PR IN T & T V AD V ER T I SI N G

HEADL I N ES I N

Bondad, Kyla Anne

David, Ferdinand A.

Turico, Mark Millson

HEADLINE

 IT IS THE MOST CRUCIAL PART OF ADVERTISING.

 TARGET THE ADVERTISEMENT TO SELECT AUDIENCE.

 HEADLINE IS NOT TO BE TAKEN TOO LITERALLY

 SELF-INTEREST IS THE KEY TO SUCCESSFUL HEADLINES

BASICS OF WRITING HEADLINES

• 1.THEY SHOULD SUGGEST A QUICK AND EASY WAY OUT

• 2. SELF-INTEREST IS CREATED IN EVERY HEADLINE
• 3. NEWS IS INCLUDED IN THE HEADLINE
• 4. THE HEADLINE SHOULD ALWAYS TARGET THE ADVERTISEMENT
• TOWARDS YOUR PERSPECTIVE CUSTOMERS
• 5. MANY MORE PEOPLE READ THE HEADLINES
• 6. HEADLINES CAN BE MADE IMAGINATIVELY COINED WORDS
 BASICS OF WRITING HEADLINES

• 7. WE HAVE TO INCLUDE THE SELLING PROMISE IN THE HEADLINE

• 8. HEADLINES SOMETIMES AROUSE OUR CURIOSITY
• 9. SOME HEADLINES PLAY GAMES
• 10. THOUGH TO BE PRACTICED WITH CAUTION, NEGATIVES
• 11. DO NOT USE BLIND HEADLINES WHERE ON ITS OWN HEADLINE IS MEANINGLESS
 DIFFERENT FORMS OF HEADLINES
A. DIRECT PROMISE HEADLINE
IT INDICATE THE BENEFITS OF THE PRODUCT OR SERVICE IN A DIRECT MANNER

B. NEWS HEADLINE
INCLUDES NEW PROMISES, PRODUCT IMPROVEMENTS, PRICE REDUCTIONS, PREMIUM OFFERS, ETC.

C. CURIOSITY OR PROVOCATIVE HEADLINE

PROVOCATIVE NEWS WOULD HAVE A VERY NORMAL HEADLINE BUT WOULD HAVE THE

CONTENT IN IT WHICH WOULD MAKE THE READER THINK

DIFFERENT FORMS OF HEADLINES

D. SELECTIVE HEADLINE
THIS HEADLINE HOLDS A SPECIFIC PROMISE FOR A SPECIAL GROUP.
E. HUMOROUS HEADLINES
HUMOR IS A SUSPECT IN ADVERTISING. IT MAKES THE ADVERTISEMENT NOTICEABLE.
 OF T V CO MM E RCI A L
FO R MS
1. ANIMALS
Animals are used in TV commercials because
they appeal to humans' emotions. 

Marketers use them to stimulate association

between the feelings for the animal and the
brand.
2. USE A FILM GENRE

• THE COMMERCIAL CAN BE PRODUCED ON THE LINES OF A

MOVIE. IT CAN MIMIC AN ACTION MOVIE OR A SPY
THRILLER OR A BANK-ROBBERY OR A SONG-AND-DANCE
SEQUENCE. MANY INDIAN COMMERCIALS ARE BASED ON
FILM-BASED CONVENTIONS. SOME MAY GO EVEN A STEP
FURTHER AND USE THE ACTUAL FOOTAGE OF A WELL-
KNOWN MOVIE. PAN PARAG’S DHOON MACHA DE, RANG
JAMA DE COMPRESSES A THRILLER INTRO SIXTY-SECOND.
 3. MUSIC AND SONG
• MOSTLY, LIFE-STYLE ADVERTISING OF SOFT DRINKS ADOPTS
THIS FORMAT. IT IS ALSO POPULARLY USED FOR PERSONAL
CARE PRODUCTS. COMMERCIAL MUSIC ITSELF MAY
BECOME A HIT WITH THE MASSES. JINGLES ARE USED TO
SING PRODUCT VIRTUES. VIDEO FAST AND LOOSE CUTTING,
SPECIAL EFFECTS, RANDOM COLORS, ANIMATION, STOCK
FOOTAGE, GRAPHICS, COMPUTER-GENERATED IMAGES –
ALL THESE MAKE MUSIC AND SONG COMMERCIALS
MEMORABLE. HOWEVER, IT IS ALWAYS THE MUSIC THAT
OVERRIDES THE VISUALS, RATHER THAN VISUALS HAVING
AN UNDERSCORE OF MUSIC.
 • ONE- OR TWO-MINUTE PIECES OF
4. VIGNETTES

