Advertising Final

Marketing Tactics (Action Programs)

(short term actions) the specific short-term actions that will be used to achieve marketing objectives (campaigns)

bottom-up marketing

(small companies) The opposite of standard, top-down marketing planning, bottom-up marketing focuses on one specific tactic and develops it into an overall strategy. marketing tactics, marketing strategy, marketing results focus on an ingenious tactic first and then develop that tactic into a strategy. By reversing the normal process, advertisers sometimes make important discoveries. tactic is a singular, competitive technique. By planning from the bottom up, entrepreneurs can find unique tactics to exploit. But caution is required. Advertisers should find just one tactic, not two or three. The advertiser can then focus all elements of the marketing mix on this single-minded tactic. The tactic becomes the nail, and the strategy is the hammer that drives it home. The artful combination of tactic and strategy creates a position in the consumer's mind

marketing strategy

(the intended route) the statement of how the company is going to accomplish its marketing objectives involves three steps: (1) defining the target markets using the process of market segmentation; (2) determining the strategic positioning; and (3) developing an appropriate marketing mix for each target market. A company's marketing strategy has a dramatic impact on its advertising. It determines the role and amount of advertising in the marketing mix, its creative thrust, and the media to be employed.

Marketing Objectives

(where company wants to go) Goals of the marketing effort that may be expressed in terms of the needs of specific target markets and specific sales objectives. Marketing objectives follow logically from a review of the company's current situation, management's prediction of future trends, and the hierarchy of company objectives. For example, corporate objectives are stated in terms of profit or return on investment, or net worth, earnings ratios, growth, or corporate reputation. Marketing objectives, which derive from corporate objectives, should relate to the needs of target markets as well as to specific sales goals. need satisfying objectives and sales-targeted objectives

The integration Triangle

-Say: planned messages -Do: product, service messages -Confirm: unplanned messages how perceptions are created from the various brand message sources Planned messages are say messages, what companies say about themselves. Product and service messages are do messages because they represent what a company does. Unplanned messages are confirm messages because that's what others say and confirm (or not) about what the company says and does. Constructive integration occurs when a brand does what its maker says it will do and then others confirm that it delivers on its promises

Challenges in Media Planning

-increasing media options -increasing fragmentation of audience -increasing costs -increasing complexity in media buying and selling -increasing competition

presenter commercial

A commercial format in which one person or character presents the product and sales message. celebrity radio personality

Slice of Life (Problem Solution)

A commercial that dramatizes a real-life situation is called slice of life slice of life A type of commercial consisting of a dramatization of a real-life situation in which the product is tried and becomes the solution to a problem. . It usually starts with just plain folks, played by professional actors, discussing some problem or issue. Often the situation deals with a problem of a personal nature: bad breath, loose dentures, dandruff, body odor, or yellow laundry. A relative or a co-worker drops the hint, the product is tried, and the next scene shows the result—a happier, cleaner, more fragrant person off with a new date. The drama always concludes with a positive outcome. Such commercials can get attention and create interest, even though they are often irritating to viewers and hated by copywriters simplicity, compelling product benefit, make it memorable

media strategy

A document that helps media planners determine how messages will be delivered to consumers. It defines the target audience, the communication objectives that must be achieved, and the characteristics of the media that will be used for delivery of the messages.

comprehensive layout

A facsimile of a finished ad with copy set in type and pasted into position along with proposed illustrations. The "comp" is prepared so the advertiser can gauge the effect of the final ad.

creative pyramid

A five-step model to help the creative team convert advertising strategy and the big idea into the actual physical ad or commercial. The five elements are: attention, interest, credibility, desire, and action.

layout

A layout is an overall orderly arrangement of the elements of an ad: visual(s), headline, subheads, body copy, slogan, seal, logo, and signature. The layout serves several purposes. First, it helps both the agency and the client anticipate how the ad will look and feel. This provides the client (usually not an artist) a tangible item to review, correct, change, and approve layout helps the creative team develop the ad's psychological elements: the nonverbal and symbolic components.

infomercial

A long TV commercial that gives consumers detailed information about a product or service

continuous schedule

A method of scheduling media in which advertising runs steadily with little variation.

storyboard roughs

A rough layout of a television commercial in storyboard form. Using the TV script, the art director creates a series of storyboard roughs to present the artistic approach, the action sequences, and the style of the commercial.

animatic

A rough television commercial produced by photographing storyboard sketches on a film strip or video with the audio portion synchronized on tape. It is used primarily for testing purposes.

blinking

A scheduling technique in which the advertiser floods the airwaves for one day on both cable and network channels to make it virtually impossible to miss the ads.

storyboard

A sheet preprinted with a series of 8 to 20 blank frames in the shape of TV screens, which includes text of the commercial, sound effects, and camera views.

Slogans

A standard company statement (also called a tagline or a themeline) for advertisements, salespeople, and company employees. Slogans have two basic purposes: to provide continuity for a campaign and to reduce a key theme or idea to a brief, memorable positioning statement. Slogans have two basic purposes: to provide continuity to a series of ads in a campaign and to reduce an advertising Page 231 message strategy to a brief, repeatable, and memorable positioning statement.

demonstration

A type of TV commercial in which the product is shown in use.

institutional copy

A type of body copy in which the advertiser tries to sell an idea or the merits of the organization or service rather than the sales features of a particular product.

dialogue/monologue copy

A type of body copy in which the characters illustrated in the advertisement do the selling in their own words either through a quasi-testimonial technique or through a comic strip panel.

picture-caption copy

A type of body copy in which the story is told through a series of illustrations and captions rather than through the use of a copy block alone.

narrative copy

A type of body copy that tells a story. It sets up a problem and then creates a solution using the particular sales features of the product or service as the key to the solution.

news/information headline

A type of headline that includes many of the "how-to" headlines as well as headlines that seek to gain identification for their sponsors by announcing some news or providing some promise of information.

provocative headline

A type of headline written to provoke the reader's curiosity so that, to learn more, the reader will read the body copy.

