Scripts and spots: to be clear, write for the ear

As videos, podcasts, and other media carve out a bigger share of marketing communications efforts, companies are tackling these channels with varying degrees of success. For many whose efforts fall short of goals, the problem isn’t in the channel -- it’s actually in the writing.

The problem is usually fairly simple: the people who create the scripts for these audio-dependent media are writing for the wrong medium. People who are accustomed to writing for the eye often don’t realize that writing for the ear demands an entirely different approach.

Pay attention to the commercials you hear when you’re listening to the radio or your favorite podcasts. You’ll notice that some capture your full attention and do a great job of delivering their messages, while others only manage to frustrate your brain. The frustrating ones force you to work harder at listening, and even with that stronger focus, it isn’t easy to grasp what’s being delivered.

Those that are easy to follow have been written by people who understand how we humans hear and listen. The others are most likely adaptations of copy that had been written for websites, blogs, or print purposes. They may have worked well for the eyes, but didn’t survive the translation to the ears.

So does writing for the ears take some mysterious skills known only to a few gurus? Not at all. By remembering – and practicing – a few simple guidelines, you’ll make your scripts and other spoken communication far more compelling and effective.

Write to one person. Even if you envision an audience of thousands, choose one person and write to him (or her). If you find that difficult, imagine that your mother is going to be listening, and write your copy to her. When you write with a single listener in mind, your copy will be more personal and engaging.

Write about that person. Too many companies talk only about themselves in messages. Yes, you’re probably selling something, but it will be far more interesting to the listener if your message focuses on his or her world. Instead of saying “we make great veeblefetzers,” let the listener know that “you’ll save time and money with our veeblefetzers.”

Don’t sweat the grammar. You’re not writing term papers, and your sophomore English teacher won’t be peering over your shoulder. The more conversational your copy, the easier it will be for the listener to retain your message. It’s okay to use contractions. Fragments, too.

Stick to short words. With visual messages, you can linger over words with multiple syllables until you determine their meaning. You don’t have that luxury with the spoken word. Shorter words are also usually more well-known, so they tend to be more communicative

Short sentences, too. Again, when you read, you can take the time to comprehend a complex sentence structure. When you’re listening, you can’t go back to re-hear the first part of a sentence. Four short sentences will usually convey a lot more than two long ones.

Keep numbers simple. Since your listener can’t see numbers, there’s no point to getting detailed. Instead of “we stock 39,832 widgets,” try “we have nearly 40 thousand widgets in stock.”

Suppress sibilance. Put too many words with “s” or “sh” sounds in your copy, and listeners may think they’re hearing from a snake. Professional announcers can usually control sibilance, but it can trip up ordinary speakers, so try to avoid too much of it.

Read it aloud. If you choose to ignore all the other recommendations, don’t skip this one. By reading your copy out loud, you’ll be able to tell whether it will be friendly to the listeners’ ears. If you find yourself running out of breath in mid-sentence, or stumbling over the words you’ve chosen, rewrite it. After all, if you already know what it says and are having trouble saying it, how will it sound to someone hearing it for the first time?