PROMOTIONAL WRITING

THE WRITER’S ROLE IN BRAND COMMUNICATION

Writers play a key role in creating a brand’s image through words. In advertising, PR, and
direct marketing, their job is to express a brand’s personality and connect with audiences
clearly and creatively. In some companies, one writer may handle all types of marketing
communication.

1. THE LANGUAGE OF BRAND COMMUNICATION

Writers carefully choose brand names and slogans because words and sounds shape
perception. For example, JetBlue sounds modern and calm (jet = flight, blue = sky).
Different letters create different feelings — “T” or “K” feel strong, “S” and “L” sound
smooth and calming.
Brand communicators also invent memorable phrases, like 7-Up’s “Uncola” or True Value’s
“masters of all things hardwarian.”

Slogans and Taglines

A slogan is a catchy, long-term phrase that represents a brand (e.g., “What happens in
Vegas stays in Vegas,” “Good to the last drop”).
A tagline is usually shorter and linked to a specific campaign (e.g., Motel 6: “We’ll leave
the light on for you”).
Good slogans:
• Connect to the brand name (“America runs on Dunkin’,” “Nothing runs like a
Deere”).
• Last for years (“When it rains, it pours” – Morton Salt).
• Communicate the brand’s personality (Avis: “We Try Harder”).
Weak slogans sound generic (“Together we’ll go far” – Wells Fargo).

Techniques for Memorable Slogans

Writers use creative language tricks to make slogans stick:
Technique Example Explanation
Speaks directly to the
Direct Address “Have it your way”
customer
Startling/Unexpected “It takes a tough man to make a Surprises or twists common
Phrase tender chicken” sayings
Rhyme, Rhythm, “Melts in your mouth, not in Makes slogans fun and easy
Alliteration your hands” to remember
Parallel Construction “When it rains, it pours” Repeats structure for rhythm
Cue the Product “Good to the last drop” Mentions product benefit
Music/Jingle “Ho-ho-ho, Green Giant” Adds melody to memory
Has two meanings for deeper
Double Entendre “A diamond is forever”
impact
Mixes rhyme, rhythm, and
Combination “It’s your land, lend a hand”
repetition
Technique Example Explanation
Keep Them Short “Eat Mor Chikin” Easy to recall and say

2. WRITING STYLES
Writing in brand communication can vary — it can be formal or informal, personal or
impersonal, and used across all kinds of media.
This section focuses on three main types of promotional writing:
• Advertising
• Public Relations (PR)
• Direct Response
Principle:
Effective copy should be short, focused, and deliver one clear idea.

a) ADVERTISING
Advertising writing must grab attention fast because audiences are often distracted.
So, copy needs to be:
• Simple, clear, and focused (e.g., “Eat Mor Chikin”).
• Short, because space and time are limited.
• Conversational, written like you’re talking to a real person.
David Ogilvy’s approach:
He imagined speaking directly to one person — friendly, factual, and personal, never boring.
Style Tip:
Copywriters should write how their audience speaks and thinks. Example:
“If you don’t have a parachute, don’t jump, genius.” – from a Trojan ad targeting young
adults.
Writers also adjust tone and format depending on the medium (print, TV, social media, etc.)
and the audience they’re addressing.

b) PUBLIC RELATIONS (PR)

PR writing covers many different styles because PR uses various communication tools:
• News releases use journalistic style — factual and formal.
• Corporate magazines/newsletters can be friendly, storytelling, or feature-based.
• Corporate videos may be emotional or dramatic like films.
• Brochures can be informational or technical, depending on audience.
• Public service or advocacy ads promote social causes (e.g., “That’s Not Cool”
campaign).
PR writers must also know advertising-style writing and digital communication to succeed
in online and social media platforms.

