Copywriting BMM-Semester-V BMM-Semester-V By: M H Lakdawala
Chapter 1. Copy IN!"#$CI"N %hat is Copywriting&
Copywriting is essentially selling with words . Copywriting is using words to convince readers they will benefit (come out ahead) by using a certain product or service and then motivating them to take action (buy). Copywritin Copywriting g is the words used in advertiseme advertisements, nts, TV commercial commercials, s, and brochures. brochures. Whenever a business business promotes itself (through a press release, a leaflet or a newsletter), it needs a 'opywriter . Thats why copywriting is everywhere ! on big posters, local newspaper ads, and every clever slogan. "nd when you put a postcard in a newsagent#s window, to sell your old hi!fi, you#re using copywriting again. Copywriting is pro(a(ly the most 'reati)e and demanding (ran'h o* writing. +o, start with a (lank sheet o* paper. +o, may ha)e only a 'o,ple o* days to meet the 'lients deadline. nd yo,r work 'o,ld (e read (y millions o* people. %ho needs 'opywriters& The market is vast. $very business, small and large, has to promote itself. $very company needs leaflets or direct mail letters. "nd every new product needs a pack that will entice en tice us to buy it.
These days all organi%ations need to communicate. That includes hospitals, local authorities and charities. &o the opportunities for the copywriter are infinite. 'ecause organi%ations constantly alter, their literature and ads need regularly changing, too. That keeps copywriters busy
I. ttri( ttri(,te ,tess o* a good good 'opywr 'opywrite iterr . " good copy writer has an e*cellent and well!rounded portfolio ! Take a look at a copywriter#s past work. +s it professional -o you see some good concepts "re the proects high!caliber /ou don#t necessarily have to see work that is specific to your particular industry. " broad spectrum of work demonstrates a copywriter#s talent and skill as well as the ability to adapt her knowledge to ust about any market. " good portfolio will also show e*perience in a range of formats, such as print, web, outdoor, direct mail, press releases and corporate communications. 0. has plenty of marketing and public relations savvy ! 1retty words are, w ell, pretty. 'ut they don#t necessarily do what you want them to do for you. 2ook for a copywriter who has a rich background in marketing and public relations. That person will have a 3uicker and deeper grasp of what the copy needs to do and how to make it do it. 4. 2istens to clients ! When a copywriter co pywriter listens to a client, wheels are turning. 5e#s making observations about the 6who, what, when, where and why6 of your company, product or service. 7uestions come to his 'y8 9 5 2akdawala
mind. 5e will have things he wants to discuss and find out more about. ab out. 'ut first, he listens carefully to what you have to say. :. "sks the right 3uestions ! /ou don#t don# t want an order taker; you want a copywriter who knows how to find out what she needs to in order to do the best ob. What is your goal Who do you need to sell to Why should people care about your product or service What sets you apart from your competition What does your product or service does and how does it do it 5ow are you already reaching out to your audience with marketing and public relations <. -oesn#t always take your word for it ! &ure, it#s important for a copywriter to und erstand the client#s take on the situation. 'ut a thorough copywriter will do a little digging on his ow n to find out things like how the competition brands itself, what#s being said about your company, product or service and what is generally important to your customers# buying decision. =. 'rings ideas to the table ! /ou tell your copywriter you want content for your web site, ust your basic ba sic "bout >s, 1roducts ? &ervices and 5ow to Contact >s. " good go od copywriter will make suggestions, like 65ave you thought about featuring some case studies6, 65ave you had a key word analysis yet6 or 65ow about doing a newsletter that will let you capture email information6 @. Can develop concepts ! The copywriter#s approach to a proect is often determined by the client#s process. &ometimes a graphic designer has already created a look and feel, determined what the tone should be. Ather times, the copywriter is called upon to help shape the message from the beginning. Bind a copywriter who has e*perience developing concepts and you#ll have someone who can make a broader contribution to the proect. . " good copy writer is empathetic ! Dead something written by a good writer and you can tell that she truly becomes the customer, brings that person right into her head. When she writes about abou t a new home, she imagines walking through her dream house. When the reader will be a business person who has been thinking seriously about going back to school for that 9'", the copywriter feels that person#s restlessness and desire to move up. E. Affers fle*ibility ! /ou need someone who will meet your time constraints and deadlines. Ar maybe the copywriter will need to be proactive and persistent about getting information from some very busy, hard to reach people. Whether it#s patience or persistence you re3uire in your copywriter, cop ywriter, she should be someone who can deliver. F. +s someone you enoy working with ! +n the end, when you#ve determined that a copywriter has what it takes!!talent, skill, e*perience, savvy!!it comes down to whether or not she is someone you respect and enoy working with. The work will thrive if you#re a good team.
/!INCI/L0S " C"/+%!IIN2 1. $se ttention 2etting Headlines
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For example – print ad for DHL uses only one word as it’s headline – “URGEN!" whi#h is underlined in red" and is enou$h to attra#t anyone’s attention% &tar ' print ad for he (i$ Fi$ht does not use words" )ut uses a pair of )oxin$ $lo*es as headline% 3. 04pand Headline with Lead /aragraph
Bollow up the headline immediately with the first paragraph. +f you ask a 3uestion, answer it. +f you propose a thought, e*plain it. -on#t leave them hanging too long; you may end up hang ing yourself. he ad for +aruti N,N fleet solutions uses the headline “ -ho says mana$in$ a hu$e fleet of #ompany #ars is hard wor./ his is followed )y the lead para$raph whi#h e*plains how e*plains how +aruti N,N wor.s 5. #raw the !eader In
"void page and advertising layouts that are confusing or hard to read. Deading your message should be a pleasure to read. Geep your copy simple, clear and concise. Talk to your reader as you y ou would wo uld a friend or family member. 'e straight and sincere with them. &pell it out and e*plain points that need e*plaining. -on#t leave your reader second!guessing your copy. 6. o',s on the !eader7 not the /rod,'t
Af course your copy must contain information and facts about your product or service, but that is not your focal point. /ou must focus the reader. reader. >se their needs, wants, wants, desires, desires, fears, weaknesses, weaknesses, concerns, and even fantasies to sell your product or service. he ad for La.me Deep 0ore 1leansin$ )e$ins with the headline “here2s a lot that shows on your fa#e!% he (ody 'opy in'l,de in'l,dess - Now7 one-and-aone-and-a-hal* hal* min,tes min,tes is all it takes takes to ,n'o)er ,n'o)er the real yo,. /resenting /resenting the 'omplete 'omplete #eep /ore Cleansing !egimen !egimen *rom Lakme. Lakme. Simply (e'a,se yo,r *a'e says it all. h,s7 not only does the ad talk a(o,t the prod,'t7 it also *o',ses e8,ally on the reader. $sing words like 9yo, wo,ld make the reader *eel good7 rather than an ad that (oasts a(o,t the prod,'t (,t says nothing a(o,t how to ,se it7 how it 'o,ld make yo,r li*e (etter7 et'. ;. $se the <hat=s !ight>< /rin'iple
Het your prospect to agree with you. Tell them something they know already. Het them to say to themselves, 6That#s Dight6 he print ad for JW Marriott starts starts with the headline 34 34 5our mom .nows exa#tly how you li.e your )ed" your toast" and your #offee6% his headline will indeed ma.e the tar$et ex#laim – that’s ri$ht7 ?. sk /ro)o'ati)e @,estions: 2eading into your copy or headline with thought provoking 3uestions will grab the reader#s interest and move them to read more for the answer.
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he ad for De##an 1hroni#le uses an attra#ti*e female model as.in$ a pro*o#ati*e 8uestion li.e – “-ant to play the num)er Game/!% he ad a#tually tal.s a)out the impressi*e fi$ures of #ir#ulation of the De##an 1hroni#le% A. Mo)e @,i'kly *rom Intro to the /it'h: -on#t waste your reader#s time trying to 6warm them up6. +f they got that far, there#s blood flowing already. 1eople are busy creatures. +f you lose their interest, you neither sell nor profit. Het on with it . Be Sin'ere: What#s the number one fallback for sales on the web Bear Bear of being scammed or ripped!off. The more sincere you are the better your chance of building a 6selling6 relationship. Sahara #omes a#ross in its ad where the he sin#erity and $enuineness of Air Sahara the )ody #opy says – as hard as we may try at this time of the year 9winter:" 9winter:" there are #han#es of fli$ht delays due to weather #onditions% #onditions% E*ery step is ta.en to help passen$ers $et to their destinations on time% o ma.e this pro#ess p ro#ess easier" we need your help too% . #on=t Contradi't +o,rsel*: -ouble!check your copy. /ou would be surprised to know that many copywriters unknowingly contradict themselves leaving the reader suspicious, thus destroying your credibility with them. 1D. Eeep +o,r o',s ligned The more focused your target group, the better your chance of meeting their needs. -on#t try to sell everyone 11. Make +o,r /rod,'t Irresisti(le -ress it up. /our product should sound like the cream of the crop. Bocus on your selling point (price, 3uality, etc) and make it impossible for the reader to imagine another in comparison. 13. $se ear as Moti)ation: Bear is both a weakness and strength, but also a powerful selling tool. Bear of inury, death or missed opportunity. +f you sell a safety product you would use this fear to your advantage. +f you#re offering an opportunity, the fear of missing their chance is a strong seller.
+any ads for finan#ial ser*i#es use fear to moti*ate their tar$et% For example in the ad for New ;ndia
Ex4 the institutional ad for Eure.a For)es whi#h shows model
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" guarantee reassures the reader that you are reputable and will live up to your promises. For example" in the 'im (ar '1" the an#hor promises that if “your! “yo ur! deter$ent is )etter than 'im (ar" you will $et a year’s supply of your deter$ent free% his $uarantee lends #redi)ility to the offerin$ and indu#es the *iewer to a#t% 1?. $se
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1A. Share a Se'ret 1eople want to get the inside track. +f you can convince your prospect that you have an e*clusive message for them, you#re one step closer to a sale. 1. Eeep It Li)ely: There are many ways to keep your copy lively. Telling a (brief) story is a strong techni3ue for getting your message across. &eparating and highlighting key information or facts is another. >sing personal pronouns like 6you6, we and us will add a sense of warmth to your copy. 1. 2o with the low Writing copy re3uires the ability to make a smooth transition from one point to another. Dather than laying them out like a list, learn to use transitional words. Transitional words are used to go from one point to another. 3D. Che'k +o,r Spelling Take the time and spell!check your work. Binding misspelled words in copy leaves the reader wondering how competent your product or service could be, if you cannot take the time to be sure you spelled the words in your web copy correctly. 31. $se /hoto=s to #emonstrate: >se photos to demonstrate your product or service. +f used correctly a picture really is worth a thousand words. sing buttons, icons and arrows can help direct the reader#s attention to important details. +f organi%ed correctly they can also help sort facts or messages into categories.
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he ad for oyota ?ualis uses arrows to draw the readers’ attention to the uni8ue features of the *ehi#le su#h as inte$rated )umper@ wood finishes panelin$" #aptain seats" et#% 35. "**er estimonials Affer short, reputable testimonials. 1eople want to hear what others have to say about your product or service.
Diana Hayden – +iss -orld ABBC offers testimonial for Loreal Hair #olor% 36 Create a Memora(le Logo
Create a simple, but memorable logo or custom graphic that your visitor can easily relate to your product or service Examples4 Ni.e swoosh ata +er#edes +#Donald Golden se a short, easy to remember slogan that a reader will walk away with on his or her lips.
Ni.e – ust Do ;t% 'isa – Go $et it 0epsi – 5eh Dil +aan$e +ore
This can be done by using words like J order now, order today, for a short time only, last chance, etc. $*8 &er*i#e – ;1;1; (an. – wo -heeler Loans “a.e Home 0assion 9Hero Honda 0assion: )y ust payin$ Rs% BBB only
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1roduct 9anager of Client
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Client &ervice ("gency)
Creative -irector
"rt -irector
&enior Writer
"ccount 9anagement Team
"cct. &upervisor
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"ccount 9anager
&taff Writer
The client company representative (product manager) gives the brief to the client!servicing department of the ad agency. This brief is then broken down into creative and media brief. The creative brief is given to the creative creative director director who passes it on to the art director and the copywriter. copywriter. These two work in conunction to create the ad. The (rough) ad is then shown to the account management team consisting of the supervisor and manager. They look into legalities that might affect the ad and whether the ad meets the clients brief and budget. Changes, if any, are communicated to the creative department The (rough) ad is then shown to the client servicing dept. The dept. might also suggest changes. The ad is finally shown to the client for his approval. Ance the approval is received, the creative department goes ahead with the actual production of the ad.
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Chapter 3. Creati)e Strategy: /lanning and #e)elopment +. #e)eloping an d)ertising /lan: "n advertising plan is a document created with the goal of matching the most effective message to your audience #e*inition: "n outline of what goals an advertising campaign should achieve, how to accomplish those goals, and how to determine whether or not the campaign was successful in obtaining those goals.
Adverti Adverti #e)eloping an d)ertising /lan "n advertising plan is a document created with the goal of matching the most effective message to your audience. "n "dvertising 1lan 9atches the Dight "udience to the Dight 9essage and 1resents +t in the Dight 9edium to Deach That "udience
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II. d)ertisin d)ertising g Creati)ity: Creati)ity: he he *i)e stages o* 'reati)ity7 'reati)ity7 Creati) Creati)ee ho,ght ho,ght /ro'ess7 %hat Is Creati)ity& 'y8 9 5 2akdawala
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Creati)ity is a mental process involving the generation of new ideas or concepts, or new associations of the creative mind between e*isting ideas or concepts 9ore than =F different definitions of creativity can be found in the psychological literature #e*initions o* 'reati)ity are typi'ally des'ripti)e o* a'ti)ity that res,lts: . +n producing or bringing about something partly or wholly new 0. +n investing an e*isting obect with new properties or characteristics 4. +n imagining new possibilities that were not conceived of before :. +n seeing or performing something in a manner different from what was thought possible or n ormal previously. #isting,ishing (etween 'reati)ity and inno)ation Creativity is typically used to refer to the act of producing new ideas, approaches or actions, while innovation is the process of both generating and applying such creative ideas in some specific conte*t. d)ertising Creati)ity in)ol)es two pro'esses: . Thinking, 0. producing.
