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- Herausgeber: John Wiley & Sons
- Kategorie: Fachliteratur
- Sprache: Englisch
Learn to create powerful, strategic copy for multiple channels, platforms, and storytelling templates
Today, just writing strong content or catchy copy isn’t enough. You must also know how to create gripping messages and interactive engagement.
Content and Copywriting: The Complete Toolkit for Strategic Marketing is your one-stop resource to sharpen your skills and explore innovative methods to reach your audience. This comprehensive real-world guide helps you create content for any device and consumer touchpoint by seamlessly integrating social media writing and advertising copywriting.
As an award-winning copywriter, producer/director, and professor, Margo Berman explains conceptual strategies and writing techniques to develop dynamic copy for a wide range of traditional and emerging media. This step-by-step approach offers specific instructions for writing websites, blogs, social media, direct mail, product packaging, viral marketing, radio, television, and videos. This work also analyzes immersive, experiential, augmented, mixed, and virtual reality content, then presents tips to maximize results.
This updated and expanded second edition contains dozens of new TV and radio storyboards and scripts, charts and infographics, templates and writing tips, exercises and examples, terminology lists, plus over 100 new images of innovative marketing campaigns. It also covers shareable content, digital storytelling, headline and slogan techniques, and interactive experiences. In addition, there is a valuable section with skill-building resources, references, and suggested readings.
Featuring an extensive collection of innovative visual examples, content writing templates, and teaching and learning resources, Content and Copywriting: The Complete Toolkit for Strategic Marketing is the ideal textbook for undergraduate courses in advertising, communications, public relations, and integrated marketing, and an invaluable reference for graduate students and professionals alike.
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Table of Contents
Cover
Table of Contents
Title Page
Copyright Page
Dedication Page
Preface
Acknowledgments
Independent creative talents
Agencies and companies
Introduction
Part One – Content Writing: Content Versus Copywriting
Part Two – Copywriting for Three Platforms: (1) Video, (2) Audio, (3) Print, plus Cross‐platform Campaigns
Part Three – Resources
Part One – Content Writing: Content Versus Copywriting
Part Two – Copywriting for Three Platforms: 1) Video, 2) Audio, 3) Print, plus Cross‐platform Campaigns
Part Three – Resources
About the Companion Website
I: Content Writing: Content Versus Copywriting
1 The Shareable Word: Content Creation Process
Seeing how this section works
Determining the reason for the message
Looking at different sales funnels
Hooking the audience
Learning how to craft the message
Targeting the consumer group
Understanding the consumer journey: Sales funnel to audience loyalty
Learning about tracking tools
Making connections when writing
Applying social media content writing templates
Writing with a purpose
Using trends for content writing
Studying content marketing resources
Talking about terminology
Comparing channels and platforms
Content writing checklist
Content writing exercises
Notes
2 The Digital Storytelling Word
Audience Engagement
Understanding how to apply analytics
Deciding where to publish
Choosing how to write content
Scheduling the content and calendaring
Analyzing storytelling formats, channels, and platforms
Writing content for Facebook
Writing content for LinkedIn
Writing content for X (formerly Twitter)
Writing content for Instagram
Taking a look at Instagram video formats
Writing content for YouTube
Learning the best times to post
Using a quick chart to develop content
Discovering helpful writing tools
Checking out a few social media campaigns
Looking at writing SEO copy
Engaging with visitors
Evaluating the website’s tone of voice
Examining a humorous site
Creating a successful blog
Considering blogs for agencies
Content development exercise
Notes
3 The Template Word
Visual Engagement for Cross‐platform Use
Applying examples: Facebook, Instagram, LinkedIn, X (formerly Twitter), Pinterest, and Snapchat
Modifying video templates: Instagram Reel, YouTube, and TikTok
Checking the format and content length for each platform and channel
Having templates at your fingertips
Examining social media video templates
Focusing on video and TV storyboard formats
Selecting appropriate visuals
Creating a look to fit the brand
Revising and applying template examples
Looking over a few types of social media ads
Analyzing types of Facebook ads
Studying types of Instagram ads
Checking out types of LinkedIn ads
Saying more in less space
Visual format exercises
Notes
4 The Experiential Word
Immersive, MR (Mixed Reality), and Interactive Engagement
Examining types of interactive campaigns
Playing with the audience
Revisiting ways to engage
Asking: What’s the point of interaction?
Thinking more about interactivity
Using interactivity for social causes
Finding other ways to use interactivity
Discovering how to create buzz
Creating irresistible, interactive marketing
Understanding when buzz goes wrong
Using apps to solve problems
Designing games to recruit, train, and retain staff
Reviewing experiential writing
Creative experiential strategy and writing exercises
Notes
II: Copywriting for Three Platforms: 1) Video, 2) Audio, 3) Print, plus Cross‐platform Campaigns
5 The Persuasive Word
Strategy ABCs: Audience, Benefits, and Creative Briefs
Thinking about strategy first
Examining the brief: An up‐close look
Gaining deeper audience insight through VALS and observational research
Understanding secondary audience versus primary audience
Delving into consumer insights
Realizing the importance of a benefit
Creative strategy exercises
Notes
6 The Strategic Word
Using strategic thinking strengthens each touchpoint
Analyzing types of strategies
Keeping a handy reference list of strategies
Evaluating strategies and needs
Applying different types of positioning
Inventing the USP: Selling uniqueness
Creating the main message: Campaign slogans
Deciding the
tone of voice
Considering competitors
Designing tactics
Final creative direction checklist
Creative strategy exercises
7 The Animated Word
Scrutinizing television writing: What’s the secret?