ways artists can experiment and produce something fresh

Adapt. Change contexts. Think what else the product might be besides the obvious. A Campbell's Soup ad showed a steaming bowl of tomato soup with a bold headline underneath: "HEALTH INSURANCE." Imagine. Ask what if. Let your imagination fly. What if people could do their chores in their sleep? What if animals drank in saloons? Clyde's Bar in Georgetown actually used that idea. The ad showed a beautifully illustrated elephant and donkey dressed in business suits and seated at a table toasting one another. The headline: "Clyde's. The People's Choice." Reverse. Look at it backward. Sometimes the opposite of what you expect has great impact and memorability. A cosmetics company ran an ad for its moisturizing cream under the line: "Introduce your husband to a younger woman." A vintage Volkswagen ad used "Ugly is only skin deep." Connect. Join two unrelated ideas together. Ask yourself: What ideas can I connect to my concept? A Target ad showed the rear view of a high-fashion-type model clad only with a backpack and a lampshade—the latter wrapped around her middle like a miniskirt. Next to the Target logo the ad said simply "fashion and housewares." To get people to send for its catalog, Royal Caribbean Cruises ran an ad that showed the catalog cover under the simple headline "Sail by Mail." Compare. Take one idea and use it to describe another. Ever notice how bankers talk like plumbers? "Flood the market, laundered money, liquid assets, cash flow, take a bath, float a loan." The English language is awash in metaphors because they help people understand. Jack in the Box advertised its onion rings by picturing them on a billboard and inviting motorists to "Drive thru for a ring job." An elegant magazine ad for the Parker Premier fountain pen used this sterling metaphor: "It's wrought from pure silver and writes like pure silk." Eliminate. Subtract something. Or break the rules. In advertising, there's little virtue in doing things the way they've always been done. 7 Up became famous by advertising what it Page 205 wasn't ("the Uncola") and thereby positioned itself as a refreshing alternative. Parody. Fool around. Have some fun. Tell some jokes—especially when you're under pressure. There is a close relationship between the ha-ha experience of humor and the aha! experience of creative discovery. Humor stretches our thinking and, used in good taste, makes for some great advertising. A classical radio station ran a newspaper ad: "Handel with care."

strategic planning considerations

Advertisers need media to reach target audiences • Advertisers' media choices direct billions of dollars to media companies • All media have inherent advantages and disadvantages

Allocation of Funds to Advertising

Advertising builds consumer preference and promotes goodwill. This, in turn, enhances the reputation and value of the company name and brand. And it encourages customers to make repeat purchases. So while advertising is a current expense for accounting purposes, it is also a long-term investment. For management to treat advertising as an investment, however, it must understand how advertising relates to sales and profits. Advertising isn't the only marketing activity that affects sales. A change in market share may occur because of quality perceptions, word of mouth, the introduction of new products, competitive trade promotion, the opening of more attractive outlets, better personal selling, or seasonal changes in the business cycle Like all expenditures, advertising should be evaluated for wastefulness. But historically, companies that make advertising the scapegoat during tough times end up losing substantial market share before the economy starts growing again

device copy

Advertising copy that relies on wordplay, humor, poetry, rhymes, great exaggeration, gags, and other tricks or gimmicks.

art direction

Along with graphic designers and production artists, determines how the ad's verbal and visual symbols will fit together.

flighting

An intermittent media scheduling pattern in which periods of advertising are alternated with periods of no advertising at all.

Principles of Design

Balance, Unity, Proportion, Emphasis, Sequence, Strong design commands attention

Level of relationships

Basic transactional relationship. The company sells the product but does not follow up in any way (Target). Reactive relationship. The company sells the product and encourages customers to call if they encounter any problems (Men's Wearhouse). Accountable relationship. The company phones customers shortly after the sale to check whether the product meets expectations and asks for product improvement suggestions and any specific disappointments. This information helps the company to continuously improve its offering (Acura dealership, local veterinarian). Proactive relationship. The company contacts customers from time to time with suggestions about improved product use or helpful new products (Tupperware). Partnership. The company works continuously with customers (and other stakeholders) to discover ways to deliver better value (Nordstrom's Personal Shopper, Amazon). Different stakeholders require different types of relationships. The number of stakeholders is also important. The more there are, the more difficult it can be to deepen relationships with each. IMC is what makes relationship marketing possible

roadblocking

Buying simultaneous airtime on all four television networks.

Purpose of Visuals

Capture the reader's attention. Clarify claims made by the copy. Identify the brand. Show the product actually being used. Qualify readers by stopping those who are legitimate prospects. Convince the reader of the truth of copy claims. Arouse the reader's interest in the headline. Emphasize the product's unique features. Create a favorable impression of the product or advertiser. Provide continuity for the campaign by using a unified visual technique in each ad

animation

Cartoons, puppet characters, and demonstrations with computer-generated graphics are animation techniques for communicating difficult messages and reaching specialized markets, such as children

Radio script

Copywriters first need to understand radio's strengths and weaknesses. Radio provides entertainment or news to listeners who are busy doing something else—driving, washing dishes, reading the paper, or even studying. To get attention, an advertising message must be catchy, interesting, and unforgettable. Radio listeners usually decide within five to eight seconds if they're going to listen. To attract and hold attention, radio copy must be intrusive. One of the greatest challenges for radio copywriters is making the script fit the time slot. The delivery changes for different types of commercials, so writers must read the script out loud for timing. With electronic compression, recorded radio ads can now include 10 to 30 percent more copy than text read live.

attention

For an ad or commercial to be effective it must break through consumers' physiological screens to create the kind of attention that leads to perception. Attention, therefore, is the first objective of any ad and the foundation of the creative pyramid. The Artist may spend as much time and energy figuring out how to express the big idea in an interesting, attention-getting way as searching for the big idea itself.

examples of SWOT

For example, McDonald's restaurants' strengths include its strong name identity and thousands of retail locations. However, the company's weaknesses include a menu loaded with unhealthy food choices and an image to match. McDonald's is now taking advantage of an opportunity to capitalize on nutritious food trends by promoting healthier menu items and a fresh, new image. The company's upscale coffees distinguish it from its fast-food competitors and enable it to draw traffic from Starbucks. In doing so, it is combating threats from competitive restaurants and posting impressive sales gains

Unity

Harmony among components of ad border, whitespace, axis-real or imagined lines run through an ad

trial close

In ad copy, requests for the order that are made before the close in the ad.

lead in paragraph

In print ads, a bridge between the headlines, the subheads, and the sales ideas presented in the text. It transfers reader interest to product interest.