CONTENT ATTACHED TO A
COMMERCIAL MESSAGE. THE
KICKER USUALLY COMES WITH
SOME LINE ABOUT HOW GOOD THIS
MOBILE PHONE IS, OR WHY THIS
PARTICULAR CAR IS GOOD AND
SAFE, OR HOW YUMMY A
PARTICULAR FOOD PRODUCT IS.
5. ENDORSEMENT/TESTIMONIALS
• HERE A CELEBRITY OR AN ACTUAL USER ENDORSES A
PRODUCT. IT IS A REFRESHING APPROACH. WHEN THE
ACTUAL USER IS AN ORDINARY PERSON, THE COPY
SHOULD BE CONVINCING. EG., LALITAJI RECOMMENDS
SURF. THE CHOICE OF THE ENDORSER DEPENDS UPON
THE PRODUCT. LUX IS A VERY FAMOUS EXAMPLE OF
THIS TYPE OF COMMERCIAL. THE MESSAGE OF CLEAR
COMPLEXION AND BEAUTY CARE SOUNDS CREDIBLE
WHEN RANI MUKHERJEE RECOMMENDS IT. SO FAR,
THE LUX CAMPAIGN HAS USED 300 STARS ALL OVER
INDIA, AND CURRENTLY SIGNS UP 40 STARS A YEAR
FOR THIS ‘PRODUCT PERSONALITY SYNCHRONIZATION.

https://youtu.be/XIEnmhPZApc
 • AN ANACHRONISM IS AN INTENTIONAL OR UNINTENTIONAL
6. USE ANACHRONISM

CHRONOLOGICAL INCONSISTENCY. IT CAN BE FOUND IN ALL FORMS

OF ART, INCLUDING PAINTINGS, LITERATURE, FILM, TELEVISION, AND
VIDEO GAMES. THE ELEMENT THAT CAUSES AN ANACHRONISM CAN
BE A PERSON, OBJECT, PHRASE, EVENT, OR ANYTHING ELSE THAT
CAUSES AN INCONSISTENCY. THE REASON FOR THE ANACHRONISM
CAN VARY DEPENDING ON THE INTENTION, RESULTING IN A VARIETY
OF TYPES AND EXAMPLES.

• AKBAR THE GREAT CAN BE SHOWN EATING FAST FOOD OR

NOORJAHAN USING PREMIUM SOAP. HUMOROUS SITUATIONS CAN
BE CREATED, JUDICIOUS USE OF HISTORICAL OR FICTIONAL
FIGURES DELIVERS THE EFFECT OF ENDORSEMENT WITHOUT PAYING
TO A LIVE FIGURE.
7. COLLOQUIAL COPY
• HERE INFORMAL CONVERSATIONAL LANGUAGE IS USED TO
CONVEY THE MESSAGE. IT COULD EVEN BECOME A
DIALOGUE, AMUL CHOCOLATES COMMERCIALS TITLED ‘A
GIFT SOMEONE YOU LOVE’ FOLLOW A COLLOQUIAL PATTERN.
THE WOMAN SAYS: “I AM TOO OLD FOR MINISKIRTS, TOO
YOUNG TO BE GRANDMA. “BUT THE MAN SAYS: I THINK
YOU’RE JUST RIGHT FOR AMUL CHOCOLATES.”

• DEMONSTRATION VIDEOCON WASHING MACHINE

COMMERCIALS IS THE BEST EXAMPLE OF A
DEMONSTRATION. THE MUMMY IN THE COMMERCIAL
SWITCHES ON THE MACHINE AFTER PUTTING CLOTHES AND
DETERGENT IN IT. IT WASHES, RINSES AND DRIES TOO. IN
JUST A FEW MINUTES, AND YOU ARE READY FOR THE SHOW.
8. HUMOROUS COMMERCIALS

• IDEAS AND INSPIRATION TO CREATE FUNNY ADS THAT

ENGAGE YOUR AUDIENCE AND ENLIVEN YOUR
BRANDING

• CLAUDE HOPKINS SAID. “SPENDING MONEY IS

SERIOUS BUSINESS, AND PEOPLE DO NOT BUY FROM
CLOWNS,” SINCE THEN, HUMOR HAS NOT BEEN MUCH
FAVORED. YET FOR NOTICEABILITY, SOME
COMMERCIALS DO ADOPT THIS FORMAT
9. SLICE OF LIFE