Analyzing TV writing: Where to begin
Applying universal truths to common goals
Discovering more about universal truths
Speaking from the consumer’s perspective
Seeing how exaggeration, humor, and strong copy drive home benefits
Realizing a great tip for TV spot length
Investigating ways to present TV ideas
Learning from beloved Super Bowl spots
Identifying types of TV commercials
Writing TV scripts
Absorbing key copywriting tips
Tom Amico’s tips (Tom & Eric 911, formerly at Kaplan Thaler Group)
Sara Rose’s tips (executive creative director/writer)
Vinny Warren’s tips just on screenwriting (The Escape Pod)
Creating interactive TV spots
Casting TV talent
Becoming familiar with TV terminology
Looking at video scripts
Creative TV exercises
Notes
8 The Spoken Word
Becoming a radio aficionado
Learning some radio tips from the masters
Observing a few more radio writing “rules”
Applying basic radio copy format
Finding out more about radio format
Thinking about production from the start
Using union and nonunion talent, music, and sound effects
Working with and directing the talent
Understanding radio dayparts
Exploring examples of great radio scripts
Writing radio tips
Reviewing radio: The wrap up
Creative radio exercises
Notes
9 The Chosen Word
Developing a strong message with legs
Determining the tone of voice
Finding the point of view
Writing the way you speak
Writing to your audience
Writing for the medium and the senses
Writing for celebrities
Finding your own voice: Some tips
Quick chapter overview
Creative writing exercises
Notes
10 The Sticky Word
Devising ad structure: Headlines, subheads, body copy, and slogans
Remembering the call to action
Thinking up catchy headlines and subheads
Reviewing different kinds of headlines
Making up sticky slogans: The backbone of campaigns
Adding power to your writing
Copywriting insights and tips
Making your copy sticky
Creative writing exercises
Notes
11 The Written Word
Writing for the printed page
Formulating one focused message
Remembering the reader
Discovering basic copy format
Focusing on strategy, audience, benefits, tone of voice, message, and relevance
Recognizing categories of effective messages
Exploring playful, humorous, empathetic print ads
Studying more ads that empathize with the target
Identifying ads with an insider’s understanding
Shaping witty headlines that say it all
Copywriting: A closer look
Print writing tips
Creative print checklist
Creative print ad exercises
Notes
12 The Ambient and Moving Word
Starting from the medium
Noticing messages wherever you are
Looking closely at out‐of‐home messages
Thinking about surprising the audience
Understanding your audience’s frame of reference
Being irreverent and still effective
Turning a once touchy subject into a humorous campaign
Finding new places to advertise
Driving a key point home with out‐of‐home ads
Creative ambient exercises
Notes
13 The Abridged Word
Exploring direct mail
Grasping why to use direct mail
Learning a few pointers about writing self‐promotion letters
Creating messages for mobile email marketing
Writing copy for product packaging
Examining examples of creative package copy
Learning some tips for small‐space writing from Charlie Hopper
Creating coupon copy, digital discounts, and freebies
Examining online banner ad copy
Understanding catalog copywriting
Creative abridged writing exercises
Notes
14 The Cross‐platform Word
Developing ideas that spin out
Thinking about how small‐space writing differs from other media
Creating messages that move from one platform into another
Planning cross‐platform campaigns from the beginning
Checking that you’re writing for the eye, ear, and imagination
Reminding consumers of the benefits in all media
Promoting environmental consciousness and social responsibility
Including target‐specific ambient and interactive advertising
Being irreverent can create unforgettable messages
Creating writing that sounds natural
Learning Charlie Hopper’s media‐focused writing tips
Looking at more cross‐platform campaigns
Celebrating single medium campaigns
Thinking globally
Writing for Hispanic markets
Cross‐platform messaging exercises
Notes
III: Resources
A Short, Handy List of Resource Links
Best times for social media posts
Business strategies (growth hacks: affordable, business growth strategies)
Content marketing
Content scheduling
Conversion improvement – landing page tools
Customer testimonial page examples
Definitions and terms
Editorial calendar
Funnel examples
Guides and other resources
Marketing analytics
Marketing trends (sites, blogs, and articles)
Social media analytics
Templates (design, social media, video, coding, etc.)
Tutorials (just a short list of examples)
Writing
Terminology
Notes
Suggested Reading
Index
End User License Agreement
List of Illustrations
Chapter 1
FIGURE 1.1 This “7‐Part Social Media/Sales Funnel” chart was created by Juan...
FIGURE 1.2 This “Top, Middle, and Bottom of Funnels” chart was created by Ju...
FIGURE 1.3 This “8‐Step Customer Journey” chart was created by Margo Berman....
Chapter 2
FIGURE 2.1 This “Made It to Friday Wednesday” social media post was created ...
FIGURE 2.2 This “A Post‐Workout Pint of Ice Cream” social media post was cre...
FIGURE 2.3 This “20‐pound Hook Hanger” social content post was created by Yo...
FIGURE 2.4 This “125‐pound Taxidermy Fish” social content post was created b...
FIGURE 2.5 This “Architectural Details” social content post was created by Y...
FIGURE 2.6 This “Push” social content post was created by Young & Laramore f...
FIGURE 2.7 This “Paddletek Pickleball” social media post was created by Youn...
FIGURE 2.8 This “Bantam EX‐L” social media post was created by Young & Laram...
FIGURE 2.9 This “Phoenix Pro Series” social media post was created by Young ...
FIGURE 2.10 This “Tempest Series” social media post was created by Young &L...
Chapter 3
FIGURE 3.1 This “New Episode of RealityRealty.com” Facebook Live social medi...
FIGURE 3.2 This “Glazing 101” Facebook event post was created by Juan Bermeo...
FIGURE 3.3 This “Coffee Mug Pottery profile” Instagram grid was created by J...
FIGURE 3.4 This “New Vintage Drop promotion” Instagram story was created by ...
FIGURE 3.5 This “Consultation promotion of Bright Mind Psychology” LinkedIn ...
FIGURE 3.6 This “Happily Ever After Photo promotional banner” X (formerly Tw...
FIGURE 3.7 This “Flour Power promotion” Pinterest post was created by Juan B...
FIGURE 3.8 This “Vanity Fur: Shop Re‐tail” Snapchat Ad was created by Juan B...
FIGURE 3.9 This “New Year’s Eve Menu promotion” Instagram reel post was crea...
FIGURE 3.10 This “What’s the Difference? Light Roast vs Dark Roast” YouTube ...
FIGURE 3.11 This “The Soap Diaries Intro” YouTube video intro frame was crea...
FIGURE 3.12 This “Darkroom Chronicles: Follow Me” TikTok end frame was creat...
FIGURE 3.13 This “Sugar Flick” :15 TV storyboard was created by Tom &Eric 9...
FIGURE 3.14 This “Half the Ingredients” :15 video storyboard was created by ...
FIGURE 3.15 This “Simple Ingredients” :15 video storyboard was created by To...
Chapter 4
FIGURE 4.1 This “Shoot. Score. Repeat” :75 video screengrab was created by Y...
FIGURE 4.2 This “Shoot. Score. Repeat.” :75 video screengrab was created by ...