Copy in Print

In print advertising, the key format elements are the visual(s), headlines, subheads, body copy, slogans, logos, and signatures. , copywriters can correlate the visual and headline to the attention step of the creative pyramid The interest step typically corresponds to the subhead and the first paragraph of body copy. Body copy handles credibility and desire, and the action step takes place with the logo, slogan, and signature block.

desire

In the desire step, the writer encourages prospects to imagine themselves enjoying the benefits of the product or service.

Mass media vs Internet

Internet is not traditional mass media and may not offer same effectiveness • Internet isn't controlled by one entity ✴ Security ✴ "What's your favorite online advertisement?" • Must stay engaged on daily basis • But stakeholders can respond to communication in real time (for better or for worse) • Allows instant dialogue

Selecting the Visual

Is the visual needed for communication? Black-and-white or color? Subject's relevance to creative strategy? Illustrator or photographer? Technical or budgetary issues?

interest

It carries the prospective customer—now paying attention—to the body of the ad. The ad must keep the prospect excited or involved as the information becomes more detailed. To do this, the copywriter may answer a question asked in the attention step or add facts that relate to the headline. To maintain audience interest, the tone and language should be compatible with the target market's attitude.

sales-target objectives

Marketing objectives that relate to a company's sales. They should be specific as to product and market, quantified as to time and amount, and realistic. They may be expressed in terms of total sales volume; sales by product, market segment, or customer type; market share; growth rate of sales volume; or gross profit. specific, quantitative, realistic marketing goal to be achieved within a specified period of time

Objective #3: Persuade the Consumer

Method A: Reason-why ads- Gives consumer "permission to buy" •Socially acceptable defense for making purchase •Assumes high level of involvement ! but don't want so much elaboration that consumers develop counterarguments and reasons "why not" to buy •Legal/regulator issues, must stand up in court •Method B: Hard-sell ads - Gives consumer permission to buy NOW •Socially desirable defense for potentially poor choice: "I had to act"; "It was such a good deal." •Method C: Comparison ads - Consumer has to think, get the ad •Counterarguments •This style is becoming less popular •Direct comparison can help a low-share brand •Method D: Testimonial ads - Very popular people can generate popularity for the brand. •People perceived to be similar to consumer or expert can be advocates for brand. •But confusion develops when stars promote multiple brands. •Can generate more popularity for celebrity than brand. •Celebrities are human and not as easy to manage as, say, Tony the Tiger. •Method E: Demonstration ads -seeing is believing" = inherent credibility •Social justification; helps consumer defend decision to buy •Heavy regulatory/legal exposure •Method F: Infomercials - Plenty of time to make argument in long format •As network ratings fall, infomercials become better deals for advertisers •Advantage of looking like entertainment •But this genre has negative public image, which does not help build credibility and trust

Objective #1: Promote Brand Recall

Method A: Repetition, Method B: Slogans and Jingles, strategic Implications for repetition, slogans and jingles •Resistant to forgetting; residual impact is lasting •Efficient for consumer •Long-term commitment/expense for advertiser •Competitive inference •Creatives don't like these methods want brand to be apart of the evoked set Ex: Oscar Meyer Weiner song "Meow Meow Meow" (Kibblers and Bits)

Objective #2: Link key attributes to the brand name

Method A: Unique Selling Proposition More complex than recall •"The name and the claim" •Brand name + reason to buy USP: premise contained in an ad in which advertised brand offers specific, unique, and relevant benefit to the consumer

Objective #6: Change Behavior by Inducing Anxiety

Method A: anxiety ads Method b: social anxiety ads anxiety can last longer than fear works through both thoughts and feelings people often seek to reduce anxiety through consumption present clear danger, demonstrate that way to avoid danger is advertised brand one of most effective methods strategic- generate perception of widespread threat, repeat purchasing, long-term, efficient, too much can overwhelm and avoid brand. If anxiety inducing threat is not close to brand, can create primary demand ethical issues: too much anxiety target women

Objective #5: Scare the Consumer into Action

Method A: fear appeal ads- highlight risk or harm or consequence of not using a brand; elicit both feeling (affective) and thought (cognitive) an actual fear or present danger, provide something to resolve the fear

Objective #4: Affective Association

Method A: feel good ads- higher probability of purchase, break through clutter Method B: Humor Ads- helpful if joke is integral to copy platform Method C: Sex appeals- stimulus arousal, get attention, must match brand category to appeal, recall for sex appeal- knowing what constitutes sex appeal is not easy, social context is extremely important, changes over time, match between category and appeal

Moving into the future

More integrated content • Increasingly data-drive ✴ Consumer data, that is • Location-based advertising • Advertisements subsidizing products and services, especially technology • Multicultural marketing • Consumer-focused content ✴ Capturing the special consumer, not the crowd • Consumer engagement

fact-based thinking

People whose preferred style of thinking is fact-based tend to fragment concepts into components and to analyze situations to discover the one best solution. Although fact-based people can be creative, they tend to be linear thinkers and prefer to have facts and figures—hard data—they can analyze and control. They are not comfortable with ambiguous situations. They like logic, structure, and efficiency.

Four Sources of Brand Messages

Planned messages. These are the traditional marketing communication messages—advertising, sales promotions, personal selling, merchandising materials, publicity releases, event sponsorships. These often have the least impact because they are seen as self-serving. Planned messages should be coordinated to work toward a predetermined set of communications objectives. This is the most fundamental aspect of (inside-out) IMC. Product messages. In IMC theory, every element of the marketing mix (not just promotion) sends a message. Messages from the product, price, or distribution elements are typically referred to as product messages. For example, customers and other stakeholders receive one product message from a $36,500 Rolex watch and a totally different one from a $30 Timex. Product messages also include packaging, which communicates a lot about the product through the use of color, type fonts, imagery, design, and layout. Apple, for example, has a well-deserved reputation for beautiful product packaging. Service messages. Many messages result from employee interactions with customers. In many organizations, customer service people are supervised by operations, not marketing. Yet the service messages they send have greater marketing impact than the planned messages. Luxury brands like Nordstrom and Lexus believe great service is part of their brands' DNA. With IMC, marketing people work with operations to minimize negative messages and maximize positive ones. Unplanned messages. Companies have little or no control over the unplanned messages that emanate from employee gossip, unsought news stories, comments by the trade or competitors, social media posts, or major disasters. When Walmart created a Facebook page, many of the initial fans criticized the company's policies. Unplanned messages may affect customers' attitudes dramatically, but they can sometimes be anticipated and influenced, especially by managers experienced in the online world