• IT IS A SHORT PLAY-LIKE SITUATION. THE

DIALOGUE/CHARACTERS POSE A CONSUMER PROBLEM.
THE PRODUCT OFFERS THE SOLUTION. COUGH AND COLD
REMEDIES MAY BE ADVERTISED THIS WAY. REYNOLDS
BALL POINT PEN COMMERCIAL IS A SLICK SLICE OF LIFE
CREATION. IT ESTABLISHES THE BALLPOINT PEN AS A
COMMUNICATOR RATHER THAN MERELY A WRITING
INSTRUMENT.
10. REAL LIFE SITUATIONS IN SLICE OF LIFE SCENES

• THE DOVE SOAP CAMPAIGN ALSO USES THE SAME

TECHNIQUE. WHISPER NAPKINS USE THE SAME
TECHNIQUE, BUT A MODEL RENUKA SHAHANE IS USED.
HOWEVER, SHE TALKS LIFE AN ORDINARY WOMAN,
QUITE NATURALLY. HOWEVER, NON-MODELS MAKE
THE ADS MORE CREDIBLE. CADBURY INVITED
VIEWERS TO SEND IN REAL MOMENTS OF THEIR LIVES,
REAL ADS WITH DIFFICULT IT EXECUTES AND ARE
EXPENSIVE TO PRODUCE. SEVERAL NON-MODELS ARE
TRYING TO GET THE RIGHT ONE. BESIDES, WE CAN GET
SEVERAL RIGHT FILMS OR NOT EVEN A SINGLE ONE. IT
IS RISKY, BESIDES EACH DOES NOT LEND ITSELF TO
REAL LIFE ADVERTISING. THIS FORM OF AD RULES OUT
ARMCHAIR COPYWRITING IN AN AGENCY. HERE THE
AGENCY COMES TO THE SCENE OF ACTION. WHAT IS
MORE IMPORTANT IS NOT JUST LOOKING REAL BUT
SOUNDING HONEST. TRANSPARENCY LEADS TO SALES.
10. DRAMATIZATION

• DRAMATIZATION IS AN EFFECTIVE WAY OF

PINPOINTING A PROBLEM, PUTTING IT FORWARD
DRAMATICALLY TO THE AUDIENCE, AND FINALLY
SOLVING IT WITH THE HELP OF THE PRODUCT THAT
IS ADVERTISED. MOSTLY A SPECIFIC FEATURE OF
THE PRODUCT IS HIGHLIGHTED TO GET ATTENTION.
KITPLY IS FIRE RESISTANT AND PROVE IT THE
KITPLY SHOWROOM IS SET ON FIRE.
ANIMATION
• WHO DOES NOT ENJOY THE WATCHING OF CARTOONS OF TOM,
CHASING JERRY ALL OVER THE HOUSE? A FLURRY OF ACTION AND
MOVEMENT CHARACTERIZES THESE CARTOONS. WAIT DISNEY IS
ONE OF THE BEST ANIMATORS THE WORLD HAS EVER KNOWN. HIS
CREATION THE MICKEY MOUSE IS THE BEST-KNOWN CARTOON
CHARACTER.
ANIMATION

• HTTPS://YOUTU.BE/CNX7VNM4PUM?T=16
PRODUCTION OF TV COMMERCIALS
• THE AD FILM IS HIGHLY EFFECTIVE IN CREATING AN IMPRESSION AN IMPRESSION OR
IMAGE, IN BUILDING AN ARGUMENT OR IN AUDIENCE PERCEPTIONS. AD FILM CAN
TAKE A WHOLE MULTITUDE OF POSSIBLE FORMS, BORROWING FROM OR EXTENDING
A RANGE OF FAMILIAR, ACCEPTABLE PROGRAMMED STYLE- ANYTHING FROM
CARTOON ANIMATION TO NEWS REPORT TO DRAMATIZATION. AD FILMS ARE NOT
NORMALLY EFFECTIVE IN DELIVERING A COMPLEX, DETAILED MASS OF DATA OR
ARGUMENT EXCEPT TO AN ALREADY-EXPERT AUDIENCE. VIEWERS DO NOT EASILY
ABSORB COMPLEX MATERIAL. ONLY OVERALL IMPRESSIONS AND PERSPECTIVES AND
A FEW HIGHLIGHTS ARE LIKELY TO BE RETAINED. SOMETIMES IT IS OBVIOUS THAT A
FILM WILL BE HELPFUL AND WHAT IT SHOULD CONTAIN. OFTEN, THOUGH THE
COMMUNICATIONS OBJECTIVE CAN BE CLEAR WHILE THE FORM AND CONTENT OF
THE FILM ARE OPEN TO A NUMBER OF POSSIBLE APPROACHES OR INTERPRETATIONS.
IT THESE CIRCUMSTANCES IT MAY BE HELPFUL TO KEEP AN OPEN MIND ON THE
PARTICULAR FORM THE FILM SHOULD TAKE. SUGGESTIONS FROM PROSPECTIVE
PRODUCERS MAY BE ILLUMINATINGLY VARIED AND MAY OFFER OPPORTUNITIES FOR
CREATING MEMORABLE, EFFECTIVE AD FILMS OF A TYPE QUIT UNLIKE ANY FIRST
THOUGHTS ON HOW IT MIGHT BE DONE. THE FOLLOWING STEPS BROADLY COVER
THE PRODUCTION STEPS INVOLVED IN MEDIUM-SIZED PRODUCTION.
DEVELOPING A PRODUCTION SCHEDULE