FIGURE 4.3 This “Shoot, Score. Repeat” :75 video screengrab was created by Y...
FIGURE 4.4 This “Locked in a House” experiential activation was created by Y...
FIGURE 4.5 This “Locked in a House” experiential activation and social media...
FIGURE 4.6 This “The Waterfront Needs You” landing page was created by DeVit...
FIGURE 4.7 This “Tea Party” Instagram ad was created by DeVito/Verdi for Sav...
FIGURE 4.8 This “Standing Up for What’s Right” Instagram story ad was create...
FIGURE 4.9 This “Monopoly Live” website image was created by Tribal DDB for ...
Chapter 6
FIGURE 6.1 This Maslow’s “Hierarchy of Needs” chart was created by M2 Design...
FIGURE 6.2 This “Strategies–Motivations–Needs” chart, created by Margo Berma...
Chapter 7
FIGURE 7.1 This "Freudian Slip: Dental School" video storyboard was created ...
FIGURE 7.2 This “Freudian Slip: Law School” video storyboard was created by ...
FIGURE 7.3 This “Freudian Slip: Medical School” video storyboard was created...
FIGURE 7.4 This “Frogs” :30 TV spot was created by Roberts + Langer for John...
FIGURE 7.5 This “Hats” :30 TV spot was created by Roberts + Langer for Johns...
FIGURE 7.6 This “Short and Bald” :30 TV spot was created by Roberts + Langer...
FIGURE 7.7 These “Waiting” :30 TV storyboard screengrabs were created by You...
FIGURE 7.8 This “Big Box vs. Small Box” :30 TV screenshot was created by You...
FIGURE 7.9 This “Oversized is Overrated.” social content video was created b...
FIGURE 7.10 This “Less Searching. More Shopping.” social content video was c...
FIGURE 7.11 This “Ascent” social content video was created by Young &Laramo...
FIGURE 7.12 This “Fat Cat” social content video was created by Young &Laram...
FIGURE 7.13 This “Gravity” social content video was created by Young &Laram...
FIGURE 7.14 This “Engagement Announcement” video was created by Young &Lara...
FIGURE 7.15 This “White Goes with Fish” video was created by Young &Laramor...
FIGURE 7.16 This “Vintage Aesthetic” video was created by Young &Laramore f...
Chapter 11
FIGURE 11.1 This “Our Family Tree” print ad was created by Young &Laramore ...
FIGURE 11.2 This “To Reinvent an Icon” print ad was created by Young &Laram...
FIGURE 11.3 This “Built for Anything” print ad was created by Young &Laramo...
FIGURE 11.4 This “Like a 40 Ton Excavator” print ad was created by Young &L...
FIGURE 11.5 This “Born from Bulldozers” out‐of‐home message was created by Y...
FIGURE 11.6 This “We Both Have the Same Grandpa” out‐of‐home message was cre...
FIGURE 11.7 This “Listening to Your Boyfriend’s Friends Explain the Stock Ma...
FIGURE 11.8 This “Meeting Your Dad’s New Girlfriend, Crystal” print ad was c...
FIGURE 11.9 This “Another Day of School‐from‐Home, Another Day of Getting Yo...
FIGURE 11.10 This “Happiness” print ad was created by Vitro for ASICS Americ...
FIGURE 11.11 This “Intensity” print ad was created by Vitro for ASICS Americ...
FIGURE 11.12 This “Defying Gravity” print ad was created by Vitro for ASICS ...
FIGURE 11.13 This “It’s Only My Record Until I Rewrite It.” print ad was cre...
FIGURE 11.14 This “There Are No Personal Bests. Only Best Yets.” print ad wa...
FIGURE 11.15 This “The Losses Leave You Hungry. The Wins, Even Hungrier.” pr...
FIGURE 11.16 This print ad was created by the Kaplan Thaler Group for Aflac....
FIGURE 11.17 This “Propaganda, Ready‐to‐Propagate” print ad was created by Y...
FIGURE 11.18 This “Calling All” print ad was created by Young &Laramore for...
FIGURE 11.19 This “Contains 16 Rounds” print ad was created by Young &Laram...
FIGURE 11.20 This “Forged from Fortitude” print ad was created by Young &La...
Chapter 12
FIGURE 12.1 This "Celibacy Isn’t Always a Choice” in‐store display was creat...
FIGURE 12.2 This “Glasses that Don’t Hurt” in‐store display was created by D...
FIGURE 12.3 This “Muffins that Can Make” in‐store display was created by DeV...
FIGURE 12.4 This "New York is Full of Nuts" in‐store display was created by ...
FIGURE 12.5 This “If We Can’t Have Fresh Air” in‐store display was created b...
FIGURE 12.6 This “Packed with Blueberries” transit sign was created by DeVit...
FIGURE 12.7 This “Enjoy our Morning Coffee with Lunch” in‐store display was ...
FIGURE 12.8 This “Hotter than a Cabbie” in‐store display was created by DeVi...
FIGURE 12.9 This “Hotter than Fashion Week” in‐store display was created by ...
FIGURE 12.10 This “Hotter than the Radiator” in‐store display was created by...
FIGURE 12.11 This “The Perfect Grind” OOH (billboard) was created by DeVito/...
FIGURE 12.12 This “Enjoy the Long Commute” OOH (billboard) was created by De...
FIGURE 12.13 This “Hot from Battery Park” OOH (bus shelter) was created by D...
FIGURE 12.14 This “Hot from Staten Island” OOH (bus shelter) was created by ...
FIGURE 12.15 This “You Can Leave Empty‐Handed.” in‐store display ad was crea...
FIGURE 12.16 This “Quick! What’s Smaller?” in‐store display ad was created b...
FIGURE 12.17 This “Oversized is overrated.” in‐store display ad was created ...
FIGURE 12.18 This “ABC SuperSign” out‐of‐home sign was created by Vitro for ...
FIGURE 12.19 This “Lite‐Brite” art piece was created by Vitro for ASICS Amer...
FIGURE 12.20 This “Kiss My Bass” out‐of‐home ad was created by DeVito/Verdi ...
FIGURE 12.21 This “Bite Me” taxi‐top ad was created by DeVito/Verdi for Lega...
FIGURE 12.22 This “Carp” ambient ad was created by DeVito/Verdi for Legal Se...
FIGURE 12.23 This “Halibut” taxi‐top ad was created by DeVito/Verdi for Lega...
