Planning and development of creative Marketing Communications

Integrated Marketing Communications Module 4: Developing the IMC program

Planning and development of creative Marketing Communications
Integrated Marketing Communications Module 4: Developing the IMC program Planning and development of creative Marketing Communications

Role of advertising: Source of entertainment, motivation, fascination, fantasy, information and sometimes irritation. Ads create or shape the consumers desires and goals. Ads can be used to create images and associations and position a brand in the consumer’s mind as well as transform the experience of buying and/or using a product or service. Eg. BMW – “the ultimate driving maching” Hallmark – “when you care enough to send the very best”

Underlying all the messages are two critical components:
Integrated Marketing Communications Module 4: Developing the IMC program Underlying all the messages are two critical components: Creative Strategy Determining what the advertising message will say or communicate Creative Tactics Determining how the message strategy will be executed

What is creativity?

What is creativity? Some people believe that innovativeness, artistic and aesthetic value and originality is what creativity is all about. Creative ads can break through the competition’s ads, grab the consumer’s attention and have some impact. Some other people say that an ad is creative only if it sells the product. They are more conservative than the creative people and want

Advertising creativity
Integrated Marketing Communications Module 4: Developing the IMC program Advertising creativity

Importance of creativity in advertising Good creative strategy can be central to determining the success of a product or service. It is an essential part of a strong brand building. It can create the ‘big idea’ Advertising creativity is the ability to generate fresh, unique and appropriate ideas that can be used as solutions to communications problems.

“The Big Idea” Describable in a simple word or phrase Likely to attract the prospect’s attention Lets prospects vividly experience the goods Revolves around the clinching benefit Allows you to brand the advertising

Creative thinking is needed from everyone involved in the promotional planning process. It is needed from the agency people, such as account executives, media planners, researchers as well as from the client side viz. marketing, brand managers etc. All must seek creative solutions to the problems encountered in planning, developing and executing an advertising campaign.

Creativity: everyone should chip in
Integrated Marketing Communications Module 4: Developing the IMC program Creativity: everyone should chip in Agency Account executives Media planners Researchers Attorneys Client Marketing managers Brand managers Upper management

Planning the creative strategy The creative challenge Taking creative risks Creative personnel The creative process Account planning Inputs to creative process Advertising campaigns Copy platform Search for the major selling idea

Planning the creative strategy The creative challenge The creative team must take all the research, strategy statements, communication objectives and transform them into an ad message. Do not focus on features/benefits of the product or services, they must put the advertising message into a form that will engage the audience’s interest and make the ads memorable

There are No rules. No formulae. No Right way
Integrated Marketing Communications Module 4: Developing the IMC program Rules lead to dull stereotyped advertising, and they stifle creativity, inspiration, initiative and progress. The only rule in advertising ….. There are No rules. No formulae. No Right way

Taking creative risks Clients often feel uncomfortable with advertising that is too different. Creative people say it is important for clients to take some risks if they want breakthrough advertising that gets noticed. Clients like Nike, Microsoft, Wrigley are more open to take risks. But ultimately the bottom line of advertising is ‘Does it sell?’ It is a balancing act that clients and ad agencies have to perform.

Wrigley confectionary

Creative risk

Creative personnel Creative personnel in the agency are often portrayed as ‘odd’ and ‘eccentric’ They are more abstract, less structured and rely on intuition. They often have non-business education in arts, humanities, literature etc. They have different mind sets from the ‘suits’ or marketing managers and account executives. Agencies should create environment to accommodate ideas and people from both these spectrums to create good ads.

Creative personnel Abstract Less structured Less organized Unconventional Intuitive

The debate Only artistic value and originality count It isn’t creative if it doesn’t sell Stick with what works Try something new Suits Artists

The creative process Some advertising people say that creativity in advertising can achieve success if an organized approach is followed. James Webb Young has developed a five step model.. He believes that production of ideas is similar to production of some product.. Ideas also run on an assembly line i.e. the mind runs a technique which can be learned and controlled..

