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Chapter 10: Promotional Writing

Chapter 10

Promotional Writing

CHAPTER CONTENT

KEY OBJECTIVES

1. Describe the writer’s role in brand communication.

2. Name the types of brand communication writing.

3. Explain how to write for various media.

4. Identify some challenges that writers face.

CHAPTER OVERVIEW

This chapter discusses the role of promotional writing in marketing communications and

how brands use multiple platforms to communicate their message and engage their

customers. Words and pictures work together to produce a creative concept. However,

the idea behind a creative concept in communication is usually expressed in some

CHAPTER OUTLINE

THE WRITER’S ROLE IN BRAND COMMUNICATION

Writers in the different areas of brand communications have specialized skills.

Advertising copywriting is a major job category. The ability to write well is equally

critical for public relations and direct marketing. All of these areas have specialists,

but in some agencies and corporate departments, writers are expected to handle all

different types of marketing communication.

The Language of Brand Communication

 The most important word selection in marketing communication is the brand or

corporate name, and this responsibility can lie with the advertising department,

corporate communication, or an outside branding consultant.

Chapter 10: Promotional Writing

 Many brand names are made up, but it’s not just names that are created by marketing

communicators. For example, the “uncola” position was created for 7UP and, more

recently, the True Value hardware chain has proclaimed itself “masters of all things

hardwarian,” a phrase that suggests mastery of a traditional art or skill.

 The word tagline is often used to refer to a slogan, but technically it means a line at

the end of an ad that wraps up the creative concept. It’s more of a campaign theme

than a brand slogan, so it is less enduring than a slogan.

Writing Styles

 Writing in brand communication can be formal or informal, personal or impersonal,

and it uses all possible types of media. We discuss three types of promotional writing

in this chapter: advertising, public relations, and direct response.

Advertising

 In almost all situations, advertising has to win its audience, which is no small task,

given that it usually competes in a cluttered environment and the audience is

generally inattentive and uninterested. For that reason, the copy should be as simple

as possible.

 Every word counts because both space and time are expensive. Ineffective or

overused words and phrases waste precious space. The challenge of writing verbal

diamonds in 140 characters predates Twitter: consider that the average billboard has

always been around eight words.

Chapter 10: Promotional Writing

Public Relations

 A variety of styles of writing are used in public relations because there are so many

different types of communication tools. Publicity, for example, is designed for news

media and uses the basic stylistics of journalism. Corporate publications may be

journalistic, while magazines may be more unconventional.

 Public relations professionals also produce corporate videos and news releases. The

news releases and video news releases are more like television news, while corporate

Direct Response

 There are also a number of media formats used in direct-response writing –

everything from direct-mail letters and brochures to online social media and customer

service or technical support. For that reason, the writing style can be more or less

formal, depending on the target audience.

Strategy and Legal Imperatives

 In addition, claims must be tested to meet the basic requirements of the truth.

Are consumers being led astray by health claims on food packages, websites, and

advertising? This presents a problem for public relations as well as advertising.

TYPES OF BRAND COMMUNICATION WRITING

We will start with copywriters because the other marketing communication areas also use

advertising as part of their campaigns. Furthermore, many of the advertising writing

practices apply to all forms of promotional writing.

Advertising Copywriting

Chapter 10: Promotional Writing

 Although advertising is highly visual, words are crucial in four types of

advertisements:

2. High involvement. If the ad is for a high-involvement product, meaning the

3. Explanation. Information that needs definition and explanation, like how a new

wireless phone works, is better delivered through words.

4. Abstract. If a message tries to convey abstract qualities, such as justice and

Love of Language

 A successful advertising copywriter is a savvy marketer and a literary master,

sometimes described as a “killer poet.” Many copywriters have a background in

 In addition to having an ear for the perfect phrase, copywriters listen to the way

people talk and identify the tone of voice that best fits the target audience and the

brand.