FIGURE 12.24 This “Blowfish” ambient ad was created by DeVito/Verdi for Lega...
FIGURE 12.25 This “Movie Sucks” out‐of‐home ad was created by DeVito/Verdi f...
FIGURE 12.26 This “Your Sister” taxi‐top ad was created by DeVito/Verdi for ...
FIGURE 12.27 This “Arse” poster was created by The Escape Pod for FECKIN Iri...
FIGURE 12.28 This “Piss Off” poster was created by The Escape Pod for FECKIN...
FIGURE 12.29 This “Abruptly” poster was created by The Escape Pod for FECKIN...
FIGURE 12.30 This “Chikin Maze” tray liner was created by The Richards Group...
FIGURE 12.31 This “Gin, Ready‐to‐View” out‐of‐home poster was created by You...
FIGURE 12.32 This “Served with Distinction” out‐of‐home poster was created b...
Chapter 13
FIGURE 13.1 This “Reserve Bourbon, Ready‐to‐Drink” front package design was ...
FIGURE 13.2 This “Reserve Bourbon, Ready‐to‐Drink” back package design was c...
FIGURE 13.3 This “Gin, Ready‐to‐Drink” bottle‐label design was created by Yo...
FIGURE 13.4 This “Gin, Ready‐to‐Drink” front package design was created by Y...
FIGURE 13.5 This “Gin, Ready‐to‐Drink” back package design was created by Yo...
FIGURE 13.6 This “Rum, Ready‐to‐Drink” front package design was created by Y...
FIGURE 13.7 This “Rum, Ready‐to‐Drink” back package design was created by Yo...
FIGURE 13.8 This “Beer from around Here” Pale Ale package design was created...
FIGURE 13.9 This “Beer from around Here” Brown package design was created by...
FIGURE 13.10 This “Beer from around Here” bottle package design was created ...
FIGURE 13.11 This “Beer from around Here” Southern Sampler package design wa...
FIGURE 13.12 This “Beer from around Here” “Bob Says” side of Pale Ale packag...
FIGURE 13.13 This “Beer from around Here” “Bob Says” side of Brown package d...
FIGURE 13.14 This “Blah–Meh–Ugh–Yawn” animated online banner ad was created ...
Chapter 14
FIGURE 14.1 This homepage navigation was created by Young &Laramore for Hot...
FIGURE 14.2 These “Banner, Ready‐to‐Click” digital ads were created by Young...
FIGURE 14.3 This “Bourbon, Ready‐to‐Drink” front package design was created ...
FIGURE 14.4 This “Bourbon, Ready‐to‐Drink” back package design was created b...
FIGURE 14.5 This “Brand Architecture Overview” presentation image was design...
FIGURE 14.6 This “Brand Architecture in Detail” presentation image was desig...
FIGURE 14.7 This “Better Milk Yogurt” print ad was created by Tom &Eric 911...
FIGURE 14.8 This “Cow” print ad was created by Tom &Eric 911 for Natürlich....
FIGURE 14.9 This “Splash” print ad was created by Tom &Eric 911 for Natürli...
FIGURE 14.10 This “We Run Together in Rain” print ad was created by Young &...
FIGURE 14.11 This “We Run Together in Heat” print ad was created by Young &...
FIGURE 14.12 This “We Run Together in Snow” print ad was created by Young &...
FIGURE 14.13 These out‐of‐home “Slam” and “Shake” billboards were created by...
FIGURE 14.14 These out‐of‐home “Dry” and “Wet” billboards were created by Yo...
FIGURE 14.15 This out‐of‐home “We Test. So It Runs.” billboard was created b...
FIGURE 14.16 This “Don’t Take the Wet Waste” print ad was created by Tom &E...
FIGURE 14.17 This “Why Let My Waste” print ad was created by Tom &Eric 911 ...
FIGURE 14.18 This “Don’t Let My Waste” billboard was created by Tom &Eric 9...
FIGURE 14.19 This “Wasted Redefined” day billboard was created by Tom &Eric...
FIGURE 14.20 This “Wasted Redefined” night billboard was created by Tom &Er...
FIGURE 14.21 This “Two‐Year‐Old” print ad was created by DeVito/Verdi for Mo...
FIGURE 14.22 This “Catherine” print ad was created by DeVito/Verdi for Mount...
FIGURE 14.23 This “Ruby” print ad was created by DeVito/Verdi for Mount Sina...
FIGURE 14.24 This “Baseball” print ad was created by DeVito/Verdi for Mount ...
FIGURE 14.25 This “Dr. King” print ad was created by DeVito/Verdi for Americ...
FIGURE 14.26 This “Bullshirt” print ad was created by DeVito/Verdi for Daffy...
FIGURE 14.27 This “Jacket” print ad was created by DeVito/Verdi for Daffy’s....
Guide
Cover Page
Table of Contents
Title Page
Copyright Page
Dedication Page
Preface
Acknowledgments
Introduction
About the Companion Website
Begin Reading
A Short, Handy List of Resource Links
Terminology
Suggested Reading
Index
WILEY END USER LICENSE AGREEMENT
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Content and Copywriting
The Complete Toolkit for Strategic Marketing
Second Edition
Margo Berman
This Second edition first published 2024© 2024 Margo Berman.
Edition HistoryJohn Wiley & Sons Ltd. (1e, 2012)
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Library of Congress Cataloging‐in‐Publication DataNames: Berman, Margo, 1947– author. | John Wiley & Sons, publisher.Title: Content and copywriting : the complete toolkit for strategic marketing / Margo Berman.Description: Second edition. | Hoboken, NJ : Wiley‐Blackwell, 2024. | Includes index.Identifiers: LCCN 2023042918 (print) | LCCN 2023042919 (ebook) | ISBN 9781119866503 (paperback) | ISBN 9781119866510 (adobe pdf) | ISBN 9781119866527 (epub)Subjects: LCSH: Advertising copy–Handbooks, manuals, etc. | Marketing–Handbooks, manuals, etc.Classification: LCC HF5825 .B467 2024 (print) | LCC HF5825 (ebook) | DDC 659.13/2–dc23/eng/20231107LC record available at https://lccn.loc.gov/2023042918LC ebook record available at https://lccn.loc.gov/2023042919
Cover Design: WileyCover Image: © aelitta/Getty Images
I would like to dedicate this book to my parents, who gave me the discipline and creative freedom to solve complex problems.
