Think about TV ads. Analyze. Ask questions.

 

 

Consider these ideas for your own compositions.

TV Set   Computer and Quill Pen
ANY EMOTIONAL ASSOCIATIONS?
ANY EMOTIONAL ASSOCIATIONS?

Emotional appeals make up the dominant characteristics of modern advertising. Vance Packard (The Hidden Persuaders, 1957) was the first analyst to call attention to the shift from product-centered ads to audience-centered ads designed to stimulate our desires.

The association technique basically links three elements together: (1) the product, policy, or person, with (2) something already liked or desired by (3) the intended audience.

(In "scare-and-sell" ads, and in hate propaganda, the middle element is reversed, to something already disliked or feared by the intended audience.)

Thus, the need for audience analysis ("market research" or "consumer behavior" polls, surveys, and questionnaires) to find out what the audience already likes and dislikes, their emotional feelings.

Most ads simply link the product with pleasant associations, such as desire, joy, satisfaction, happiness, success, belonging, love, and affection.

But, ads for health and safety items often use a "scare-and-sell" tactic of presenting a problem, stirring up the negative emotions of anxiety and fear, and then offering the product as relief, as the solution.

Many ads are not aimed at rational transactions. They sell the sizzle, not the steak "We make lipstick," said Charles Revson, president of a major cosmetics company, "but we sell hope."

Advertisers have long been known as the "dream merchants," peddling illusions of happiness.

Some critics (not this one, but puritanical sorts) want to restrict ads to information only and to ban any ads aimed at the emotions.

For more discussion of 24 categories (sex, nature, home, and so) commonly used in these emotional appeals, see: Audience-Centered Ads.

 

Emotional appeals are usually related to persuasion, not to exposition. Emotional appeals are usually not appropriate for straight information-transfer which aims at the rational, logical, and cognitive aspects of the audience.

However, if you do use an emotional appeal in expository writing, it should be a very conscious decision on your part, not accidental, one you can defend or justify.

Otherwise you are open to criticism, for example, if you present information using slanted or biased language (emotionally loaded words) or half-truth arguments ("stacking the deck," omitting relevant valid counter-arguments). Some people do this unintentionally or accidentally. For example, a political advocate or a religious zealot may not realize that some words used commonly within one group may seem biased to outsiders.

Although an emotional appeal in an expository essay may attract attention, it is usually the wrong kind of attention, and is likely to be rejected, in exposition and in rational arguments, as a fallacy.

Traditional names for the common emotional fallacies include: ad hominum (an attack against the person rather than the argument, name-calling, character assassination); ad misericordium (an emotional appeal for pity or sympathy, a tearjerker), and ad populum ("to the people"), a general term for any emotional appeal to the audience's desires or fears.

Notice that what is condemned in rational argument as a logical fallacy is often the core of nonrational persuasion as commonly seen in ads and much political rhetoric.

Anytime you are writing on a controversial topic, or a deeply felt issue in which you have an emotional involvement, get another person to check your writing for any bias which might distract your audience, or weaken your case.

 

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