-oung Immersion Immersion
III. III. Compon Component entss o* the the Creati Creati)e )e Strat Strategy: egy:
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6. . d)ertising appeals ppeals are (roadly 'lassi*ied as rational7 emotional and moral appeals: Dational appeals are those directed at the thinking process of the audience. They involve some sort of a deliberate reasoning process, which a person believes would be acceptable to other members of his social group. They attempt to show that the product would yield the e*pected functional benefit. Dationality has come to be e3uated with substance. 'y8 9 5 2akdawala :
!ational appeals: " rational ad becomes believable and effective. "lthough there may be some disagreement regarding which motives are rational and which are emotional, the following are some buying motives, which are normally, considered rational under ordinary circumstances8 (i) High @,ality 8 1eople buy television, stereophonic music systems, furniture, refrigerators, electric gadgets; kitchenware and a host of consumer durables for their high 3uality. 9any consumer goods, too, are bought for their 3uality, such as clothing, beverages, food items, etc., and not merely because of their taste or fashion, or style. (ii) Low /ri'e 8 9any people buy low!priced locally made air conditioners for their homes because they believe that these products will show a product performance similar to, or slightly inferior to, that of nationally reputed brands at higher price. Whether this is true or not, a person, as long he believes this to be true, thinks his reason will be accepted as a 6good6 on e by his social group. +n this case, he is e*hibiting a rational motive. (iii) Long Li*e, as of a car tyre that will give 4F,FFF kms, before its utility has been e*hausted. (iv) /er*orman'e , as of a ballpoint pen that won#t release e*cessive ink or skip under any circumstances. (v) 0ase o* ,se, as of a screwdriver with a magneti%ed tip which clings to the metal head of the screw, or a timer in the kitchen mi*er which switches off automatically after a pre!determined time period. (vi) !e-sale Val,e , as of a two!wheeler scooter. 6'aa6 has a better re!sale value than any other make. (vii) 0'onomy, in the operating operating e*penses e*penses of some brands of refrigerat refrigerator or is greater greater because they consume consume less electricity. 9any two!wheeler vehicles claim a better mileage per litre consumption of fuel than similar other vehicles.
We should, however, point out that some of the best ads are totally irrational. 1orsche car ads listed such irrational benefits. Volkswagen built itself on the proposition it#s ugly but it works. Iine per cent of the human psyche is irrational. 'ut, what is irrational can be made to seem rational. Hary Holdsmith is not content with ust a rational benefit but e*pects the benefit offered to be such, which a rational person can understand. +ndustria +ndustriall buyers are most responsive responsive to rational rational appeals. They make purchase decisions decisions in line with the technical specification of the product, product 3uality, etc. 9ost industrial buyers are knowledgeable about the product class, trained to recogni%e value and are responsible to others about their choice. Aften, industrial buying decisions are made after a thorough comparison of various offers and after evaluating the various benefits of different makes. Consumer durables of high value #are also often bought on the basis of rational appeals. 1eople are ready and willing to give rational motives if asked why they have made a particular Npurchase. Those who buy 1layboy or -ebonair are likely to say they buy them for the articles. $ven when decisions are made on emotional grounds, people like to rationali%e their decisionO to show that they are based on sound rational grounds. &trong emotional propositions need rational underpinnings. 9ost of us want others to regard us as rational human beings. That is why we like to give socially acceptable reasons for our buying decisions. We feel that rational motives will raise our status in the eyes of our associates and colleagues. 0motional appeals: 0motional appeals are those appeals7 whi'h are not pre'eded (y 'are*,l analysis o* the pros and 'ons o* making a (,ying. $motions are those mental agitations or e*cited states of feeling which prompt us to make a purchase. $motional motives may be below the level of consciousness, and may not be recogni%ed by a person; or even if he is fully aware that such a motive is operating, he is unwilling to
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admit it to others because he feels that it would be unacceptable as a 6proper6 reason for buying among his associates and colleagues. $motional $motional appeals are designed to stir up some negati)e or positi)e emotions that will motivate product interest or purchase. -ifferent emotional appeals, which are particularly important from the advertising point of view, are listed below. Bollowing several motivation research studies, it has been found that negati)e emotional appeals are more e**e'ti)e than positi)e ones . We shall also, therefore, name the negative appeals first. ll (rands ha)e rational and emotional 'redentials . 2evi#s is youthful, rebellious and se*y. 'ut it offers rational rational benefits like strength strength too. "ne has to (alan'e (etween rational and emotional arg,ments . &ingapore "irlines presents the &ingapore girl, an emotional icon. 'ut it also emphasi%es in!flight service that other airlines talk about, which is a rational proposition.
advertise iserr may try to induce induce a parti particul cular ar behavi behaviora orall change change by Negati)e Negati)e 0motiona 0motionall ppeal ppeals: s: "n advert emphasi%ing either positive or negative appeals, or a combination of both. Bor e*ample, an advertising campaign to get the target audience to buy fire insurance may stress the positive aspect !low cost relative to other investment, the services the insurance company provides, early settlement of claims, and so on; or it may stress the negative aspect of not getting insurance ! the danger of losing one#s possessions or the ravages of fire. 1ositive appeals use the strategy of 6reducing6 a person#s an*iety about 6buying and using6 a product, while negative appeals use the strategy of 6increasing6 a person#s an*iety about 6not using6 a product or service. +n general, a positive appeal stresses the positive gains to a person from complying with the persuasive message; the negative app eal stresses his loss if he fails to comply. $motions are those mental agitations or e*cited states of feeling which prompt us to make a purchase. $motional motives may be below the level of consciousness, and may not be recogni%ed by a person; or even if he is fully aware that such a motive is operating, he is unwilling to admit it to others because he feels that it would be unacceptable as a 6proper6 reason for buying among his associates and colleagues. $motional $motional appeals are designed to stir up some negati)e or positi)e emotions that will motivate product interest or purchase. -ifferent emotional appeals, which are particularly important from the advertising point of view, are listed below. Bollowing several motivation research studies, it has been found that negati)e emotional appeals are more e**e'ti)e than positi)e ones . We shall also, therefore, name the negative appeals first. ll (rands ha)e rational and emotional 'redentials . 2evi#s is youthful, rebellious and se*y. 'ut it offers rational rational benefits like strength strength too. "ne has to (alan'e (etween rational and emotional arg,ments . &ingapore "irlines presents the &ingapore girl, an emotional icon. 'ut it also emphasi%es in!flight service that other airlines talk about, which is a rational proposition.
advertise iserr may try to induce induce a parti particul cular ar behavi behaviora orall change change by Negati)e Negati)e 0motiona 0motionall ppeal ppeals: s: "n advert emphasi%ing either positive or negative appeals, or a combination of both. Bor e*ample, an advertising campaign to get the target audience to buy fire insurance may stress the positive aspect !low cost relative to other investment, the services the insurance company provides, early settlement of claims, and so on; or it may stress the negative aspect of not getting insurance ! the danger of losing one#s possessions or the ravages of fire. 1ositive appeals use the strategy of 6reducing6 a person#s an*iety about 6buying and using6 a product, while negative appeals use the strategy of 6increasing6 a person#s an*iety about 6not using6 a product or service. +n general, a positive appeal stresses the positive gains to a person from complying with the persuasive message; the negative app eal stresses his loss if he fails to comply. 'y8 9 5 2akdawala
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/re'a,tions while ,sing the 0motional !o,te: . The adverti advertisin sing g should should have relevan relevance. ce. +f the produc productt needs needs attrib attribute ute!bas !based ed ration rational al advert advertisi ising, ng, emotional appeals should be avoided. 0. There should be a natural flow of feelings. 4. $*ecution should not be e*aggerated. The level of emotionality should not e*ceed that e*perienced by the consumer. :. There There is a differ difference ence between between a consume consumer#s r#s emotions emotions associ associate ated d with with the product product K brand brand and a consumer#s emotional reaction to the ad copy itself. 1referably, these two should be co mpatible.
ear ppeals 8 The fear appeal is most important among emotional appeals, and also the most effective. +t is said that the message#s effectiveness increases with the level of fear it generates. The use of fear appeal in getting people to start doing things they should is very common.
9any ad messages of toothpaste employ this appeal. They present the fear of tooth decay or unhealthy gums or bad breath, and then suggest the use of a specific brand of toothpaste to get rid of such fears. " recent ad of 61romise6 shows a boy weeping because of severe toothache, and then suggests the use of 61romise6 to avoid a recurrence of toothache.
" fear appeal of this kind is used in a wide variety variety of product product categories. categories. When products products are designed designed to protect an individual from some loss of health (medical or life insurance), the fear appeal of the type illustrated above can be effectively employed. Then there are products designed to protect an individual from loss of property (automobile or home), which successfully employ fear appeals to induce a particular buying behavior. Bear appeals are at times used in ad messages in connection with getting people to stop doing the things they shouldn#t do. The advertisements relating to prohibition, prevention of losses and conservation of energy fall in this category. The warning on the cigarette packet that smoking is inurious to health is a typical e*ample, even though this is a statutory warning and advertisers themselves would not like to include it is the ad on their own. Then there are many products that are, directly or indirectly, involved in the avoidance of a fearful situation. " large number of advertisements employ the fear appeal in their ad messages of products, which relate to more subtle social and psychological motivations, such as loss o* stat,s7 *riendship7 Fo(7 posit ositiion7 on7 and so *or *orth. 1erso Gsoaps7 s7 'osme 'osmeti' ti's7 s7 deodor deodoran ants7 ts7 sha)e sha)e lotio lotions7 ns7 1ersona nal! l!ca care re prod product uctss Gsoap mo,thwash7 et'. *all in this 'ategory . Bear is the higher level of tension; but an*iety has been used to promote the sale of a large number of instant foods, other food products and home appliances. Think of ads wherein the housewife#s an*ieties are fully e*ploited to get the message across to the target audience. The more carefully fear is built, the greater is the tension resulting in a greater drive from within to reduce the tension. Desearch studies have proved that e*tremely great fear appeals ate less effective than moderate ones in motivating people to adopt the product and eliminate fear. 5owever, very weak fear appeals are not effective either in evoking the desired response. Therefore, a selection of the appropriate fear level is important; it should be strong enough to heighten the drive of the people to buy a particular product. 'ut if an e*cessively strong fear is pictured, it is possible that people would e*hibit a defensive behavior, and tries to avoid the ad, and may not be prepared to accept the threat. They may even take the view that the solution recommended in the ad may be inade3uate to deal with so great a fear. 'y8 9 5 2akdawala
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5owever, some researchers have found cases where strong fear appeals have worked beautifully. They feel that buyers have different tolerances for fear and that therefore, different levels of the fear message should be set for the various segments of the audience. 5owever, the underlying concept that every message should promise to relieve, in a believable way, the fear it arouses should be the ultimate guide in the selection of the levels of fear appeals. " general principle of 6not too much and not too little6 is most relevant in the selection of appropriate fear appeals. C"D$ (an "merican conducted a methodical study in rural north +ndia (mainly >1) ad agency) to discover which of the two appeals ! positive or negative!would work better in getting a nutritive food accepted. The positive appeal was love of children and the negative one was fear of the conse3uences of malnutrition. The 6love6 campaign featured a proud mother rearing her thriving child on the prescribed food. The 6fear6 approach created a frightening devil (rakshas), symboli%ing the disease and misfortune arising from wrong food habits. These campaigns were run for a full year in two different areas. The evaluatio evaluation n of these these campai campaigns gns clearl clearly y showed showed that the fear appeal appeal created created a great great deal deal more more awareness of the value of the nutritive food. The negative proposition aroused immediate reaction because of the fact that an unpleasant bang is more likely to make one sit up than the melodious strains of soothing music. &ome authors and e*perts in the field of advertising, however, may disagree with this view. 'ut fear appeals are seldom composed entirely of negatives. The warnings generally pave the way for positive advice and e*hortation, and in this form the negative appeals appear to be ust as effective on the average as positive appeals. Take, for e*ample, the recent advertisement of Ghaitan Gitchen fans employing a negative appeal. The headline headline states8 6"re you cooking or being cooked6 +t goes on8 6$very housewife knows how miserable miserable she feels when she cooks. +t makes her irritable irritable and saps her energy. Ghaitan presents presents a simple, simple, efficient and ine*pensive answer. PThe Ghaitan Bresh "ir Ban. +t drives out smoke, smells and heat, and brings in fresh air. Iot only that; thanks to the continuous inflow of fresh air, the chances of dampness are eliminated. "nd this prevents cockroaches and other insects from breeding in your kitchen.6 The headline and the initial part of the body of the copy effectively create fear; but the latter part of the copy presents the solution and the positive appeal of the product. &uch is the most common form of the advertising message ! first building up fear and then offering a solution with other positive appeals of the product advertised. An the level of fear, "aker and 9yer, in their book, "dvertising 9anagement, rightly state that fear or an*iety has two kinds of possible effects on message reception and yielding. "s a stimulus, its effect tends to be negative; and a s a drive, it tends to be positive. Burthermore, too little an*iety tends to provide an insufficient drive, and too much an*iety tends to make the stimulus aspect predominant. The net result of these two factors is to make the relationship between an*iety level and message effectiveness non!monotonic, with ma*imum effectiveness occurring at the intermediate levels of an*iety. "nd, lastly, so far as appeals to fear are concerned, this approach is useful for products that are of little interest to consumers when rational appeals are e mployed. $ven in cases where the product fulfils a generally recogni%ed need, fear appeals are effective. Take the case of life insurance. Bear appeals are still re3uired to sell policies. 5owever, fear appeals fail in the case of the cancer ha%ard h a%ard of cigarette smoking, which is often reected by most smokers. ear ppeal and Market Segmentation Segmentation 8 We have ust now stated that, in some cases, big doses of fear are recommended, whereas, in others, the use of low levels of fear is the logical strategy. We have also given e*amples e*amples of an ad about dental health, where the degree of associated associated fear is high, and an ad about 'y8 9 5 2akdawala
smoking and cancer, where the level of fear is low. Burthermore, apart from the differences in product categories, the age and personality differences in the target audience vary the effectiveness of each level of fear appeal. That is why it has been recommended that both the market segment and product category groupings should be taken into consideration before designing appropriate fear appeals. 2et us take an in!depth look at the use of *ear appeals and their relationship with the market segment7 for this will provide a valuable insight to advertisers. +t is important to note that although people generally prefer positive arguments, a fear appeal can make an advertisement stand out from others. Bor individuals whose aroused fear or an*iety about the product is low, and those who would not normally search for information about the product, the fear appeal can be particularly effective if these individuals have been previously e*posed to positive arguments. +t has been found that it is better to put fear first in the order of presentation, to threaten someone close to the prospect rather than the prospect himself. While advertising a helmet for scooter!riders, the fear of inury to the head is the most appealing to the wife and to someone close to the rider. The rider himself may not accept the idea promptly because of self!esteem and of ego consciousness. The appeal of intense fear might be best for people who tend to be of low!an*iety and high self!esteem people, who e*hibit a copying behavior, and who find the product to be of low relevance. There are many who have a low vulnerabilit vulnerability y to fear and an*iety. an*iety. Bor e*ample, e*ample, life insurance insurance companies find that fear appeals work beautifully with those who feel that they do not need coverage for their lives. Bear appeals are appropriate for breaking into new market segments. +n fact, the susceptibility to fear appeals is one more approach to the market segmentation process. " careful analysis of those potential fear appeals, designed to arouse emotion in a group or audience, should be made a part of advertising strategy, wherein all ads addressed to this audience will incorporate such fear appeals. Thus, if appropriate fear appeals are defined, they become a useful tool in market segmentation. /ositi)e 0motional ppeals 8 1ositi 1ositive ve appeals appeals highli highlight ght product product benefi benefits ts and attrib attribute utess capabl capablee of influencing consumer behavior. They are love, humor, pride, prestige and oy. 9ost baby food products have a mother#s mother#s love appeal. 2ove for family is perfectly employed employed in an ad of #ettol soap that has been called <he Lo)e Care Soap.< +n the closing sentence, the ad appeals by saying8 6Hive your family the 2oving Care of -ettol &oap.6 Mother=s lo)e *or the (a(y has (een appealed to in ad of Qohnson#s Qohnson#s baby soap. +t says8 6Hentle as a kiss on your baby#s tender skin.6 +t further, goes on to say8 ==Johnson=s ==Johnson=s Ba(y Soap. Be'a,se Johnson Johnson 'are *or yo,r (a(y almost as I m,'h as yo, do.< +s this positive appeal not effective, when the advertiser shows as much care for a child as its mother does
"dvertisers have also successfully used messages communicating the oy and thrill (all, those soft drink, ads) associated with using the product. " humorous message attracts more attention and creates more liking and belief in the source, though it reduces comprehension. #a)id "gil)y, a well!known personality in the advertising profession, believes that humour has been over!used8
(i #esire to (e di**erent , as illustrated by people who build an ultra modem home in an area of traditional homes. (ii) #esire to 'on*irm , as in the case of teenage boy and girls who want to be 6in eans6 because all their friends wear eans. (iii) #esire to attra't the opposite se4 , as shown by a teenage girl who buys a new cosmetic in order to make her skin more beautiful. (iv) #esire *or prestige , as shown by a person who buys the most e*pensive automobile (9ercedes, Toyota, etc.) he can afford in order to impress his friends. +n making purchases, many combine both rational and emotional motives. +n fact, a blend of buying motives usually is the basis of a purchase8 "n engineer may take up a management course at any of the prestigious schools because he feels it will make him look important in the eyes of his associates and help him in securing a better ob in the industry and business. " woman may want to buy a new home in posh locality because it will improve her family#s social status and because it is within walking distance of a good school for her children. Moral appeals are those appeals to the audience that appeal to their sense of right and wrong. These are often used in messages to arouse a favorable response to social causes, such as prohibition, adult literacy, social social forest forestry, ry, anti!s anti!smug muggli gling ng and hoardi hoarding, ng, consum consumer er protec protecti tion, on, e3ual e3ual rights rights for women, women, social social responsibility proects of corporations, rural development, siding weaker sections of society, employment generation, and so on. There are messages that appeal for generous donations for flood victims and for famine relief operations ! these are often based on moral appeal. 9any commercial advertisements are critic critici%e i%ed d on moral moral ground grounds. s. The most most controv controvers ersial ial ad campai campaigns gns are by multin multinati ational onal compani companies es marketing baby food products. 9any W5A e*perts are critical of these corporations that promote bottle! feeding against breast! feeding. Se4 ppeals in d)ertising 8 &e* appeal is being increasingly used in +ndian advertising to overcome the culture in the print as well as broadcast media and to grab attention. &e* appeals in contraceptive ads have become e*plicit, and are more visual than verbal. -oes se* really sell Ar is it a negative influence on consumer The answer is not either affirmative or nega tive for these 3uestions, and depends upon a number of factors.