Approaches to Positioning Strategy

Product attribute—setting the brand apart by stressing a particular product feature important to consumers (e.g., fuel economy in a Prius). Price/quality—positioning on the basis of price or quality (a low price example is No-Ad sunscreen, while a quality example is L'Oreal, "because you're worth it"). Use/application—positioning on the basis of how a product is used (e.g., Arm & Hammer). Product class—positioning the brand against other products that, while not the same, offer the same class of benefits (LaCroix sparkling water positioned against soft drinks that have sugar). Product user—positioning against the particular group who uses the product (Mountain Dew defined by the Millennial user). Product competitor—positioning against competitors (e.g., the famous "I'm a Mac, I'm a PC campaign"), using the strength of the competitor's position to help define the subject brand. Cultural symbol—positioning apart from competitors through the creation or use of some recognized symbol or icon (e.g., Starbucks, Apple, McDonald's)

informational ads

Promising benefits that will offer relief from an undesirable situation or condition. Informational ads tend to address negatively originated purchase motives, such as problem removal or avoidance, in an attempt to provide solutions to those problems.

transformational ads

Promising benefits that will reward consumers. Transformational ads tend to address positively originated purchase motives, such as sensory gratification, intellectual stimulation, or social approval, in an attempt to make people feel happier.

Television Script

Radio's basic two-column script format also works for television. But in a TV script, the left side is titled "Video" and the right side "Audio." The video column describes the visuals and production: camera angles, action, scenery, and stage directions. The audio column lists the spoken copy, sound effects, and music

Sales Target Objectives vs. Communication Objectives

Sales Target Objectives- sales volume, gross profits, distribution points, market share. Communication Objectives- brand recognition, benefit understanding, positive attitudes, buy intentions

Characteristics of good objectives

Specific Measurable Actionable Reasonable Time-sensitive complex and difficult foundation for promotional decisions, has to be achievable

IMC Approach to Marketing and Advertising planning

Starting the planning process with a database forces the company to focus on the consumer, or prospect, not on sales or profit goals. Communications objectives and strategies are established for making contact with the consumer and influencing his or her attitudes, beliefs, and purchase behavior. The marketer then decides what other elements of the marketing mix (product, price, distribution) can be used to further encourage the desired behavior. Finally, the planner determines what communications tactics to use—media advertising, social media, publicity, sales promotion, special events. All forms of marketing are thus turned into communication, and all forms of communication into marketing.

body copy styles

Straight-sell, institutional, narrative, dialogue/monologue, picture-caption, device

IMC: The Concept and the Process

Technology allows marketers to adopt flexible manufacturing, customizing products for different markets. Being "market driven" means bundling services together with products to create a "unique product experience." It means companies and customers working together to find solutions. The counterpart to flexible manufacturing is flexible marketing—and integrated marketing communications—to reach customers at different levels in new and better ways. The concept of integration is wholeness. Achieving this wholeness in communications creates synergy—the principal benefit of IMC—because each product message reinforces the others for greater effect IMC has developed as a consequence of several important trends, including escalating media costs, splintering consumer markets, and skepticism about traditional mass media advertising. These have led marketers to question the wisdom of creating walls between disciplines such as public relations, direct-response advertising, and sales promotion. Many companies initially took a narrow, inside-out view of IMC. They saw it as a way to coordinate and manage their marketing communications (advertising, sales promotion, public relations, personal selling, and direct marketing) to give the audience a consistent message about the company. But a broader, more sophisticated, outside-in perspective of IMC sees customers as partners in an ongoing relationship, recognizes the terminology they use, acknowledges the importance of the whole communications system, and accepts the many ways they come into contact with the company or the brand. Companies committed to IMC realize their biggest asset is not their products or their factories or even their employees, but their customers.

4 Step Creative Process

The Explorer - searches for new information, paying attention to unusual patterns. The Artist- experiments and plays with a variety of approaches, looking for an original idea. The Judge - evaluates the results of experimentation and decides which approach is most practical. The Warrior overcomes excuses, idea killers, setbacks, and obstacles to bring a creative concept to realization.

Reviewing the Marketing Plan

The advertising manager first reviews the marketing plan to understand where the company wants to go, how it intends to get there, and what role advertising plays in the marketing mix. The first section of the advertising plan should organize information from the marketing plan's situation analysis into a SWOT analysis

positioning

The association of a brand's features and benefits with a particular set of customer needs, clearly differentiating it from the competition in the mind of the customer. Positions are based on consumer perceptions, which may or may not reflect reality. Strong brands have a clear, often unique position in the target market.

Components in creative brief

The basic problem advertising must address. The advertising objective. A definition of the target audience. Page 196 The key benefits to communicate. Support for or proof of those benefits. The brand's personality. Any special requirements. What is the problem the advertising must solve? Consumers may not be aware that they will save money AND enjoy shopping at Target. Consumers may also be unaware of the unique products that can be found only at Target. This information often comes straight from the marketing plan's situation analysis. What is the objective of the advertising? Target wants consumers to know that it has higher-quality offerings and a more attractive shopping environment than its competitors. The advertising objective is initially spelled out in the marketing plan. What is Target's target audience? Target focuses on value-conscious shoppers, usually adults ages 25-49 with families, who seek products that are nicer than those typically found at deep-discount stores. These shoppers are not poor, but they do look to save money (Target reports that the median household income of its shoppers, or "guests," as the company calls them, is $60,000). This group is Target's primary market—that's who the company sells to. So Target definitely wants them to see its advertising. Because Target offers both value and style, 18- to 25-year-olds are another important market. While this group as a whole may not spend as much as the primary market, they act as centers of influence (or key influentials). This group is a secondary target audience for the advertising. What is Target's key benefit? This is summarized nicely in the company's slogan, "Expect more, pay less." In other words, expect a nicer shopping experience and still save money. The benefit statement is the heart of the creative strategy. It is very important to make it as succinct and single-minded as possible. Complex benefit statements can lead to creative executions that promise everything and focus on nothing. How is that benefit supported? Target's ads rarely focus on price information, a contrast with the "hard sell" approach that Walmart favors. The "expect more" part of the equation is supported with beautiful, stylish, and unexpected ad executions, as many of the featured ads in this chapter demonstrate. The support statement should provide information about the product or service that will convince the target audience that the key benefit is true. What is the brand personality? Target's brand is quality, sophistication, beauty, and value. The creative team will Page 197 frequently remind themselves of this as they develop the message strategy. Are there any special requirements? Target allocates ad dollars to television ads, out-of-home magazines, and newspaper inserts. It has different audience objectives for each medium. But certain creative elements, such as the color red and the large "bull's-eye" logo, tie all of the ads together. It is important for the creatives to understand budget and media constraints before they begin.

