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Copywriting Part 4: Principles: Creativity and Breakthrough Advertising Chapter 13 Prentice Hall, © 2009 13-1 CHAPTER KEY POINTS Questions We’ll Answer • What basic style of writing is used for advertising copy? • Which copy elements are essential to a print ad? • How can we characterize the message and tools of radio advertising? • What is the best way to summarize the major elements of television commercials? • How is Web advertising written? Prentice Hall, © 2009 13-2 COPYWRITING: THE LANGUAGE OF ADVERTISING Ads Where Words Are Crucial 1. If the message is complicated 2. In ads for high-involvement products 3. Information that needs definition and explanation 4. If a message tries to convey abstract qualities Prentice Hall, © 2009 13-3 COPYWRITING: THE LANGUAGE OF ADVERTISING The Copywriter • Copywriter – – – • The person who shapes and sculpts the words in an ad. Marketing, English, literature background. They love words, have a sense of “voice” and tone, and are versatile. Copy – The text of an ad. – Words people say in a radio or TV commercial. Prentice Hall, © 2009 13-4 COPYWRITING: THE LANGUAGE OF ADVERTISING Advertising Writing Style • • • Copy should be as simple as possible. Write the way your target audience thinks and talks, using direct address. Effective copy is succinct, single-minded, and tightly focused. Prentice Hall, © 2009 13-5 COPYWRITING: THE LANGUAGE OF ADVERTISING Writing Effective Copy • • • • • • • • • Be succinct Be single-minded Be specific Get personal Keep a single focus Be conversational Be original Use variety Use imaginative description Prentice Hall, © 2009 13-6 COPYWRITING: THE LANGUAGE OF ADVERTISING Advertising Writing Style • Tone of Voice – • Write to the target audience, as if in conversation with one person Grammar – Sometimes use incorrect grammar for effect • Adese – – Clichés, superlatives, stock phrases, and vague generalities that violate the guidelines for effective copy Brag and boast copy—“we” focused and pompous Prentice Hall, © 2009 13-7 COPYWRITING FOR PRINT Two Categories of Copy • Display copy – – • Elements readers see in their initial scanning Headlines, subheads, call-outs, taglines, and slogans Body copy – Elements that are designed to be read and absorbed – Text of the ad message, captions, call to action Prentice Hall, © 2009 13-8 COPYWRITING FOR PRINT How to Write Headlines • • They convey the main message, get attention, and communicate the concept. They must also: – – – – • Attract only prospects Work with the visual to stop and grab readers’ attention Identify product and brand; start the sale Lead readers into body copy Good headlines interrupt readers’ scanning and get their attention. Prentice Hall, © 2009 13-9 COPYWRITING FOR PRINT Two Categories of Headlines 1. Direct action (straightforward and informative) – – – – Assertion Command How-to heads News announcements 2. Indirect action (draw reader in, build brand image) – Puzzles – Associations – Also, “blind headlines” Prentice Hall, © 2009 13-10 COPYWRITING FOR PRINT How to Write Other Display Copy • Captions – – • Subheads – – • Lead reader into copy Larger than body copy Taglines – – • Second highest readership Provide information Short, catchy, memorable Complete or wrap-up creative idea Slogans – – Repeated from ad to ad Reinforce brand identity Prentice Hall, © 2009 13-11 COPYWRITING FOR PRINT Techniques for Creating Slogans • • • • • • • Direct Address: “Have it your way; “Think small.” A startling or unexpected phrase: the NYNEX campaign used, “If it’s out there, it’s in here,” which is an example of a twist on a common phrase that makes it unexpected. Rhyme, rhythm, alliteration: uses repetition of sounds, as in the Wall Street Journal’s slogan–“The daily dairy of the American Dream.” Parallel construction: uses repetition of the structure of a sentence or phrase; Morton Salt’s “When it rains, it pours.” Cue for the product: Folgers’ “Good to the last drop;” John Deere’s “Nothing runs like a Deere,” Wheaties’ “Breakfast of Champions” Music: “In the valley of the Jolly, ho-ho-ho, Green Giant.” Combination (rhyme, rhythm, parallel): “It’s your land, lend a hand,” is the slogan for Take Pride in America. Prentice Hall, © 2009 13-12 COPYWRITING FOR PRINT How to Write Body Copy • – – – • • Body copy Maintain interest of reader Persuasive heart of message Sales message, argument, proof, explanation Lead paragraph – – • Closing paragraph Writing styles – – – – – First paragraph of body copy Catches the reader’s attention – – Straightforward Narrative Dialogue Explanation Translation Prentice Hall, © 2009 – – Last paragraph of body copy Refers back to creative concept Wraps up the Big Idea Includes a “call to action” 13-13 COPYWRITING FOR PRINT How to Write Body Copy • – – – • • Body copy Maintain interest of reader Persuasive heart of message Sales message, argument, proof, explanation Lead paragraph – – • Closing paragraph Writing Styles – – – – – First paragraph of body copy Catches the reader’s attention – – Straightforward Narrative Dialogue Explanation Translation Prentice Hall, © 2009 – – Last paragraph of body copy Refers back to creative concept Wraps up the Big Idea