Get raw material and data, and immerse yourself in the problem Immersion Take the information, work it over, wrestle with it in your mind Digestion Turn the information over to the subconscious to do the work Incubation “Eureka! I have it!” phenomenon Illumination Study the idea, evaluate it, reshape it for practical usefulness Verification

Young’s process of creativity is similar to a four step approach outlined much earlier by English sociologist Graham Wallas These models of the creative process are valuable to those working in the creative area of advertising

Wallas creative process model
Integrated Marketing Communications Module 4: Developing the IMC program Wallas creative process model Illumination Seeing the Solution Preparation Gathering Information The Creative Process Incubation Setting Problem Aside Verification Refining the Idea

Account Planning To facilitate the creative process, many agencies use account planning which involves conducting research and gathering all relevant information about a client’s product/service, brand, consumers and target audience. All the research (both qualitative and quantitative) is carried out which is the input to the creative process.

Inputs to the creative process: preparation, incubation, illumination Back Ground Research : Gathering relevant information from periodicals & Magazine, Brand Reports, Studies Some fact-finding techniques: Reading about the product or market Asking designers, engineers, salespeople, consumers Listening to people Using the product Other sources from which data can be gathered eg. Research agencies and Advertising associations.

Product/Service Specific Research This information comes in the form of specific studies conducted on product, the target audience or both. Consumer research in the form of attitude studies, market structure, positioning studies, perceptual mapping, lifestyle research, focus group interviews, demographic and psychographic profiles of users etc. are all examples of product specific research. BBDO’s problem Detection DDB’s Psychographic analysis & Brand Capital Report

Qualitative Research Focus group interviews give insight as to why and how consumers use a product or service Ethnographic research: observing consumers in their natural environment Eg. Ogilvy and Mather has a research unit called Discovery Group

Inputs to the creative process: Verification, Revision This stage evaluates ideas generated during the illumination stage, rejects the inappropriate ones, refines and polishes those that remain and gives them final expression. Consumers may be asked to evaluate the ad in the story board form Story board may be converted into an animatic form and this can be evaluated

Creative Strategy Development Advertising campaigns A set of interrelated and coordinated marketing communications activities that center on a single theme or idea that appears in different media across a specific time period. The central idea or theme is the key for a successful ad campaign

Company Campaign Theme DeBeers Diamonds are forever Nike Just do it BMW The ultimate driving machine Miller Lite Tastes great, less filling Wheaties Breakfast of champions

Copy Platform A document that specifies the basic elements of the creative strategy. Also known as creative platform, work plan, creative brief, creative blueprint or creative contract. It consists of the following: Basic problem / issue that advertising must address Advertising and communications objectives Target audience Major selling idea Campaign theme, execution technique Supporting information and requirements

The search for a major selling idea Some experts say that a campaign should have a big idea that attracts attention, gets a reaction and sets the advertisers product/service apart from the competitors. Some of the best known approaches for this are: - Unique selling proposition - Creating a brand image - Finding the inherent drama - Positioning

Unique selling proposition A USP has the following three characteristics: Each ad must say to the consumer what is the product benefit Such a proposition should be unique that no competition can offer The proposition should be strong enough to attract new customers to your brand USP should have a sustainable competitive advantage that competitors cannot easily copy.

Creating a brand image The creative strategy is based on the development of a strong memorable identity for the brand through image advertising. The image of a brand creates an appeal to the product users. It is especially more important when the competing brands are similar. Eg. No Fear creates an image representing the outer limits of human performance.

Finding the inherent drama Coined by Leo Burnett, inherent drama refers to the foundation of consumer benefits with an emphasis on the dramatic element in expressing those benefits. Burnett advocated a down-home type of advertising that presents the message in a warm and realistic way.

Positioning The basic idea is that advertising is used to establish or ‘position’ the product or service in a particular place in the consumer’s mind. Products can be positioned on the basis of product attributes, price, quality, usage or application, product users or product class.

