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NOTES FOR
CREATIVE WRITING
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WHAT AREAS WILL CREATIVE WRITING HELP YOU COVER:
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Live and pre-recorded copy commercials
On air prep
Phone crosses (outside broadcasts)
Station liner and stagers
Community notices
Practical creative writing will increase your skill levels and get you thinking quicker, on
promoting and talking about a service, a product or an event.
THE ORDER OF THINGS:
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Sales Rep signs up the ad and gets a Creative Brief
Delivers it to the Creative Writer
Writer writes the commercial and confirms it with the client
Production person makes the commercial and puts it to air
Account manager’s get the client and begin a long relationship (hopefully). Apart from
their service skills it’s up to you as a writer to help keep that relationship on going.
TYPES OF RADIO COMMERCIALS:
 Humour
 Non humour
 Public service,
 Music (jingles)
 Sound design

Information sells! The secret to making good ads is telling the listener something
he doesn’t know - information - radio to inform and entertain.
YOU CANNOT FIND OUT TOO MUCH ABOUT YOUR CLIENT OR THEIR
PRODUCT.
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You are writing for the consumer - the buyer. Each ad should look at
WHY WILL THE CONSUMER BENEFIT?
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A reason to buy
A reason to visit
A reason to look
WHAT’S IN IT FOR ME:
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You buy a product because it can do something for you
You write a good ad for your client so it can do something good for them
Get increased revenue
Basic copywriting rules:
Keep it simple (KISS)
One idea per sentence
Short Sentences
Write as people speak
No big words…stumble words. Rambunctious, Obsequious
Write for the ear - you only have SOUND to work with
Don’t write in the first person unless it’s a testimonial
Write in the present tense
Write copy to proper length
Double Space. Not indentations
Correct Spelling, Grammar and Punctuation
No short forms ….. St. for Street - Co. for Company. Write out the full word
Avoid cliches - “Will not be undersold”, “For fast, friendly, efficient service”, ”over 65
years combined experience. For all your plumbing needs
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Types of Commercials:
1. Straight
2. Comedy
3. Dialogue
4. Multi Voice
5. Testimonial - Endorsement
6. Character - Famous impression
7. Public Service Announcements
8. Real Life
Types of Reads:
Soft Sell - Perfume, Retirement Home
Medium Sell - Food Town, McDonalds, The Warehouse
Hard Sell - Rock Concert, Raceway, Wrestling Event
TERMINOLOGY:
SFX = Sound Effects
MVO = Male Voice Over
FVO = Female Voice Over
Multi Voice - V1, V2, V3, MVO
Jingles:
Very effective, popular and memorable
The Warehouse, the Warehouse, where everyone gets a bargain…..(and a money back
guarantee)
0800 838383 Pizza Hut. Y’Eaten?
Kinds of Jingles:
Full Sung - All vocal - no room for copy. Well known
companies can afford to do this.
Donut - a gap in the middle for the voice over. Vocal / Bed /
Vocal
Inverted Donut - Vocal in middle. Bed / Vocal / Bed
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COPY POWER
CHECK YOUR SPELLING AND GRAMMAR
This is really a basic point, but it is very important that you spell correctly. If your copy
is full of errors, it is difficult for the announcer to read … and it doesn’t exactly inspire
your client with confidence either.
WRITE FOR THE EAR .. AND THE EYE
Everything you read about writing reminds you that you’re writing
for the ear … that you should write conversationally, with clear,
easily-understood words. AND of course you should be writing for
the eye as well because everything you write has to be read by
someone. Therefore it not only has to be easy to say, but also easy
to read.
Scan what you write. Is there anything you might read incorrectly
… anything that makes you stop.
When you use repetition, be sure your copy is set out so the announcer won’t
accidentally skip a line because the words look the same.
You might also help the announcer by underlining for stress words.