•DRAWING UP A TENTATIVE SCHEDULE IS IDEALLY THE RIGHT WAY

TO APPROACH PRODUCTION. GENERALLY, BROADCAST OR
DISTRIBUTION DEADLINES WILL DICTATE THE PRODUCTION
SCHEDULE (THE WRITTEN TIMETABLE LISTING THE TIME ALLOTED
FOR EACH PRODUCTION STEP). NOT PLANNING THINGS OUT
CAREFULLY MIGHT CAUSE YOU TO MISS A CRITICAL DEADLINE,
WHICH RENDERS THE PRODUCTION WORTHLESS.
SELECTING KEY PRODUCTION PERSONNEL
•AT ABOUT THIS POINT REMAINING ABOVE THE LINE PRODUCTION
PERSONNEL ARE BROUGHT ON BOARD. IN ADDITION TO THE PRODUCER
AND WRITER THE ABOVE THE LINE PERSONNEL INCLUDE THE
PRODUCTION MANAGER AND DIRECTOR AND IN GENERAL THE KEY
CREATIVE TEAM MEMBERS AND OF COURSE BELOW THE LINE PERSONNEL
WHO ARE GENERALLY ASSIGNED LATER INCLUDE THE TECHNICAL STAFF.
DECIDING ON LOCATIONS
• NEXT, IF THE PRODUCTION ISN'T DONE IN THE STUDIO, DECIDING ON KEY LOCATIONS IS THE NEXT STEP.
IN A MAJOR PRODUCTION A LOCATION SCOUT OR LOCATION MANAGER SHOULD BE HIRED TO FIND AND
COORDINATE THE USE OF THE LOCATIONS SUGGESTED BY THE SCRIPT. ALTHOUGH IT MIGHT BE MUCH
EASIER TO SHOOT IN A TV STUDIO THE AUTHENTICITY OF “REAL” LOCATIONS LENDS ITSELF IN THE
CREATION OF DRAMATIC PRODUCTION. CITIES THAT ENCOURAGE TV AND FILM PRODUCTION HAVE FILM
COMMISSIONS THAT SUPPLY PHOTOS AND VIDEOTAPES OF INTERESTING SHOOTING LOCATIONS IN
THEIR AREA. THESE COMMISSIONS ARE LOCATED IN MOST MAJOR CITIES, AND THEY WILL PROVIDE
INFORMATION ON USAGE FEES AND THE PEOPLE WHO NEED TO BE CONTRACTED. IT'S OFTEN NECESSARY
TO MAKE SOME CHANGES IN THE ON-LOCATION SETTINGS. ROOMS MAY HAVE TO BE REPAINTED OR
REDECORATED, SIGNS CHANGED, ETC
DECIDING ON TALENT, WARDROBE AND
SETS
• DEPENDING UPON THE TYPE OF PRODUCTION, AUDITIONS MAY TAKE PLACE AT THIS POINT AS PART OF THE CASTING
PROCESS (SELECTING THE PEOPLE FOR THE VARIOUS ROLES). ONCE DECISIONS ARE MADE, CONTRACTS CAN BE
NEGOTIATED AND SIGNED. ONCE THE TALENT OR ACTORS ARE DECIDED ON, THE SELECTION OF WARDROBES CAN
START. AFTER A SET DESIGNER IS HIRED, HE OR SHE WILL REVIEW THE SCRIPT, POSSIBLY DO SOME RESEARCH AND
THEN DISCUSS INITIAL IDEAS WITH THE DIRECTOR. ONCE THERE IS AN AGREEMENT, SKETCHES OF THE SETS CAN BE
MADE FOR FINAL APPROVAL BEFORE ACTUAL CONSTRUCTION STARTS. REHEARSALS, FROM INITIAL TABLE READINGS
TO THE FINAL DRESS REHEARSAL, CAN THEN BE SCHEDULED. EVEN THOUGH SETS MAY NOT BE FINISHED AT THIS
POINT, THE TALENT CAN START READING THROUGH THE SCRIPT WITH THE DIRECTOR TO ESTABLISH PACE, EMPHASIS
AND BASIC BLOCKING (POSITIONING OF SETS, FURNITURE, CAMERAS, ACTORS, ETC.) ONCE THE SETS ARE FINISHED,
FINAL BLOCKING AND DRESS REHEARSALS CAN GET UNDERWAY.
OBTAINING PERMITS, INSURANCE AND CLEARANCES
• IN MAJOR CITIES AND IN MANY FOREIGN COUNTRIES IT'S NOT POSSIBLE TO JUST GO TO THE LOCATION OF
YOUR CHOICE, SETTING UP A TRIPOD AND START TAPING. NECESSARY ACCESS PERMITS, LICENSES, SECURITY
BONDS AND INSURANCE POLICIES MUST BE ARRANGED. SPOT NEWS AND SHORT DOCUMENTARY SEGMENTS
OFTEN DO NOT REQUIRE PERMITS. MANY SEMIPUBLIC INTERIOR LOCATIONS, SUCH AS SHOPPING MALLS,
ALSO REQUIRE PERMITS. DEPENDING ON THE NATURE OF THE PRODUCTION, LIABILITY INSURANCE AND
SECURITY BONDS MAY BE NECESSARY IN CASE AN ACCIDENT IS DIRECTLY OR INDIRECTLY ATTRIBUTED TO THE
PRODUCTION. IN SOME LOCATIONS THE CONTROLLING AGENCY WILL LIMIT EXTERIOR PRODUCTION TO
CERTAIN AREAS AND TO SPECIFIC HOURS. IF THERE'S A STREET SCENE AND TRAFFIC WILL BE AFFECTED, IT WILL
BE NECESSARY TO ARRANGE FOR SPECIAL POLICE. INCLUDED IN THIS CATEGORY ARE A WIDE VARIETY OF
CLEARANCES. THEY RANGE FROM PERMISSIONS TO USE PRERECORDED MUSIC TO RESERVING SATELLITE TIME.
IF CLEARANCE CANNOT BE OBTAINED, ALTERNATIVES MUST BE QUICKLY EXPLORED.
SELECTING VIDEO INSERTS, STILL
PHOTOS AND GRAPHICS
• AS THINGS PROGRESS PROGRAM INSERTS CAN BE SELECTED. DURING THIS PHASE
ARRANGEMENTS CAN BE MADE FOR SHOOTING AND ACQUIRING VTR OR FILM INSERTS, STILL
PHOTOS AND GRAPHICS. IF POSSIBLE, EXISTING STOCK FOOTAGE IS SECURED (GENERALLY FOR A
FEE) FROM FILM OR TAPE LIBRARIES LOCATED AROUND THE COUNTRY. INITIAL DECISIONS ON
MUSIC ARE MADE AT THIS POINT. COPYRIGHT CLEARANCES AND ROYALTIES MUST BE WORKED
OUT FOR MUSIC AND VISUAL INSERTS. (THESE THINGS WILL BE DISCUSSED IN MORE DETAIL
LATER.
Rehearsals And Shooting

