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the language of advertising
no one is likely to spend much time deciding whether to read a printed advertisement or listen to a spoken one: if their attention is not attracted immediately and held firmly for the short amount of time necessary to absorb what is being said, then the advertisement will have failed miserably. the language of advertising, therefore, must be a language of immediate impact and rapid persuasion. it must bring the advertised product into attention, stress its qualities in the most attractive way, clearly outline the reason for buying it, and, preferably, leave a memorable echo of what has been said about the product ringing in the reader's or listener’s mind.
the effects of all these requirements are clear in the language used for advertising, making it one of the best defined of all the varieties of english. advertisements do differ amongst themselves according to the purpose for which they are designed, the medium in which they are presented and places in which they are found. but there are nearly always certain linguistic features present in any advertisement that serve to mark it very clearly for what it is.
these features include a basically simple grammatical structure, especially as regards the sentences, most of which are short and many of which, in dispensing with anything that is not absolutely necessary, manage to work very effectively without parts that would be considered essential in normal written usage.
many sentences in advertisements consist of constructions which could usually only occur as a subordinate part of a sentence, but which become independent items in the language of advertising. for example, in the abovementioned advertisement there is such sentence as “because only cavers have the new electric power-pack”, which has the form of what would usually be a subordinate clause, but here it is acting independently in a manner characteristic of advertising language.
another very common grammatical feature of advertising language is the large number of imperative verbs which urge the likely customers to “see” the product, “try” it, and eventually, if the advertisement has been successful, “buy” it.
vocabulary is strongly linked to particular types of product, or to effects being sought, and tends to become stereotyped: food is always “tender” and “juicy”; cosmetics “caressingly seductive”; and cars full of “subdued power” and “sleek speed”. but whatever its particular slant, the vocabulary is always richly suggestive and descriptive, with lots of imaginatively contrived compound adjectives, e. g. satin-soft skin, go-anywhere refrigerator, feather-light flakes, up-to-the-minute styling, coffee-pot fresh, etc.
there are, too, many favorite words, suitable for any kind of advertisement, which come in for a tremendous amount of use. these often refer to basically desirable attributes, such as “new”, “good” (“better”, “best”), “free”, “fresh”, “clean”, “wonderful”, “delicious”, “big”, “safe”, “special”, and so on, and also to activities the advertiser desires to “promote”, “come”, “look, “choose”, “buy” “keep”, “get”, “make”, “have”, “know”, etc. generally speaking, “unpleasant” or “negative” words will be conspicuously absent.
certain linguistically “decorative” effects are also common, ranging from repetitions of words, sentences, sounds, morphemes, and synonymic repetitions.