Transcript Moriarty_8e_Basic_12

The Creative Side and
Message Strategy
Part 4: Principles: Creativity and Breakthrough
Advertising
Chapter 12
Prentice Hall, © 2009
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Questions We’ll Answer
• How do we explain the function and
most important parts of a creative brief?
• What are some key creative strategy
approaches?
• Can creative thinking be defined, and
how does it lead to a Big Idea?
• What characteristics do creative people
have in common, and what is their
typical creativePrentice
process?
Hall, © 2009
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THE TWO SIDES OF ADVERTISING
The Art and Science of Advertising
• The advertisement translates the logic of
planning decisions into a creative idea that
is original, attention getting, and
memorable.
• Ads must persuade people to take action
and make a relevant connection with the
audience while presenting a selling idea in
an unexpected way.
• Effective advertising is the product of both
science (persuasion) and art (creativity).
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THE TWO SIDES OF ADVERTISING
The Role of Creativity
• Advertising creativity is a product of
teamwork between copywriters, art
directors, and even broadcast directors
working 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.
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MESSAGE PLANNING
What is creative strategy?
• The creative strategy phase brings together
the art and science of advertising.
– Ad ideas must be creative (original, different,
novel, unexpected) and strategic (right for the
product and target; meets advertising objectives.
• Creative strategy/message strategy
– What the ad says
• Execution
– How it is said
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MESSAGE PLANNING
The Creative Brief
• Spells out the creative strategy and key
execution details.
• Prepared by the account planner to
summarize the basic marketing and
advertising strategy.
• Provides direction to the creative team to
develop a creative concept.
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MESSAGE PLANNING
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.
• 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.
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MESSAGE PLANNING
The Road Crew Creative Brief
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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.)
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MESSAGE PLANNING
Message Objectives
• See/hear—create attention, awareness, interest,
recognition.
• Feel—touch emotions and create feelings.
• Think/learn—deliver information, aid
understanding, create recall.
• Believe—change attitudes, create conviction, and
preference.
• Connect—establish brand identity and
associations, transform a product into a brand with
distinctive personality and image.
• Act—stimulate trial, purchase, repurchase or some
other form of action.
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MESSAGE PLANNING
Road Crew Goals and Objectives
• Goal—Reduce alcohol related crashes by 5%
• Objectives
– Create awareness of the ride service program and
positive attitudes toward it.
– Establish a cost-efficient level of rides in the first
year of operations, which involved fund-raising,
soliciting volunteers, and other community support.
– Address the gap between awareness (don’t drink and
drive), attitudes (risky, scary, potentially dangerous),
and behavior.
– Encourage a behavior change consistent with new
attitudes and awareness..(get
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MESSAGE PLANNING
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.
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MESSAGE PLANNING
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
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MESSAGE STRATEGIES
Creative Strategy Approaches
• Head and Heart
– Head: uses more rational, cognitive (thinking)
objectives.
– Heart: uses more emotional, affective (feeling)
objectives.
• Hard Sell and Soft Sell
– Hard sell: 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.
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MESSAGE STRATEGIES
Creative Strategy Approaches
• Frazer’s Six Creative Strategies
– Six creative strategies that address various types
of advertising situations; identify common
approaches to advertising strategy.
• Taylor’s Six-Segment Strategy Wheel
– Divides strategies into the Transmission view
(“head” strategies) and the Ritual view (“heart”
strategies).
– Each view is divided into three segments:
Rational, Acute Need, and Routine on the
Transmission side; and Ego, Social, and Sensory
on the Ritual side.
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MESSAGE STRATEGIES
Strategic Formats and Formulas
• Lectures
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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
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MESSAGE STRATEGIES
Strategic Formats and Formulas
• Selling Strategies
– A selling premise uses a rational (head)
approach that states the logic behind the sales
offer.
– An appeal uses an emotional (heart) approach to
make the product attractive or interesting.
– A feature or attribute has a practical effect on
customers.
– A claim is a product-based strategy based on
how well the product will perform.
– Support is the proof or substantiation needed to
make a claim believable.
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MESSAGE STRATEGIES
Strategic Formats and Formulas
• Rational Customer-focused 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.
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MESSAGE STRATEGIES
Strategic Formats and Formulas
• Message Formulas
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Straightforward
Demonstration
Comparison
Problem solution /problem avoidance
Humor
Slice of life
Spokesperson
Teasers
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MESSAGE STRATEGIES
Strategic Formats and Formulas
• Matching Messages to Objectives
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Get attention
Create interest
Resonate
Create believability
Are remembered
• Slogans
• Taglines
• Key visual
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MESSAGE STRATEGIES
Strategic Formats and Formulas
• Matching Messages to Objectives
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Get attention
Create interest
Resonate
Create believability
Are remembered
• Slogans
• Taglines
• Key visual
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Touch emotions
Inform
Teach
Persuade
Create brand
association
– Drive action
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CREATIVE CONCEPTS
What is a creative concept?
• 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.
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CREATIVE CONCEPTS
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.
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CREATIVE CONCEPTS
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).
• 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.
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CREATIVE CONCEPTS
The Creative Leap
• Divergent, right-brain thinking explores
possibilities rather than using rational
thinking.
• “Thinking outside the box.”
• Taking creative risks.
• 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.
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CREATIVE CONCEPTS
Characteristics of Creative People
• Assertive, self-sufficient, persistent, selfdisciplined.
• High tolerance for ambiguity and powerful
egos; risk takers who are internally driven.
• Don’t care much about group standards and
opinions; typically have inborn skepticism and
strong curiosity.
• Key characteristics of advertising creatives:
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Problem solving
Ability to visualize
Openness to new experiences
Conceptual thinking
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CREATIVE CONCEPTS
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 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?
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CREATIVE CONCEPTS
Brainstorming
How to get an idea:
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Get a group of 6–10 people together to come
up with ideas.
People and ideas play off of each other and
stimulate more ideas than one could alone.
Stay positive, don’t judge, don’t criticize.
No distractions or interruptions.
Write everything down.
Only after all ideas have been expressed and
every avenue exhausted, you start picking
through and evaluating the ideas.
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CREATIVE CONCEPTS
How to Create Original Ideas
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What If?
An unexpected association
– Free association
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Dramatize the obvious
Catchy phrasing
An unexpected twist
A play on words
Analogy and metaphor
Familiar and strange
A twisted cliché
Twist the obvious
To prevent unoriginal ideas, avoid “the look-alike”
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CREATIVE CONCEPTS
Little Guys and Big Ideas
• Small, boutique agencies may be more
open to risk.
• Sources like Zimmerman Advertising sell
stock advertising online.
• A professional licensing firm, Thought
Equity, recycles unused advertisements.
• User-generated “citizen ads” like those
found on YouTube or contributed through
contests can form an entire campaign.
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MANAGING CREATIVE STRATEGY
Little Guys and Big Ideas
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Extension: An Idea with Legs
– A strong “Big Idea” be an umbrella for a variety of executions.
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Adaptation: Taking an Idea Global
– Standardizing the campaign across multiple markets only works if
the strategy and objectives are the same.
– Creative executions may be customized due to cultural differences.
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Evaluation: The Go/No Go Decision
– Is it on strategy?
– Structural analysis:
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The power of the narrative
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The strength of the product claim
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How well the two are integrated
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Copy Testing
– A formal method to evaluate effectiveness.
– Vampire creativity — so creative the product may not be
remembered.
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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
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