Topic 7-1: Advertising & Marketing Communication

+ THE CREATIVE SIDE + SCIENCE OR ART? The Creative Brief The Role of Creativity The Key Players + Scienc...

+ THE CREATIVE SIDE + SCIENCE OR ART? The Creative Brief The Role of Creativity The Key Players + Science and art?  Effective marketing communication is a product of both logic and creativity.  The advertisement translates the logic of planning decisions into a creative idea that is original, attention getting, and memorable.  The message must connect with the target audience to the brand in a relevant and unexpected way.  Effective advertising is the product of both science (persuasion) and art (creativity). 8-3 + SCIENCE OR ART? The Creative Brief The Role of Creativity The Key Players + Who are the key players? ◼ Creativity is a product of teamwork between: ◼ Copywriters ◼ Artdirectors ◼ Creative directors ◼ Account planners ◼ Broadcast directors ◼ Team members work together to generate concept, word, and picture ideas. 8-5 + Who are the key players? Consider the “Three Ps” of innovation: 1. Place Areas of the agency, office or workspace that impact creativity. 2. Person How do creative people think and behave? 3. Process Creative product: the actual campaign. 8-6 + SCIENCE OR ART? The Creative Brief The Role of Creativity The Key Players + What is the role of creativity? ◼ Creativity is a special form of problem solving. ◼ In advertising, creativity is both a job description and a goal. 8-8 + What is the role of creativity? How creative are you? Leonardo DaVinci, Albert Einstein, and Georgia O’Keefe excelled in different fields, but all three qualify as creative geniuses. 8-9 + SCIENCE OR ART? The Creative Brief The Role of Creativity The Key Players + The creative brief ◼ The creative strategy phase brings together the art and science of advertising. ◼A winning marketing communication idea must be: ◼ creative (original, different, novel, unexpected) ◼ strategic (right for the product and target; meets advertising objectives) 8-11 + The creative brief ◼ Creative strategy or message strategy: what the ad says. ◼ Execution: how it is said. ◼ The creative brief spells out the creative strategy and key execution details. ◼ It is prepared by the account planner to summarize the basic marketing and advertising strategy. ◼ It provides direction to the creative team to develop a creative concept. 8-12 + SCIENCE OR ART? Positioning The Creative Targeting Brief Objectives The Role of Creativity The Key Players + Key points in a creative brief ◼ Problem that can be solved by communication. ◼ Target audience and key insights into their attitudes and behavior. ◼ Brand position and other branding decisions, such as personality and image. ◼ Communication objectives that specify the desired response to the message by the target audience. 8-14 + Key points in a creative brief ◼ Proposition or selling idea that will motivate the target to respond. ◼ Mediaconsiderations about where and when the message should be delivered. ◼ Creative direction that provides suggestions on how to stimulate the desired consumer response. 8-15 + Message objectives Based on the Facets Model of Effects: ◼ See/hear Create attention, awareness, interest, recognition. ◼ Feel Touch emotions and create feelings. ◼ Think/understand Deliver information, aid understanding, create recall. + Message objectives ◼ Connect Establish brand identity and associations, transform a product into a brand with distinctive personality and image. ◼ Believe Change attitudes, create conviction, and preference. ◼ Act/do Stimulate trial, purchase, repurchase or some other form of action. + Targeting ◼ The target decision is key to message strategy. ◼ Target audience (for Road Crew Campaign) ◼ 21- to 34-year old single men with a high-school education and a blue-collar jobs. ◼ They are responsible for most alcohol-related crashes; most likely to kill or be killed. ◼ Consumer insight: prospects tended to worry about driving home drunk, and this worry took the edge off a fun evening. 