importance of relationships

The cost of lost customers. No amount of advertising is likely to win back a customer lost from shoddy products or poor service. The real profit lost is the lifetime customer value (LCV) of a customer to a firm. For example, the average customer of one major transportation firm represented a lifetime value of $40,000. The company had 64,000 accounts and lost 5 percent of them due to poor service. That amounted to an unnecessary loss of $128 million in revenue and $12 million in profits!24 Negative word of mouth can have a terrible snowballing effect. Imagine if one lost customer influences only one other customer to not patronize the business. That immediately doubles the LCV loss. Negative word of mouth is why bad movies disappear so quickly from theaters. The cost of acquiring new customers. Defensive marketing typically costs less than offensive marketing because it is hard to lure satisfied customers away from competitors.25 The fragmentation of media audiences and the resistance of sophisticated consumers to advertising messages make it increasingly difficult to succeed merely by stepping up the advertising volume.26 In fact, it costs five to eight times as much in marketing, advertising, and promotion to acquire a new customer as it does to keep an existing one.27 The value of loyal customers. Direct-response expert Lester Wunderman says that 90 percent of a manufacturer's profit comes from repeat purchasers; only 10 percent comes from trial or sporadic purchasers.28 Reducing customer defections by even 5 percent can improve profit potential by 25 to 85 percent.29 And long-term customers are more willing to pay premium prices, make referrals, increase their annual buying, and demand less hand-holding.

visualization

The creative point in advertising where the search for the "big idea" takes place. It includes the task of analyzing the problem, assembling any and all pertinent information, and developing some verbal or visual concepts of how to communicate what needs to be said. the most important in creating the advertisement, creating mental picture of ad before written

action

The final step up the creative pyramid is action. The goal here is to motivate people to do something—send in a coupon, call the number on the screen, visit the store—or at least to agree with the advertiser.

big idea

The flash of creative insight—the bold advertising initiative—that captures the essence of the strategy in an imaginative, involving way and brings the subject to life to make the reader stop, look, and listen.

Effect of marketing plan on IMC

The marketing plan has a profound effect on an organization's marketing communications. It helps managers analyze and improve all company operations, including marketing and advertising programs. It defines the role of advertising in the marketing mix. It enables better implementation, control, and continuity of advertising programs, and it ensures the most efficient allocation of IMC dollars.

straight announcement

The oldest type of radio or television commercial, in which an announcer delivers a sales message directly into the microphone or on-camera or does so off-screen while a slide or film is shown on-screen. easiest to write Music may play in the background. Straight announcements are popular because they are adaptable to almost any product or presenter situation. In radio, a straight announcement can also be designed as an integrated commercial—that is, it can be woven into a show or tailored to the style of a given program.

close

The part of an advertisement or commercial that asks customers to do something and tells them how to do it—the action step in the ad's copy.

Methods of Allocating Advertising Funds

The percentage-of-sales method is one of the most popular techniques for setting advertising budgets. It may be based on a percentage of last year's sales, anticipated sales for next year, or a combination of the two. Businesspeople like this method because it is the simplest, it doesn't cost them anything, it is related to revenue, and it is considered safe. The problem is knowing what percentage to use. Even leaders in the same industry use different percentages. Across industries, they range from just 1.5 percent to more than 22 percent The greatest shortcoming of the percentage-of-sales method is that it violates a basic marketing principle. Marketing activities are supposed to stimulate demand and thus sales, not occur as a result of sales. If advertising only increases when sales increase and declines when sales decline, an opportunity is lost that might encourage an opposite move. The share-of-market/share-of-voice method is a bold attempt to link advertising dollars with sales objectives. It holds that a company's best chance of maintaining its share of market is to keep its share of advertising (voice) comparable to its market share. For example, if Mountain Dew has an 8 percent share of the soft-drink market it should spend roughly 8 percent of the soft-drink industry's advertising dollars. The share-of-market/share-of-voice method is commonly used for new product introductions. According to this formula, when a new brand is introduced, the advertising budget for the first two years should be about one and one-half times the brand's targeted share of the market in two years. This means that if the company's two-year sales goal is 10 percent of the market, it should spend about 15 percent of total industry advertising during the first two years. One hazard of this method is the tendency to oversimplify. Maintaining the targeted percentage of media exposure usually isn't enough to accomplish the desired results. The top national packaged-goods marketers still spend 25 to 30 percent of their marketing budgets on consumer and trade promotion rather than consumer advertising.62 Companies must be aware of all their competitors' marketing activities, not just advertising The objective/task method, also known as the budget-buildup method, is used by the majority of major national advertisers in the United States. It considers advertising to be a marketing tool to help generate sales. The task method has three steps: defining objectives, determining strategy, and estimating cost. After setting specific, quantitative marketing objectives, the advertiser develops programs to attain them. If the objective is to increase the sales of cases of coffee by 10 percent, the advertiser determines which advertising approach will work best, how often ads must run, and which media to use. The estimated cost of the program becomes the basis for the advertising budget. Of course, the company's financial position is always a consideration. If the cost is too high, objectives may have to be scaled back. If results are better or worse than anticipated after the campaign runs, the next budget may need revision empirical research- running a series of tests in different markets and basing the funding off the tests

Relevance Dimension

The second dimension of great advertising is strategic relevance. An ad may get you to think, but what does it get you to think about? While the text and the visual carry the ad message, behind the creative team's choice of tone, words, and ideas lies an advertising strategy. When the ad is completed, it must be relevant to the sponsor's strategy, or it will fail—even if it resonates with the audience. In other words, it may be great entertainment, but not great advertising. Great advertising always has a strategic mission to fulfill. In fact, strategy is at the root of all great creative work

creative team

The team's copywriter develops the verbal message, the copy (words) within the ad. The copywriter typically works with an art director who is responsible for the nonverbal aspect of the message, the design, which determines the look and feel of the ad. Together, they work under the supervision of a creative director (typically, a former copywriter or art director), who is ultimately responsible for the creative product—the form the final ad takes. As a group, the people who work in the creative department are generally referred to as creatives, regardless of their specialty.

body copy

The text of an advertisement that tells the complete story and attempts to close the sale. It is a logical continuation of the headline and subheads and is usually set in a smaller type size than headlines or subheads.

credibility

The third step in the creative pyramid is to establish credibility for the product or service. Customers are sophisticated and skeptical. They want claims to be supported by facts. Comparison ads can build credibility, but they must be relevant to customers' needs—and fair.

