Transcript moriarty8e_media_12

Advertising Principles
and Practices
The Creative Side
and Message Strategy
Part Four:
Effective Advertising Messages
• Examines breakthrough
advertising, and how
creatives are developing
messages people want to
watch and read.
• Advertising creatives must
be innovative and use
ideational thinking and
processes, in spite of
constraints and political
pressures from clients.
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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 creative process?
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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
Visit the
Flipmobile in Denver.
Site
• Bookings rose 56% and
unaided awareness
doubled after the
campaign ran.
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The Two Sides
of Advertising
• Media and message
strategy work together
to create effective
advertising.
• Creative activities
work in parallel with
the media strategy.
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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 be
presenting a selling idea in an unexpected way.
Principle:
Effective advertising is the product of both
science (persuasion) and art (creativity).
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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.
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Message Planning
• 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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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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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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The Road Crew Campaign
Social marketing
campaign to get
young men in
Wisconsin small
towns who drink
and drive to use a
ride service.
Visit the
Site
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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.”)
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Message Objectives Based
on Facets Model
• 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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Goal and Objectives of
Road Crew Campaign
• 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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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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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
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Video Snippet
Aflac’s agency reveals
how they came up with the
duck as an icon. 12-16
Frontier’s “Flip” Campaign
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Message Strategies
• Based on objectives, the goals are translated into
strategies
• A creative strategy is an approach that makes the
most sense given the brand’s marketing situation
and the target audience’s needs and interests.
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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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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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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.
Used where competitors are
playing it straight and
informative.
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Table 12.3
Taylor’s Six-Segment Strategy Wheel
The wheel divides
message strategy into two
general views—the
Transmission view and
the Ritual view. These are
roughly equivalent to our
“head” and “heart”
strategies.
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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
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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
will the product will perform.
– Support is the proof or substantiation needed to
make a claim believable.
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Strategic Formats and Formulas
• Rational Customer-focused
Strategies
• Benefit—what the
product does for the user;
benefit
• Promise—what benefit
the user will get in the
future
• Reason—why you
should buy this “because”
• Unique selling
proposition—a benefit
unique to the product
and important to the user
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Strategic Formats and Formulas
• Message Formulas
– Straightforward
– Demonstration
– Comparison
– Problem solution
/problem avoidance
– Humor
– Slice of life
– Spokesperson
– Teasers
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Strategic Formats and Formulas
• Matching Messages to Objectives
– Get attention
– Create interest
– Resonate
– Create believability
– Are remembered
• Slogans
• Taglines
• Key visual
Principle:
To get attention, ad ad must have stopping power, which comes
from originality, relevance or intrusiveness—an idea that is
novel or surprising.
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Strategic Formats and Formulas
• Matching Messages to Objectives (cont.)
–
–
–
–
Touch emotions
Inform
Teach
Persuade
Principle:
When advertising gives consumers permission to believe in a
product, it establishes the platform for conviction.
– Create brand association
– Drive action
Principle:
Not only does advertising have to stop (get attention) and
pull (create interest), it also has to stick (in memory).
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Tangible and Intangible Features
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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.
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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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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.
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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.
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Dialing Up Your Creativity
• Characteristics of creative people
– Assertive, self-sufficient, persistent, self-disciplined.
– 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
–
–
–
–
Problem solving
The ability to visualize
Openness to new experiences
Conceptual thinking
Principle:
Emphasize concepts. Worry about execution later.
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The Creative Process:
How to Get an Idea
It is hard work; usually involves a series of 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—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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Brainstorming
• 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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How to Create Original Ideas
• What If?
• An unexpected association
– free association
• 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” and the
tasteless.
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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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Thought Equity Stock Video
• Sells royalty-free stock video footage for use in
television commercials, client pitch presentations,
and corporate videos.
Visit the
Site
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Managing Creative Strategy
• Extension: an Idea with Legs
– A strong “Big Idea” be an umbrella for a variety of executions
• 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
• 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
• Copy Testing
– A formal method to evaluate effectiveness
– Vampire creativity—so creative the product may not be
remembered
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Discussion Questions
Discussion Question 1
• Find an ad in this book that you think is
the most creative.
• What is its Big Idea? How and why
does it work?
• Analyze the ad in terms of the ROI
formula for evaluating effective,
creative advertising.
• Re-create the creative brief that would
summarize the ad’s message strategy.
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Discussion Question 2
• Divide the class into groups of 6 to 10 people and
discuss this problem: Your community wants to
encourage people to get rid of their cars and use
alternative forms of transportation. Brainstorm for
15 minutes as a group, accumulating every possible
idea. How many ideas are generated? Here’s how to
run this brainstorming group?
– Appoint one member to be the recorder who lists ideas as
they are mentioned.
– Appoint another member to be the moderator and suggest
techniques described in this chapter as idea starters.
– Identify a cheerleader to keep the discussion positive and
find gentle ways to discourage critical or negative
comments.
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Discussion Question 2 (cont.)
– Identify a cheerleader to keep the discussion positive and
find gentle ways to discourage critical or negative
comments.
– Work for 15 minutes throwing out as many different
creative concepts as your team can come up with,
regardless of how crazy or dumb they might initially sound.
– Go back through the list as a group and put an asterisk next
to the 5 to10 ideas that seem to have the most promise
• When all the groups reconvene in class, each
recorder should list the groups best ideas on the
blackboard. As a class, pick out the three ideas that
seem to have the most potential. Analyze the
experience of participating in a brainstorming group
and compare the experiences of the different teams.
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Discussion Question 3
• Three-minute debate: Here’s the topic: Is
entertainment a useful objective for an advertising
campaign? This is an issue that advertising experts
debate because, although entertainment may get and
keep attention, some experts believe the focus should
be on selling products not entertaining consumers.
Build a case for your side—either pro or con on the
effectiveness of entertaining ads.
• In class, organize into small teams with pairs of teams
taking one side or the other. Set up a series of threeminute debates with each side having half that time to
argue its position.
• Every team of debaters has to present new points not
covered in the previous teams’ presentations until
there are not more arguments left to present. Then the
class votes on the most compelling argument.
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Copyright © 2009 Pearson Education, Inc.
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