Preface
It doesn’t matter whether you’re a student, novice, or seasoned professional, this book will hone your content and copywriting skills. It is divided into three parts: (1) Content Writing: Content Versus Copywriting; (2) Copywriting for Three Platforms: Video, Audio, Print, plus, Cross‐platform Campaigns; and (3) Resources, including useful terminology. The work begins with social media content, templates, and experiential campaigns, followed by Part II with strategy and technique. The subsequent chapters focus on writing for specific traditional media: from print and broadcast to out‐of‐home, ambient, and multiplatform. Content and copywriting examples offer a gamut of industry standard formats, which are useful reference points when writing. You’ll quickly see how digital content differs from traditional advertising writing. Television and video storyboards and scripts will serve as examples for client presentations.
You’ll discover why first thinking from the channel and platform helps writers create more consumer engagement. Starting with the end result in mind helps you consider the purpose and audience before actually starting to write. For video content, it will also direct which talent to cast, what type of visuals to choose, and what sound effects or music cuts to include. These conscious choices force you to write for a specific voice for a professionally produced result. Other discussions will help you avoid other writing errors, like inaccurate content or broadcast script length, legal issues created by the absence of talent releases, and screen safety problems in video post‐production. Special callout boxes will make major principles easy to remember and simple to apply.
You may already realize that it’s not enough for you to know how to develop catchy social media content or create exciting slogans to write strong copy. You must also know how to create gripping messages on every channel, platform, and device. Writers today must be as comfortable creating YouTube videos as they are developing immersive experiences. Besides having an understanding of current trends, you should also challenge yourself to invent new forms of engagement. Try to avoid creative stagnation and innovative inertia. With all your mental muscle, push your imagination past the status quo. Influence new modes of expression. In order to achieve this, you must have a solid writing foundation. You need to understand audience segmentation, message creation, creative brief application, and content‐length restrictions, as well as layout design options.
Then, you need to build on that knowledge and cement it with strategic thinking, analytical insights, audience‐relevant messages, and sound writing techniques.
This book will give you an entire toolkit of tips to write in all size spaces, all marketing ecosystems, all formats, and all touchpoints. Whether you’re creating messages for mobile devices, packaging, or “ginormous” billboards, interactive or any other media, you’ll be able to apply the principles set forth in this volume and succeed in writing compelling copy.
Great marketing writing isn’t just clever. It’s convincing. It’s persuasive. It’s interruptive. It’s intrusive. Most of all, it’s unforgettable.
The videos, podcasts, posts, or campaigns that prompt shares, reposts, and follows, or promote “street cred” (brand credibility), or “talk value” (are talked about over office water coolers or virtual meetings) also generate live events, comments, and other free press that propels the brand into mainstream consciousness.
How do you begin to create these kinds of messages? You start by understanding that every assignment has a purpose and a goal. An audience that it’s targeting. An array of touchpoints where it encounters that consumer. And a specific strategy to deliver that message.
To help you get started, chapters are devoted to content, templates, strategies, and specific writing. I would recommend you begin with the first six chapters, so you have a solid foundation of the basics: creating content, understanding your audience, and presenting solutions to common pain points (Chapter 1); applying analytics to channel selection (Chapter 2); using templates (Chapter 3); comprehending immersive campaigns (Chapter 4); developing a strategically targeted creative brief (Chapter 5); and, adopting a successful strategy (Chapter 6). After that, you can read any chapter in any order for preparing traditional media (from Chapters 7 through 14). That’s because the book is modular. Therefore, each chapter stands on its own.
So, if you’d like to read about writing for social media, you could read that chapter. Or, if you’re interested in immersive and experiential campaigns, you could go to that chapter. Or, if you’re curious about cross‐platform campaigns, you start with the last chapter. People learn best when they satisfy their curiosity. With that said, you can begin wherever you want. Then, go to whatever section interests you most. Here’s the order of each medium that’s explored.
Chapter 7
: TV and Video
Chapter 8
: Radio
Chapter 9
: Copywriting Tips
Chapter 10
: Headline and Slogan Techniques
Chapter 11
: Print Messaging
Chapter 12
: Ambient and Moving
Chapter 13
: Abridged: Small‐space Writing
Chapter 14
: Cross‐platform Campaigns
I also recommend familiarizing yourself with the content set in callout boxes. They’re designed so you can find what you’re looking for. If you want to review the checklists, you can see them listed in the table of contents or the index. If you want to read tips for writing, simply look those up. Or, if you want to check out the info boxes, rules, tips from the pros, and so on, go right ahead. You can also scan the book and read the callout quotes. They’re little bites of wisdom that are easily digestible.
To best absorb the information in each chapter, allow yourself the necessary time to do the following:
Read the copy in all the examples.
See how it relates to the image.
Look carefully at typography for a hierarchy of message. (See what’s emphasized by the size, position, and style of the type.)
Review the terminology list.
Examine examples and templates.
Complete, or at least, check out the exercises.
Become an active observer. Notice new media everywhere.
Practice your analytical skills every day, whenever you see advertising messages.
Be a gracious recipient of criticism. You’ll grow faster.
Read more. Be receptive to all kinds of writing. In all channels, platforms, and formats, from plays to promotions.
What I have intended to set forth is a “Writer’s Depot” where you can browse all the tools on the virtual shelf and select the ones you need to add to your creative tool shed. Take what you want, review what you’d like, and cart off as many as you can. That way, you’ll be prepared for any upcoming project.
If you’re committed to your own creative growth, you’ll become a stronger writer, even if you jump around from channel to channel or medium to medium. You’ll soon discover, after reading this complete guide, you’ll be prepared to create compelling copy in any marketing ecosystem. Mostly, because you’ll be equipped with a handy, all‐in‐one toolkit.
Acknowledgments
This edition would not have been completed without generous help of many people who gave their time and attention throughout the creative process. I am excited to thank each of them individually to show my gratitude. I can hear their reply, “Oh, that’s not necessary.” But, I assure you, it is. If by any chance, I unintentionally omitted anyone, please accept my deepest apology.
The first person I would like to thank is my husband, Jack. I’ve been hidden away for extended periods to write. So much so, he’s always surprised to see me. Next, I would like to applaud Jennifer and Paul Minnich, co‐creative directors of M2Design, for supporting my resolute determination to complete this. They wholeheartedly joined my celebratory moments when I received another approved image or quote. Third, I wish to recognize Monica Hudson, who eagerly assisted in acquiring new campaign examples. Fourth, I must celebrate my sister, Sue, who fills my life with fun and giggles. Fifth, I would like to honor my niece, Ronni Alexander, who is an irreplaceable, unwavering life compass.