$ffectiveness of ads is measured in terms of the obectives ! creating awareness may be the obective, and then brand recall is a measure of effectiveness. The advertising obective may be to make the consumer buy ! here buying intention is a measure of effectiveness. The following summari%es the research studies in this conte*t. Desearch shows that non!se*ual illustrations are more effective than se*ual ones while undergoing brand recall. 9en remember the se*y illustration and neglect the brand. Bavorably disposed people to the use of se* had a higher brand recall of brand names that used se* appeals in their ads. Iegatively inclined people to se* had a lower brand recall. . Desearch also shows that nude illustrations of female are least appealing, are associated with lowest 3uality product and least reputable company. Decently &even#s research shows that e*plicit se* appeals do not interfere with the ability to recall brand names. +t has also been observed that visual which is highly se*ual interferes with the cognitive processing of the message since readers tend to spend more time on the ad as a whole. +nformation transmission is definitely adversely affected by se* appeal. Bunctional se* appeals have highest recall and so also symbolism. +nappropriate se* appeals have lowest recall. Bantasies are also used as se* appeals. "ppeal that are consistent with the product, lead to a higher recall. There might be gender!related responses to se* appeal. 'y8 9 5 2akdawala 0F
Bemales may find the se*ual ad offensive and so its use for a female!targeted product runs a risk. " lipstick ad showing a female model that is seductive may grab the attention of the male!audience rather than the targeted female audience. Connotati)e se4,al appeals like sym(olism are more a''epta(le than e4pli'it appeals. The se*ual appeals are ustified ustified in case of products like personal products, panties, panties, bras, undergarment undergarments, s, and swimsuits. They may not go well with industrial products. The relevance of the appeal to the product is very important.
The manner of se* portrayal, the se* of the models and the target segment also affect the effectiveness of the ad. 'latant references to se* are suddenly the in!thing in "merican advertising. 9arketers promoting perfumes, eans, alcohols, gloves, watches and cars are resorting to this route. 9edia clutter may be one reason that leads to the e*plosion of se*ual imagery in advertising. "ds of perfumes have traditionally focused on the sensuous. Bor Calvin Glein, se* has always been a favorite selling point. The late Qustice 5idayatullah had ruled 6where obscenity and art are mi*ed, art must be so prepondering as to throw the obscenity into the shadow.6 We tend to agree with him. There is a thin line between nudity and crudity. $ven an act of kissing has both se*ual and non!se*ual content. 6Af no use to one, yet it is absolute bliss to two. The small boy gets it for nothing, the young man has to steal it and the old man has to buy it. The baby#s right, the lover#s privilege, privilege, the hypocrite#s hypocrite#s mask. To a young girl, faith; faith; to a married woman, hope and to an old maid; charity.6 &e* appeals are interpreted differently from time to time, region to region, person to person, country to country, and society to society. $ven the same person reacts to them differently at different stages of his life cycle. H,mo,r
5umour has always been a great way to sell, especially if used tastefully. one has traditionally seen humour being used to sell either B9CH or durables. Conventional wisdom had it that you yo u don#t use humour to sell serious products like insurance or products where the technology and value proposition seemed to be the hero. "nd of course the Hovernment thought that the entire populace was a morose mass of morons who did not have a sense of humour. "s they say, 6you can think like only you can6.
That#s why Centre &hock and "lpenliebe successfully used humour and other Rserious# service industries didn#t. Well, these days, the oke is on those who did no t dare to use humour. Bor one, humour is light, elevating, reuvenating and has great repeat value. An a more practical level, humour h umour is a great differentiator, more so, when others do n#t have the guts to use it. Demember any advertising for batteries Adds on, you have forgotten all the serious stuff about technical specs and the like. The &tandard Burukawa advertising where the campaign used humour in small!si%ed print advertising (Why is a &tandard battery like a mother!in!law 'ecause it goes 6on and on on and on6.) The fantastic animation and humour packaged tightly with superb art direction for "maron 'atteries. Brom the Rsing!song# narrative to the Rting!tong# sign off, the adv ertisement is a winner all the way. 5utch and Iokia have discovered the oys of entertaining customers not ust with their products but also with their their 'y8 9 5 2akdawala 0
advertising. " recent TV commercial has an animated family that is Rshrunk# to watch movies on their handsets. Ane would of course, wish that recognised songs are not directly lifted and u sed. Iokia, in fact, had another memorable commercial where an army of clowns scrambles to put a smile on a dreary customer#s face. That#s entertainment for you. -ominos and Deliance +nfocomm have been using the ama%ing width of e*pression that 1aresh Dawal can bring to any role he graces to keep their audiences smiling. 1aresh really brings the D+9 commercial to life with his persona. Bor many years (yes, private insurers have been advertising for about four years now) insurance companies thought that since they dealt with Rmorbid# subects like death and inury, they should put on a black hat, hold a sickle in their hands and act as if the grim reaper had come to collect the insurance premium from the hapless customers.
Bortunately, they seem to be breaking out of that mindset now. +C+C+ 1rudential deserves to be congratulated for leading the charge in the right direction. The fact that its RChintamani# advertisement in its TV and print versions is doing an encore this year proves that there is no n o Rchinta#, only money for +C+C+ and 2owe in persisting with this lighter approach. Tata "+H has also decided that a smile is a good policy and has created its second TVC in the Rsmile genre.# "ll in all, the message seems to be clear. 9ake the customer smile and you can laugh all the way to the bank.
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F<'=R<(LE F<'=R<(LE = HU+=R HU+=R ll (rands ha)e rational and emotional 'redentials . 2evi#s is youthful, rebellious and se*y. 'u t it offers rational benefits like strength too. Ane has to balance between rational and emotional arguments. &ingapore "irlines presents the &ingapore girl, an emotional icon. 'ut it also emphasi%es in!flight service that other a irlines talk about, which is a rational proposition.
6. B. d)ertising 04e',tion e'hni8,es $*ecution style J the way the particular appeal is turned into an advertising message presented to the consumer
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!d "#e 3 S tttrtra ra ia iig h 3S S S ra igg g h . Straight-Sell Copy: " type of body copy in which the te*t immediately e*plains or develops the headline and visual in a straightforward attempt to sell the product. The techni3ue con sists of a straightforward and clear presentation of the product and its benefits. The advertisement clearly e*plains the features of the product such as its >&1 and features, differentiating it from other products. . S'ienti*i' te'hni'al: the presentation focus on the scientific and technological aspect of the product. $*ample while promoting digital cameras the focus is on picture 3uality and the mega pi*el. 0. #emonstration: -emonstration advertising is designed to illustrate the key advantages of the productK service by showing it in actual use or in some staged situation. -emonstration e*ecutions can be very effective in convincing consumers of a products produ cts utility or 3uality and of the benefits of owning or using the brand. TV is particularly well suited for demonstration e*ecutions, since the benefits a little less dramatic than TV demonstration ads can also work in print. 4. Comparati)e 'opy: Comparative advertising, as a special form of advertising, is a sales promotion device that compares the products or services of one undertaking with those of another, or with those of other competitors. "ll comparative advertising is designed to highlight the advantages of the goods or services offered by the advertiser as compared to those of a competitor. +n order to achieve this obective, the message of the advertisement must necessarily underline the differences between the goods or services compared by describing their main characteristics. The comparison made by the advertiser will necessarily flow from such a description. ,n'tion o* 'omparati)e ad)ertising Comparative advertising should enable advertisers to obectively demonstrate the merits of their products. Comparative advertising improves the 3uality of information available to consumers enabling them to make well!founded and more informed decisions relating to the choice between competing productsKservices by demonstrating the merits of various comparable products. 'ased on this information, information, consumers may make informed and therefore efficient choices. (These statements are true only if the comparative advertising is obective.) 'y8 9 5 2akdawala
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Comparative advertising which aims to obectively and truthfully inform the consumer promotes the transparency of the market. 9arket transparency is also deemed to benefit the public interest as the functioning of competition is improved resulting in keeping down prices and improving products. Comparative advertising can stimulate competition between suppliers of goods and services to the consumer#s advantage.
:. estimonials: 9any advertisers prefer to have their messages presented by ways of testimonials, where a person praises the product or service on the basis of his or her personal e*perience with it. Testimonial e*ecutions can have ordinary satisfied customers discuss their own e*periences with the brand and the benefits of using it. This approach can be very effective where the person delivering the testimonial is someone with whom the target audience can identify or who has an interesting story to tell. The testimonial must be based on actual use of the product or service to avoid legal problems and the spokesperson must be credible."pple Computer made effective use of testimonials as part of its L&witchM campaign, which features computer users from various walks of life discusing why they switch from Windows!based machines to 9acintoshes. The people giving the testimonials in the ads are from various walks of life.&witch was an advertising campaign launched by "pple Computer on Qune F, 0FF0. +t featured what the company referred to as 6real people6 who had 6switched6 from the 9icrosoft Windows platform to the 9ac. "n international television and print ad campaign directed users to a website where various myths about the 9ac platform were dispelled. The television commercials were directed by $rrol 9orris. 9orris. <. Sli'e o* Li*e: "dvertising!copy techni3ue where a real!life problem is presented in a dramatic situation and the item being advertised adv ertised becomes the solution to the problem. -etergent manufacturers rely upon this advertising format heavily. These types of advertisements connect with consumers on a personal level. The ads usually portray a family scene occurring (a 6slice of life6) during a typical day. These advertisements create a positive feeling about specific products in the minds of consumers because they can relate to these everyday situations which they too face. Widely used in print advertising formats, this e*ecution shows a real life problem and what the person in the ad does to overcome it. This e*ecution is a combination of the demonstration and the testimonial e*ecutions. "ds for consumer products use this method effectively. "n e*ample is a housewife who wh o is having trouble cleaning her kitchen floor, with a product offered which can solve this problem. =. nimation: This techni3ue used animated characters or scenes drawn by artists or on computer. "nimation is e*tremely effective when marketing a product aimed at children. They relate well to cartoon!like imagery therefore commercials that utilise animation grab their attention easily. " good e*ample is the Gelloggs Coco 1ops adverts. They depict an imaginary island inhabited by eccentric animals. Henerations of children have found this to be e*tremely appealing. "nimation is an inherently creative medium. The human mind goes through a thought process of depicting meaning from an animated aesthetic. +t instigates thought in the way that advertisers can use to their advantage by inspiring thoughts of desire. When harnessed well, animation is one of the most multipurpose tools for increasing sales of any product or business or simply getting a message across. 'y8 9 5 2akdawala 0<
When dealing with concepts that can not be e*pressed in words w ords or with illustrations can be e*tremely frustrating for advertisers and marketers ! This is where animation steps in. The fact that these concepts can be portrayed successfully and can make it easy for the consumer to grasp your idea or concept without any kind of e*planations is unparallel un parallel tool in the advertising industry. @. /ersonality sym(ol this this type of e*ecution involves the use of a central character or personality symbol to deliver the advertising message and with which the product or service can be identified. The personality symbol can take the form of a person who is used as a spokesperson, animated characters or even animals. . Imagery antasy this this type of appeal is often used for image advertising by showing an imaginary situation or illusion involving a consumer and the product or service. Cosmetic companies often use fantasy e*ecutions although the techni3ue has also been used in advertising for other products such as automobiles and beer. E. #ramatiation this e*ecution techni3ue creates a suspenseful situation or scenario in the form of a short story. -ramati%ations often use the problemKsolution approach as they show how the advertised brand can help resolve a problem. F.
Bor 9arcellus powerfully put words had moved his listeners not to sympathy but to action. /ou need to know to write more clearly, more convincingly and more accessibly with clarity and precision.