Creative Strategy: Implementation and Evaluation
Integrated Marketing Communications Module 4: Developing the IMC program Creative Strategy: Implementation and Evaluation

Previous section described WHAT the advertising message should communicate. This section focuses on HOW the message will be executed. Two basic concepts are: Appeals and Execution Styles

The approach used to attract the attention of consumers Advertising Appeals To influence consumer feelings toward a product, service or cause The way an appeal is turned into an advertising message Execution Style The way the message is presented to the consumer

Advertising Appeal It refers to the approach used to attract the attention of the consumers and/or to influence their feelings toward the product, service or cause. It is something that moves people, speaks to their wants or needs and excites their interest. The different appeals are: - Informational/rational appeals - Emotional appeals - Combining rational and emotional appeals - Other types of appeals

Informational / Rational Appeals
Integrated Marketing Communications Module 4: Developing the IMC program Informational / Rational Appeals Feature Appeal: Focus on dominant traits of the product Competitive Advantage Appeal: Makes comparisons to other brands Favorable Price Appeal: Makes price offer the dominant point News Appeals: News announcement about the product Product Popularity Appeal: Stresses the brand’s popularity

Emotional Appeals They relate to the customers’ social and/or psychological needs for purchasing a product or service. Sometimes the feelings for a brand can be more important than the attributes of the product. Some of the emotions are:

Stimulation Sorrow, Grief Pride Achievement Accomplishment Self-esteem Embarrassment Actualization Pleasure Ambition Comfort Safety Security Fear Love, Affection Happiness, Joy Nostalgia Sentiment Excitement Arousal

Approval Affiliation Acceptance Embarrass-ment Social-Based Feelings Status Belonging Respect Involvement Rejection Recognition

Transformational Advertisement A ‘transformational ad’ is the one which associates the experience of using the brand with a unique set of psychological characteristics.

It must make the product use experience . . .
Integrated Marketing Communications Module 4: Developing the IMC program Feelings Images The ads create . . . Meanings Beliefs It must make the product use experience . . . Richer Warmer More Exciting More Enjoyable

Combining rational and emotional appeals Consumer purchase decisions are often made on the basis of both emotional and rational motives. Hence attention should be given to both in developing effective advertising. Consumers develop ‘emotional bonding’ with the brands. Consumers also assign a ‘personality’ to a brand.. Eg. A brand may be thought of as aggressive, adventurous, self-assured etc.

Levels of relationships with brands
Integrated Marketing Communications Module 4: Developing the IMC program Levels of relationships with brands Emotions Personality Product Benefits

Other types of Appeals Reminder Advertising: building brand awareness and/or keeping the brand name in front of the customers Advertisers introducing new products often use Teaser Advertising to build curiosity, interest and excitement by talking about it but not actually showing it. Also called mystery ads. Care should be taken not to stretch teaser ads for too long or they will loose their effectiveness.

Advertising Execution Creative execution is the process by which the advertising appeal is presented. How you say is also as important in advertising as What you say. An advertising message can be presented or executed in numerous ways:

Scientific/Technical
Integrated Marketing Communications Module 4: Developing the IMC program Execution Techniques Straight sell Animation Scientific/Technical Personality Symbol Demonstration Imagery Comparison Dramatization Testimonial Humor Slice of life Combinations

Straight Sell or Factual Message Straightforward presentation of information concerning the product or service Often used with informational/rational appeals where focus is the product and its attributes. Commonly used in print ads where information is given along with the picture.

Scientific/Technical Evidence Variation of the straight sell where scientific evidence is presented in the advertisement. Ad may have result of laboratory testing, endorsement of scientific bodies, agencies etc. Eg. Colgate – endorsed by Dental Association

Demonstration Illustrating the key advantages of the product by showing it in actual use. Generally used in TV ads where products are shown being used and the associated benefits are shown.

Comparison This approach is a direct way of communicating a brand’s particular advantage over its competitors. Also used for positioning a new or lesser known brand with industry leaders.

Testimonial A person praises the product or service on the basis of his or her personal experience with it. Usually ordinary customers discuss their experiences with the brand and the benefits of using it. A related technique is ‘endorsement’ where a celebrity/expert speaks on behalf of the company or the brand.

Slice of Life Widely used advertising format based on a problem/solution approach. The ad shows a problem that consumers might face in their daily life and how the product/service can resolve the problem. Eg. Dandruff, bad breath, body odor, laundry problems Another approach is ‘slice of death’ in which the ad uses a fear appeal. It shows negative consequences by using some other product/service.