Dimensions of IMC

To maximize the synergy benefits of IMC, Duncan suggests three dimensions to an organization's integration process. It should 1. first ensure consistent positioning, then 2. facilitate interactions between the company and its customers or other stakeholders, and finally 3. actively incorporate a socially responsible mission into the organization's relationships with its stakeholders. Duncan's IMC model shows that cross-functional planning and monitoring of IMC activities results in an enhanced relationship with customers and other stakeholders, which leads to stakeholder loyalty and ultimately to greater brand equity.

Resonance Dimension

To resonate means to echo, reverberate, or vibrate. It also means to boom, ring, or chime. And that's what a great ad does with the audience. It echoes in their ears. It reverberates. It resonates. It moves people and makes the message unforgettable. Why? Because of the boom factor. When a cannon goes "boom," it gets your attention—immediately! The same is true with an ad. It's the surprise element—the "aha," or the "wow." But in advertising, it not only gets your attention, it captures your imagination. In this sense it's like great art. It invites you to pause and think about the message. Negatively originated motives, such as problem avoidance or problem removal, provide the foundation for many great ads. These resonate with the audience by being highly informational. Informational ads resonate because the consumer perceives that the brand offers a credible solution to a significant problem. (Uber's "Get there. The day belongs to you" or Slack's "Be less busy"). Other motives are positively originated as consumers seek pleasant experiences, intellectual stimulation, or social approval. Here, ads may achieve greatness by being transformational, using positive reinforcement to offer a reward (such as Ted's "Ideas worth spreading" or Weight Watchers' "Success starts here").

lifestyle technique

Type of commercial in which the user is presented rather than the product. Typically used by clothing and soft drink advertisers to affiliate their brands with the trendy lifestyles of their consumers.

Elements of Message Strategy

Verbal. Guidelines for what the advertising should say; considerations that affect the choice of words; and the relationship of the copy approach to the medium (or media) that will carry the message. Nonverbal. Overall nature of the ad's graphics; any visuals that must be used; and the relationship of the graphics to the media in which the ad will appear. Technical. Preferred execution approach and mechanical outcome, including budget and scheduling limitations (often governed by the media involved); also any mandatories—specific requirements for every ad, such as addresses, logos, and slogans

musical commercials

a commercial that is sung with the sales message in the verse

determining the marketing mix

a cost-effective marketing mix for each target market. The mix blends the various marketing elements the company controls: product, price, distribution, and communications

need-satisfying objectives

a marketing objective that shifts management's view of the organization from a producer of products or services to a satisfier of target market needs enable the firm to view its business broadly managers must see through the customer's eyes

brainstorming

a process in which two or more people get together to generate new ideas; often a source of sudden inspiration All ideas are above criticism (no idea is "wrong"), and all ideas are written down for later review. leave your own turf (look in outside fields and industries for ideas that could be transferred); shift your focus (pay attention to a variety of information); look at the big picture (stand back and see what it all means); don't overlook the obvious (the best ideas are right in front of your nose); don't be afraid to stray (you might find something you weren't looking for); and stake your claim to new territory (write down any new ideas or they will be lost).

Warrior

a role in the creative process that overcomes excuses, idea killers, setbacks and obstacles to bring a creative concept to realization Strategic precision. The selling idea must be on strategy. The presenting team must be able to prove it, and the strategy should be discussed first, before the big selling idea is presented. Savvy psychology. The presentation, like the advertising, should be receiver-driven. The idea has to meet the client's needs, thinking style, and personality. Polished presentation. The presentation must be prepared and rehearsed; it should use compelling visuals and emotional appeals. Structural persuasion. The presentation should be well structured, since clients value organized thinking. The opening is crucial because it sets the tone. Solve the problem. Clients have needs, and they frequently report to big shots who ask tough questions about the advertising. Solve the client's problem and you'll sell the big idea—and do it with style.

thumbnail

a rough rapidly produced pencil sketch that is used for trying out new ideas

dummy

a three-dimensional, hand-made layout of a brochure or other multipage advertising piece put together, page for page, just like the finished product will eventually appear

question headline

a type of headline that asks the reader a question

command headline

a type of headline that orders the reader to do something

creative strategy

a written statement that serves as the creative team's guide for writing and producing an ad. It decides the most important issues that should be considered in the developing of an ad(who what where when why) including the objective of the advertising, a definition and description of the target audience, the key benefit to be promised, the product features that support that promise, the style the approach or the tone that should be used, and generally what the copy should communicate

Creative strategy

a written statement that serves as the creative team's guide for writing and producing an ad. It decides the most important issues that should be considered in the developing of an ad(who what where when why) including the objective of the advertising, a definition and description of the target audience, the key benefit to be promised, the product features that support that promise, the style the approach or the tone that should be used, and generally what the copy should communicate Advertising strategy then describes a means to achieve that objective through the development of advertising executions and media plans. The creative strategy is the component of the advertising strategy that guides those who create ads. written by account executive and client (account planners help)

SWOT analysis

after assessing a company's situation, the writer of a marketing plan prepares an analysis that identifies the brand's or product's strengths, weaknesses, opportunities, and threats; Planners draw attention to the most important aspects of a brand's situation through a SWOT analysis. The SWOT analysis uses the facts contained in the situation analysis to point out strengths, weaknesses, opportunities, and threats for the brand. Strengths and weaknesses represent company (internal) capabilities, while opportunities and threats represent environmental (external) factors.

Synergy

an effect achieved when the sum of the parts is greater than that expected from simply adding together the individual components the principal benefit of IMC—because each product message reinforces the others for greater effect

Implementing the big idea

art shapes the message into a complete communication that appeals to the senses as well as the mind. So while art direction refers to the act or process of managing the visual presentation of the commercial or ad, the term art actually refers to the whole presentation—visual and verbal.

