'Tone of Voice' is something that a lot of brands struggle to nail down.  

It's complicated, in fairness.

It's trying to crystallise a sort-of personality for what is really a company, with many different people communicating on its behalf.

But when it's done well, it can create a real affinity between a brand and its customers.

From my perspective, a brand's tone of voice doesn't need to do too much, but ideally it should do a couple (read: 3 or 4) of things well. It's handy if your brand has a Tone of Voice playbook as well, so that everyone is reading from the same hymn-sheet, with explicit directions on what the tone is trying to sound like, and examples of it in action.

I've created a basic template for one of these, and used it for a few different brands.

Here's a very basic example of one I created for the Abbey Theatre, Ireland's National Theatre:

1. Overview & Purpose

2. The Abbey’s Personality Traits

        Human

        Welcoming

        Enthusiastic

3. Applying Our Tone, with examples

        An example of a social media post

        An example of a message apologising for the cancellation of a show

        An example of a safety message

        An example of an introduction to a new season

4. Things We Shouldn’t Say

        Using alienating language

        ‘Over-selling’

        Being patronising

        Being too matter-of-fact

5.Self-Checks

        Some tonal and linguistic filters to run over any comms.

1. Overview

The Abbey Theatre’s tone of voice is a character description: it’s the role we assume when we write as Ireland’s National Theatre. 

Like any role, it will differ slightly depending on the individual assuming it, but the personality should always shine through, and feel familiar to the audience wherever they read or hear it.

The objective of these guidelines is to ensure our audience hears a consistent voice, but its function is to help us do what we want to do when we write: to get people excited about theatre.

2. The Abbey’s Personality

When we write as our National Theatre, we try to convey three key qualities: to be welcoming, human, and enthusiastic.

Welcoming

Our communications should always be accessible, easily understood, and considerate of the diversity of our audience. We should never alienate or patronise, and consider those who may not be familiar with the theatre when we write.

Human

While we speak on behalf of the theatre, using the pronoun ‘we’, our language should be conversational and personal. Using humour is a good way to let people know you’re a human too.

Enthusiastic

Our excitement about the theatre and its productions should be evident in our communications, using positive language.

3. Applying Our Tone, With Examples

A. A social media post 

We can’t wait for Irish playwright Sarah Hanly’s adaptation of Dracula. It’s going to be a whole new way to get acquainted with the Count.

It’s Shakespeare’s birthday today, and at the Abbey, we’re mostly celebrating by remembering about how bloody good @MonaghanAaron was as Richard III here in 2018.

We hear you, Ireland. The response to ‘Dear Ireland’ has been huge, so we’re producing a third instalment, which you can live-stream from November 5th.

B. An example of an email apologising for the cancellation of a show

We’re very sorry, but unfortunately, tonight’s performance of Faith Healer has been cancelled. One of the cast members is ill, and there is no understudy available. We know this must be very disappointing news. 

We will be in touch with you by phone in the coming days to arrange a refund for your tickets, but we would ask that you don’t contact the box office directly at this time.

We hope that you’ll be able to join us for another performance of this brilliant production of Brian Friel’s masterpiece later in its run, but again, we are very sorry.

C. An example of a safety announcement

Good afternoon. You’re very welcome to the Abbey Theatre. We’d particularly like to welcome the younger members of the audience, and those of you visiting the Abbey for the first time.

All of us here at the Abbey hope you really enjoy this afternoon’s performance, but before it begins, we have some housekeeping messages.

Firstly, an emergency is very unlikely, but if we do need to leave the theatre, please go through the exit door closest to you. You’ll see the exit doors have a light over them, to the left of the stage, the right of the stage, and at the back of the theatre, one on the left and one on the right.

We ask that you turn your phone off now, because if it makes a noise during the performance, it will be very distracting for the actors, and very embarrassing for you.

There’ll be a short break of fifteen minutes during the performance. We’ll ring a bell outside to let you know you should come back to your seat at the end of the break.

Once again, we’re delighted you’re joining us for today’s performance. So now, sit back and enjoy the show.

D. An example of an introduction to a new season

We’re very, very excited to unveil our 2021 season.

This year we’ll be welcoming new voices, new visions and (hopefully) new audiences to the Abbey. 

If ever there was a year for us to enjoy thought-provoking, original, emotional, hilarious experiences together, it will be 2021. 

We hope you can join us. This will be great.

4. Things we shouldn’t say

A. Using alienating language

Few theatrical productions have exploited as many archetypal forms and situations, all of which lend themselves to both comedy and pathos, as Beckett’s Waiting for Godot. 

The world-renowned theatre director…

Everyone will be familiar with the conventional take on Cymbeline…

B. Overselling

From one of the most well-respected directors currently working in theatre, comes a genre-defying production, of unprecedented scale. With gut-wrenching performances from a stellar cast, this show has seen standing ovations worldwide. You do not want to miss this production as it makes its limited run at the Abbey Theatre.

C. Being patronising

We’re proud to announce a return of the Abbey Theatre’s Free First Previews. This unique programme allows those who may not normally have the means to attend, or would usually prefer a night in with Netflix, to experience the national theatre first hand.

D. Being too matter-of-fact

The Hunger is a new Irish production. It combines historical fact, with sean-nós, with opera. Based on Asenath Nicholson’s first-hand account of Ireland during the Great Famine, it has been adapted for by composer Donnacha Dennehy and directed by Tom Creed for the Abbey stage.

5. Self-Checks

Read it aloud: if you wouldn’t say it yourself, then maybe the Abbey wouldn’t either.

Count your adjectives: we need to sound enthusiastic, but we don’t want to over-do it.

Imagine reading it to your oldest relative, and then your youngest: would it resonate with both?

Could it be shorter?: some repetition is for effect. If you’re repeating yourself, and it’s not for effect, then kill it.

Use an active voice: ‘you can buy tickets’, rather than ‘tickets can be bought’.

Avoid sarcasm: most of the time, it alienates someone.

Use clear words: if it’s more descriptive, fine, but if it’s to sound smart, then it’s best avoided.

Limit exclamation points (and emojis): limit not eliminate.

Read it as the audience: will they feel ‘this is the Abbey Theatre’?