WRITE FOR THE LISTENER
Read your copy aloud with the listener in mind. If you write that a product is
“attractive and effective” you might startle a listener into thinking your commercial said
“attractive and defective”. So read aloud, and have someone else read it aloud to you,
to be sure you haven’t fallen into these traps.
WRITE WITH CLARITY
Another basic. This is the first requirement of all forms of writing. In commercials, try
and mention your product name at least 3 times. If you use dialogue, make sure you
use natural everyday speech.
MAKE EVERY WORD COUNT
When you write for radio, every word must have a purpose
and a value. You only have 30 seconds generally to get your
message across. Remember that you are speaking to an
audience that is almost always involved in other activities.
Attracting and holding attention is the important part of
being a writer. No matter how well you can use sound
effects or music, it is your words that ultimately carry your
message.
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WRITE WITH SIMPLICITY
Contradictorily, this is one of the more complex rules to achieve. Here are some
dangers to avoid to keep your copy simple:
AVOID LONG SENTENCES:
Ideally your sentences should each contain just one idea. If you begin to add to that
single idea, your listener has to stop listening to sort out his thoughts.
AVOID LONG WORDS:
While not every long word is a bad choice, look through your copy to see that you
haven’t used too many. Words are fun, and it’s a rare writer who doesn’t love them.
But your audience is an extremely varied one, and not everyone is going to understand
that when you write “antediluvian” you mean “old-fashioned” or that by “recalcitrant”
you mean “stubborn”.
AVOID DIFFICULT WORDS:
Not all short words are neither easy, nor all long words hard. Some short words may
not be familiar to your listeners either … “svelte” or “onus”.
WATCH THOSE CLICHES:
It is easy to slip into the habit of leaning on clichés, especially when a deadline is short,
but remember that some phrases are so familiar to your listeners that they are simply
no longer heard. A list is provided for your attention. Using clichés is verbal junk
shopping. For your own sake as a writer, get more value into your commercials by
using fresh, clear phrases you have chosen yourself.
WRITE IN THE THIRD PERSON, NOT THE FIRST
Otherwise it sounds like the announcer who is voicing the commercial is endorsing the
product
AVOID EXCESSIVE DETAIL:
Remember that your listener cannot absorb the kind of detail that is common in print.
If your brief forces you to use a number of facts, or items and prices, try to space them
a line at a time, one to a sentence, and use repetition to make sure your audience gets
the point
KEEP YOUR STYLE INFORMAL
Talk how your audience talks. Don’t try and be too clever … be clear and relatable.
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IN SUMMARY
1.
2.
3.
4.
5.
6.
7.
Write simply. Use nothing without a reason
Write conversationally, but with economy
Minimise use of of difficult words and sounds
Avoid unneeded adjectives
Avoid excessive detail
Use the right words. Know the words you use
Know your audience
SAY IT LIKE IT IS:
Likewise
In addition
Furthermore
For this reason
Conclude
Frequently
And
Plus
Then
So
End
Often
Speak as you speak - not as you write
You would never use the expression - For all your automotive needs
What’s a better way of saying that?
Freds Service Centre has everything for your car.
Avoid Negatives:
This dreadful heat is so depressing so buy a Goldair Fan
Stay Cool with a Goldair Fan
Write in the present tense:
Radio’s greatest strength is immediacy! Write in the present tense whenever possible
so listeners feel they are there with you……..
Foodtown will be dropping prices this weekend ………
Foodtown is slashing prices.
Use Contractions:
It is very hot today …….
It’s very hot today.
Be Direct:
If you want to save money, then you should go to Harold’s.
Save Money. Go to Harold’s.
At Harold’s they offer alterations at no extra charge.
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Harold’s give free alterations.
Talk to One Person:
If any of you out there have been affected by the power cuts….
If you’ve been affected by the power cuts.
Eliminate Unnecessary Words:
The doors will be opened at 9am this Tuesday morning.
Doors open at 9 Tuesday morning
(discuss the am - pm - 10 am till 5pm - 10 till 5 today).
Clarks will not be undersold……
Clarks….NEVER undersold!