Animation An advertising execution approach that has become popular is the use of animated characters, drawn by artists or created on computer. Cartoon animation is especially popular for commercials targeted at children.

Personality Symbol This involves developing a central character that can deliver the advertising message and with which the product can be identified. They can be animated characters, animals or people. Eg. Camel

Fantasy This is well suited for TV ads where the viewers can escape in a 30 second different world / lifestyle. The product or service becomes the central part of the situation. Eg. Cosmetics ads often use fantasy appeals

Dramatization Here the focus is on telling a short story with the product/service as the star. A bit similar to slice of life but more excitement and suspense. The story involves opening – conflict situation – drama – suspense – conflict resolution and climax

Humor Humor is well suited for TV and radio and can be a good advertising appeal Combinations Many of the above execution techniques can be combined to present the advertising message. Eg. Animation is often used to create personality symbols or fantasy

Creative Tactics Once the creative approach, type of appeal and execution style have been determined, the actual advertisement is created. It involves verbal and visual elements and tactical considerations

Creative tactics for print advertising
Integrated Marketing Communications Module 4: Developing the IMC program Creative tactics for print advertising Headline Words in the Leading Position of the Ad Subheads Smaller Than the Headline, Larger Than the Copy Body Copy The Main Text Portion of a Print Ad Visual Elements Illustrations Such As Drawings or Photos Layout How Elements Are Blended Into a Finished Ad

Visual element Indirect headline Body copy

Creative tactics for television
Integrated Marketing Communications Module 4: Developing the IMC program Creative tactics for television Sight Motion Sound

Production stages for TV commercials
Integrated Marketing Communications Module 4: Developing the IMC program Production stages for TV commercials Preproduction All work before actual shooting, recording Production Period of filming, taping, or recording Postproduction Work after spot is filmed or recorded

Select a director Preproduction meeting Choose production company Preproduction Production timetable Bidding Cost estimation and timing

Production Location Timing Talent

Editing Processing Release/ shipping Sound effects Postproduction Duplicating Audio/video mixing Approvals Opticals

Guidelines for evaluating the creative output
Integrated Marketing Communications Module 4: Developing the IMC program Guidelines for evaluating the creative output Consistent with brand marketing objectives? Consistent with brand advertising objectives? Consistent with creative strategy, objectives? Communicates what it’s supposed to? Approach appropriate to target audience? Communicates clear, convincing message? Does execution overwhelm the message? Appropriate to the media environment? Truthful and tasteful?

MEDIA PLANNING AND STRATEGY
Integrated Marketing Communications Module 4: Developing the IMC program MEDIA PLANNING AND STRATEGY

Media Planning It is the series of decisions involved in delivering the promotional message to the prospective purchasers and/or users of the product or brand. Media Objectives Media Strategies

Medium It is the general category of available delivery systems which includes broadcast media, print media, direct mail, outdoor advertising and other support media. Media vehicle It is the specific carrier within a medium category. Eg. Times of India is a print vehicle, E24 is a broadcast vehicle.

Reach It is a measure of the number of different audience members exposed at least once to a media vehicle in a given period of time. Coverage It refers to the potential audience that might receive the message through a vehicle.

Problems in Media Planning Insufficient information Inconsistent terminologies Time pressures Difficulty in measuring effectiveness

Steps involved in developing the media plan Market analysis & target market identification Establishment of media objectives Media strategy development and implementation Evaluation and follow up

1. Market analysis and target market identification The key questions asked in this stage are: i. To whom shall we advertise (who is the target market)? ii. What internal/external factors influence the media plan? iii. Where should we focus our efforts?

In response to the first question, target markets may be derived from Situational analysis Primary research Secondary data Potential of the market may be known from the index number: Index = % of users in a demographic segment x 100 % of population in the same segment

There may be several internal and external factors operating.. Internal factors – size of the media budget, managerial and administrative capabilities, organization of the agency External factors – economy (cost of media), changes in technology (availability of new media), competitive factors Some of the above may require primary research but many of them are available from secondary sources like: magazines, syndicated services etc.