 Like poets, copywriters may spend hours, even days, crafting a paragraph. After

many revisions, others read the copy and critique it. It then goes back to the writer,

 According to Professor Karen Mallia, copywriters can rejoice because even with the

new visual media, the power of words remains strong. She explains, “The power of

words does not rest in their volume, but in their clever combination. In fact, the fewer

How to Write Effective Ad Copy

 The tighter the writing, the easier it is to understand and the greater its impact. Simple

ads avoid being gimmicky, full of clichés, or too cute; they don’t try too hard or reach

too far to make a point. The following list summarizes some of the guidelines for

writing effective copy:

Chapter 10: Promotional Writing

 Succinct. Use short, familiar words, short sentences, and short paragraphs.

 Specific. Don’t waste time on generalities. The more specific the message, the

more attention-getting and memorable it is.

 Personal. Directly address your audience whenever possible as “you” rather than

“we” or “they.”

 Single focus. Deliver a simple message instead of one that makes too many

points. Focus on a single idea and support it.

 News. News stories are attention-getting if they announce something that is truly

newsworthy and important.

 Magic phrases. Phrases that grab and stick add power and memorability.

 Imaginative description. Use evocative or figurative language to build a picture

in the consumer’s mind.

 A story with feeling. Stories are interesting and they have a structure that keeps

attention and builds interest. But most importantly, they offer an opportunity to

touch emotions.

 To develop the right tone of voice, copywriters write to the target audience. If the

 Humor is a type of writing that copywriters use to create entertaining, funny ads. The

idea is that if the humor works, the funny copy will lend a positive aura to a brand. It

Chapter 10: Promotional Writing

Grammar and Adese

 Copywriters are attuned to the niceties of grammar, syntax, and spelling, although

sometimes they will play with a word or phrase to create an effect, even if it’s

grammatically incorrect. To be avoided are meaningless words and words made

meaningless by overuse.

 Another type of adese is brag-and-boast copy, which is “we” copy written from the

company’s point of view with a pompous tone. Because people are so conditioned to

screen out advertising, messages that use this predictable style are easy to ignore or

parody if you’re a comedian.

Public Relations Writing

 Writing is a fundamental skill for public relations professionals. Like copywriters,

public relations writers need to be able to write in various forms and styles across

media platforms. Their work includes writing news releases, pitch letters, features,

and op-ed pieces. They also need to be able to communicate interactively on social

media.

 Key to writing effectively in these many forms is writing simply in language the

reader understands. It sounds easy, but in practice, it is very challenging. Public

relations professional Fraser Seitel offers the following tips for success:

 The idea must precede the expression. Identify what you want to communicate.

News Releases

 A primary way to communicate public relations messages is through a news release.

According to Seitel, a news release is “the single most important public relations

vehicle.” News stories are written for both internal corporate media, such as

newsletters and magazines, and for external media, such as newspapers and television

stations.

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 The primary criterion for a news story is newsworthiness. Editors judge news value

based on such considerations as timeliness, proximity, or impact. For news stories, the

traditional journalism “five W” form is followed. In other words, the first sentence

clearly states the facts in such a way that the focus, as well as the importance of the

news, is immediately obvious. Video news releases are distributed to broadcast media

with footage that explains the story.

Features

 Less reliant on news, feature stories focus on human interest. Although the formats

may differ slightly, news and feature stories are written for and distributed to print

and broadcast media, as well as the internet.

Social Media Opportunities

Direct-Response Writing

 Direct-response messages are often longer and contain more explanation and detail

than other forms of marketing communication. That is because if the message does

not provide enough information and motivate the receiver to respond in some way,

the message is wasted.

WRITING FOR VARIOUS MEDIA

Different types of media have different styles, restrictions, and audiences. Writers adjust

their presentation to accommodate the stylistic differences of the medium.

Basics of Writing for Print Media

 The two categories of copy that print uses are display copy and body copy (or text).