Keep numerals consistent. Write numbers or words throughout copy.
Don’t use phone numbers in your copy. Only ever do it if the whole ad is based
around a phone number. It is better to say - “For Jim’s Hardware, looking under J in
the white pages”.
Don’t make references to the yellow pages unless client insists. All their competitors
are in there.
Know your audience. Write to them. Don’t write hard rock copy if it’s an easy listening
station.
Be careful with sexual innuendos, drug and alcohol reference.
Read copy ALOUD and TIME it. Read it at the pace you think the person voicing it
will read it. Emphasise words and change sentences if they are too long.
DO USE SOUND EFFECTS:
To same time and words.
Instead of saying “Don’t you hate winter and the latest
stretch of miserable weather" can be replaced by a second or two of a cold wintry blast
to create the desired image.
TO INJECT DRAMA:
Audiences have come to expect a bit of drama in the media. Drama that reinforces
your message can grab the attention of your target listeners. Can you picture for
example the kind of audience and kind of message that would be matched up in a
commercial that features: the sfx of a baby crying, of a sports car engine, of a rocket
taking off.
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WHAT WILL THE STATION EXPECT OF YOU?
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That the ads are written on time to go to air at the scheduled date.
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The ads are correct.
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That you are nice to clients
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That the ads do not lose listeners by being offensive, sexist, racist etc.
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Give full support and co-operation to station promotions and on air staff.
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Write something creative now and again.
SPEED AND TIMING OF RADIO COPY:
With practice, the radio writer will develop an accurate sense of timing for copy. That
is s/he will know how many words will fit into a given length of time.
Depending on what you’re writing, leave enough time in your copy for pauses and
natural voice emphasis. Also, in the case of commercials, leave enough time for sound
effects and music stings.
This guide is useful:
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A reading rate (aloud) of 160 to 180 words a minute is about average
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A single line, in average typeface, should last three to four seconds.
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A double-spaced A4 page of 27 lines (about 270 words) is about one and a half
minutes
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A 30-second voice report should contain about 85 words.
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A 15-second radio commercial, station promotion, or community service
announcement (live or pre-recorded) should contain 25-30 words.
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30 seconds should contain 70-75 words.
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45 seconds should contain 90-95 words
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60 seconds should contain 120 words.
REMEMBER, THIS IS ONLY A GUIDE.
Don’t make the mistake of actually counting your words when you’re checking for time.
Check it by reading aloud, and read it at the correct on-air pace. Don’t merely skim
through it at a quick mumble. Read it at the pace you’d expect to hear it broadcast.
This way you’ll find whether it ’reads’ well, and you can also make an accurate
assessment of its timing. Then make any necessary adjustments.
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RADIO COPYWRITING:
SOME IMPORTANT RULES
BE CONVERSATIONAL
Write for the ear, not the eye. Radio copy needs to be conversational, so use elision
(the omission of a vowel or consonant), e.g.
you’ll
don’t
they’re
shouldn’t’ve
won’t
etc
NOT
“
“
‘
“
you will
do not
they are
should not have
will not
This is the way people talk and the announcer must sound as if he or she is talking,
not reading, when selling products or services in a commercial.
For this reason, avoid the long, complex, stilted, unconversational word. Use the
simple, more common conversational word, e.g.
AVOID
Purchase your requirements ………..
Are you contemplating the purchase of……
The well-informed consumer ……..
At this point in time ……………..
Are you endeavouring to ascertain………..
Commence ……………
Conclude ………. or ….Finalise ………….
Select ………… or ….Selection ………..
Beyond your financial resources …………….
USE
Buy what you need ………….
Thinking of buying ……………….
The person who knows ………………
Now ………………….
Are you trying to find out …………..
Start ………… or….. Begin …………..
End…………... or … Finish ………….
Choose ……… or .. Choice ………….
More than you can afford ……………..
etc
Always look for the simple, conversational alternative.
Avoid pompous, pretentious words, “journalese” and cliches.