those good ideas and use them, thus allowing others to do their work for them. The third attribute is a chameleonlike quality that allows the planner to develop relationships with an extraordinarily diverse range of people.

In the space of 24 hours, a planner may be presenting a strategy to the chairman of a Fortune company, moderating a focus group with single, low- income mothers, and briefing a creative team on a new proj- ect. It is important that he or she be able to relate to all of them, both to gain their trust and to understand their points of view.

A planner once told me that he thought it was his job to act as a kind of interpreter between three alien species i. While planners don't necessarily have to be fluent in all of their languages, they should at least understand enough to be able to find a way for the different parties to communicate with each other.

Finally, and I know this will sound strange, there has to be something a little weird about them. Almost all of the good planners I have known are a little out of the ordinary. This manifests itself in two main ways: in a somewhat off-center perspective on situations and a rather eclectic mix of back- ground and interests.

I'm really not sure which of the two is the chicken, and which is the egg. The quirky outlook draws them to some strange places and inter- ests, which make them quirkier. Or is it the other way around? When I was hired by BMP, with my degree in geogra- phy, two planning trainees were hired at the same time.

One, an Oxford graduate, had been a professional chess player. Some mother. This books jumps around so inconsistently that she seems to be in jail once and then says 30 times and then she has a husband appear from then air at the end.

I was hoping that this book would give some context to the feud but that is sadly not the case. Jun 19, Jennifer rated it did not like it.

Where to start? This book was awful on so many levels. I never liked Phaedra Parks but this woman is times worse. She blames everyone for a life she created. She calls herself a 'slave' when she's in prison for crimes she admits to committing.

She takes zero responsibility for anything that ever happened to her and she is narcissistic to the point of laughter. The writing? Good lord. I don't know who her editor was but that person should be removed from the publishing industry.

The story was Where to start? The story was so disjointed that it's impossible to discern who fathered which child and who she was sleeping with at any given time. She misspelled the word 'Baghdad'.

The proofreader needs a new line of work. Her writing 'style' and I use that term loosely reads like the diary of a sixth grader. I can't believe that anyone actually published this.

Aspiring authors, read this book and do the exact opposite. I'm glad the author thinks so highly of herself, "I knew I was a great writer! Inherently unreadable. Ms Stanton is a good writer, and she tells a story of theft, deception, and betrayal that few would match. It's heartbreaking to read, particularly since its alleged to be a true account of Ms Stanton's own life and "friendship" with Mrs Parks.

The book itself is a decent read. There are no plot twists or major attention grabbing moments, but it is clearly a book that served the purpose of cleansing for the author. I hope that this was enough for her and that she is now able to comfortably move forward.

Jul 17, Barbra Athill rated it really liked it. I believe her Although there were quite a few inconsistencies in the book, I fully believe everything Angela says Phaedra is dirty for doing her so called friend like that, but when you're only out for self, what do y I believe her Although there were quite a few inconsistencies in the book, I fully believe everything Angela says Phaedra is dirty for doing her so called friend like that, but when you're only out for self, what do you expect?

Really interested in reading the author's first book because this woman has definitely turned her life around for the better Very Revealing After watching the fourth episode of the Real Housewives of Atlanta reunion, I couldn't believe what transpired.

Stanton was anxious for her day in court. However, a dismissal is a dismissal, and Ms. Stanton is relieved that the claim of defamation has finally been buried.

This has been a long, tumultuous process. Stanton looks forward to focusing on the positive things in her life, to following her dreams of being an author, and to sharing her life story with the world.

You must be logged in to post a comment. A dynamic motivational speaker and author that inspires her audiences by her own lifes challenges. But all the while, she is haunted by the recurring vision lies of a real housewife free download pdf a black stone city that emanates evil. A state or city. The quot;Sherlock Holmesquot; series by Sir Arthur Conan Doyle also kept my attention, though they are a series of short stories, and not one lies of a real housewife free download pdf novel. Liew this is conjecture. Tagged with: frerepubhousewife:liesrealshametelltruth. Leave a Reply Cancel reply You must be logged in to post a comment. lies of a real housewife free download pdf Download [PDF] Lies of a Real Housewife: Tell the Truth and Shame the Devil - By Angela Stanton (Full Pages). Lies of a Real Housewife: Tell the Truth and. Lies of a Real Housewife by Angela Stanton and Alveda King. Lies of a Real Housewife. You can download Lies of a Real Housewife pdf book from here. Lies of. Shame the Devil PDF. By Angela Stanton. Lies of a Real Housewife: Tell the Truth and Shame the Devil you can download free book and read Lies of a Real​. Lies of a Real Housewife: Tell the Truth and Shame the Devil have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App. Lies of Real Housewife,” a book by Angela Stanton published, alleges Real Housewives of Atlanta star Phaedra Parks was involved in criminal activity. Lies of a Real Housewife book. Read 46 reviews from the world's largest community for readers. Brazen, incisive, and outrageous, Lies Of A Real Housewife. Download Lies of a Real Housewife: Tell the Truth and Shame the Devil epub pdf fb2Type: book pdf, ePub, fb2, zip Publisher: Augustus. Lies of a Real Housewife: Tell the Truth and Shame the Devil Angela Stanton free download pdf. Lies of a Real Housewife: Tell the Truth and. Mar 27, - Download PDF Lies of a Real Housewife: Tell the Truth and Shame the Devil by Angela Stanton - Lies of a Real Housewife: Tell the Truth and​. See the Glog! Lies of a Real Housewife: Tell the Truth and Shame the Devil TXT,​PDF,EPUB: text, images, music, video | Glogster EDU - Interactive multimedia. I haven't read a book like this in such a long time very engaging.. Rape, molestation, poverty, single parenting, incarceration, family, love and success.. I thought it was a good read, I only marked it down because of the grammar and I didn't think that it had been edited particularly well. Parks' illegal activity, is believable, especially since the author attached court docs at the end of the book to support her claims. I am very eager to read some magical publication. Charles [ Reply ]. Bobby7 [ Reply ]. Anthony Whyte Editor. Have you ever wanted to read a book just so that it can take you away from the hardships of your own life? According to Angela, Phedra was the mastermind behind an elaborate criminal ring that committed crimes such as forgery, car theft, identity theft and bank fraud. Sep 18, Caden rated it really liked it Shelves: i-must-own-this. lies of a real housewife free download pdf