Display copy includes all elements that readers see in their initial scanning. These

Chapter 10: Promotional Writing

 Although we have suggested that ad copy should be succinct, some respected

copywriters, such as David Ogilvy and Howard Gossage, were successful in writing

long copy ads that intrigued their audiences.

 The most common tools in the print writer’s toolkit are:

 The headline is a phrase or sentence that serves as the opening to the ad. It’s

usually identified by larger type or a prominent position, and its purpose is to

catch attention.

 Overlines and Underlines are phrases or sentences that either lead into the

headline or follow up on the thought of the headline. They are usually set in

smaller type than the headline.

 Captions are sentences or short pieces of copy that explain what you are looking

at in a photo or illustration. Captions are not used very often in advertising

because the visuals are assumed to be self-explanatory.

Display Copy

 The headline is a key element in print pieces. It conveys the main message so that

people get the point of the message. It also works with the visual to get attention

and communicate the creative concept. Headlines come across best when a picture

and words are working together.

Chapter 10: Promotional Writing

 Headlines need to be catchy phrases, but they also have to convey an idea and attract

the right target audience. Agencies copy test headlines to make sure they can be

 Because headlines are so important, some general principles guide their development

and explain the particular functions they serve:

 Target. A good headline will attract only those who are prospects. In other words,

use the headline to tightly target the right audience.

 Stop and grab. The headline must work in combination with the visual to stop

and grab the reader’s attention.

 Headlines can be grouped into two general categories: direct-action and indirect–

action. Direct action headlines are straightforward and informative. They are highly

targeted, but may fail to lead the reader into the message if they are not captivating

enough. Indirect-action headlines are not as selective and may not provide as much

information but may be better at drawing the reader into the message and building a

brand image.

 Some common types of direct-action headlines are:

 Assertion: An assertion is a headline that states a claim or a promise that will

motivate someone to try the product.

 Command: A command headline politely tells the reader to do something.

Chapter 10: Promotional Writing

Some common types of indirect-action headlines are:

 Puzzles: Used strictly for their curiosity and provocative power, puzzling

statements, ambiguities, and questions require the reader to examine the body

copy to get the answer or explanation. The intention is to pull readers into the

body copy.

 Sometimes indirect headlines are called blind headlines because they give so little

information. A blind headline is a gamble. If it is not informative or intriguing

enough, the reader may move on without absorbing any product name information.

But if it works as an attention getter, it can be very effective.

 Taglines are short catchy phrases and particularly memorable phrases used at the end

of an ad to complete or wrap up the creative idea.

Body Copy

 The body copy is the text of the ad and its primary role is to maintain the interest of

the reader. It provides information, states the argument, summarizes the proof, and

provides explanation. It is the information, and in the case of advertising, the

persuasive heart of the message. The Matter of Principle feature in this chapter

explains the logic and message strategy behind Nike’s women’s campaign, which

focuses on self-awareness.

Print Media Requirements

 Media in the print category, which include newspapers, magazines, outdoor boards,

and product literature, all use the same copy elements, such as headlines and body

copy. However, the way these elements are used varies with the objectives for using

the medium.

Chapter 10: Promotional Writing

 Magazines offer better quality ad production, which is important for brand image and

high-fashion advertising. Consumers may clip and file advertising that ties in with the

magazine’s special interest as reference information. This type of magazine ad can be

 Directories that provide contact information, such as addresses or phone numbers,

often carry display advertising. In writing a directory ad, copywriters advise using a

headline that focuses on the service or store personality. Complicated explanations

don’t work well because of space limitations. Putting in information that is subject to

change can become a problem because the directory is published only once a year.

 Posters and outdoor boards are primarily visual, although the words generally try to

catch consumers’ attention and lock in an idea, registering a message. The most

important characteristic of copywriting for outdoor advertising is brevity. The copy

must catch attention and be memorable. An effective poster is built around a creative

concept that marries the words with the visual.