8-18 + Branding and positioning ◼ Brand positions and brand images are built through message strategies and brought to life through advertising executions. ◼ Advertising creates brand salience. The brand is visible, has a presence in the marketplace, consumers are aware of it, and the brand is important to its target market. 8-19 + Branding and positioning In an era of big cars and huge tail fins, Volkswagen launched its unimposing little Beetle in the 1960s. This ad stated that VW’s inspectors found no detail too small to overlook, assuring consumers that their cars would last longer than other cars. 8-20 + MESSAGE STRATEGIES + The Strategic Approach Head & Heart Hard & Soft Sell + The Strategic Approach Head & Heart Hard & Soft Sell + The strategic approach Some ways to express a strategic approach: ◼ Head and Heart ◼ Head: uses more rational, cognitive (thinking) objectives. ◼ Heart: uses more emotional, affective (feeling) objectives. ◼ Head & Heart Strategies also can refer hard-sell and soft-sell approaches. + The strategic approach Frazer’s Six Creative Strategies These address various types of message situations, and identify common approaches to message strategy: ◼ Preemptive ◼ Unique selling proposition ◼ Brand image ◼ Positioning ◼ Resonance ◼ Affective/anomalous (or ambiguous) 8-25 + The Strategic Approach Head & Heart Hard & Soft Sell + The strategic approach Ways to express a strategic approach… ◼ HardSell Uses an informational message that touches the mind and creates a response. ◼ Soft sell Uses emotional appeals or images to create a response based on attitudes, moods, and feelings. 8-28 + The strategic approach The ads and slogan, “It’s not just coffee. It’s a Starbucks,” tell the brand’s quality story and counter the McDonald’s McCafe campaign. 8-29 + The strategic approach Taylor’s Six-Segment Strategy Wheel This approach divides strategies into: ◼ the transmission view (“head” strategies) ◼ the ritual view (“heart” strategies) + Systems of strategies Taylor’s Six-Segment Strategy Wheel Each view is divided into three segments: ◦ Rational ◦ Acute Need ◦ Routine …on the transmission side. ◦ Ego ◦ Social ◦ Sensory …on the ritual side. + Strategic Formats Psychological Selling Appeals Messages Lectures & Others Dramas Possible Approaches + Strategic Formats Psychological Selling Appeals Messages Lectures & Others Dramas Possible Approaches + Strategic formats ◼ Lectures ◼A series of instructions is given verbally. ◼ Speaker presents evidence to persuade the audience. ◼ Lectures are inexpensive, compact, and efficient. ◼ A “talking head” delivers a lecture about a product. ◼ Dramas ◼ Funny or serious stories about how the world works. ◼ Characters speak to each other and audience infers lessons from them. 8-34 + Strategic Formats Psychological Selling Appeals Messages Lectures & Others Dramas Possible Approaches + Strategic formats Psychological appeals ◼ An appeal uses an emotional (heart) approach to make the product attractive or interesting. ◼ Appeals might include: ◼ Security The appetite appeal of the trail mix bar ◼ Esteem is dramatized by an extremely close- ◼ Fear up visual that shows all the nuts and ◼ Sex raisins larger than life. ◼ Sensory pleasure Copyright © 2012 Pearson Education 8-36 + Strategic Formats Psychological Selling Appeals Messages Lectures & Others Dramas Possible Approaches + Strategic formats Selling strategies These speak to the head with a sales message: ◼ A selling premise uses a rational (head) approach that states the logic behind the sales offer. ◼ The most important features or attributes must be identified. ◼ A claim is a product-based strategy based on how well the product will perform. 8-38 + Strategic Formats Psychological Selling Appeals Messages Lectures & Others Dramas Possible Approaches + Strategic formats Rational customer-focused strategies: ◼ Benefit: what the product does for the user. ◼ Promise: benefit the user will get by using the product. ◼ Reason why: the logic behind why you should buy. ◼ Unique selling proposition (USP): a benefit unique to the product and important to the user. 8-40 + Strategic formats Other message formulas ◼ Straightforward message ◼ Demonstration ◼ Comparison ◼ Problem solution /problem avoidance ◼ Humor ◼ Slice-of-life The “Truck Stop” headline for D&A uses a twist to make the ◼ Spokesperson repair shop the hero. ◼ Teasers 8-41 + Matching messages to objectives The Facets Model is helpful in identifying messages that: get attention touch emotions create interest inform resonate teach create believability persuade are remembered create brand association drive action 8-42 + Matching messages to objectives The familiar Doublemint green anchors the brand’s identity even when the campaign is aimed at Hispanics and the ads are written en Español. 