c) DIRECT RESPONSE
Direct-response writing includes letters, brochures, emails, and online campaigns.
The goal is personal connection — speaking directly to an individual customer.
• Tone can be formal or casual, depending on the audience.
• Usually personal and conversational, using direct address (“you,” “your”).
• Aims to build relationships and encourage immediate action (reply, click,
purchase).
3. STRATEGY AND LEGAL IMPERATIVES
All brand communication writing must:
• Follow strategy – meet campaign objectives and move the target audience.
• Be truthful and legally sound – claims must be supported by evidence.
Examples of misleading claims:
• Skechers paid $50 million for false “toning shoes” claims.
• Kellogg’s was challenged for overstating how Frosted Mini-Wheats improved
attentiveness.
• Cocoa Krispies claimed to “support immunity.”
• Cheerios claimed specific cholesterol reduction (“4% in six weeks”), which wasn’t
allowed by the FDA.
Lesson for writers:
Always demand solid proof before writing health or performance claims. Accuracy protects
both the brand and consumer trust.

TYPES OF BRAND COMMUNICATION WRITING

Advertising is central to all brand communication areas. Even PR and direct marketing often
use advertising techniques. So, we begin with advertising copywriting.

1. ADVERTISING COPYWRITING
A copywriter creates the words (copy) in ads or commercials.
They work with art directors and creative teams to turn strategies into Big Ideas —
memorable messages combining words and visuals (e.g., Nike’s “Just Do It”).

When Words Matter Most

Words are crucial in four types of ads:
i. Complex – when explaining detailed or logical information.
ii. High Involvement – for big decisions like buying a car, where more information is
needed.
iii. Explanation – when something needs defining (e.g., how an electric car works).
iv. Abstract – when expressing ideas like justice, luxury, or quality.

a) LOVE OF LANGUAGE
Good copywriters are both marketers and artists — often called “killer poets.”
They:
• Love playing with words, tone, rhythm, and emotion.
• Write with creativity and precision — like in Volvo’s “Song of the Open Road”
campaign, which blended Whitman’s poetry and scenic visuals to create an elegant
mood.
• Listen to how people talk to match the tone of voice to the audience.
• Carefully choose words — e.g., real estate terms like “beautiful” or “move-in
condition” help sales, while “handyman special” may hurt them.
Copywriters revise constantly and must be flexible — able to write for any product or
audience.
As Professor Karen Mallia notes:
“The fewer the words, the more important each one becomes.”
Iconic examples include “Got Milk?” and “Think different.”

b) HOW TO WRITE EFFECTIVE AD COPY

Good copy is tight, clear, and emotionally engaging. Here are the main traits:
Trait Meaning
Succinct Use short words, sentences, and paragraphs.
Specific Avoid vague language — focus on details.
Personal Address readers as “you”, not “we” or “they.”
Single Focus Communicate one main idea clearly.
Conversational Sound like natural speech — friendly and real.
Original Avoid clichés and overused phrases.
News Announce something genuinely new or important.
Use catchy lines that stick (“Why use more when you can use
Magic Phrases
less?”).
Variety Use short paragraphs, subheads, and visuals for flow.
Imaginative
Paint pictures with words.
Description
Tell emotional, relatable stories (e.g., “Strike Out Hunger”
A Story—with Feeling
campaign).
Copywriters often imagine writing to a specific person or photo that represents the target
audience.

Humor in Copywriting
Humor makes ads entertaining and memorable, especially for audiences tired of traditional
advertising (like young males).
Example: ESPN’s “It’s not crazy, it’s sports” campaign used funny, everyday situations to
promote its brand.

c) GRAMMAR AND ADESE

Good copywriters respect grammar but may bend rules for effect — as in Apple’s “Think
different” instead of “Think differently.”
However, bad habits lead to adese — dull, formulaic writing full of clichés, puffery, or vague
promises.

Examples of Adese (What to Avoid)

• “Buy now and save.”
• “Quality you can afford.”
• “Best in class.”
These are empty and could fit any company — they don’t stand out or feel genuine.
Covad’s ad (“Opportunity. Potential...”) and Buick’s ad (“Introducing Buick on the move”)
show how bragging, vague language, and superlatives make ads boring and forgettable.

Final Insight
As David Droga says:
“Writing bad copy is easy, which is why most advertising feels disposable.”
Great copywriters are poets on a commercial canvas — they create simple, original,
emotional writing that connects deeply with people.