Strategic and Creative Impact of Illustration

attracts attention of target segment and stimulates

media planning

conceive, analyze, and creatively select channels of communication that will direct advertising messages to the right people in the right place at the right time

Delivery of creative strategy to the creative department

concludes the process of developing an advertising strategy. It also marks the beginning of the next step: the creative process, in which the creative team develops a message strategy and begins the search for the big idea. After writing the first ad, the copywriter should review the creative strategy to confirm that the ad is "on strategy." If it isn't, the team must start again

stakeholders

consumers, employees, the brand itself

relationship marketing

creating, maintaining, and enhancing long-term relationships with customers and other stakeholders that result in exchanges of information and other things of mutual value A market-driven firm's overriding purpose is to create happy, loyal customers. Customers, not products, are the lifeblood of the business. This realization has moved firms away from simple transactional marketing to relationship marketing Today's affluent, sophisticated consumers can choose from a wide variety of products and services offered by producers located around the world. As a result, the customer relationship—in which the sale is only the beginning—is the key strategic resource of the successful twenty-first-century business.20 As one commentator notes: "The new market-driven conception of marketing will focus on managing strategic partnerships and positioning the firm between vendors and customers in the value chain with the aim of delivering superior value to the customer.

audience objectives

define the specific types of people the advertiser wants to reach Media planners typically use geodemographic classifications to define their target audiences planners can then select media vehicles—particular magazines or shows—according to how well they offer an audience that most closely resembles the desired target consumer.

message distribution objectives

define where, when, and how often advertising should appear To answer distribution objectives, a media planner must understand a number of terms, including message weight, reach, frequency, and continuity

social media

digital media that connect individuals First, social media, as compared with traditional, are uniquely created from audience content. Audiences go to social media not just to read or be entertained, but to post, blog, share, and create. This has the effect of changing the goal for many social media advertisers. They don't want consumers to only read or watch their messages, they want to engage them. They look for opportunities to get followers to share information about their brands. And they look to interact with them in a free-wheeling, somewhat uncontrolled environment. The importance of social media can be seen by the fact that Facebook is beginning to challenge Google as the most popular destination on the Web. But what is social media? OnlineMatters defines social media as "any form of online publication or presence that allows end users to engage in multi-directional conversations in or around the content on the website.

Duplicated Reach of Both

duplicated reach only (those that were exposed more than once)

Continuity

duration of advertising message over period of time ✴ Continuity helps sustain memory

Judge

evaluates the results of experimentation and decides which approach is most practical. the creatives must be self-critical enough to ensure that when it's time to play the Warrior they will have an idea worth fighting for. On the other hand, they need to avoid stifling the imagination of their internal Artist. It's easier to be critical than to explore, conceptualize, or defend. But the Judge's purpose is to help produce good ideas, not to revel in criticism

Artist

experiments and plays with a variety of approaches, looking for an original idea. It also means creating a mental picture of the ad or commercial before any copy is written or artwork begun. This step (also called visualization or conceptualization) is the most important in creating the advertisement. It's where the search for the big idea—that flash of insight—takes place. The big idea is a bold, creative initiative that builds on the strategy, joins the product benefit with consumer desire in a fresh, involving way, brings the subject to life, and makes the audience stop, look, and listen

situation analysis

factual statement of the organization's current situation and how it got there. It presents the relevant facts about the company's history, growth, products and services, sales volume, share of market, competitive status, markets served, distribution systems, past IMC programs, marketing research studies, and other pertinent information.

Balance

formal: emphasizes symmetrical presentation and creates mood of seriousness and directness (butterfly) informal: emphasizes asymmetry (stimulating and complex) (almost fallen tree)

Corporate objectives

goals of the company stated in terms of profit or return on investment

Advertising Strategy

how to get to the advertising objective ; creative strategy and media strategy

Why is objective setting valuable

if based on return on investment, it is hard to measure, hard to know what the objective is; it teaches us to know what a good objectives is

creativity

involves combining two or more previously unconnected objects or ideas into something new. Advertising's responsibility to INFORM is greatly enhanced by creativity. Good creative work makes advertising more vivid, a quality that many researchers believe attracts attention, maintains interest, and stimulates consumers' thinking To be PERSUASIVE, an ad's verbal message must be reinforced by the creative use of nonverbal message elements. Artists use these elements (color, layout, and illustration, for example) to increase vividness. Research suggests that in print and digital media, infographics (colorful explanatory charts, tables, and the like) can raise readers' perception of quality Only creativity can transform your boring REMINDERS into interesting, entertaining advertisements BOOM

Advertising Plan

is a natural outgrowth of the marketing plan and is prepared in much the same way. It picks up where the marketing plan leaves off, building on the goals that have been established for the advertising program. Those goals are translated into specific advertising objectives, from which creative and media strategies are developed. The advertising plan typically also incorporates the rationale for a proposed budget and a plan for conducting research;

IMC (Integrated Marketing Communications)

is the process of building and reinforcing mutually profitable relationships with employees, customers, other stakeholders, and the general public by developing and coordinating a strategic communications program that enables them to have a constructive encounter with the company/brand through a variety of media or other contacts.

formatting body copy

lead in paragraph interior paragraph trial close close

value-based thinking

make decisions based on intuition, values, and moral codes. They are better able to embrace change, conflict, and paradox. This style fundamentally relies on melding concepts together. attempt to integrate the divergent ideas of a group into an arrangement that lets everyone win. They are good at using their imagination to produce a flow of new ideas and synthesizing existing concepts to create something new. the best art directors and copywriters use both styles to accomplish their task. In the creative process, they need to use their imagination (value-based thinking) to develop a variety of concepts. But to select the best alternative and get the job done, they often resort to the fact-based style.

marketing objectives vs communication objectives

marketing objectives- generally stated in firm's marketing plan, achieved through overall marketing plan, quantifiable, such as sales, market share ROI, time, achievable, results communication objectives- derived from overall marketing, more narrow than marketing plan, based on particular communication tasks, designed to deliver appropriate messages

Objective #9: Define Brand Image

method A: Image Ads brand images are most apparent and most prominently associated characteristics of a brand •One of the most important roles of advertisers is to define the brand image strategic- interpret the images make connections, carry little hard product information and rely on appealing visuals other term for image is soft sell