8-43 + Matching Messages to Objectives + CREATIVE THINKING + Creative thinking ◼ An idea is a thought or concept formed by mentally combining pieces and fragments into something meaningful. ◼ Concepting is the process of coming up with a new advertising idea. 8-46 + Creative Big Ideas + Creative big ideas The Big Idea or creative concept: ◼ Becomes a point of focus for communicating the message strategy. ◼ The “Road Crew” name helped define the campaign’s Big Idea. ◼ The “Beats driving” slogan supported the Big Idea and communicated a benefit. 8-48 + The ROI of Creativity + The ROI of Creativity According to DDB agency, an effective ad is: ◼ Relevant: means something to target audience. ◼ Original: novel, fresh, unexpected, unusual. ◼ Has impact: makes an impression. 8-50 + The Creative Leap + The creative leap ◼ Divergent or “right-brain” thinking explores possibilities rather than using rational thinking. ◼ It means “thinking outside the box” and taking a creative leap. ◼ Move away from the safety of a predictable strategy to an unusual idea that hasn’t been tried before. 8-52 + Dialing Up Creativity …Emphasize concepts. Worry about execution later. + Dialing up your creativity ◼ Creative people tend to be: ◼ assertive ◼ self-sufficient ◼ persistent ◼ self-disciplined ◼ risk takers ◼ internally driven 8-54 + Dialing up your creativity Creative people… ◼ don’t care much about group standards and opinions. ◼ have inborn skepticism and strong curiosity. ◼ Other key characteristics: ◼ Problem solving ◼ Playful ◼ Ability to visualize ◼ Openness to new experiences ◼ Conceptual thinking 8-55 + The Creative Process: How to Get an Idea + The creative process: how to get an idea Alex Osborn of the BBDO agency suggests these steps: 1. Immersion: read, research, learn about problem. 2. Ideation: look at the problem from every angle; generate as many ideas as possible. 3. Brainfog: don’t give up when you hit a blank wall. 4. Incubation: let your subconscious work on it. 5. Illumination: the idea often comes when you’re relaxed and doing something else. 6. Evaluation: does it work? Is it “on strategy?” 8-57 + Brainstorming ◼ Assemble a group of 6–10 people to generate ideas. ◼ People and ideas play off of each other and stimulate more ideas than one could alone. ◼ The group becomes an “idea factory.” 8-58 + Brainstorming More techniques… ◼ Stay positive and defer judgment. ◼ No distractions or interruptions. ◼ Write everything down. ◼ Only after all ideas have been expressed and every avenue exhausted, do you start picking through and evaluating the ideas. 8-59 + Brainstorming To create an original and unexpected idea, try these techniques: What if? Play on words An unexpected Analogy and metaphor association Familiar and strange Dramatize the obvious A twisted cliché Catchy phrasing Twist the obvious An unexpected twist Exaggeration To prevent unoriginal ideas, avoid “the look-alike” and the tasteless. 8-60 + MANAGING CREATIVE STRATEGIES Extension Adaptation Evaluation + MANAGING CREATIVE STRATEGIES Extension Adaptation Evaluation + Managing creative strategies ◼ Extension: An Idea with Legs ◼ A strong “Big Idea” can serve as an umbrella concept for a variety of executions. + MANAGING CREATIVE STRATEGIES Extension Adaptation Evaluation + Managing creative strategies ◼ Adaptation: Taking an Idea Global ◼ Standardizing the campaign across multiple markets works only if the strategy and objectives are essentially the same. ◼ Creative executions may be customized due to cultural or market differences. 