Next, I must thank some people at Wiley‐Blackwell. First, Nicole Allen, commissioning editor, Wiley‐Blackwell Humanities Editorial, who not only enthusiastically supported my vision but also allowed me to modify the manuscript into what it has become. Second, I wish to acknowledge Laura Matthews, assistant managing editor, Authored Books, who aided in reviewing the images. Third, I would like to thank Rosie Hayden, managing editor, who oversaw the project from its inception. Fourth, I want to express my heartfelt gratitude to Liz Wingett, executive managing editor, who diligently oversaw the final edits and brought the book to publication, as well as the team of proofreaders, especially Roger Bullen, for his invaluable copy editing expertise. In addition, I would also wish to recognize Simon Eckley, assistant director, Intellectual Property Licensing & Post‐Production Operations, for his careful assistance in permissions confirmation. Also, a grateful thanks goes to Ed Robinson, editorial assistant, who helped coordinate the cover design and marketing content.
I want to thank all of the creative talents and advertising executives (in alphabetical order), who helped me complete this second edition. They quickly responded to my complex requests of image acquisition with correct specification, text content edits, and caption and credit approvals.
Independent creative talents
Sheena Brady, commercial director/creative director, for eagerly providing wonderfully informative remarks.
Curt Mueller, freelance creative director/writer, for offering invaluable writing tips and background information on Red Brick Beer and other campaigns.
Sara Rose, executive creative director, for her prompt reply to all my questions and for her illuminating comments.
Agencies and companies
At Augusta Free Press: Chris Graham, global editor, for graciously granting permission to freely quote from one of his articles on digital trends.
At Convince&Convert: Michelle Saunders, director of content marketing, for kindly allowing me to use excerpts from several articles including those by Nathan Ellering and Anna Hrach.
At Craig Miller Creative: Craig Miller, creative director/copywriter, for sharing his writing tips and campaign‐development insights.
At DeVito/Verdi: Ellis Verdi for his generous approval of many outstanding agency campaigns; Nick Ryan, marketing director, for the careful overseeing of image specifications and caption approvals.
At Digital Surgeons: Peter Sena II, founder and chief technology officer, for his astute comments about the digital development of creative work for Lovesac StealthTech and Naboso Sensory Sticks.
At Drayton Bird Associates: Drayton Bird, founder, writer, marketer, for generously sharing his noteworthy articles, blogs, and insights.
At Planet Propaganda: Teddy Brown, group creative director, for his indispensable insight into Taco Bell campaigns.
At Rain the Growth: Benazhir Maratuech, associate director of content strategy, for her quick response to provide clarification about content‐ and web‐development strategy.
At The Escape Pod: Vinny Warren, founder and creative director, for his commentary on strategic planning; images, scripts, and writing tips; and innovative campaign examples, such as Feckin Irish Whiskey and Wheat Thins.
At Tom & Eric 911: Tom Amico, creative director/writer, for his detailed explanation of the strategic planning and creative thinking behind Natürlich, Siggi’s yogurt, and Upcycle campaigns.
At Top Tog Media: Melonie Dodaro, CEO, for granting permission to freely quote from her blog that detailed interesting topics.
At WordStream: Kristen McCormick, senior managing editor (USA Today Network), for her generous permission to liberally quote from her articles and those of Megan Marrs and Céillie Clarke‐Keane.
At Young & Laramore: Tom Denari, president, for his consent to include exciting agency work; Carolyn Hadlock, principal and executive creative director, for providing images, interviews, and comments about the creative process; Charlie Hopper, principal, for sharing the strategic thinking behind various campaigns; Brad Bobenmoyer, vice president of marketing, for overseeing the quote, image and permission process; and Kinsey Whitt, associate account manager, for her tireless work of ushering through to completion the complex task of image curation, resizing, and caption approvals.
At Zimmerman Advertising: Juan Valente, creative director, for his content and website writing tips.
I would also like to thank the following people for their encouragement and generosity. At Florida International University: Brian Schriner, Dean, College of Communication, Architecture + The Arts, for his unwavering commitment to my research; Lillian Kopenhaver, founder and executive director of the Lillian Lodge Kopenhaver Center for the Advancement of Women in Communication, for her enthusiastic, continuous encouragement; Aileen Izquierdo, department chair of the FIU School of Communication and founding director of Lee Caplin School of Journalism & Media, for her support and professional‐leave approval to finish this work; and Brian Friedman, in IT services, for his invaluable assistance in digital image refinement.
In addition, I would also like to thank my colleagues, university students, and seminar audiences who inspire me and drive my inquisitive nature to seek out new avenues of research.
Finally, I want to express my gratitude to all those who had faith in this project right from its inception, when it was merely a concept in my mind.
Introduction
There are several significant changes to this work. First, the book is restructured into three sections for quick access to relevant topics. Each part will start with an explanation of that section, as follows:
Part One – Content Writing: Content Versus Copywriting
Chapter 1
: The Shareable Word: Content Creation Process
Chapter 2
: The Digital Storytelling Word: Audience Engagement
Chapter 3
: The Template Word: Visual Engagement for Cross‐platform Use
Chapter 4
: The Experiential Word: Immersive, MR (Mixed Reality), and Interactive Engagement
Part Two – Copywriting for Three Platforms: (1) Video, (2) Audio, (3) Print, plus Cross‐platform Campaigns
Chapter 5
: The Persuasive Word: Strategy ABCs: Audience, Benefits, and Creative Briefs
Chapter 6
: The Strategic Word: Strategy Categories
Chapter 7
: The Animated Word: TV, Interactive Spots, and Video Scripts (Platform 1)
Chapter 8
: The Spoken Word: Radio Script Writing and Formats (Platform 2)
Chapter 9
: The Chosen Word: Copywriting Techniques
Chapter 10
: The Sticky Word: Headline and Slogan Techniques
Chapter 11
: The Written Word: Print Ads, Posters, Brochures, and More (Platform 3)
Chapter 12
: The Ambient and Moving Word: Out‐of‐home and Transit
Chapter 13
: The Abridged Word: Small‐space Writing: Direct Mail, Package Copy, Coupons, Freebies, etc.