Radio Messages and How to Write Them

 Advertisers use radio to build brands because DJ endorsements and on-air chatter can

help build trust. Radio can also remind consumers close to their time of purchase,

when advertising is most effective. Today, radio is no longer a medium that

communicates only with mass audiences. It is also capable of delivering enhanced

personal interactivity to listeners through text messages, mobile apps, and time-

shifting listening through podcasts.

Chapter 10: Promotional Writing

 Radio is pervasive in that it surrounds many of our activities, but it is seldom the

listener’s center of attention. Because radio is a transitory medium and listeners are

usually in the car or doing something else, the ability of the listener to remember facts

is difficult. That’s why copywriters repeat the key points of brand name and

identification information.

Tools of Radio Writing

In radio advertising, the tools are the audio elements the copywriter uses to craft a

commercial: voice, music, and sound effects.

 The most important element in radio advertising is the human voice, which is heard in

songs, spoken dialogue, and announcements. Most commercials use an announcer

either as the central voice or at the closing to wrap up the product identification. The

voices specified by the writer helps listeners ‘see’ the personalities in the brand

message.

 Music is as important as the voice in radio writing. Music can trigger an emotional

response. Using music and sonic logos consistently can strengthen brand recognition.

The primary use of music is a jingle, which is a commercial in song. Radio

copywriters understand the interplay of catchy phrases and “hummable” music that

creates little songs that stick in our minds.

 Organizations can have a piece of music composed for a commercial or borrow it

from previously recorded songs. Numerous music libraries sell stock music that is not

Chapter 10: Promotional Writing

The Practice of Radio Writing

Below is a list of guidelines for writing effective radio commercials that address the

distinctive characteristics of radio advertising:

 Keep it personal. Radio advertising has an advantage over print – the human

voice. The copy for radio ads should use conversational language – as if someone

is talking with the consumer rather than selling to the consumer.

 Speak to listeners’ interests. Radio offers specialized programming to target

markets. Listeners tune in to hear music, but talk radio is popular too. Copywriters

design commercials to speak to that audience interest and use the appropriate

music and tone of voice.

 Include call to action. The last thing listeners hear is what they tend to remember,

so copywriters make sure the product is it. In radio, this is especially important

since there is no way to show a picture of the product or its label.

 Writers working on a radio commercial use a standard radio script format to write

the copy to certain time blocks—all the words, dialogue, lyrics, sound effects,

instructions, and descriptions. The instructions and descriptions are to help the

Television/Video Messages and How to Write Them

 Television writers understand that it is the moving image—the action—which makes

television so much more engaging than print. The challenge for the writer is to fuse

the images with the words to present not only a creative concept, but also a story. One

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 Principle: The ability to touch our emotions and to show us things – to demonstrate

how they look and work – makes video highly persuasive.

 Viewers watching a program they enjoy often are absorbed to a degree only slightly

less than experienced by people watching a movie in a darkened theater. Storytelling

is one way copywriters can present action in a television message more powerfully

than in other media.

 Dramatic stories with high emotion, as well as demonstrations, are just a few of the

techniques used in television writing. Others are:

 Action. Good television messages use the effect of action and motion to attract

attention and sustain interest.

 Demonstration. Seeing is believing. Believability and credibility, the essence of

persuasion, are high because we believe what we see with our own eyes.

Tools of Writing for Television/Video

 Television writers have two primary toolkits: audio and visual. Both words and

pictures are designed to create exactly the right impact. Because of the number of

 When we watch a commercial, we are more aware of what we are seeing than

anything else. Copywriters keep in mind that visuals and motion, the silent speech of

film, should convey as much of the message as possible. Animation involves

photographing successive drawings of images that give the illusion of motion.

 Likewise, emotion, which is the effect created by storytelling, is expressed

convincingly in facial expressions, gestures, and other body language. Because