2. PUBLIC RELATIONS WRITING

Writing is a core skill for PR professionals. Like copywriters, they must write in different
forms and styles across various media platforms — print, broadcast, and online.
Their work includes:
• News releases
• Pitch letters
• Feature and op-ed pieces
• Social media posts (Facebook, X/Twitter, Instagram, Snapchat, etc.)
• Speeches, presentations, and annual reports
Effective PR writing means writing clearly and simply in language the reader understands.
Fraser Seitel’s Tips for Success:
a. The idea comes first – Know what you want to say before writing.
b. Don’t fear the draft – Write freely and revise later.
c. Simplify and clarify.
d. Write for a specific audience.

a) NEWS RELEASES
A news release is the most important PR tool — it’s how organizations share information
with the media.
News releases can go to:
• Internal media (newsletters, company magazines)
• External media (newspapers, TV, websites)
They’re often distributed through networks like PR Newswire, which connects with
thousands of journalists and websites globally.
Key Point:
Just writing a news release isn’t enough — it must be interesting for editors to publish it.
What Makes News “Newsworthy”
Editors look for:
• Timeliness – recent or upcoming events
• Proximity – local relevance
• Impact – importance or significance
Example: A company launching a new product might first share it internally, then send news
releases to general and specialized media (like parenting or health magazines).
Five W’s Rule
A good news release answers:
Who, What, Why, When, Where, and How.
It begins with clear facts so the news value is obvious.
Example: NASA’s Asteroid Day release highlights the event’s importance and purpose right
from the start.
Video News Releases
These are visual versions of news stories sent to TV stations.
Example: A university might send video footage showing scientists drilling Arctic ice cores to
study climate change — material local media couldn’t easily create on their own.

b) Features
Feature stories focus on human interest rather than hard news.
Example: A story about a United Airlines flight attendant who worked for 63 years
appeared in:
• Corporate magazines
• National outlets (like The New York Times)
• Local and regional papers
Features can be shared across print, broadcast, and online platforms.

c) Social Media Opportunities

Strong social media writers build direct relationships between a brand and its audience.
They use platforms like blogs, videos, newsletters, and comments to start two-way
conversations.
In marketing, social media content helps both users and brands engage in dialogue —
creating trust and community.

3. DIRECT-RESPONSE WRITING
Direct-response writing aims for an immediate reaction (buy, click, reply).
These messages are usually longer, more detailed, and personalized.
Key Qualities:
• Informative and persuasive – must give clear details (price, style, convenience).
• Personalized – technology allows messages tailored to each customer.
Examples:
• Amazon recommends similar books after a purchase.
• Airlines send customized emails showing miles earned or rewards available.
Overcoming Buyer Resistance
Since there’s no salesperson in direct marketing, customers may hesitate.
So, messages use:
• Guarantees and warranties – to reduce risk
• Testimonials – to build trust and credibility

WRITING FOR VARIOUS MEDIA

Different media have unique styles, limits, and audiences. Writers adjust their presentation to
fit each medium.
1. BASICS OF WRITING FOR PRINT MEDIA
Print copy is divided into display copy and body copy:
• Display copy: Headlines, subheads, call-outs, and taglines—large and attention-
grabbing.
• Body copy: Text meant to be read and absorbed; explains the ad message.
Some copywriters (like Ogilvy and Gossage) succeeded with long copy, using humor or
storytelling to engage readers.
Common Tools in Print Writing
 • Headline: Catchy phrase to grab attention and convey the main message.
• Overlines/Underlines: Lead into or follow up the headline; set the stage or elaborate.
• Body Copy: Explains ideas, selling points, or information.
• Subheads: Break long text into sections; help scanners understand quickly.
• Call-Outs: Short phrases pointing to parts of a visual; explain details.
• Captions: Describe images; second-highest readership after headlines.
• Taglines: Short phrases that wrap up the key idea at the end of an ad.
• Call to Action: Encourages response with instructions.