IV. Com(in Com(ining ing Creat Creati)i i)ity ty and and Strate Strategy: gy: +n advertising, different creative strategies are used in order to obtain consumer attention and provoke shoppers to purchase or use a specific product. "dvertisers use different ways of thinking to create catchy slogans that capture consumer attention. Creative strategies promote publicity, public relations, personal selling and sales promotion. These ways of thinking are divided d ivided into three basic descriptions8 Weak strategies, mid!strength strategies and strong strategies. The strategies labeled 6strong, mid!strength, and weak are generic phrases used in the te*t books referenced below to help students understand the intensity of each different type of advertising strategy. "dvertisements, weak, mid!strength, and strong can be found in television, radio, and maga%inesKprint. &ince the beginning of advertising, ad vertising, strategies have been created, starting with the simplest (weak) strategies in the E:Fs.
V. "rgani "rganiin ing g the the Creati Creati)e )e ask ask Strategy and Creati)ity& Strategy 8 What is an advertising strategy 'asically, it is the formulation of a message that communicates to the market the benefits or problem solution characteristics of the product or service. What you are trying to convey through your advertising and state in your strategy is what y our product offers to meet the consumer#s need; how your product produc t has more beneficial characteristics than the competition#s; and wh at the beneficial characteristics are.
The advertising strategy is a direct result of the market strategy. The market strategy focuses on the improvement of operations and the positioning o f the storefront, while the advertising strategy concentrates on reaching out to the marketplace and conveying what the market strategy has accomplished internally. The first step in formulating an advertising strategy is to determine the product or service you have to offer to the marketplace and the obective of the campaign. Creati)ity: Creativity is simply the ability of a person to create. To understand creativity one can simply refer to a person with uni3ue ideas and willing to bring new things into the life. >sually creativity is considered considered as the natural ability of a person. 5owever, the creativity can also be developed in a person.
Weak strategies Heneric and 1re!emptive strategies describe the two weake st forms of advertising that were most popular through the E:Fs. •
•
" generic strategy gives a product attribution. "n e*ample of this would be how the 9ilk industry chose to advertise their product. With their slogan, L9ilk, it#s good for health, have it with dinner,M consumers aren#t learning anything new about the product. The 9ilk slogan simply states milk as a dinner item. +t enhances the product in no other way.
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" pre!emptive strategy is a form of advertising that makes a generic claim stronger. "n e*ample of a pre! emptive strategy can be found in Bolgers Coffee. "s many of us know, most all coffee is grown in the mountains. Bolgers took that fact and claimed it as their own with their slogan, LBolgers8 9ountain Hrown Coffee.M 9iddle!strength strategies &econdly, are the mid!strength strategies8 . . >ni3ue >ni3ue posit position ioning ing strate strategy gy 0. 'ran 'rand d ima image ge and and 4. 1osi 1osittioni ioning ng 1. ,ni8,e positioning strategy is proving that something about your y our product is truly uni3ue. This is commonly found when producers take an average product and add a new, uni3ue element to it. "n e*ample of >ni3ue 1ositioning &trategy would be in -ove soap. -ove added the uni3ue feature of moisturi%ing cream in their product to differentiate it from other brands of soaps.
" downfall in >ni3ue positioning strategy advertising is that if a uni3ue feature increases sales on one product, many other brands are likely to adopt the Luni3ueM feature, making the end product not so uni3ue. 3. Brand Image is another very common way companies choose to advertise. +n brand image, an advertiser is not trying to create rational thinking. This type of advertising strives to create emotion and give a brand a personality. " common way of doing this is by using a celebrity as a spokesperson.
" great e*ample of brand image is found in 1roactive "cne &olutions. +n each of their commercials they have celebrities sharing their 1roactive e*periences, giving the brand a face people want to be. 5. /ositioning is one of the most common forms of advertising. +t was developed in the E@Fs and is still widely used today. +n positioning one brand will take its product and LpositionM it against a competing product.
"n e*ample of positioning can be found in the rental car company L"vis#M store slogan. With L5ert%M car company being the leader in rental car services, "vis took their number two position and used it to their advantage by creating the slogan, LWhen you#re number two, you try harder.M /ositioning
1ositioning is another basic concept in strategy design. 1osition is defined as the perception that the targeted consumers have of a firm#s products or services relative to competitive products or services. 1ositioning is based on product or service attributes or characteristics that are potentially relevant to the audience. Ane methodology suggests that positioning strategy may b e approached via one of si* positioning trait sets, shown in Table 0. We#ll look briefly at each of these.
/ositioning rait Sets
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. 'y "tt "ttri ribu bute tess 0. 'y 1ric 1ricee and and 7ua 7uali lity ty 4. 'y >se >se or or "ppl "pplic icat atio ion n :. 'y 1rod 1roduc uctt >se >ser r <. 'y 1rod 1roduc uctt Clas Classs =. 'y Com Competi petittor
/ositioning (y ttri(,te
1ositioning by attribute is probably the most often used positioning approach. "n attribute is a characteristic feature or benefit of the product or service. To use this method, you begin b egin by defining a relevant set of attributes, usually in pairs. These attributes can b e anything as long as the consumer of the products or services perceives the attribute as an important characteristic characteristic of the product or service. /ositioning (y /ri'e@,ality
This may be thought of as a set of attributes, but they are of o f such importance to all consumers that they probably should be considered their own category for positioning purposes. The priceK3uality set reflects a perception in consumers# minds that brands which offer more features, andKor better service performance, performance, are often priced higher. 5igher prices tend to signal a higher 3uality of product or service. The relationship of the priceK3uality udgment made by consumers about products creates the positioning on these speciali%ed attributes. /ositioning (y ppli'ation
+n this process, positioning is established by attributes or characteristics of the product#s use. Bor e*ample, Hatorade, a fruit!based drink, positioned itself as 6for use during strenuous workouts6 when it was introduced. +t became established in the market for this use and is still primarily seen as a workout thirst 3uencher and bodily fluid replenisher. The downside to this application!specific type of positioning is that later attempts to reposition the product or service to another application may fail because of deeply entrenched consumer positioning. Bor e*ample, &even!up, a soft drink product, was positioned at its introduction as a mi*er for alcoholic cocktails. "ttempts to position it as a soft drink were not successful. +t was only with its repositioning as an alternative to cola drinks that &even!up & even!up was able to shake its position as a mi*er.
/ositioning (y /rod,'t $ser
This is product positioning by a specific type of user or class of users. &ome kinds of o f cosmetics for women associate themselves with well!known models and are positioned in the minds of consumers as appropriate for women who want to be associated with that type of beauty.
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Ar, what about the Thai potato chip company who depicted 5itler eating their chips, then becoming transformed into a good person &ome ideas are ust bad. /ositioning (y /rod,'t Class
This is a rare and potentially dangerous dang erous product positioning techni3ue. 5ere the product is positioned against competing products in other associated classes. Bor e*ample, a brand of margarine called 6+ can#t believe it#s not butter6 positions itself against butter, butter, rather than against other brands of margarines. /ositioning (y Competitor
"n established image of a competitor can serve as the basis for positioning. "s an e*ample, "vis Dent!"! Car was made famous for its advertising campaign based on the positioning against a well!established competitor, 5ert%. The now!famous 6We#re number two so we try harder6 advertising slogan established "vis in the minds of consumers as second largest firm, but one from whom the consumer could e*pect better service. The some notion is now used in the 6not e*actly...6 commercials by 5ert%. &trong strategies The third and strongest form of creative strategy includes affective advertising and resonance advertising. 9aking people feel really good about a product is called affective advertising. This is difficult to do, but often humor and an honest character can make affective advertising possible. " great e*ample of affective advertising adv ertising is found in the LVodaphoneM commercials. 'y creating a friendly, honest, funny Uoo%oo as a spokesperson, consumers tend to trust what the Uoo%oo is saying and find humor in his actions. This creates a good feeling about the actual service LVodaphoneM offers. 2astly, resonance advertising is a way of identifying with consumers. +f an advertiser can create a campaign that certain target markets identify with, then resonance advertising has been achieved. "n e*ample of resonance advertising is in LTideM detergent ads. 9any times mothers are busy doing laundry in between sports practices and driving their children around in mini vans. Their recognition with soccer moms makes LTideM a favorite pick among women with children who are very involved in activities.
VI. VI. C!0 C!0I IV0 V0 /!"C /!"C0S 0SS S %riting the Creati)e (rie* or Copy plat*orm
+n developing the message strategy, the copywriter needs to create a copy platform, a document that serves as the creative teams guide for writing and producing the ad. The copy platform is the written strategy statem statement ent of the most importan importantt issue issuess to be conside considered red in the ad or campaign campaign J the who, who, why, why, what , where, where, when and when and how of how of the ad8 1. Who is Who is the most likely prospe't *or the prod,'t&
The copy platform must define the prospect in terms of geographic, demographic, psychographic, andKor behavioristic 3ualities. 'y8 9 5 2akdawala
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3. Why Why& & #oes the 'ons,mer ha)e spe'i*i' wants or needs that the ad sho,ld appeal to&
"dvertisers use two broad categories of appeals. Rational appeals. Rational appeals appeals are directed at the consumers practical, functional need for the product or service; emotional appeals appeals are directed at the consumers psychological, social, or symbolic needs. 5. What prod,'t prod,'t *eat,res satis*y the 'ons,mers needs&
What factors support the product claim What is the products position What personality or image J of the product or the company J can be or has been created What perceived strengths or weaknesses need to be dealt with 6. When When and and where will where will the messages (e 'omm,ni'ated& %hat medi,m&
What time of the year What area of the country ;. How sho,ld How sho,ld this (e 'omm,ni'ated&
What style, approach or tone will the campaign use "nd generally what will the copy say The answers to these 3uestions help make up the copy platform. "fter writing the first ad, the copywriter should review the copy platform p latform to see if the ad measures up. +f it doesnt, the writer must start again.
%ho is a 'reati)e person&
Creative &trategy8 Components of the Creative &trategy, 1utting the &trategy in writing8
C!0IV0 B!I0 GCopy /lat*orm "!M
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( u i ld i n 44 S Suuoorrt
Chapter: 5 /hases o* 'ampaign 'reation: $nderstanding Campaigns
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hree /hases o* Campaign Creation There are three phases involved in the creation of any campaign. (i) &trategy -evelopment 1hase, (ii) The 'riefing 1hase and (iii) The Creative Gi Strategy #e)elopment /hase This phase decides the obectives and contents of communication. +t analyses the research data and decides positioning of a brand. The strategy formulation is in modern day#s agencies a team effort. The creative persons form a part of this team not as creative persons but as a mind. There are brain! storming storming sessions. The team throws up the ideas. These ideas ultimately make up the strategy. The brilliant in the team pick up one or two ideas from the total ideas generated and develop them. Aur strategy should give us a competitive edge.
"+ Dies and Qack Trout started focusing on the strategy side of advertising business in the late =Fs when they first started writing about positioning. $verybody else was talking ab out creativity, whereas they decided to talk about strategy. They found that clients did not want to buy strategy from an ad agency. +t is essential that advertising professional should appreciate the importance of strategy development phase. +f the strategy is wrong, no amount of creativity will help. +f the strategy strategy is right, despite the poor creative work, one can sell due to right strategy. 5owever, right strategy and creative campaign is a winning combination. 9ere creativity and no strategy never work. To agency should tell what they are trying to achieve in their communication. The strategist is the left!brain oriented, very linear in thinking, very logical in deduction. The strategy formulation leads to an advertising brief.
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+f you want to catch fish, you have to think like a fish. +f you want to catch a consumer, you have to think like a consumer. That#s the first principle. What most companies do is they think like themselves. They spend all their time with themselves# 9<; Ries and a#. rout:% 'ob +sherwood, creative director, &aatchi ? &aatchi, "ustralia emphasi%es that a good effective ad has to be married to the right strategy, if it has to sell. 5e is also a strong believer of the theory that a creative director is as important a member of the strategi%ing team as the account director is especially if it involves a product launch.
II. d)ertising Brie* to the Creati)e "s a matter of fact, the client has to brief the agency about the strategy. 5owever, most of the time this does not happen. The agency is supposed to brief itself. The strategy formulated is communicated to the creative people. They are briefed about how to create the advertising the product needs. The strategy should be communicated with clarity. The strategist should be a good motivator for the creative team.
1roper briefing is going halfway as far as creativity is concerned. 'ad brief to the creative team results into bad work. Hood brief ensures good work. Within the creative team, the copywriter and visualiser work together and it is difficult to attribute the final product to either of them. /es, when they are working, there are sparks of creativity. 1lease appreciate that briefing completes half the ob. Creative campaigns are creative due to a good brief. +t is critically very important to 3uestion the brief. Very often, a brief is a set of clichs. We have hav e to get the real situation. Creative brief of strategy contains a key 'ons,mer insight. +f the brief ac3uaints you with the consumer, and how his mind works, it has the seeds of creativity in it. +t gives stimulus to creative team. &uccess or failure of the advertisement is largely dictated by the brief. +t is the ob of a client to tell the agency what he wants to say and it is the agency#s agen cy#s ob to decide how to say it. Hreat briefs inspire great work. 'riefs should have clarity and single!minded obective. They should aim at a target person. The idea is to have the desired response. "ll briefs must suggest a benefit or a product plus. III. he Creati)e /hase 5ere the lateral thinkers come on the scene. They leap from a single unidirectional idea of the strategist to an advertising idea that will add value to the productKbrand. The creative persons are supposed to be right! brained ! lateral thinkers, irrational thinkers as against the accounts director director who is left brained, i.e., logical. They make connections that had not e*isted before. They rearrange the order of things.
They create abruptions in the consumer mind. There should be a beautiful marriage between the strategy and the lateral thinking by the creative people. The creative director#s post has become a more responsible one. 5e does not remain content with a clever copy or stimulating visuals. 5e is re3uired to understand the product and its market completely. 5e is now an overall ad man, an all!rounder. 5e participates in research an d has active role in po sitioning. 5e does not follow a policy po licy of art for the sake of art any an y more. 5e sits at briefings alongside the client servicing people. Creative are involved in the whole campaign ! right from the concept to the commissioning stage. &pink of the 2owe group says 6&trong creatives are probably the cheapest competitive advantage that a company can have.6 The best creatives are derived from a complete understanding of the product and the 'y8 9 5 2akdawala 4:
benefits it offers. 'ut a thorough understanding of the target audience provides an edge. Iorman 'erry of A ? 9 says, 6+t is the sensitive understanding of the audience that takes one#s on e#s creative from logic to magic.6
I. $nderstand $nderstanding ing the the p psy'ho sy'hographi graphi's 's o* target a,dien'e a,dien'e 1sychographics are a way to measure consumers beliefs, opinions, and buying hab its. Dather than demographics which use age, income, gender and other 3uantitative data, psychographics provide a way to understand more 3ualitative data. 1sychographics can be e*tremely helpful to predict differences in buying patterns and stimulating ideas for communicating with the target group.
/sy'hographi's o* )ario,s a,dien'es and writing Copy *or them 1. Copy for Youth
/outh 9arketing is a term used in the marketing and advertising industry to describe activities to communicate with young people, typically in the age range of 0 to 4:. 9ore specifically, there is the Tween 9arketing, targeting people in the to 0 year!old range, Teen 9arketing, targeting people age 4 to E, College 9arketing, targeting college!age consumers, typically ages to 0, /oung "dult 9arketing, targeting young professionals, typically ages 00 and above.