8-65 + MANAGING CREATIVE STRATEGIES Extension Adaptation Evaluation +Managing creative strategies  Evaluation: The Go/No Go Decision ◦ Is it on strategy? ◦ Structural analysis:  The power of the narrative  The strength of the product claim  How well the two are integrated  Copytesting ◦ A formal method to evaluate copy effectiveness. ◦ Avoid vampire creativity. Here, the ad is so creative that the product may not be remembered. 8-67  + CopywritingCopywritingCopywriting COPYWRITING + Science and art? Although advertising is highly visual, words are crucial in four types of advertisements: 1. Complex: If the message is complicated 2. High involvement: In ads for high-involvement products 3. Explanation: Information that needs definition and explanation 4. Abstract: If a message tries to convey abstract qualities 9-69 + Science and art? The NYNEX ads feature puns based on Yellow Pages category headings. This ad uses that same creative Big Idea with a visual pun on the heading “Amusement Devices” in the directory. 9-70 + THE LANGUAGE OF COPYWRITING Copywriter Names Writing Style Effective Copy + THE LANGUAGE OF COPYWRITING Copywriter Names Writing Style Effective Copy + The copywriter  Copywriter ◦ The person who shapes and sculpts the words in marketing communication. ◦ Many have a background in English or literature. ◦ They love words, have a sense of “voice” and tone, and are versatile.  Copy ◦ The text of an ad. ◦ The words people say in a radio or TV commercial. 9-73 + THE LANGUAGE OF COPYWRITING Copywriter Names Writing Style Effective Copy + The art and science of names  The most important word selection in marketing communication is the brand or corporate name.  Such as: ◦ Farm Fresh ◦ 7-Eleven ◦ Mr DIY 9-75 + THE LANGUAGE OF COPYWRITING Copywriter Names Writing Style Effective Copy + Advertising Writing Style ◼ Copy should be as simple as possible. ◼ Writethe way your target audience thinks and talks, using direct address. ◼ Effectivecopy is succinct, single minded and tightly focused. + THE LANGUAGE OF COPYWRITING Copywriter Names Writing Style Effective Copy ◼ Tone of Voice ◼ Grammar + How to write effective copy The tighter the writing, the easier it is to understand and the greater its impact. Be succinct Be original Be single-minded Use news Be specific Use magic phrases Get personal Use variety Keep a single focus Use imaginative description Be conversational Tell a story – with feeling 9-79 + Tone of voice How to write effective copy Write to the target audience, as if in conversation with one person. + How to write effective copy ◼ Grammar and adese ◼ Sometimes writers use incorrect grammar for effect. ◼ Avoid clichés, superlatives, stock phrases, and vague generalities. ◼ Avoid “brag and boast” copy. It is “we” focused and pompous. 9-81 + The strategy imperative ◼ The creative team begins with the strategy statement from the client or creative brief from agency planners. ◼ Even beautiful writing has to make the strategy sing. ◼ If the copy doesn’t the audience and deliver on the objectives, then it’s not effective copywriting. 9-82 + WRITING PRINT COPY + How is copy created for print? ◼ Display copy ◼ All elements readers see in their initial scanning ◼ Includes headlines, subheads, call-outs, taglines, and slogans ◼ Body copy ◼ All elements designed to be read and absorbed ◼ Includes ad message text, captions, call to action 9-84 + Writing Headlines General Principles ◼ Target ◼ Stop and Grab ◼ Identify ◼ Change Scanning to Reading + How to write headlines ◼ Headlines convey the main message, get attention, and communicate the concept. ◼ They must also: ◼ Target: attract only prospects ◼ Stop and grab: work with the visual to stop and grab readers’ attention ◼ Identify: identify the product and brand; start the sale ◼ Change scanning to reading: lead readers into body copy ◼ Good headlines interrupt readers’ scanning and get their attention. 