Transcript moriarty8e_overheads_12

Advertising Principles
and Practices
The Creative Side
and Message Strategy
A “Whole Different Animal”
• Frontier’s “Flip to Mexico”
campaign advertised the route in
a fun and attention-getting way.
\
• Used :30-TV
spots, fake news
stories, staged protests, podcasts,
blogs, a Flip anthem and a
Flipmobile in Denver.
• Bookings rose 56% and
unaided awareness
doubled after the
campaign ran.
Prentice Hall, © 2009
12-2
The Two Sides
of Advertising
• Media and message
strategy work together to
create effective
advertising.
• Creative activities work
in parallel with the media
strategy.
• Effective advertising is
the product of both
science (persuasion) and
art (creativity).
Prentice Hall, © 2009
12-3
The Role of Creativity
in Advertising
• Advertising creativity is a product of teamwork
between copywriters, art directors, and even
broadcast directors work together to generate
concept, word, and picture ideas.
• In advertising, creativity if both a job description
and a goal.
• Creativity is a special form of problem solving.
Prentice Hall, © 2009
12-4
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 which specify the desired
response to the message by the target audience.
• Proposition or selling idea that will motivate the target to
respond.
• Media considerations about where and when the message
should be delivered.
• Creative direction that provides suggestions on how to
stimulate the desired consumer response. These aren’t
creative ideas but may touch on such execution or
stylistic direction as the ad’s tone of voice.
Prentice Hall, © 2009
12-5
The Road Crew Creative Brief
•
•
•
•
•
•
Why are we advertising at all? To create awareness for an evening
alternative ride service.
What is the advertising trying to do? Make the new ride service
appealing to men in order to reduce the number of alcohol-related
crashes.
What are their current attitudes and perceptions? “My car is here
right now. Why wait? There are few options available anyway. I want
to keep the fun going all night long.”
What is the main promise we need to communicate? It’s more fun
when you don’t have to worry about driving.
What is the key moment that we tie to? “Bam! The fun stops when I
need to think about getting to the next bar or getting home.”
What tone of voice should we use? The brand character is rugged,
cool, and genuine. We need to be a “straight shooter” buddy on the
barstool next to the target. They do not want to be preached to or told
what to do. We need to communicate in a language they can relate to.
(Words like “program” may cause him to tune out.”)
Prentice Hall, © 2009
12-6
Targeting
• Target decisions are very important 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
– Tended to worry about driving home drunk and this
worry took the edge off an otherwise delightful
evening
Prentice Hall, © 2009
12-7
Branding
• 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,
• Brand icons reinforce lend personality,
emotion, and stories to their brands.
– Burger King’s “creepy” BK King
– GEICO Gecko
– Frontier’s animals
Prentice Hall, © 2009
12-8
Frontier’s “Flip” Campaign
Prentice Hall, © 2009
12-9
Table 12.1
Frazer’s Six Creative Strategies
Strategy
Description
Uses
Preemptive
Uses a common attribute or benefit
but brand gets there first–forces
competition into me-too positions.
Used for categories with little
differentiation or new product
categories.
Unique Selling
Proposition
Uses a distinct difference in
attributes that creates a meaningful
consumer benefit.
Used for categories with high
levels of technological
improvement and innovations.
Brand Image
Uses a claim of superiority
distinction based on extrinsic factors
such as psychological differences in
the minds of consumers.
Used with homogeneous lowtech goods with little
differentiation.
Positioning
Establishes a place in the consumer’s
mind relative to the competition.
Used by new entries or small
brands that want to challenge
the market leader.
Resonance
Uses situations, lifestyles, and
emotions with which the target
audience can identify.
Used in highly competitive,
undifferentiated product
categories.
Affective/
Anomalous
Uses an emotional, sometimes even
ambiguous message, to break
through indifference.
Prentice Hall, © 2009
Used where competitors are
playing it straight and
informative.
12-10
Table 12.3
Taylor’s Six-Segment Strategy Wheel
Message strategy is
divided into two
general views—the
Transmission view and
the Ritual view. These
are roughly equivalent
to our “head” and
“heart” strategies.
– Head: uses more
rational, cognitive
(thinking)
objectives
– Heart: uses more
emotional, affective
(feeling) objectives
Prentice Hall, © 2009
12-11
Strategic Formats and Formulas
• Lectures
– A series of instructions 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
Prentice Hall, © 2009
12-12
Strategic Formats and Formulas
• Rational CustomerFocused Strategies
– Benefit—what the product
does for the user; the
benefit
– Promise—what benefit the
user will get in the future
by using the product
– Reason—why you should
buy this product “because”
– Unique selling proposition
—a benefit unique to the
product and important to
the user
Prentice Hall, © 2009
12-13
Strategic Formats and Formulas
• Message Formulas
– Straightforward
– Demonstration
– Comparison
– Problem solution/
problem avoidance
– Humor
– Slice of life
– Spokesperson
– Teasers
Prentice Hall, © 2009
12-14
Strategic Formats and Formulas
• Matching Messages to Objectives
– Touch emotions
– Get attention
– Inform
– Create interest
– Teach
– Resonate
– Persuade
– Create believability
– Create brand
– Are remembered
association
• Slogans
• Taglines
– Drive action
• Key visual
Principle:
To get attention, an ad must have stopping power, which comes
from originality, relevance or intrusiveness—an idea that is
novel or surprising.
Prentice Hall, © 2009
12-15
Tangible and Intangible Features
Prentice Hall, © 2009
12-16
What is a Creative Concept?
• It’s an idea—a thought
or concept formed by
mentally combining
pieces and fragments
into something
meaningful.
• Concepting: the process
of coming up with a new
advertising idea.
• James Webb Young
defines an idea as a new
or unexpected
combination of thoughts.
Prentice Hall, © 2009
12-17
Advertising Big Ideas
• The point of focus for
communicating the
message
• A theme or central
concept (creative
concept)
• The “Road Crew” name
helped define the
campaign’s big idea
• The “Beats driving”
slogan supported the Big
Idea and communicated
a benefit
Prentice Hall, © 2009
12-18
The ROI of Creativity
• According to DDB
agency, an effective ad
is relevant (means
something to target
audience), original
(novel, fresh,
unexpected, unusual),
and has impact (makes
an impression)
Principle:
An idea can be creative for you if you have never thought of it
before, but to be truly creative it has to be one that no one else
has thought of before.
Prentice Hall, © 2009
12-19
The Creative Leap
• Divergent, right-brain
thinking explores
possibilities rather than
using rational thinking
• “Thinking outside the
box”
• Taking creative risks
Principle:
To get a creative idea, you must leap beyond the
mundane language of the strategy statement and see
the problem in a novel and unexpected way.
Prentice Hall, © 2009
12-20
The Creative Process:
How to Get an Idea
1. Immersion—read, research,
learn about problem
2. Ideation—look at the problem
from every angle; generate as
many ideas as possible
3. Brainfog—you may hit a wall
and want to quit
4. Incubation—let 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?
Prentice Hall, © 2009
12-21
All rights reserved. No part of this publication may be reproduced, stored in a
retrieval system, or transmitted, in any form or by any means, electronic,
mechanical, photocopying, recording, or otherwise, without the prior written
permission of the publisher. Printed in the United States of America.
Copyright © 2009 Pearson Education, Inc.
Publishing as Prentice Hall
Prentice Hall, © 2009
12-22