a) DISPLAY COPY
Works with visuals to stop attention and communicate the concept. Headlines, body copy, and
visuals act together as a unit.
Principle: Good headlines interrupt scanning and grab attention. Only ~20% of readers
move to body copy, so the headline must convey the main point.
Types of Headlines
Direct-action headlines: Clear and informative.
• Assertion: Makes a claim.
• Command: Tells the reader to act.
• How-to heads: Explains a solution or use.
• News announcements: Introduce new products or changes.
Indirect-action headlines: Curious or intriguing to draw readers in.
• Puzzles: Provokes curiosity.
• Associations: Uses images or lifestyle to attract attention.
• Blind headlines: Provide minimal info; high risk, high reward.
Headline Principles:
• Target: Focus on the right audience.
• Stop and Grab: Combine headline and visual for impact.
• Identify: Suggest product, brand, or company.
• Change Scanning to Reading: Lead readers to body copy.

b) BODY COPY
Maintains interest, provides info, supports argument, and persuades.
• Lead paragraph: Captures attention immediately.
• Closing paragraph: Wraps up the idea and may include a call to action.

c) PRINT MEDIA REQUIREMENTS

• Newspapers: Short, factual, straightforward.
• Magazines: Higher quality; allows longer copy, more creative.
• Directories: Short, clear info; minimal explanation.
• Posters/Outdoor boards: Visual-focused, brief, catchy lines.
• Product literature: Brochures, flyers, hangtags; detailed info with visuals.
Key takeaway: Print writing balances attention-grabbing display copy with informative,
persuasive body copy, tailored to the medium’s style and audience.

2. RADIO MESSAGES AND HOW TO WRITE THEM

Radio builds brands through DJ endorsements, chatter, and timely reminders near purchase
moments. Modern radio reaches audiences via streaming, podcasts, and apps, allowing
personal interactivity.
• Ad Lengths: Usually 15, 30, or 60 seconds; very short messages need to be simple
and attention-grabbing.
• Challenge: Listeners are often multitasking, so repeating key info (product name,
phone, address) is important.
• Theater of the Mind: Radio creates mental visuals using voices, music, and sound
effects—letting listeners imagine scenes.

a) TOOLS OF RADIO WRITING

• Voice: Human voice is central—announcers, dialogue, and tone convey brand
personality.
• Music: Sets mood, reinforces brand recognition, and creates memorable jingles.
• Sound Effects: Create settings and emphasize actions (e.g., seagulls, cheering,
horns).

b) PRACTICE OF RADIO WRITING

• Keep It Personal: Use conversational language.
• Speak to Interests: Tailor content to the audience of specific shows.
• Wake Up the Inattentive: Grab attention in first 3 seconds.
• Make It Memorable: Repeat product name, use taglines.
• Include Call to Action: Emphasize what listeners should do.
• Create Image Transfer: Link radio ads to other media by evoking visuals in the
listener’s mind.
• Scripts: Written in columns (audio vs. content), with instructions in all caps for
producers.

3. TELEVISION/VIDEO MESSAGES AND HOW TO WRITE THEM

Television combines moving images with words, making it more engaging than print.
• Strength: Reinforces visuals with verbal messages, allowing storytelling and
emotional impact.
• Techniques:
o Action: Show steps, motion, or dynamic scenes.
o Demonstration: “Seeing is believing.”
o Storytelling: Narrative plots with the product playing a key role.
o Emotion: Real-life feelings make ads memorable.

a) TOOLS OF WRITING FOR TELEVISION/VIDEO

• Visuals: Characters, sets, props, costumes, lighting, animation, and location shots.
• Audio: Music, voices, and sound effects, integrated with visuals.
• Dialogue: Natural, relatable, and matches on-screen action.
• Music: Sets mood, strengthens brand identity, can be a memorable signature.

b) PLANNING THE TELEVISION MESSAGE

 • Commercial Length: Typically, 10, 15, 20, 30, or 60 seconds; 30 seconds is most
common.
• Scenes & Shots: Commercials divided into scenes; key visuals stick in viewers’
minds.
• Decisions: Pace, information, attention-grabbing methods, and intrusion level.
Documents for Production
• Script: Two-column format (audio vs. video) including dialogue, lyrics, instructions,
sets, costumes, lighting.
• Storyboard: Visual plan showing scenes, shots, and action progression.
• Photoboard: Uses photos to illustrate sequence instead of art.
Principle: Television and video allow powerful storytelling, emotion, and demonstration—
combining visual and audio tools to create memorable brand messages.