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The youth market is critical because of the demographic#s buying power and its members# influence on the spending of family members. +n addition, teens and young adults often set trends that are adopted by other demographic groups. The youth market is viewed as a difficult group to connect with and sell to, based on the fragmented media landscape and young people#s keen ability to identify and reect marketing messages that lack credibility. Ionetheless, many brands market to youth by offering relevant products and services while communicating a brand message in an appropriate voice and tone. &uccessful brands marketing to youth have a foundation in or association with key interests and drivers among you th8 music, sports, fashion, video gaming and technology, among others. /outh marketing strategies commonly include television advertising, maga%ine advertising and online marketing. Today young people e*pect to be able to learn about, interact and be entertained by with brands or services targeting them online. Ather common y outh marketing tactics include entertainment marketing, music marketing, sports marketing, event marketing, viral marketing, school and college programs, product sampling and influencer marketing. 0ssentials *or writing 'opy *or yo,th:
. The key to tapping into this coveted market is to understand why young consumers choose one product over another in the first place. 0. the most important factor is the never!ending desire to be accepted, to belong. Bor many members of Heneration / (now aged around 0J0F years), this is by far one of the most pressing issues confronting them in daily life. 4. +n essence, it is a fear of not belonging that drives the youth market to adopt the consumer patterns that are uni3ue to their demographic group. 9arketers should be aware of the impact these desires have on this demographics decision to purchase a product p roduct or service. The flow!on effects of having a sense of belonging and control are the feelings of empowerment, confidence and independenceemotions highly sought by young people. :. 9arketers must emphasi%e the elements within their product that evoke these emotions when communicating to this market. <. &o how can one use these factors to drive sales Take mobile phones as an e*ample. "mong the youth market, mobile phones are an absolute necessity. They are tools that give the user control, independence and important information. Those companies that understand this inherent desire for acceptance have in their back pocket one of the keys to success within the youth market. "s well as promoting the emotional aspect of a product or brand that gives the user the desired feelings, it is also important for marketers to analy%e their product placement when pitching to this demographic. =. +n the youth marketplace more so than any other, being seen on the cutting edge has a maor impact on the attention that a brand, product or service receives. The use of &9& and the +nternet as media of cutting edge communication are avenues that the youth market is very comfortable with.
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@. 9arketing to the younger members of the consumer world is based around the age!old concepts of wants and needs. $mpower your market, give them the confidence to take control, provide them with a sense of belonging and dont forget to stand on the cutting edge. 2. Copy for women- Homemakers, modern women +t#s no secret that men and women wo men have different communication and decision making styles as well as different priorities and preferences.
/our communications need to be sensitive to them. /our services need to reassure a woman that you will be around in a predictable way when she needs help. +f she needs her washing machine repaired, assure her that the mechanic would not ust be courteous, but that he would come home at her convenience with tools and cleaning cloth. "ssure her that he would leave only after he clears the mess. This is a basic e*pectation. Women simply care more for these things than men do. +f she tries your spices and the dish doesnt taste 3uite the way she e*pected, she will be relieved if she can talk to someone. &he & he might forgive you for some mistakes, if only she can speak what is on her mind and be understood. Women have different needs as compared to men. They take e*tra!ordinary efforts to satisfy their needs. " woman will travel to another end of town to buy something like rice, dry fruits, or vegetables if they believe that they are getting something special. Bew men will take such efforts on their own. %hat do women need& "t a fundamental level a woman yearns to be understood. The way a woman narrates happenings in a day with the finest of details to anyone close to her holds a significant lesson to those connected with marketing. " woman needs attention. &he needs to be listened to. &he will be happy to be waited on, to be fussed over. Small things matter to women. These could be matching of colors, co!ordination of accessories, a te*ture, or a pretty hairclip. Take care of those small things, and they will shower you with their favors.
" woman has an uncanny ability to spot what she wants amidst clutter and chaos. 2ook at the way women go through the hustle and bustle of shopping areas. " woman will take whatever it takes to get such small things. &he does all this to feel herself. %omen ha)e )ery strong need to enter into relationships ; even if they are of !+ love you, + hate you !kind. a'tors to keep in mind while writing 'opy *or women 1. 9Brand Lite isnt the answer: 9any companies make the mistake of thinking they need to create a separate brand to reach women, one that is softer and more accessible. "nd lets be honest, theyre also afraid that femini%ing the co re brand will alienate the guys. The reality is that marketing to women is ust smarter marketing strategy, grounded in meeting and e*ceeding high standards and consistently delivering on your brand promise.
Ane of the best e*amples of a great company that g gets ets it right with women is "pple. Terrific design, easy! to!use technology, and a passionate lifestyle brand message hold strong appeal for women and for consumers overall. Io need to invest money in making and marketing her 1od when i1od is pretty damn great the way it is.
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3. Comm,ni'ate prod,'t )al,e instead o* listing *eat,res: &ounds simple, but many organi%ations develop and market products without ever asking their female customers what features they think are most important and why. Volvo has made gaining g aining womens input a key part of its development process since the late EFs, leading to such improvements as color coding of fluid lids under the hood, easier!to!fold!away rear seats and easier!to!load trunks. 'ut rather than make its marketing message an endless list of Llook at a t all our cool stuff,M the LVolvo for 2ifeM slogan conveys the two umbrella messages that are especially important to women8 safety and dependability. Anline research and a visit to the dealership reveal all the terrific features Volvo has developed to back their message up. 5. $nderstand that shes always wat'hing: Women are great at detecting inconsistencies. incon sistencies. +f your marketing message doesnt match up with your product performance and your retail e*perience, youve lost her trust and shell go somewhere else. 6. !espe't her +n Bara Warners new book, The 1ower of the 1urse, she chronicles the substantial shift 9c-onalds began making following a 0FF0 sales slump, when the company was forced to reali%e that it was still talking to women as if it was E<<. >p until that point, the company had viewed women mainly as a conduit to kids. This Lmom marketingM no longer fit with modern women and they were taking their kids and their dollars elsewhere. 9c-onalds 3uest to Lfind the woman inside the momM led them to the highly successful launch of 1remium &alads, healthier 5appy 9eal options and a revamping of 1lay 1laces to include comfortable seating and wireless internet access. " willingness to solicit and listen to womens input and understand that women didnt see themselves only through the LmomM lens allowed 9c-onalds to redefine its relationship with its most important consumer, ultimately winning her business back. ;. 0m(ra'e high standards Women are suckers for 3uality and, more importantly, when they find it theyre willing to pay for it. Consider Whole Boods, which has enoyed a ,<<0 percent increase in its stock price over the last decade. "ffectionately nicknamed LWhole 1aycheckM by some, Whole Boods is able to charge higher prices in a notoriously low margin industry because they have created a lifestyle brand that delivers on its promise. With high 3uality, hard!to!find products, a pleasant atmosphere, knowledgeable, courteous sales people, and even chair massage in some locations, Whole Boods has transformed something un inspiring and mundane into a premium e*perience. ?. Be willing to 'ommit There it is, the dreaded LcM word. The reason +t goes both ways. This isnt a market you can ust dip your toes into. Wyndham 5otels recently celebrated the ten!year anniversary of its award!winning Women An Their Way initiative, launched in EE< to better serve the needs of women business travelers with improved services and amenities, such as healthier menu options and a courtesy call announcing room service. When the program began women accounted for E percent of Wyndhams business travelers. Today that number has increased to over 4< percent. When you consider that, according to the Center for Womens 'usiness Desearch, = percent of women entrepreneurs say they use the same products and services at home as they do in their business its clearly no accident that women also now make up
A. hey wish to (e themsel)es: Women crave to look look good. They wish to be independent and mobile. mobile. They wish they could do without help from men. They wish to be themselves. Bew manufacturers care.
" Ginetic 5onda came around with electric start and gearless driving. +t looked feminine. 'y8 9 5 2akdawala
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Ginetic 5onda was a huge success. "n "ctiva rode in with nicer looks, good power, better brakes, and decent fuel efficiency. "ctiva became a runaway success without so much of bragging and boasting by 5onda. These were mere happy coincidences on a long road littered with products born to insensitive design and brought to customers by arrogant marketing. There are many more e*amples Ja ketchup bottle with a crown cap which needs a man to open, a tin with tough metal seal that re3uires a hacksaw for cutting, a sachet of shampoo that re3uires a pair of scissors, a coconut oil bottle that drips with oil despite all the fancy packaging, a cell phone re3uiring comple* menu navigating abilities and that comes with complicated telephone bills, cars with too low roofs re3uiring crawling to get inside, and movie theaters where women can not walk between two rows without feeling embarrassed. Women no doubt can manage all above creations by men. They do it with minimum fuss. 'ut you would earn their gratitude and loyalty if you free them from such men!made mess. They will enthusiastically recommend your products to many other e3ually enthusiastic women. Women constitute abou t half of the market. +f their influence in buying decisions is co nsidered women control much more than half the market. . Ieeds of women Jbonding, sharing, looking and feeling beautiful, and dreaming about all this . Writin! "opy for "hi#dren 9arketers pay special attention to children, who are considered as the most vulnerable audiences because they enoy advertisement to the ma*imum e*tent. Children initially take advertisement as entertainment and having soft heart; force their parents pa rents for product purchase. This is called as a PIag Bactor.
+ndustry spending on advertising to children has e*ploded in the past decade. 1arents today are willing to buy more for their kids because trends such as smaller family si%e, dual incomes and postponing children until later in life mean that families have more disposable income. "s well, guilt can play a role in spending decisions as time!stressed parents substitute material goods for time spent with their kids. Children represent an important demographic to marketers because they have their own purchasing power, they influence their parents# buying decisions and they#re the adult consumers of the future. 9arketer tries to draw childrens attention through various means like TV, 9aga%ines, &tickers, etc. /oung children, in particular, have difficulty in distinguishing between advertising and reality in ads, an d ads can distort their view of the world. %hy Marketers target Children& Children represent three different markets. +n addition to the d irect money that children spend and the money they influence, children also represent a third maor market and perhaps the most significant and that is the future market.
"dvertisers recognise that brand loyalties and consumer habits formed when children are young and vulnerable will be carried through to adulthood. ad ulthood. a'tors to keep in mind while writing 'opy *or 'hildren 1.
9arketing to children is all about creating pester power, because advertisers know what a powerful force it can be. 3. Nagging can be divided into two categories6persistence6 and 6importance.6 1ersistence nagging is not as effective as the more sophisticated 6importance 6 importance nagging.6 This latter method appeals to parents# desire to provide the best for their children, and plays on any guilt they may have about not having enough time for their kids 5. Host selling: "dvertisers not only feature cartoon or other characters from children#s television programmes to gain their endorsement for their products (known as host selling) selling) but they sometimes even place those advertisements in the breaks of the television programmes about those characters, thus blurring blurring the distinction between programming and advertising and taking advantage of the affection children feel for those characters. 6. Speak to (oth kids and parents: The conventional wisdom for reaching children is to frame a marketing message in a manner that speaks to both kids and parents. pa rents. Brom an ethical standpoint marketers are reminded constantly that offers need to specifically address parents, since it#s the adult who will be forking over a credit card. ;. Eeep the positioning simple and 'hildlike: Geep the positioning simple and childlike8 The communication message must be based on simple ideas and appeal to the kids imagination ?. Compared to ad,lts7 kids are less 'apa(le o* pro'essing prod,'t in*ormation: They have lesser product e*perience e*pe rience to reali%e in their decision!making process. They search for bits and pieces of information that they can make sense of and tend to develop brand loyalty based on these. A. $se ear appeal: Bears and worries are powerful emotions and an d marketers who can help comfort c omfort a child by resolving a fear will have gained a loyal patron.
$. Copy writin! for the mature market Hrowing old is a physical as well as an emotional condition. Desearch shows that some attitudinal or psychographic segments in the mature market are more brand loyal than others and their loyalties are to specific classes of products, not to all products across the board
The mature market is e*tremely varied and an d will only reward marketers who are willing to d eal with its comple*ities and pursue a targeted strategy. he 'hara'teristi' o* senior 'itiens are: . &pecial needs 0. 5igh discretionary incomes 4. &pare time B,t how 'an 'opy e**e'ti)ely target senior market& . 6The key elements are to keep message direct8 The over!
0. /ou also need to give them a lot of information. 'y8 9 5 2akdawala
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&eniors have a lot of time on their hands and so you must be prepared for answering many more detailed 3uestions than you would for 0F!year!olds. 4. Copy writers must avoid depicting older consumers in negative ways $ven 9atures who are not as active and healthy as they would like to be dislike advertising assaults that remind them of their problems. :. Copy writers commonly err by emphasi%ing the biological age of their consumers. 9arketers can reach this practical, hard!working generation as they enoy their retirement but not by by selling products for 6old people They have to be smarter than that. Bocus instead on themes that leverage the way 9atures are motivated to buy. =. 1lay to the notion that this generation overcame daunting odds to achieve their successes. -on#t be loud or brash; they already get the point. "fter working hard and sacrificing for so many years, they have reached a level of financial comfort and a time in their lives where they can feel freer to spend money on themselves . . . because they#ve earned it. Their style of spending, however, reflected the more cautious, disciplined values of their savings!focused outlook. $ven as 9atures spent, they actually saved a lot of money. "nd much of this spending was for others anyway, especially their children. . "s they age, satisfied and secure, 9atures will begin to spend more money on themselves. 'ut they won#t turn into recklessly wasteful spendthrifts in the mold of their 'oomer children. E. Ievertheless, N9atures# interest in pleasurable or e*citing e*periences for their own sake is low. They want to enoy life, but they don#t want to go overboard. The overriding attitude here is that they have enough money to enoy their retirement, and they plan to do so ! wisely and responsibly. %. Writin! "opy for &'e"uti(es "n e*ecutive always buy for personal desires, selfish reasons and self!interested motives. Why
'ecause people are people. peop le. 1eriod. +t#s been that way for millions of years. /our ob is to e*press your offer in terms that trigger their emotions, press their hot buttons, erk their tears, tug at their heartstrings and nudge them into taking action. +f not, you#re only on ly telling. Iot selling. 1. Be prepared. This is the most important strategy if you want to successfully sell to an e*ecutive. Desearch the company before your meeting. Hain as much information as you can before writing copy for e*ecutives. 3. )oid details . The maority of e*ecutives are not interested in the details. $*ecutives are big picture thinkers so be prepared to discuss your productKservice on a macro level. 5. !espe't their time. The most precious commodity to an e*ecutive is time. The average senior!level businessperson has at least <0 hours of uncompleted work on their desk at any given time. 1lus, they usually have only one or two of unscheduled time in a typical week.
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9ost e*ecutives get to the point very 3uickly and e*pect others to do the same. 'e direct, concise, and to the point. 6. Ha)e !ele)ant Message. -eliver a Deal &olution that &olves a Critical Challenge.