Depending on the type of production rehearsal may take place either minutes of days before the
actual shooting. Productions shot live-on-tape should be rehearsed before taping starts. This
includes carly walk-through rehearsals, camera rehearsals and one or more dress rehearsals.
The Editing Phase

After shooting is completed the producer, director, and videotape editor review the tapes and
editing decisions are made.
Postproduction Follow-up

Although most of the production crew will be finished once production wraps there is still much in
the way of follow-up work to be done. Final bills have to be paid. Financial statements totaled. And
the success or failure of the production determined
Few International TVC storyboard
SLOGANS
• Slogans are catchy sentences or phrase that is easy to remember.
• Copywriters continuously for the sake of establishing it use it.
• It creates an impact of repetition. Gives an identity to the company or to the product
• It is part of the copy and is an effective and a concise manner of telling an idea.
• A slogan is necessary because they are:
- Direct
- Short
- Easily remembered
- Repeat the brand name
- Friendly phrases
The characteristics of a good slogan are as follows:

• Should be simple and straight forward

• Carries some pleasing sales idea
• Conveys more in a compact form
• Good slogan finishes the job in 7-8 words
• So many ideas give rise to one good slogans
Few Award Winning Ad Slogans Of The Last Millennium,
Which Have Created Differentiation In The Minds Of The
Consumers