Chapter 14
: The Cross‐platform Word: Integrated Campaigns: Traditional, Social Media, and Interactive
Part Three – Resources
A Short, Handy List of Resource Links
Terminology
Suggested Reading
Index
Other changes to help navigate through the 2nd edition include:
New content in the first four chapters, plus some content from
Chapters 10
through
12
(1st edition)
A hundred new images of innovative social media, interactive, experiential, TV, out‐of‐home, transit, print, and radio campaigns
Dozens of new TV and radio storyboards and scripts
New charts, infographics, content‐writing templates, and campaign examples
New social media, video, and other handy templates (
Chapter 3
)
A new resource section (Part Three), which will help readers gain access to a curated list of skill‐building references
Some new in‐chapter terminology lists, checklists, and other reference lists, as well as new exercises, callout quotes, writing tips, and end‐of‐the‐book terminology
Below are the section‐by‐section and chapter‐by‐chapter summaries for easy reference.
Part One – Content Writing: Content Versus Copywriting
The first part discusses writing techniques with some exciting forms of engagement, such as interactive and experiential content.
Chapter 1 – The Shareable Word: Content Creation Process
This chapter discusses how to develop the topics for content writing. It includes a “Seven‐step Content Writing Process” detailed below. This is similar to the Creative Brief in Chapter 1 in the first edition. These kinds of comparisons will help guide writers in the idea‐ and campaign‐development process. (Chapter 2 will begin with step four.)
1. Why are you sharing or advertising? Purpose/goal
To help writers focus their ideas, they should write down in one sentence the reason for this message. What is it supposed to do: inform, entertain, educate, inspire, generate shares, solve a problem, etc.? Once the purpose of the content is clear, the writing can begin.
2. What are you saying? Content/message (Copy development)
We next ask writers to consider what they want the reader to know and ask them to think about what attracts them to continue reading? We review ways to present the message, such as quick checklists, quick peeks, in‐depth explanations, etc. We point out the importance of tailoring content because consumers look for information on specific topics.
3. To whom are you speaking? Segments/audience
We look into which audience they want to reach. We also examine how these consumers process information and where they consume content. We study the three buying states: (1) awareness, (2) consideration, and (3) decision. We also examine the five targets in the buying process: (1) Initiator, (2) Influencer, (3) Decider, (4) Buyer, and (5) User. Plus, we cover other audience‐targeting techniques, including segmentation, to maximize the content impact.
Chapter 2 – The Digital Storytelling Word: Audience Engagement
This chapter continues the “Seven‐step Content Writing Process,” starting with step four below:
4. Which tools are you using? Audience analytics/research
This is a discussion of content formats and frameworks. How and where is it going to be presented? Is it written, as in a social media post, an email, a blog, or a mini post? Is it in audio format for a podcast or Clubhouse discussion? Is it a recorded video for TikTok, YouTube, or an Amazon review? Is it a live streaming video for Facebook Live, Instagram Live, or gamers on Twitch? Is it a visual depiction in a pictographic, an illustration, or an infographic? Is it a shoppable post for social commerce? Techniques and templates will clarify the format options.
5. Where are you reaching them? Channel content/platform strategies
This section will show how to apply analytics to create multichannel communication, segment targeting, personalization, and more. The immediate application of consumer insights strengthens content, as well as the readers’ comprehension and retention. Discussed are specific ways to integrate consumer data into usable content on myriad platforms.
6. How are you presenting the content? Format/vehicles
This covers an analysis of social and interactive and formats, plus how they guide writing development. By understanding how the communication will be delivered, writers can more accurately design effective marketing campaigns for Facebook, LinkedIn, X (previously Twitter), Instagram, Pinterest, YouTube, AR/VR/MR, AI‐powered content, and more.
7. When are you scheduling the content? Scheduling/media plan and social media options
Here we discuss how to tailor the release times to best reach the audience. As usual, we review the first steps in content creation: (1) purpose and (2) audience. Again, we examine the initial audience questions: Who’s reading or watching it? Where are they seeing it? When are they consuming content? How will the product help them? Then, we move on to detail the importance of a release schedule and calendar to keep track of the campaign’s post or release dates.
Chapter 3 – The Template Word: Visual Engagement for Cross‐platform Use
This section shows different templates that can be modified for use in different channels and platforms. Included are layout examples, script formats, social media video formats, and TV storyboards. This chapter shows how to apply templates as shortcuts in the content‐development process. Included are channel content length, layout formats, image selection, and types of social media posts and/or ads.
Chapter 4 – The Experiential Word: Immersive, MR (Mixed Reality), and Interactive Engagement
Here we explore the user experience and interfacing in immersive and experiential environments. We emphasize how consumers became influencers with persuasive opinions on social media platforms. Also, we examine the commercialization of social media sites that allowed consumers to shop directly from links on influencer, marketing, and brand posts. We then look at how marketers, in response to these changes, designed content around followers’ and customers’ preferences. We highlight how marketers personalized audience‐driven interactions in live events, digital environments, and immersive experiences.
Part Two – Copywriting for Three Platforms: 1) Video, 2) Audio, 3) Print, plus Cross‐platform Campaigns
The second part discusses traditional copywriting techniques with some new applications, such as interactive TV spots.
Chapter 5 – The Persuasive Word: Strategy ABCs: Audience, Benefits, and Creative Briefs
In this chapter, we examine how the creative brief directs the campaign. We cover both the shorter and longer briefs, as well as audience types by demographics, psychographics, geographics, VALS (values and lifestyles), age/interest groups, and more. The focus is on the connection between what marketers want the audience to know about the brand, how the brand will help them, and why they should buy it. It also explains where the audience will discover or collide with the message (touchpoints) and which tactics or media vehicles would work best. Also discussed are tone of voice, point of view, types of research methods, and differences between primary and secondary audiences, as well as consumer insights.
Chapter 6 – The Strategic Word: Strategy Categories
Here we explain the six basic strategy categories broken down into: (1) Consumer‐focused, (2) Product‐focused, (3) Savings as the Star, (4) Emotional Approach, (5) Storytelling, and (6) Audience Engagement. Fifty types of content‐writing strategies fall into the six main, above‐mentioned categories. We review Maslow’s Hierarchy of Needs, Jib Fowles’ Advertising’s 15 Basic Appeals, types of brand positioning, and more.