<. 'usiness people are often so tied to their businesses or products that they get tunnel vision and fail to look at their copy from their readers# perspective. ?. Be (ene*it-ri'h7 o* 'o,rse. 'ut more important, be ego!driven when describing those benefits. A. ppeals to heir 0go: $*ecutives people are still the ones Akaying the deal, whipping out their credit cards or signing the checks. "nd e*ecutives always buy for personal, selfish reasons.
. Copy using convoluted, comple*, pretentious language doesn#t sell product to e*ecutives. When e*ecutives can visuali%e the process of doing what you want them to do, including the enoyment of the benefits of your offer, you drive their actions almost instinctively. instinctively. . ollow the <5 C=s< !,le: 04press yo,r o**er as Clearly , as 'on)in'ingly and as 'ompellingly as possible. 1D. Be enth,siasti'. Be energeti'. 'e e*cited about your offering, o ffering, because your ob is to transfer that e*citement into the minds of your buyers.
. >se words, phrases and imagery that help paint vivid mental pictures. y our prospect, right in 13. +o, need to make them *eel important. Write as if you were speaking with your front of them, in a comfortable, conversational conv ersational manner 4. When you do, your copy will imply that you understand them, you feel for them and their 6suffering6 (for which you have a solution), and you#re ready to nurture and take care of them. :. Borget things like 6best,6 6fastest,6 6cheapest6 and other, broad claims. 'ecause the worst thing you can do, second to making broad claims, is to e*press those claims c laims broadly. <. +f you want to tell people how better or different or superior or uni3ue your offering is, make sure you e*press those claims in your sales message in a way that directly benefits your buyer and appeals to her ego. =. 'eing different is important. 'ut don#t focus on how better or uni3ue you are. Bocus on how that uni3ueness directly benefits e*ecutives; even to the point they can almost taste it.
II. /,r'hase /,r'hase Logi': Logi': he o,nd o,ndation ation o* o* Marketin Marketing g Strategy Strategy The foundation of a successful marketing strategy is an understanding of what productKservice should be offered, how it should be presented, and to whom. -etermining these three things is the essence of the marketing function. 1urchase 2ogic is marketings primary tool for coming up with the answers. 'y8 9 5 2akdawala
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%hat is /,r'hase Logi'& #e*inition: 1urchase 2ogic is the description of how and why someone buys a particular product or service. 1urchase 2ogic is an understanding of customer motivation that goes far beyond industry or demographic classifications. 1urchase 2ogic defines what an individual customer wants and how he or she sorts among different alternatives. %hat #etermines /,r'hase Logi': The more factors factors involved in a purchase decision, the more more complicated 1urchase 2ogic becomes. &mall, routine purchases have simple 1urchase 2ogics.
The comple*ity of 1urchase 2ogic increases as any of the following variables +ncrease8 S The number of needs and wants to be satisfied S 2ength of commitment to or longevity longe vity of the productKservice S Iumber of people involved in the decision S Iumber of alternatives S 1rice Two e*amples illustrate how 1urchase 2ogic becomes comple*. Birst, think about buying a meal for lunch at work. /ou are hungry, have half an hour to spend and have no plans to meet anyone. The decision is simple. /ou run downstairs to the cafeteria and pick up a sandwich for four dollars. This choice was easy because you had few options and a very simple need to satisfy your hunger and perhaps also take a little break. The price was also insignificant. Iow think about buying a meal on &aturday night. 'ecause you are going out w ith your family, you sort through many more factors to arrive at a decision about where to go. 5unger is only one need to satisfy. /ou also seek some kind of entertainment or atmosphere. /ou have four peoples tastes to blend and will spend a significant amount of money. Burther, you have many more options. $ven if you are not aware of it, you use a fairly complicated 1urchase 1 urchase 2ogic in selecting the restaurant. This latter scenario is still 3uite straightforward compared with most purchase decisions. Thus, in o rder to succeed in selling a product or service, it is important to take a systematic and formal approach to looking at 1urchase 2ogic. C"M/"N0NS " /$!CHS0 L"2IC " systematic approach to e*amining 1urchase 1 urchase 2ogic will look at each of its four components8 'enefits, 'arriers, Trade!offs and 1rice. )*+CHAS& )*+CHAS& /C /S /S A )+C&SS )+C&SS $very purchase decision involves a number of steps. These steps may not be clearly discrete or particularly conscious, but they do e*ist. They represent the order in which alternatives are sorted and decisions are made. The more factors involved in a purchase decision, the more complicated 1urchase 2ogic becomes.
&ellers need to understand each step of 1urchase 2ogic in order to make sure they are talking about the right thing at the right time. Clearly, a seller will benefit by understanding what is on the buyers mind and how he or she is approaching the purchase decision. 1urchase 2ogic reveals how a prospect will react to what is offered. 1urchase 2ogic also defines the se3uence se3u ence in which issues must be confronted. 'enefits must be addressed first. "fter the benefit ts have bee n established, it is time to address barriers to purchase. Ie*t come trade!offs and price. "fter an individual weighs all these factors, a purchase decision is made. 'y8 9 5 2akdawala :4
B0N0IS We all buy benefits. $ven if we have a specific idea of what features will deliver them, benefits are what we seek. 'enefits fulfill needs and wants. 1 urchase 2ogic defines all relevant needs and an d wants. 1urchase 2ogic allows us to understand how important each benefit is to an individual buyer and why it is so important.
Wants can be particularly tricky to identify. Aften they are emotional and may appear irrational. 'uyers are often reluctant to share their wants with a seller; fre3uently they are not even conscious o f some of them. Ievertheless, wants are usually most influential in a bu ying decision. Think about purchasing a watch. The desire for prestige or some other very emotional need or want ustifies the choice of a Dole* over some much lower priced alternative. 'oth do an e3ually good ob of satisfying the basic needto tell time reliably.
B!!I0!S 'arriers to purchase are those factors that may prevent a customer from purchasing. We need to design our products or services so that they overcome these barriers. They can be at least as important as the desired benefits. Avercoming barriers can become the most important benefit. 'arriers to purchase can be hard to discover. 'ecause people want to avoid conflict, they usually do not n ot offer obections and criticism freely. &ometimes barriers may seem irrational or unfair; thus, the buyer will not mention them. 5owever, barriers must be dealt with. The seller needs to know what they are in order to address them. Ane highly motivating barrier in business!to!business situations is the fear of criticism. This fear causes buyers to select the safest choice, the Lone that can not be critici%ed.M >sually that is the brand leader. +n
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this situation, demonstrating product superiority is not enough. +n order to win, the seller must also provide evidence that the buyer can use to defend his choice.
!#0-"S Trade!off analysis is the process of assessing the relative value of different offerings. Customers do not buy individual features, functions or benefits. They choose among services or products that offer bundles of benefits. The trade!off is a comparison of these different bundles. What a customer concludes from the trade!off evaluation directly determines how that customer will react to different prices.
/!IC0
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1rice is the mechanism by which sellers capture some of the economic value of the product or service being offered. 1rice is a function of the benefits provided. The value of those benefit is to a specific customer determines the ma*imum price that a customer will pay. Cost does not determine price unless you are selling a commodity. 5owever, what a customer will pay is very much influenced by the relative value of alternative products or services. Cheaper acceptable alternatives put limits on how high a price a customer will pay.
/$!CHS0 #0CISI"N "s the customer completes the 1urchase 2ogic process, the answers to three 3uestions determine the final purchase decision8 . What is the relative value of the options + am still considering 0. +s the value of one choice enough to ustify a higher price 4. &ince nothing is perfect, which minuses am + willing to live with
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/art 3. %hy Sho,ld +o, Care (o,t /,r'hase Logi'& There are four specific areas in which a seller can apply an understanding of a 1urchase 2ogic to enhance the likelihood of success8 . "naly "naly%i %ing ng the the 9ark 9arket et,, 0. Comm Commun unic icat atin ing, g, 4. +denti +dentifyi fying ng 7uali 7ualifie fied d 1rospe 1rospects cts and and :. "lteri "ltering ng Afferi Afferings ngs for for &trong &tronger er "ppeal "ppeal.. NL+OIN2 H0 M!E0 /ou will gain a clearer picture of the kinds of people who are likely to be interested in what you have to offer. +n addition, you will have a deeper understanding of what your current customers seek. This gives you power to change your offering or approach, and thereby strengthen or defend your position. C"MM$NICIN2 Io matter what communication vehicle is used, knowing your prospects 1urchase 2ogic will help you talk about the right topic at the right time. /ou will know what benefits to stress in order to motivate purchase. "lso, you will know how to Lposition your productM for greater appeal versus others in its market. I#0NI+IN2 @$LII0# /!"S/0CS Brom 1urchase 2ogic you can pull out some salient 3uestions or characteristics that will help you identify good prospects. +n some cases you may even be able to construct selling messages that will prompt buyers to self select and identify themselves to you. L0!IN2 "0!IN2S "! S!"N20! //0L "s we have already suggested, 1urchase 2ogic can also help you revise or improve your products and services to give them stronger appeal. Clear understanding of your markets needs and wants and their relative importance will give you the guidance you re3uire to make effective changes. /art 5. How Is /,r'hase Logi' ,rned Into /ositi)e 'tion& >nderstanding precisely what your customers want and why they want it is a powerful tool for managing the marketing of your product or service. &pecifically, your understanding of 1urchase 2ogic enables you to choose the most compelling features, marketing programs and sales message.
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These choices become clear because 1urchase 2ogic defines what products and services to offer and how to talk about these offerings. Ance you have identified the 1urchase 2ogic(s) in your marketplace, the direction in which you need to move will be evident. We close with two brief e*amples of how an understanding of 1urchase 2ogic can make a difference. The first focuses on how 1urchase 2ogic may be used to redefine product offerings. The second illustrates how understanding 1urchase 2ogic can increase the power of your communications.
$nderstand the (arriers to p,r'hase >nless brands owners know what is preventing people from buying their brand in store, then they have no hope in being able to change their ways in the last few feet. &ome of the barriers may not be brand related, they can be environmental, such as not being able to find or locate the product. 9aybe the packaging and product design does not reflect the premium image the brand claims, or makes it standout against the others around it. Ar has the brand b rand failed to deliver its benefits sufficiently to the shopper thereby not arming them with the reasons why it should be chosen over competitors. 9arketers used to rely on advertising to do this work for them, but increasingly it will be the last 4 feet that d elivers the reasons to buy. •
'arriers to purchase, as the name suggests sugg ests are the various barriers that the consumers have to overcome in order to buy a service or a product. The barriers can be physical, psychological or financial. +t always makes sense to list down the various barriers b arriers that your clients may have to overcome in order to reach you. Ance you know the barriers, you can dismantle them one by one and make it easy for the clients. How the to o)er'ome the Barriers to p,r'hase: +nfluencing barriers to purchase is not always a case of running a brand or price promotion. +f the barrier is L+ dont believe in this brandM then some sort of brand in store campaign that talks about brand benefits might be a good idea, but if the barrier is L+ dont know what its for or dont see the pointM, then delivering an in store campaign that helps the shopper to understand why they should buy is the way forward. +n short, brands need to align their assets to overcoming these barriers in way that best leverages what they know about how the shopper is shopping. . Why Why sho shoul uld d + buy buy it it 0. &o what whats s diff differ eren ent t 4. +t sou sound nd too too goo good d to be tru truee :. +ts +ts not not wort worth h the the pric pricee <. wher where ess the the bu%% bu%%
III. III. #e)elo #e)elopin ping g an ear *or *or Ph,man Ph,man insig insight hts s What is a brand PWe live in a brand world, but its not ust what it does to you, but how h ow it makes you feel. " brand is a set of memories; however these memories dont even need to be your own memory for you to be able to identify a brand as associations can be thought. $ven when you have neve r been in 1aris, you still could recogni%e it by ust seeing the words romantic, elegant and fashionable. To understand brands, its important to know that strong brands have uni3ue personalities, are c onsistent in spirit and have anchored themselves on powerful universal human emotions or insights, e.g. "pple, 9arlboro ? 5arley -avidson. +ts almost impossible to copy strong brands, as they go beyond the product like the 9arlboro man or the &ingapore girl. The ultimate feeling one could have with a brand is a feeling 'y8 9 5 2akdawala
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of unification8 P+ am 5arley -avidson. "ccording to e*perts no. brands have (on average) 4 times higher gross margins than no.0 brands and = times higher than no. 4 brands. "s in every successful marketing campaign, actionable human insights are critical to its success. >nderstanding the passions, e*pectations, needs and desires of the people you want wa nt to talk to !! or inspire to talk about you !! is vital. 9arketers (and those of us who serve them) need to take a close look at what#s going on in the consumer#s world. We need to listen. Sweet spot +n marketing, there is also a sweet spot like in sports, and this is what makes a consumer relate to a brand. " sweet spot is met when the relevant benefit fuses with the right consumer insight. The insight c an be slightly below the surface, its a personal truth about a consumer, in order to have effect. +t is a revelation about human behavior or human emotions that can be leveraged to build a brand. "n insight makes advertising meaningful, relevant and helps conn ect with the target. +mportant to bare in mind is that it springs from an understanding of people, not products.
Take for e*ample the powerful insight on chocolate8 women who are depressed like chocolate, Pit puts a smile back on her day. >nderstanding +ndian 2iving in +ndia everybody knows that it is very diverse, with many different cultures, languages, geography and races. +ndia is e*tremely comple* and parado*ical, and what you see is not what you get. To understand +ndia the single biggest problem p roblem is that the many professional people who create +ndian advertisements have not been e*posed to the diverse +ndian culture, and dont know a thing about how or where their target group lives. They have difficulty to relate and fall regularly into clichs. Holden rule is that one cannot write creative, if you dont know whom you write it for. 9uch research is done by people whom have a different value system from the target group. &o what makes +ndia different +s there a common set of values for the whole of +ndia "nd very important, can we appeal to all +ndian through one communication There are two solutions to communicate with w ith "sians8 . 2everage universal human insights but locali%e them to fit each region; 0. Borget globali%ation and take a completely locali%ed approach. 'rands like 9c-onalds and 1epsi approach "sian countries with universal human insights, but with a local flavour. 9c-onalds brings out the child in you and focused on the knowledge between parents and children. They talk to the parent through the child. An the other hand, the localised commercials had a sense of humour and value to them that was very different for each country. $nderstanding Malays S Dustic simplicity S >nhurried approach to life S Bamily orientation S &ensitive sophistication S Hentleness S Bocus on play rather than work S Hraciousness rather than frantic pace $nderstanding Indians S &pirituality over materialism 'y8 9 5 2akdawala
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S &entimentality and drama S Despect for elders S +ntellectual orientation S Bamily honor before personal honor S &pontaneity, oy and passion S 9ythology over history S Batalism S &tronger individuality compared to the rest $nderstanding Chinese S 9aterialism over spirituality S 1ragmatism over sentimentality or abstractions S "ction orientation over intellectual orientation S 1remium on face value S "mbition K success orientation S 5ard work ethic
$ven though the "sian people are very different, there are some common "sian values that would make it possible to create an "sian localised commercial or advertisement8 S 5armony and order S +nstitution above individual S Despect for elders S &trong family and community ties S Bear of losing face K honour S Team above self S Consensus based approach S &trong traditional anchors S 1remium on relationships rather than obectivity Ane should not be misled by appearances. -o look beyond the surface; what you see is not what you get 1eople may look westerni%ed with miniskirts etc, but their values can still be conservative. Iever underestimate the sophistication of +ndian culture. "nd last, but not least you cant talk to +ndian if you dont master Lthe nuanceM. "n insight makes ad*ertisin$ meaningful, meaningful, relevant and helps connect with the target. ... >niversal human insi$hts, insi$hts, but with a local flavour. .