4. WRITING FOR THE INTERNET: ONLINE MEDIA

The internet is highly interactive, making it a two-way or multi-way communication
medium. Writers not only attract attention but also manage ongoing dialogue with audiences.
They must understand psychology, influence, and multi-device interaction.

a) WEBSITES
• Purpose: Provide information and brand cues; support user experience (UX).
• Writing Tips:
o Highlight important words.
o Use subheads and bullet points.
o Keep content simple and short.
o Lead with the main message, then drill down.
o Scrolling is acceptable.
• Goal: Make information accessible, visually appealing, and easy to navigate.
• Example: Don’t Mess with Texas website engages visitors through testimonials,
contests, events, and educational content.

b) BLOGS
• Serve as interactive communication platforms.
• Functions: Promote products, share news, convey brand personality, and build
credibility.
• Important: Carefully manage content and style since posts are permanent online.

c) INTERNET DISPLAY ADS

• Include banners, sidebars, pop-ups, video, and mobile ads.
• Key Points:
o Ads must grab attention quickly.
o Often link to websites for further engagement.
o Include the brand name clearly.
o Can offer entertainment, information, and incentives to drive action.
• Native Advertising: Blends content with promotional messages (e.g., sponsored
posts, advertorials). Must match platform look and be labeled “promoted” or
“advertising.”
 o Example: Invisalign’s “Behind the Smile” on the New York Times site.

d) SOCIAL MEDIA
• Platforms include Twitter, Instagram, YouTube, Snapchat, Pinterest, etc.
• Characteristics:
o Fast-changing; rules of traditional writing may not apply.
o Microsyntax, hashtags (#), and emojis are common.
• Tips from Megan Maisel (UT MD Anderson Cancer Center):
o Define your audience and maintain a consistent voice.
o Measure results and adapt quickly.
o Share compelling stories.
o Use clear calls to action.
o Show personality and excitement.
o Repurpose content creatively across platforms.

Principle: Online copywriting treats the internet as an interactive medium. Success comes
from engaging users, encouraging dialogue, and adapting content for multiple devices and
platforms.

CHALLENGES WRITERS FACE

1. WRITING FOR A GLOBAL BRAND
The writer’s role is to express the creative concept memorably, but several obstacles make
this difficult, particularly in a global context.

i. Understanding the Audience

• A creative idea is useless if the audience cannot understand the “magic words.”
• Writing for different cultures and languages complicates clarity and impact.

ii. Language Barriers

• English is more economical but less subtle than languages like Greek, French, or
Chinese.
• Translating copy literally often fails; rewriting is necessary for foreign audiences.
• Example:
o Rome laundry ad: Poor translation suggested women should “spend the
afternoon having a good time.”
o Best Buy in China: “Baisimai” translated to “Think it over a hundred times,
before buying,” causing brand failure.

iii. Humor, Slang, and Wordplay

• Headlines often use puns, humor, or slang, which usually do not translate well.
• International campaigns require adaptation, not literal translation.

iv. High-Context vs. Low-Context Cultures

• High-context cultures (e.g., Japanese) rely on context for meaning; words may
have multiple interpretations.
• Low-context cultures (e.g., English) have clear, direct meanings.
 • This distinction explains difficulties in translating brand messages across cultures.

v. Bilingual Copywriting
• Best solution: hire bilingual copywriters who understand both languages and
cultural nuances.
• Back-translation can help but rarely captures full cultural meaning.
• Requires trust from international creative directors, who may not understand
the foreign language themselves.

vi. Non-Roman Alphabets Online

• Internet expansion to Chinese, Korean, Arabic letters adds complexity.
• Challenge: develop translations readable in both original script and Roman letters.
• Technology improvements are gradually overcoming these challenges.

2. LOOKING AHEAD
• Big Idea effectiveness depends on how words and images reinforce one another.
• Successful promotional writing balances clarity, creativity, and cultural
sensitivity.