Chapter 7 – The Animated Word: TV, Interactive Spots, and Video Scripts
In this section, we study the basic writing rules for TV and the various formats, including scripts and storyboards. We explain how: (1) “The Five Rs” drive results and (2) universal truths apply to TV.
In addition, we identify different types of commercials, including the talking head, continuing characters, reason why, and more. First‐hand TV writing tips are shared by several successful copywriters. These include Tom Amico, who created the copy for the Aflac Duck, and Vinny Warren, best known for the Budweiser “Whassup!” campaign.
Finally, the list of commonly used industry terms will strengthen copywriters’ pre‐ and post‐production communication skills.
Chapter 8 – The Spoken Word: Radio Script Writing and Formats
Here, we explore the main radio script formats. A common one, often used at radio stations, is double‐spaced, all caps, and breaks each line at the end of a phrase. We cover a few other radio “rules,” including: (1) leaving two seconds for sound effects and music cuts; (2) using ellipses to “billboard” (emphasize) a word or phrase; (3) considering production while writing, such as the talent, delivery, sound effects, and music; and (4) writing for the ear. Also discussed are casting, booking, and directing talent; creating scripts for specific celebrities; and targeting different radio dayparts (times the spots air on radio). Again, industry‐used terms are included in a terminology list.
Chapter 9 – The Chosen Word: Copywriting Techniques
This section analyzes the correct use of the vernacular and when to digress from the grammatical rules to deliver a more natural writing style. The list of writing tips is an invaluable guide to reach that goal.
The useful writing techniques assist in concept development, execution, and production across all platforms. These include tone of voice (how you speak to the audience), point of view (who’s speaking), ABA (referring back to the headline in the closing line), weave (connecting one main idea from the headline throughout the copy), and more, to design a strong message.
Chapter 10 – The Sticky Word: Headline and Slogan Techniques
Here the focus is on the 16 specific techniques to develop sticky headlines and impossible‐to‐forget slogans. We also explain the differences between eyebrows, headlines, subheads, body copy, call‐to‐action wording, closing lines, and taglines. We evaluate the types of headlines to guide in idea generation. These include: the celebrity endorsement, the metaphor, the story, and many more.
More emphasis is placed on writing from the consumers’ perspective by applying consumer insights into how they shop, where they shop, what’s important to them. Writers discover more invaluable copy tips from master copywriters.
Chapter 11 – The Written Word: Print Ads, Posters, Brochures, and More
We show how exciting print can be with the inclusion of scent, sound, 3D, holograms, pop‐ups, QR codes, and so on. Readers are reminded to appeal to the needs and desires of their audience. As with content writing, copywriting should address the target’s pain points and show how to relieve them with specific products. This chapter (1) reviews writing techniques and strategies, (2) explains basic copy format, (3) discusses categories of effective messages, and (4) introduces new terminology, such as: mandatories and eyebrows. Here readers learn to connect audience analysis, consumer benefits, appropriate tone of voice, message relevance, concept design, and idea presentation and delivery.
The presentation of powerful print ad examples will illustrate successful campaigns. A writing checklist and copy tips enhance strong copywriting skills.
Chapter 12 – The Ambient and Moving Word: Out‐of‐home and Transit
In this chapter, we point out unexpected touchpoints, such as manhole covers, retail store sliding glass doors, and pedestrian crosswalks. We also showcase traditional media with surprising copy that elevates a transit sign or billboard into a direct‐to‐consumer, almost intimate message. Visual examples demonstrate the clever, humorous, and irreverent copy with campaigns for Legal Sea Foods, Feckin Irish Whiskey, Pet Supplies Plus, and 7‐Eleven.
We also examine the use of technology in signage to create interactive, targeted messages, such as the ASICS campaign for New York City marathoners, their friends, and families.
Chapter 13 – The Abridged Word: Small‐space Writing: Direct Mail, Package Copy, Coupons, Freebies, etc.
We explore the challenges of small‐space writing, including out‐of‐home, packaging, in‐store signage, and sales letters, as well as detail the differences between direct mail and direct response. We refer back to the 50 types of strategies discussed in Chapter 6.
Further discussion covers reaching audiences through email marketing, mobile coupons, product‐related apps, games, catalogs, and interactive ads. Examples and writing tips reinforce the techniques discussed.
Chapter 14 – The Cross‐platform Word: Integrated Campaigns: Traditional, Social Media, and Interactive
This summative chapter shows how concepts can work across all channels, platforms, and formats, supported by strategic thinking, idea execution, audience segmentation, and targeted distribution.
We study how new technology builds consumer relationships and increases brand loyalty. Included are exciting visual examples of campaigns for Hotel Tango alcohol, Natürlich yogurt, Trane heating and cooling systems, Upcycle waste recycling, and Mount Sinai Medical Center. Successful campaigns, regardless of the platform, are remembered because their messages are unique, informative, interactive, and entertaining. A big idea will shine across platforms through consumer‐engaging campaigns.
Part Three – Resources
This section is devoted to handy references from resource lists and terminology to suggested reading and the index.
A Short, Handy List of Resource Links
Terminology
Suggested Reading
Index
In conclusion, this work is designed to facilitate the learning process for new writers in all communication styles and guide them from idea generation to content and copywriting development. We encourage readers to carefully review all examples, writing tips, terminology lists, and to embrace the exercises. The goal is to make learning as exciting as writing!
About the Companion Website
This book is accompanied by a companion website:
www.wiley.com/go/contentandcopywriting
The website includes Powerpoints, an Instructor’s Guide, and a Test Bank
IContent Writing: Content Versus Copywriting
Chapter 1:
The Shareable Word: Content Creation Process
Chapter 2:
The Digital Storytelling Word: Audience Engagement
Chapter 3:
The Template Word: Visual Engagement for Cross‐platform Use
Chapter 4:
The Experiential Word: Immersive, MR (Mixed Reality), and Interactive Engagement
1The Shareable Word: Content Creation Process
“The same writer works across all the platforms for an account, whether it’s a TV spot or a tweet.”
Carolyn Hadlock, Principal and Executive Creative Director, Young & Laramore1
Seeing how this section works
Determining the reason for the message
Looking at different sales funnels
Hooking the audience
Learning how to craft the message
Targeting the consumer group
Understanding the consumer journey: Sales funnel to audience loyalty
Learning about tracking tools
Making connections when writing
Applying social media content writing templates
Writing with a purpose
Using trends for content writing