IV. IV. How How to to get get an idea idea -hat does “;dea Generation! really mean/ The term idea generation is a blanket description referring to any means of creating or developing ideas. There are various different techni3ues for generating ideas; from free association to mind mapping, with brainstorming arguably being the best known and most often utili%ed. 1. Brai Brains nsto torm rmin ing g is a group creativity techni3ue for generating ideas to solve a problem. The results of a brainstorming session can be a complete solution to the problem or a list of ideas resulting in a plan, but more often than not is a list of potential ideas. 'rainstorming originated originated in E<@ with advertising e*ecutive, "le* Asborns book, "pplied +magination. Today the term brainstorming is
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often generically applied to the many differing forms of advertising creativity processes based upon this original concept. 3. ree ree sso sso'i 'iat atio ion7 n7 another type of idea generation process, depends largely on a mental Pstream of consciousness of which there are two maor varieties! serial and centered. &erial "ssociation starts with a trigger, recording the flow of ideas that come to mind, each idea triggering the ne*t until ultimately reaching a potentially useful one. Centered "ssociation, which is closest to classic brainstorming, is meant to generate multiple associations of the one original trigger trigger so it can be more fully e*plored. 5. Mind Mind or or ho, ho,ght ght Mappin Mapping g are the various processes based upon a mind map; a hand!drawn diagram used to represent words, ideas, tasks or other items linked to and arranged around a central key word or idea. This graphic version of the classic brainstorming method is used to generate, visuali%e, structure and classify ideas. +t is a visual aid in organi%ation, problem solving, and decision!making processes. 9any software companies are now selling versions of 9ind or Thought 9apping tools which supposedly aid in facilitating and recording this process. 6. &i* Thinking 5ats was a method developed in the EFs by -r. $dward de 'ono. The method is meant to promote fuller input from more people. +n de 'ono#s words it 6separates ego from performance6. The key point is a LhatM represents a direction to think rather than a label for thinking. There are si* metaphorical hats and the thinker can put on or take off one of these hats to indicate the type of thinking being used. The criticism of &i* Thinking 5ats is it has to be learned and practiced, and the process supplies and training materials can only be written and authori%ed by -r. de 'ono. ;. Con) Con)er erge gent nt thin thinki king ng:: 1roblem solving techni3ue in which ideas from different fields or participants are brought together (synthesi%ed) to find a single optimum solution solution to a clearly defined problem. ?. #i)e #i)erg rgen entt thin thinki king ng:: +n contrast to convergent thinking, (which aims at solving a specific problem) divergent thinking is creative, open!ended thinking aimed at generating fresh views and novel solutions. -ivergent thinking uses e*ploration to search for all possible alternatives
p atterns or relationships. "n analogy means &imilarity A. nalog nalogie iess and and meta metapho phor: r: >sed to see new patterns in some respects between things that are otherwise dissimilar. " comparison based on such similarity. Thus its a form of logical inference or an instance of it, based on the assumption that if two things are known to be b e alike in some respects, then they must be alike in other respects. 9etaphor means something used, or regarded as being used, to represent something else; emblem; symbol. The problem with any of these idea generation processes is the lack of o f understanding, time or focus of participants. The knowledge and problem!solving e*pertise re3uired make idea generation successful are often simply not available within the organi%ation. •
Choosing the idea that e**e'ti)ely 'omm,ni'ates the emotionalrational (ene*it
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Chapter 6: Brie* " brief is one of the most important aspects of Client servicing e*ecutive. Critical to the creative p rocess is developing a clear understanding of our clients# needs and e*pectations. "t the important initial meetings we listen and ask a lot of 3uestions to help us establish the full scope of the proect, budget parameters and timelines.
So what sho,ld we ask *or& 9ore often than not we are not given a written brief from the client instead we need to e*tract a brief. This can be painful and pointless if we are not asking the correct 3uestions and more importantly the correct person.
'efore you get into asking the usual 3uestions of how big, how much and where, try starting at the beginning. +t helps to find out about your customer. This can be done before the appointment via the web where you might find out what they do, how big they are, and how many people work for the company and how many offices they have. +f they are a foreign owned company it is 3uite possible that the decision will be made abroad. /ou can pick up product ranges, departments and divisions. /ou might even be able to see a picture of a previous stand. +ts information information like this that the smart client servicing e*ecutive gathers without thinking. +f they dont have a web site ask them to send you a brochure before your meeting.
Initial /roposal +nspiration is what our clients e*pect so we spend time refining the initial brief and make sure our proposals will deliver it. This is our opportunity opportunity to shape a vision for the proect and to set out the means for achieving it, as well as realistic deadlines for ev ery stage. Strategy and !esear'h +f appropriate and practical, we like to include careful market analysis through customer and competitor research. This helps us to fully understand where our clients are coming from and where w here we can help them go Creati)e Con'epts This is the stage when all the groundwork produces the first buds of creativity and culminates in our first maor presentation. Together we discuss and agree which of our ideas are worth developing. #e)elopment and ppli'ation $ven the greatest ideas re3uire careful implementation to achieve their full potential. Bollowing client feedback, we develop and polish our ideas into carefully crafted final Creative strategy. Whatever the re3uired deliverable, +ts essential that highest 3uality work is delivered.
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/rod,'t Brie*: The product brief (initial information provided by the contracting company that dictates what they re3uire from me). " product brief is a document designed to focus on specific benefits ben efits and attributes of clients products. Marketing (rie*: • The purpose of marketing brief is to help assess clients current situation, both internally and relative to its competition. +ts the starting point for any work agency do for their customers. The details elicited in marketing brief provide the foundation for refining clients marketing message and revising and updating their marketing and advertising program. •
" marketing brief is the best way for the marketer to clearly lay out a framework for the creative team. The process can be driven by either side ! creative or marketing ! but both sides need to agree on the brief before the work can commence. 9arketing brief is a document outlining the e*pectations by a company#s marketing team regarding a finished proect. The marketing team can clearly define what they want the creative team to create. Bollow these tips to create a marketing brief b rief so all parties involved will know what work is e* pected of them. a) Where are we (situational analysis ! the market, trends, competitive analysis, etc.) b) Where are we going (opportunities, obectives ? strategy) c) 5ow are we going to get there (actions, plans ? controls)
Instr,'tions *or 'reati)e Marketing (rie*: Step 1 Write a summary of the proect including any background information. +nclude all areas and all players who will be involved in the proect. Gnow the prices of each part of the proect and the total cost. Step 3 Autline the e*pectations of each party involved. Gnow the individual obs of each player and include these ob e*pectations in your creative marketing brief. /ou want everyone to be clear about the ob at hand. Step 5 +nclude the dates of each part of the proect. Gnow who is completing what and when it should be completed. 5ave a date for the final proect. Step 6 &tate your goals and obectives. so that everyone knows the purpose of your proect. /ou have a better chance of succeeding if everyone is clear on this point. Step ; Gnow your target group. The more you know about the target, the more successful your proect will be. Ance you know the target group, you can tailor the proect to that group.
Step ?
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Write your brief in proect format with clear headings and sections for each part of the proect. +nclude plenty of white space between sections so readers can scan for information.
1D /oint Marketing Brie* GBrie*
. Ba'kgro,nd you have to supply enough detailed information, regarding your needs. We will have little or no knowledge of your market and will have to understand the key elements that need to be focused on by the marketing campaign. Demember, you are the e*pert in your field. 0. !esear'h +nclude any and all relevant research that could support the marketing campaign. 4. /re)io,s Marketing Material +f you have tried marketing and advertising previously, provide full details of the targeted markets, details of your previous campaigns and the results. :. ims What are the re3uired results of your marketing campaign Confirm your e*pectations and aims. <. "(Fe'ti)es Will your obective be8 Daising awareness of your products or service o Changing preconceived attitudes o /our obectives must be comprehensible, specific and 3uantifiable. They should be conceived in simple detail, as they will present the principal concep t for your campaign. =. arget Market Gnow e*actly who you want your message aimed at. The target audience can be portrayed in terms of current market behaviour, degree of awareness, productKservice knowledge, favoured method of receiving info and clientsKcustomers enthusiasm Kobstruction to take notice o f and accept the information. The more comprehensively you recognise your target audience, the greater the prospect of a successful campaign. @. Eey Message 'e clear and concise concerning the purpose of your marketing campaign. "n unclear message may result in an ineffectual strategy and an unsuccessful campaign. . B,dget -efine your marketing budget. +f you do not specify a budget in your brief then a marketing strategy may be proposed that e*ceeds what you had in mind. E. imes'ale 1rovide an appro*imate schedule for the campaign. Desults will take time and we need to know the timescales we are working to. F. 0)al,ation +f you do not build in a stratagem to appraise the campaign, you will not know if it was successful and if your money was well spent. $3ually, if the campaign doesnt d oesnt produce the re3uired results, evaluation will help identify where things went wrong
•
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This comprehensive guide provides, in outline ou tline form, essential 3uestions and topics of discussion necessary for informing outside agency about clients marketing communication needs, both short and long term. This document will serve as a broad!based reference tool for both focus and direction of your marketing efforts. Whats fascinating is that this is true. The agency brief document purpose is to involve advertisement agency within clients marketing strategies Jfrom the beginning until the end. The oft!used word, partnership, is a good benchmark for defining the relationship between agency and client. +t is fundamental to a healthy client!agency relationship that the agency be seen as a fully engaged partner with client. 'y partnership we mean complete and thorough disclosure, prompt response to re3uests, and the commitment by both client and agency to see the creative process as one of collaboration, not driven by ego and private agenda. "t the end of the day, if the campaign is highly successful, who cares where the idea emanated from +f the campaign is less than successful, then both sides must take mutual accountability " good advertisement agency will ask client for a briefing. " briefing is crucial for goo d advertisement. The agency must really understand und erstand clients issues, its product and the vision clients want to co mmunicate. &ince agency brief is very detailed and goes into great depth, its recommend that a team complete this briefing. " single person would provide the agency with ust one view that may be skewed by his or her specific discipline. Con)erting into 'reati)e (rie* Ance an effective appeal is found, the advertiser should prepare a creative brief, typically covering one or two pages, it is an elaboration of o f the positioning statement, and it should include8 a% ey messa$e a$e )% ar$ ar$et et audi audien en#e #e #% 1omm 1ommuni uni#a #ati tion on o) o)e# e#ti ti*e *ess d% (ene (enefi fits ts to to prom promis isee e% &uppo &upport rtss for for the the pro promi mise se f% +edia to )e used% •
Note )oxes will expand to a##ommodate *er)ia$e% ry to .eep 1reati*e (rief as #on#ise as possi)le%% (Client Iame) Creative 'rief Bormat gen'y2raphi' #esigner: XXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXX gen'y /hone: XXXXXXXXXXXXXX a4: XXXXXXXXXXXXX 0mail: XXXXXXXXXXXXXXXXXXXXXX gen'yddress: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX &treet City &tate 1in Code /roFe't S,mmary: 1lear" #on#ise des#ription of proe#t – .eep )rief%
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tryin$ to attra#t/ (e spe#ifi#% arget ,dien'e: -hom are you tryin$
Eey Messages: =ne or two .ey “thrusts! – those most important to the proe#t’s su##ess%
Eey Bene*its: -hat’s in it for the audien#e/
realities" o)sta#les" et#% Ba'kgro,ndCompetiti)e /ositioning: (riefly dis#uss the #ompetition" mar.et realities"
Comm,ni'ation Strategy: ;ndi#ate any spe#ifi# elements to )e in#luded 9lo$os" .ey *isual ima$es".ey words and phrases" .ey #onta#t information" spe#ifi# internet lin.s et#%:
#esired Message one: How do you want the messa$e per#ei*ed 33 #reati*e" fun" warm" a#ti*e/
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/roFe't imeline: ;ndi#ate maor milestones%
nti'ipated B,dget:
"ther:
/repared (y : XXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXX #ate: XXXXXXXXXXXXXXXXXXXXXXXX ''epted (y: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXX gen'y2raphi' #esigner Signat,re: XXXXXXXXXXXXXXXXXXXXXXXX
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XX itle: XXXXXXXXXXXXXXXXXXXXXXXXXXXX #ate: XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XX
Chapter: ; he BI2 I#0 " '+H +-$" can be used to provide a basis for the campaign. e.g. a LhookM that you can use for multiple e*ecutions. -oes the ad position the product simply Yand with unmistakable clarity -oes this ad bolt the brand to a benefit -oes this ad contain a power idea -oes this ad have brand personality
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+s how the "dvertising meets its promotional obectives given its audience and constraints Translates the ads purpose into its Creative &trategy (how it w ill do what it is supposed to). The Creative &trategy is built around a theme that contains an appeal. The theme is the ads conte*t, or setting. The appeal taps into the audiences motives to initiate and guide behavior K learning. 'ig ideaLThe flash of insight that synthesi%es the pu rpose of the strategy, oins the product benefit with consumer desire in a fresh, involving way, way , brings the subect to life, and makes the reader or audience stop, look, and listen.M -avid Agilvys 7uotes +t takes a big idea to attract the attention of consumers and get them to buy your product. >nless your advertising contains a big idea, it will pass like a ship in the night. + admire ad mire people with gentle manners who treat other people as human beings. + abhor 3uarrelsome people. + abhor people who wage paper! warfare. -avid Agilvys 7uotes 0 The consumer is not a moron. &he is your wife. Iever insult her intelligence /ou will never win fame and fortune unless you invent big ideas Creative &trategy The search for the L'+H +-$".M The concept or central theme that will bind the campaign together. one o* Voi'e Tone of Voice often communicates so much more than even the e*pression on your face. /ou are constantly engaged in changing your tone of your voice as you speak. /ou admonish a naughty child in on tone, and use another if the child is frightened and needs comforting.
/ou can use Tone of Voice to give orders, raise an alarm, and evoke pity; +n short, use Tone of Voice to generate a mood, or to impel action. &o when you communicate through an ad, first decide when Tone of Voice you wish to use when talking to your target audience. What sort of feelings do you wish to inspire in the housewifes heart &hould you inspire c onfidence, or evoke fear What sort of voice will make the reader of your ad eventually respond as you want him or her to respond Tone of Voice is a crucial element in designing communication message.