Includes a “call to action” 13-14 COPYWRITING FOR PRINT Print Media Requirements • • • • • Newspapers – Less intrusive medium – Ads more straightforward and informative Magazines – Better ad production – More informative, longer copy Directories – Focus on service or store personality – Little space for explanation; keep it simple Posters and outdoor advertising – Creative concept marries words and visual Product literature – Detailed copy about a product, company, or event more informative with longer copy Prentice Hall, © 2009 13-15 HOW TO WRITE RADIO COPY Writing for Radio • Short: 10, 15, 30, or 60 seconds • Simple enough for consumers to grasp; intriguing enough to prevent switching • Creativity is key to breaking through clutter • Theater of the mind Prentice Hall, © 2009 13-16 HOW TO WRITE RADIO COPY Tools for Radio Copywriting • Voice – Announcer or character • Music – Creates a mood, establishes a setting – Jingles are catchy, “hummable” • Sound effects (sfx) – “libraries,” CDs, online Prentice Hall, © 2009 13-17 HOW TO WRITE RADIO COPY Guidelines for Writing Radio • • • • • • Keep it personal Speak to listener’s interests Wake up the inattentive Make it memorable Include call to action Create image transfer Prentice Hall, © 2009 13-18 HOW TO WRITE RADIO COPY Planning Radio: Scripts • The script contains the words, dialogue, lyrics, sound effects, instructions, and descriptions to help the producer create the commercial as the copywriter imagined. • Sources of audio are on the left. • Words, dialogue, description of sound effects and music are on the right. Prentice Hall, © 2009 13-19 HOW TO WRITE TELEVISION COPY Writing for Television • Moving images makes TV more engaging than print. • The challenge is to fuse the images with the words to tell a story. • In great television commercials, words and pictures work together seamlessly to deliver the creative concept through sight, sound, and motion. Prentice Hall, © 2009 13-20 HOW TO WRITE TELEVISION COPY Tools of TV Copywriting • Video – A key frame summarizes the main idea • Audio – Music, voices, sound effects – Voice-over – Off camera • Other TV Tools – Setting, casting, costumer, props • Talent – Announcers, spokespersons, character types or celebrities Prentice Hall, © 2009 13-21 HOW TO WRITE TELEVISION COPY Planning the TV Commercial • Copywriters plan – – – – :10, :15, :20, :30, :60 Number of scenes; shots in each scene Key visual: the image that sticks in the mind Where/how to shoot • How much product info? • Pace: fast or slow? • Level of controversy and intrusiveness Prentice Hall, © 2009 13-22 HOW TO WRITE TELEVISION COPY Planning the TV Commercial • What’s the Big Idea? • What’s the benefit and who benefits? • How can you turn that benefit into a visual element? • How can you gain the viewer’s interest in the first three seconds? • How can you focus on a key visual? • Is the commercial single-minded? • Observe rules of good editing • Is the product identified and shown in close-up at the end? Prentice Hall, © 2009 13-23 HOW TO WRITE TELEVISION COPY Scripts, Storyboards, Photoboards • Script – The written version of the commercial – Prepared by the copywriter • Storyboard – The visual plan or layout of the commercial – Prepared by the art director • Photoboard – Uses photos instead of art for images Prentice Hall, © 2009 13-24 WRITING FOR THE WEB Web Writing Basics • More interactive than any other mass medium— more like two-way communication • The copywriter’s challenge: to attract people to the site and manage dialogue-based communication. • The advertiser’s challenge: to understand the user’s situation and design messages that fit the user’s needs. • To write great copy for the Web, copywriters must think of it as an interactive medium and open up opportunities for interaction with the consumer. Prentice Hall, © 2009 13-25 WRITING FOR THE WEB Banner Ads • Ways copywriters make ads stand out amidst the clutter and grab attention. – Offering a deal like a discount or a freebie – Using an involvement device like a challenge or contest – Changing the offer frequently, even daily – Keeping the writing succinct for surfers short attention – Focusing surfers’ attention by asking questions or offering knowledge they can use – Use the ad to solicit information and opinions • Banner ads can remind or invite viewers to click. • The product or brand should be immediately clear. Prentice Hall, © 2009 13-26 WRITING FOR THE WEB Web Ads • They create awareness and interest in a product and build a brand image. • Good copywriting works well in any medium, including the Internet. • Other Web ad formats include games, pop-up windows, daughter windows, and side frames. Prentice Hall, © 2009 13-27 COPYWRITING IN A GLOBAL ENVIRONMENT Global Copywriting Challenges • Language affects the creation of the advertising. • Standardizing copy by translating for a foreign market is dangerous. • Solution—use bilingual copywriters – Use back translation (from the foreign language back into the domestic one) Prentice Hall, © 2009 13-28 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Printed in the United States of America. Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall Prentice Hall, © 2009 13-29