9-86 + Two categories of headlines 1. Direct action These are straightforward and informative. Consider: “Keep Your Body Strong” (Johnson & Johnson) Common types of direct action headlines: ◼ Assertion ◼ Command ◼ How-to heads ◼ News announcements 9-87 + Two categories of headlines 2. Indirect action Better at drawing the reader in and building a brand image. Consider: “Help, I Think I Need a Tourniquet!” (Motorola) Common types of indirect action headlines: ◼ Puzzles ◼ Associations ◼ Blind headlines 9-88 + Writing Other Display Copy + How to write other display copy ◼ Captions ◼ Second highest readership ◼ Provide information ◼ Subheads ◼ Lead reader into copy ◼ Larger than body copy ◼ Taglines ◼ Short, catchy, memorable phrases ◼ Used to wrap up a creative idea ◼ Slogans ◼ Repeated from ad to ad ◼ Used to reinforce brand identity 9-90 + Techniques for catchy slogans ◼ Direct Address: “Have it your way” “Think small” ◼ A startling or unexpected phrase: “If it’s out there, it’s in here.” ◼ Rhyme, rhythm, alliteration: “The daily diary of the American Dream.” ◼ Parallel construction: “When it rains, it pours.” 9-91 + Techniques for catchy slogans ◼ Cue for the product: “Good to the last drop” “Nothing runs like a Deere” “Breakfast of Champions” ◼ Music: “In the valley of the Jolly, ho-ho-ho, Green Giant” ◼ Combination : “It’s your land, lend a hand”. 9-92 + Writing Body Copy + How to write body copy ◼ Its primary role is to maintain reader interest. ◼ Body copy also: ◼ Develops the sales message ◼ States the argument ◼ Summarizes the proof ◼ Provides explanation ◼ Body copy is the persuasive heart of the message. 9-94 + How to write body copy Nike’s “Let me Play” campaign reflected its strategy of talking to women about sports in a way that reflects their attitudes and feelings. 9-95 + How to write body copy Writing styles ◼ Straightforward: Factual, from an anonymous source. ◼ Narrative: Tells a story in the first or third person. ◼ Dialogue: Lets the reader “listen in.” ◼ Explanation: Explains how something works. ◼ Translation: Translates technical language. 9-96 + How to write body copy The lead paragraph ◼ First paragraph of body copy ◼ Catches the reader’s attention The closing paragraph ◼ Last paragraph of body copy ◼ Refers back to creative concept ◼ Wraps up the Big Idea ◼ Usually includes “call to action” 9-97 +Requirements of Print Media + Print media requirements Newspapers Considered a less intrusive medium. Copy is more straightforward and informative. Magazines Offer better quality of ad production. Ads can be more informative, with longer copy. Directories Ads focus on service or store personality. There is little space for explanation. 9-99 + Print media requirements Posters and outdoor advertising These are primarily a visual medium. An effective creative concept marries words and visual. Collateral materials Used in support of advertising campaigns. Provides details of a product, company or event. Product literature Detailed copy about a product, company, or event. It is more informative with longer copy. 9- 100 + Print media requirements These posters for Coffee Rush told newcomers that Coffee Rush sold more than just “a cup of joe.” The copy had to be simple to be read by people in a car. 9- 101 + WRITING RADIO COPY Tools of Radio Copywriting The Practice of Radio Copywriting Planning the Radio Script + How is copy written for radio? ◼ Ads run short: 10, 15, 30, or 60 seconds. ◼ Must be simple enough for consumers to grasp, yet intriguing enough to prevent switching. ◼ Creativity is key to creating clutter-busting ads to breaking through the surrounding noise. ◼ Theater of the mind is radio’s special advantage. 9- 103 + WRITING RADIO COPY ◼ Voice Tools of ◼ Music Radio Copywriting ◼ Sound Effects The Practice of Radio Copywriting Planning the Radio Script + Tools of radio copywriting Voice ◼ The most important element in radio advertising. ◼ Uses an announcer or character. Music ◼ Used behind dialogue to establish mood and setting. ◼ Jingles are catchy and “hummable.” Sound effects (sfx) ◼ Grabs attention and makes the ad memorable. 9- 105 + WRITING RADIO COPY Tools of Radio Copywriting The Practice of Radio Copywriting Planning the Radio Script +The practice of radio copywriting ◼ Keep it personal. ◼ Speak to listener’s interests. ◼ Wake up the inattentive. ◼ Make it memorable. ◼ Include call to action. ◼ Create image transfer. 9- 107 + WRITING RADIO COPY Tools of Radio Copywriting The Practice of Radio Copywriting Planning the Radio Script + Planning the radio script ◼ The script contains the words, dialogue, lyrics, sound effects, instructions, and descriptions to help the producer create the commercial as the copywriter imagined. ◼ Sources of audio are on the left. ◼ Words, dialogue, description of sound effects and music are on the right. 