The question of where to promote can be answered by using some indexes like: The survey of buying power index published annually by Sales and Marketing Management magazine. The Brand Development Index (BDI) BDI = % of brand to total U.S. sales in the market x 100 % of total U.S. population in the market The Category Development Index (CDI) CDI = % of product category total sales in the market x 100

2. Establishing Media Objectives The media situation analysis should lead to determination of specific media objectives. These objectives are designed to lead to the attainment of communications and marketing objectives. Eg. “Create awareness in the target market through the following:” - Broadcast media to cover 80% of target market over 6 months - Reach 60% of target audience 3 times over 6 months After this, comes the media strategies..

3. Developing and implementing media strategies The following criteria are considered in the development of media strategies: i. The media mix ii. Target market coverage iii. Geographic coverage iv. Scheduling v. Reach vs. frequency vi. Creative aspects and mood vii. Flexibility viii. Budget considerations

i. The media mix A wide variety of media and media vehicles can be used. This depends on the objectives, characteristics of the product, budget etc. By combining the media, marketers can increase coverage, reach, frequency levels. Eg. For demonstration ads, TV is best media, for coupons to stimulate demand, print media can be used, for in-depth information, internet can be used

ii. Target market coverage The media planner determines which target markets should receive the most media emphasis. The issue is the coverage of the market. If the media coverage reaches people who are not potential customers, it is waste coverage. The goal is to cover the max. target market and reduce the waste coverage.

iii. Geographic coverage According to the product or service attributes, the media planner can decide in which areas to focus the promotion. For eg. Ski products would be popular in areas where snow is available during some period of the year.

iv. Scheduling It is timing the promotional efforts so that they will coincide with the highest potential buying times. Continuity: regular pattern of advertising without breaks (daily, weekly..) Flighting: Less regular schedule with intermittent periods of advertising and non advertising (seasonal products) Pulsing: Combination of the above two methods. Ads are shown all year long with intermittent surge in frequency

v. Reach vs. frequency There is a tradeoff between the reach (how many people) and the frequency (how often) of advertising due to budget constraints. Achieving brand awareness for new product need a very high level of reach. But how to establish reach and frequency objectives? If one ad is placed on two shows, the total number exposed once is “unduplicated reach” There are people who see both shows and the overlap is called as “duplicated reach”

Both are important, unduplicated reach – potential new exposures Duplicated reach – estimate of frequency Program Rating = % of households with TV who watch a program Gross rating points (GRP) = Reach x Frequency Target rating points (TRP) = no. of people in target audience the media will reach, and the number of times The reach-vs-frequency decision is very difficult to make. It is more of an art than a science.

vi. Creative aspects and mood For implementing creativity, a medium should be used which will support the creative aspects. The creative and media department work closely to determine the best fit. Certain media enhance the creativity of a message because they create a mood that carries over to the communication. Hence a media can also create a perception about the message placed in them. Eg. TV vs. Internet

vii. Flexibility The media strategy should be flexible to address the following: Market opportunities – development of new ad medium Market threats – competitor may alter his media strategy Availability of media – alternative media should be considered Changes in media – eg. Advent of cable TV

viii. Budget considerations The value of strategy can be determined by how well it delivers the message to the audience with the lowest cost and least waste. The promotional costs can be categorized as: Absolute cost of medium – cost required to place the message Relative cost – relationship between the price paid for advertising and size of the audience delivered

Calculating relative cost: Cost per thousand (CPT) = Cost of ad space (absolute cost) x 100 circulation Cost per ratings point (CPRP) = Cost of commercial time Program rating Daily inch rate (newspapers) = Cost of ad space x 1000

IT IS BETTER TO TRY THAN NOT TO ATTEMPT
Integrated Marketing Communications Module 4: Developing the IMC program 4. Evaluation and follow up All plans need some evaluation to assess their performance. The questions to be asked are: - How well did these strategies achieve the media objectives? - How well did this media plan contribute to attaining the overall marketing and communications objectives? Challenges in media planning are measurement and lack of consistent terminology. IT IS BETTER TO TRY THAN NOT TO ATTEMPT

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