Objective #8: Situate Brand Socially

method A: Slice of Life Method B: branded entertainment, product placement, short internet films, Madison and Vine Objects have social meaning •Advertisers attempt to determine what meanings the objects carry •Advertisers try to place brand in socially desirable context

Objective #7: Transform Consumption Experience

method A: Transformational ads, feeling, image, mood- mood activated when you consumer product or service, ad itself will change experience of product, makes product use experience, richer warmer, more exciting, more enjoyable strategic implication- status, airy, needs to be authentic, has to be able to be felt, ethical issues of manipulating people's experience

pulsing

mixing continuity and flighting strategies in media scheduling

new vs old media options

new- internet, social media traditional- magazine, newspaper non-tradiitonal - blimp

reach

number of different people exposed ✴ Opportunity to see, not necessarily consumed the ad ✴ Can attain reach by using same vehicle repeatedly or combining two or more vehicles

Sequence

order, addresses effects on readers' gaze order should be such that it directs reader through some controlled sequence or to a particular spaces over others

product placement

paying a fee to have a product prominently displayed in a movie or TV show

rough layout

pencil sketch of a proposed design or layout

script

resembles a two-column list. On the left side, speakers' names are arranged vertically, along with descriptions of any sound effects (abbreviated SFX) and music. The right column contains the dialogue, called the audio

bursting

running the same commercial every half hour on the same network during prime time

Explorer

searches for new information, paying attention to unusual patterns. creatives examine the information they have. They review the creative strategy and the marketing and advertising plan; they study the market, the product, and the competition. They may seek additional input from the agency's account managers and from people on the client side (sales, marketing, product, or research managers). adopting an "insight outlook" (a conviction that good information is available and that you have the skills to find and use it). If you're curious and poke around in new areas, you'll improve your chances of discovering new ideas. know the objective brainstorm

subhead

secondary headline that may appear above or below the headline or in the text of the ad; appear in boldface or italic

Advertising Pyramid

shows some of the tasks advertising can perform. Obviously, before your product is introduced, prospective customers are completely unaware of it. Your first communication objective therefore is to create awareness—to acquaint people with the company, product, service, and/or brand. Next task might be to develop comprehension—to communicate enough information about the product that some percentage of the aware group will understand the product's purpose, image, or position, and perhaps some of its features Next, you need to communicate enough information to develop conviction—to persuade a certain number of people to actually believe in the product's value. Some people may be moved to desire the product. Some percentage of those who desire the product will take action. They may request additional information, send in a coupon, visit a store, or actually buy the product The pyramid works in three dimensions: time, dollars, and people

message strategy

simple description and explanation of an ad campaign's overall creative approach—the main idea, details about how the idea will be executed, and a rationale A document that helps media planners determine how messages will be delivered to consumers. It defines the target audience, the communication objectives that must be achieved, and the characteristics of the media that will be used for delivery of the messages.

Proportion

size and tonal relationships between elements in an ad, consider width, depth, size and areas of light/darkness

Advantages and disadvantages

social media - tracking

Formats for Radio and TV Commercials

straight announcement, presenter, testimonial, demonstration, musical, slice of life, lifestyle, animation

mechanical

text and visuals in exact position, ready for camera

interior paragraphs

text within the body copy of an ad where the credibility and desire steps of the message are presented

media mix

the combination of media types that work together to most effectively deliver an advertiser's message

frequency

the intensity of the schedule ✴ Average of the times an individual is exposed ✴ Total exposures/reach ✴ Frequency creates memory

marketing plan

the plan that directs the company's marketing effort; Companies generate plans for many business functions, but the one that is of most relevance to advertising and IMC is the marketing plan The marketing plan organizes relevant facts about the organization, its markets, products, services, customers, and competition. It forces all departments to focus on the customer. Finally, it lists goals and objectives for defined periods of time and describes precise strategies and tactics to achieve them.

imagery transfer

the process by which visual elements of a TV commercial are transferred into the consumer's mind by using a similar audio track in its radio counterpart

value

the ratio of perceived benefits to the price of the product

top-down marketing

the traditional planning process with four main elements: situation analysis, marketing objectives, marketing strategy, and tactics or action programs (large companies)

art

the whole visual representation of a commercial or advertisement

Headline

the words in the leading position of an advertisement Advertisers use benefit headlines to promise the audience that experiencing the utility of the product or service will be rewarding. Benefit headlines shouldn't be too cute or clever, just simple statements of the product's most important benefit.

Reach of One Program

total audience reached by one program

Reach of Two Programs

total audience reached by two programs (including duplicated reach)

Unduplicated Reach of Both

total reach less duplication (exposed only once)

benefit headline

type of headline that makes a direct promise to the reader

design

visual pattern or composition of artistic elements chosen and structured by the graphic artist

Setting Advertising Objectives

what the advertiser wants to achieve with respect to consumer awareness, attitude, and preference Based on the marketing plan, the advertising manager determines what tasks advertising must take on. What strengths and opportunities can be leveraged? What weaknesses and threats need to be addressed? Unfortunately, some corporate executives (and advertising managers) state vague goals for advertising, like "increase sales and maximize profits by creating a favorable impression of the product in the marketplace." When this happens, no one understands what the advertising is intended to do, how much it will cost, or how to measure the results. Advertising objectives should be specific, realistic, and measurable. Most advertising programs encourage prospects to take some action. However, it is unrealistic to assign advertising the whole responsibility for achieving sales. Sales goals are marketing objectives, not advertising objectives. Before an advertiser can Page 183 persuade customers to buy, it must inform, persuade, or remind its intended audience about the product or service. A simple adage to remember when setting objectives is "Marketing sells, advertising tells." In other words, advertising objectives should be related to communication outcomes

Testimonial

where a satisfied user tells how effective the product is—can be highly credible in both TV and radio advertising. Celebrities may gain attention, but they must be believable and not distract from the product. Actually, people from all walks of life endorse products, from known personalities to unknowns and nonprofessionals.

Emphasis-

which major components given precedence, headline, subhead, body, copy, or illustration

straight-sell copy

writers immediately explain or develop the headline and visual in a straightforward, factual presentation. The straight-sell approach appeals to the prospect's intelligence. Straight-sell copy is particularly good for high think-involvement products or products that are difficult to use. It's very effective for direct-mail advertising and for industrial or high-tech products