Television commercials are one of those things in life that people either really enjoy or really hate. While some people hate all commercials, they are especially bothered by commercials that appear to them to be pointless, clumsy, or stupid. Super Bowl advertising and mixed audience reactions to various advertising initiatives are a great example of this phenomenon in television commercials.
If a TV commercial gets the market’s attention and holds it for 30 seconds, it’s not too important whether they hate it or love it, it’s an effective commercial. If the data is kept together with the sponsor’s name, the transaction is very successful. Even if they say how crappy the ad is, they talk about it and that’s what the advertiser pays for. Ideally the word on the street would be positive, but even negative opinions and discussions result in increased popularity. Case in point — Paris Hilton, Britney Spears and Anna Nicole-Smith come to mind.
So what’s the difference between a successful TV commercial and a flat panel that falls flat on its face?
One of the top answers to that question is how much money is spent on producing certain television commercials. It must be answered. I was nominated for Montana Television Copywriter of the Year, presenting three ads I wrote that were produced for less than $250 each. Another popular answer is who is the person of the celebrity speaker. Since the casting of a particular celebrity speaker has a greater effect than the amount of money spent on the production, he or she is still not the work of making or failing a commercial. How much is spent on airing a TV commercial? No. Still not getting it.
The one factor that will make or break a television advertising campaign is the person or company that writes the commercial. This is an element that is monumentally greater than the production costs, celebrity endorsements and specific film clips for video footage. The librarian, working with the client, is the one who pulls all of the above elements together to come up with the perfect transaction.
In my experience I have identified three types of television libraries. There are those who play it safe and write over and over again the same genre that has been used and worked in the past. An example of these commercials will be for many car dealerships and furniture-stores. The plug is the main one in the formulation and model, and it receives moderate results from the saturation time of the air at a lower cost. The theory here is that if the name of the crambe has been rammed down the viewer’s throat enough times, he’ll think about that business first when it’s time to buy that new car or living room.
The second class of librarians is the exact opposite of those who play it safe and tend to push their ideas beyond the limits of human comprehension. In my opinion, there is nothing quite as annoying as watching a 30 second commercial, and after it’s over, not having any idea what product or service was being advertised, or even what the concept was for. I would give some examples here, but I do not know what they are, and I cannot describe them to you.
Finally, the writer of television commercials that are noticed and talked about long after they have finished airing is a person of creative vision and multi-talent. Their job is to know the market, to know the product or service being advertised, to know the business they are promoting in their advertisements, to know what the client has done before with advertising, to know the production of people, and most importantly to know who is buying from the audience. that or the internet.
A good television writer will be able to mix what the client wants or needs with several other elements before even working on the concept. When the idea is agreed upon by all relevant parties, the librarian has to organize the arrangement. talent, news, and video and audio that will trigger a purchase emotion in the target audience.
I guess one of the reasons I’m doing well as a librarian is because I’m obsessed with finding a new and unique way to present my clients and their products to the public. I tolerated it easily, so as not to keep my job boring and monotonous, I constantly tried to come up with ways to infuse excitement into each interaction.
My biggest challenge was how to bring out the desired emotion from the viewer. It could be sadness, laughter, guilt, happiness, or fear that draw the viewer’s attention. I knew that if I could hold that trade’s attention for 30 seconds, the odds were that the shop would buy that product significantly. I learned that if I could write a fixed board that evoked these emotions in me, there was a good chance it would work in the audience. I usually correct.
One final tip for effective copywriting in television commercials is to talk over your audience, not talk at them or talk down to them. Write in a voice that speaks to the audience in words. How else do you expect to communicate your television commercial message to your client?