9- 109 + WRITING TELEVISION COPY + How to write television copy ◼ Moving images make TV more engaging than print. ◼ Thechallenge is to fuse the images with the words to tell a story. ◼ Ingreat television commercials, words and pictures work together seamlessly to deliver the creative concept through sight, sound, and motion. 9- 111 + Tools of Television Copywriting + Tools of television copywriting A Matter of Practice “How the Emotional Pivot Works in a Story” As illustrated here, television copywriters are masters of the emotional moment. 9- 113 + Tools of television copywriting ◼ Video and motion Visuals and motion should convey as much of the Big Idea as possible. ◼ Audio The three elements: music, voices, sound effects. ◼ Voice-overs and off camera voices are common. 9- 114 + Tools of television copywriting ◼ Other TV tools The copywriter must describe the setting, casting, costumes, and props in the script. ◼ Talent This might include: ◼ Announcers ◼ Spokespersons ◼ Character types ◼ Celebrities 9- 115 + Planning the TV Commercial Scenes and Key Frames Scripts, Storyboards, and Photoboards + Planning the TV commercial Copywriters must plan: ◼ The length of the commercial ◼ Shots to appear in each scene ◼ Where and how to shoot the commercial ◼ Number of shots ◼ Key frames 9- 117 + Scenes and Key Frames …The key frame is the shot that sticks in the mind and becomes the image viewers remember + Planning the TV commercial ◼ Scenes: segments of action that occur in one location. ◼ Key frame: The shot that sticks in the mind. ◼ Copywriters must ask: ◼ How much product information should be included? ◼ Should the action be fast or slow? ◼ How much controversy or intrusiveness is right? 9- 119 + Planning the TV commercial More important questions: ◼ What’s the Big Idea? ◼ What’s the benefit and who benefits? ◼ How can you turn that benefit into a visual element? ◼ How can you gain the viewer’s interest in 3 seconds? ◼ How can you focus on a key visual? ◼ Is the commercial single-minded? ◼ Is the product identified and shown close-up at end? 9- 120 + Scripts, Storyboards, and Photoboards + Scripts, Storyboards and Photoboards ◼ Script ◼ The written version of the commercial ◼ Prepared by the copywriter ◼ Storyboard ◼ The visual plan or layout of the commercial ◼ Prepared by the art director ◼ Photoboard ◼ Uses photos instead of art for images + COPYWRITING FOR THE INTERNET + How different is copywriting for the Internet? ◼ The Internet is more interactive than any other mass medium, more like two-way communication. ◼ The copywriter’s challenge is to attract people to the site and manage a dialogue-based communication. 9- 124 + How different is copywriting for the Internet? ◼ Copywriters must think of the Internet as an interactive medium and open up opportunities for interaction with the consumer. ◼ But always remember….. Good writing is good writing, regardless of the medium. 9- 125 + Websites ◼ Web advertisers must understand the user’s situation and design messages that fit their needs and interests. ◼ Copywriters must develop strategies that organize information and package it for easy accessibility. ◼ Key words are used to help visitors or surfers search for the site and within the site for information. 9- 126 + Banners  Strategies for converting surfers into visitors: 1. Offer a deal like a discount or a freebie. 2. Using an involvement device like a challenge or contest. 3. Changing the offer frequently, even daily. 4. Keeping the writing succinct for surfers short attention. 5. Focusing surfers’ attention by asking questions 6. Use the ad to solicit information and opinions.  Banner ads can remind or invite viewers to click.  Their effectiveness is monitored by the number of click-throughs. 9- 127 + Internet ads ◼ Internetads are similar in some ways to traditional advertising. ◼ Theycreate awareness and interest in a product and build a brand image. ◼ Good copywriting works well in any medium, including the Internet. 9- 128 + That’s all Thank you