Chapter: ? %riting *or /rint Media- /arts o* a press ad- the headline7 s,(head7 (ody 'opy %!IIN2 H0 C"/+ The elements of the copy, from headline to closing should follow the : steps in the selling process J L"!+! -!"M in a logical progression. H0 H0#LIN0 /!"VI#0S H0 9 N# 9I
+n copywriting, the attention and attention and interest of of the potential customer must be caught by the headline, or the page will be turned and the possible sale lost. he headline has 5 *,n'tions:
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1. o 'ap 'apt, t,re re att atten enti tion on.. Ex4
Ance the dominant selling point and copy appeal have been determined, there are several grammati'al *orms the headline can take. +t may be determined as8 " statement or part of a statement he (usine (usiness ss &tandar &tandard d ad uses uses a statem statement ent the headline headline4! 4! ;ts tou$h )ein$ a (usine (usiness ss &tandar &tandard d reporter!%
" 3uestion =nida ' ad3 Headline – “should the new =nida ' )e )anned/! &urf ex#el – sample laaney .i .ya aroorat hai
" command. get it> J Visa
Headlines may (e 'lassi*ied (y per*orman'e as *ollows: Headline ypes Bene*it News and In*ormation Command /ro)o'ati)e @,estion !eason why Ca,tion headline How-to-type Sele'ti)e headline
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Sol,tion to pro(lem d)i'e headline 2immi'k headline •
1 /romise o* a MaFor Bene*it
This is the safest, most widely used type of headline. "nd for it to be as effective as possible, it must display the Z benefit your prospect will receive buy purchasing your product or service. The most effective way to determine this benefit ben efit is to survey your customers ! by phone, email, or postal mail. "sk them the top 4 reasons for purchasing your product or service, and have them rank them in order. +t#s a good idea to offer your customers an incentive for providing you with this information. 3. News or In*ormation: Conveys real news or important information about a product.. +f your product or service offers o ffers something newsworthy, announce it in your yo ur headline. Iewsworthy is usually the introduction of a new product or the improvement of an e*isting product. 5ere are some words you can use in your Iews 5eadline8 Iew... "nnouncing... +ntroducing... Binally... Qust Deleased... Iow... Iow "vailable... "t 2ast... 04amples:
E$% he imes of ;ndia ad that )oasts of the #ir#ulation of =; as #ompared to that of De##an Herald% “ he imes of ;ndia4 IAB,J #opies% De##an Herald 4 AKJM #opies! 5. he Command Headline . The Command 5eadline tells your customer what to do.
/our command should en#oura$e action by offering your prospect a benefit ben efit that will help them. $ffective Command 5eadlines start out with action verbs. &'amp#es &'amp#es 9rade In +o,r "ld Motor 'y'le *or-Bye to 9aintenance 5eadachesM [\9rade
6. /ro)o'ati)e ;. he @,estion Headline. 5ere again, to use this headline, you must really know your market. /ou need to know what your prospect p rospect is thinking, what their an*ieties are, and wh at theyre hoping to accomplish. +f you know your target audience this well, then the 7uestion 5eadline is an effective headline to use.
The 7uestion 5eadline should focus on your prospects self interest and ask a 3uestion they want to know the answer to. The best type of 3uestions to ask are 3uestions that get your prospect involved. 04amples: [ LWhat -oes the &pace &huttle 5ave To -o With 2aUer Dunners @ /ear 1remium 1rotection WarrantyM [ LCan 5alf of "ll 2aser Tag Awners in "merica 'e WrongM [ LWhat -o The Hiant $ntertainment Companies Gnow That /ou -ontM
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?. he 9!eason %hy Headline . With the LDeason WhyM headline, you give our prospect specific reasons why they should read your ad. LDeason WhyM headlines are effective because they contain facts and specific numbers. LDeasons whyM headlines dont need to include the words Lreason whyM. &'amp#es &'amp#es L@ Deasons Why +'9 1rovides /ou With a 9ore Deliable &ystemM • A. he How-o Headline. These two words !! Lhow toM, are very powerful words. /ou can never go wrong using a 5ow To 5eadline. (Aver @,FFF book titles start out with 5ow To.) 5ow To 5eadlines promise your prospect a source for information, advice, and solutions to their problems. +f you ever get stumped for a headline, use the 5ow To 5eadline !! it works &'amp#es &'amp#es [ 9How o 04pand +o,r C,stomer Base and In'rease +o,r /ro*its . Sele'ti)e &elect a specific audience with specific language and words.
he +alaya +anorama ad" whi#h addresses ad*ertisers% he print ad starts with the headline whi#h says – “< few #ommandments to ad*ertisers this mas%! 9edia planer ad of $enadu 1radesh. Sol,tion to a pro(lem
This type of headline is a slight variation of the Z benefit headline. The problem solved by your product or service is the Z benefit ! it#s ust presented in a problemK solution format. $*ample8 6Iow /ou Can 9elt at 2east 4 +nches of Bat from /our Waist in 4F -ays or 2ess ! Huaranteed6 This headline presents the benefit of reducing fat in the waist as the Z solution to the problem of having e*cess fat in the waist area. 1D he lag Headline
" flag is a phrase calling for the attention of a particular person or group. >se a flag headline to attract a ttract your target audience ! those most likely to buy your product or service. Bor e*ampleY "ttention8 Iew 9others Iew $*ercise &afely 'urns the Bat /ou Hained -uring /our 1regnancy in 2ess than =F -ays ! Huaranteed /ou can also use the flag headline to increase response by catering your offer to readers of the publication p ublication you#re advertising in. $*ampleY 'y8 9 5 2akdawala
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"ttention8 Iewborn Qournal Deaders Iew, $*ercise &afely 'urns the Bat /ou Hained -uring /our 1regnancy in 2ess than =F -ays ! Huaranteed 11 he %arning Headline
This type of headline can yield tremendous results when use properly. There are a few ways to use this approach. /our headline can propose a warning to read your message before making a purchase. Ar you can use the warning to flag a specific audience. The following e*ample uses both of these techni3ues. ] Warning8 -ieters ] -on#t eat another reduced calorie meal until you read this startling messageY Why /our Current $ating 5abits 9ay be -oing 9ore -amage to /our 'ody Than Hood 13 he estimonial Headline
This is simply a satisfied customer testimonial used as a headline. 5 ere#s an e*ample8 6'ig 'oulder 1rotein 1owder helped me pack on pounds of muscle and reduce my body fat by =.:^ in only 4@ days, without changing my e*ercise routine, and +#m convinced it can do the same for you too.6 The 3uotes around the headline signify that it#s an actual 3uote from a customer, giving it added validity. When using this method, it#s important that the testimonial has a strong impact. +t must make a significant claim related to a maor benefit of your product or service. -on#t ust use an 6average6 testimonial, or it won#t have the desired effect. 15. 15. Claim Claim::
+nsist that this product has an outstanding record or performs in a certain way. +t should not be overly blatant and boastful, if so then it is called Horn-Blowing . 0H 3when 3when sendin! sendin! shipments shipments to the *S, *S, more of /ndias /ndias "ompanies "ompanies "hoose "hoose us4.
Horn )lowin$ – the
16. d)i'e or /romise: /romise:
1romise a real benefit if the product is used. Ex4 Don’t $et a #redit #ard from us and you may end up with the wron$ one in your hands 3 timesofmoney%#om ad% 1;. Logo "r "r Slogan: Slogan:
&tress the reputation of the company behind it. 'y8 9 5 2akdawala
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oyota" ata )oth use their lo$os for most of the ads for their automo)iles – 1amry and ;ndi#a respe#ti*ely% 1?. Mood-Set Mood-Setting ting::
&et a mood to create receptivity in the reader. E$% he - +arriott ad" whi#h uses the headline –“he earth is mostly water% &o is the *iew from our hotel% < pi#tures8ue s#ene of $irl relaxin$ supports this 1A. /ro)o'a /ro)o'ati)e ti)e::
+t must provoke the reader into probing further. +t means startling or interrupting in order to capture attention. +f a provocative headline is used it must be pertinent to the product. +f it presents a 3uestion, the answer must lie in the subheadline or body copy and in the products characteristics, features, and performance. &ometimes it presents a contradiction or an apparent parado* to the reader, with the e*planation provided in the body copy. There are e*ceptions8 Those messages where a headline and very descriptive visuals are able to tell the whole story. he ad*ertisement for HLL loo.in$ for )a)y models – Head#ine Head#ine 5 36ude mode#s mode#s wanted4 wanted4
E$% he “)ad ni$ht – Good.ni$ht! ad with Lisa Ray 66%her fa#e tells the whole story and there’s no )ody #opy7 S,(-headlines:
&ub!headlines are sectional headlines. There are over lines and underlines. "n over line is a sub!head that leads into headline. "n underline is a sub!headline that follows the main headline and leads the reader into the copy test. Henerally the purpose of the sub!headline is to support the main headline and complete the meaning of the headline. +t may also be used to bring out related but additional or different appeals. +t can also be used to break up a lengthy copy. ,n'tions o* S,(-headline: S+nclude important information not communicated in the headline S Communicate key selling points or information 3uickly S &timulate more complete reading of the ad
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B"#+ C"/+
'ody copy #arries the #arries the selling message. Ance the headline and visual have attracted attention and aroused interest, the body copy attempts further to develop the interest of the potential customer, to awaken the desire to own the product, and to close with a Lcall to actionM. 'ody copy can be e*tremely important to the success of an ad. +t allows you to fully convince the target audience of the benefits of the product. 'ut unless you can get them to read it, it#s a huge waste of your time and your client#s money. "nd most people won’t people won’t read read body copy!!in copy!!in fact, F^ of readers readers won#t read it. &o what do you do /ou can leave it out of the ad and hope that the ad will compel readers to seek more product information elsewhere (at the Web site, at the showroom, etc.) 'ut sometimes advertising is the most efficient way of communicating all the product information so you have to write good body copy. +n that case, you must try to entice readers into the body copy. "nd the best way to do that is with a great 6lead.6 This is the first sentence of the body copy. Io matter what style of copy you#re writing, it should draw the reader from the headline and into the te*t. The #opy approa#h is approa#h is the way the copy and its appeal are presented. Copy approa'hes7 )ario,s as they seem7 'an (e gro,ped into three 'ategories:
. a't,al7 dire't or rational approa'h L;1 – he L;1 ad states the )enefits of the omal ee*an poli#y" the eli$i)ility" minimum sum assured" et#% Se)eral ways to work o,t this approa'h • a. #ire't selling in*ormation
(. Implied s,ggestion G9so*t sell
'. estimonial 'opy
A% -hen &a#hin &a#hin endul.ar endul.ar says – “(oost “(oost is the the se#ret se#ret of my ener$y!" ener$y!" he is offerin$ offerin$ testimo testimony ny to the )enefit offered )y (oost" i%e% ener$y%
,% Ratan ata ata lends #redi)i #redi)ility lity to the the plea made )y Dept Dept of Ele#tron Ele#troni#s i#s – Go*t% of of ;ndia )y ratif ratifyin$ yin$ the seriousness of the 5, (u$% 'y8 9 5 2akdawala
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Body 'opy de)eloped *or the *a't,al approa'h:
.
"mpl "mplif ific icat atio ion n of head headli line ne in in the the lea lead d (st sentence (s) of body copy)
0. 1roo 1rooff or or evid eviden ence ce 4. "ddi "dditi tion onal al deta detail ilss :. Closing The ad by +nfosys seeking recruits starts with the Headline J L We need Though 2eaders who can assert our -omain Competence.M . mpli*i'ation o* headline J L"s a global +T consulting and services organi%ation, +nfosys is at the cutting edge of +T development and a thought leader in business and technology domainsYM 0. /roo* or e)iden'e 8 a seal is shown in the ad which states J Best employer to work *or in India 'usiness today J 5ewitt "ssociates survey J Qan 0F F So*twares Best 0mployer -ata3uest J IBA J 9'2 &tudy 9ay 0FF dditional dditional details8 details about -omain Competency, the focus areas of the proect, 4. eligibility criteria are given. :. <. Closing: &o, if you are a though leader who wants to fly high, act now 9ail your resumeY 3. Narr Narrati ati)e )e appr approa' oa'h h story story (oar (oard d
Ex4 om .ota. mahindra < man oins a party and is )ewildered )y what he sees% He mo*es forward in a dae and re#o$nies his own ima$e as an old man% PE. din" main apne aap se mila%
Se)eral ways to work o,t this approa'h: a. #es'ripti)e or h,man interest story 'y8 9 5 2akdawala •
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9ost IHAs use this approach to elicit a favorable response from the readers. Bor e*ample, ad for the "mitasha "mitasha foundation ! Iurturing the girl child, show the photograph of a girl in rags, with the headline J L5er parents cursed the day she was born. &o does she.M •
(. 9Sli'e o* li*e J slice of life ads depict situations that one can relate to, situations that could have occurred in anyones life. +#Donald" life. +#Donald" 1ad)urys dairy mil." et# use this approa#h
•
'. i'tional testimony +n the ad for -ove, women who have used -ove narrate the positive effects of using -ove in their lives.
•
d. Monolog,e or dialog,e Hindustan Hindustan 7imes
•
e. H,mor
+ost of the Fe*i#ol ads ha*e used humor to ma.e the ads noti#ea)le" interestin$ as well as memora)le% E*en the fe*i8wi#. ad where two men are shown fishin$" has the same effe#t% he ad 3 a sua*e $entleman is shown fishin$ in a la.e for hours" )ut #ould not #at#h a sin$le fish% hen #omes a rusti# lo#al" who applies Fe*i8wi#. at a few pla#es on his fishin$ rod" dips it in the water and out #omes with fi*e fish stu#. to his rod% hus" humor $a*e hi$h noti#i)ility as well as re#all to the ad% Body 'opy de)eloped *or the narrati)e approa'h: •
/redi'ament
+ost fair and a nd lo*ely ads start with a predi#ament – the $irl fa#es pro)lemOs )e#ause ) e#ause of her #omplexion% li.e the ad in whi#h the father wishes that he had a son and not a dau$hter% he dauf$hter #omes a#ross an offer for the o) of an airhostess" )ut a after loo. at her dar. #omplexion in the mirror" only ends up #ursin$ herself% •
ransition to the prod,'t.
(ut thin$s #han$e when she uses Fair and Lo*ely •
Happy ending
Not only does she )e#ome )eautiful 9fair: and #onfident" she e*en )e#omes an airhostess% he ad ends with the female ta.in$ her father out for #offee #offee to a fi*e star hotel" hotel" and the father proudly #allin$ her >)eta’ 9son:% •
Closing Gs,ggestion to the reader
ds7 whi'h end with words7 like Q “aldi .iiye!" hurry now" et#%
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Example – &afal ad – aldi .iiye 3 mahurat ni.al na aye
5. /roF /roFe' e'ti) ti)ee or emotio emotional nal appr approa' oa'h h
This approach puts the reader realistically into the situation, involving him emotionally through a proected Lfactual storyM or through fictional story about fictional characters. This approach relies on the customers association with the characters in the story J as if it were happening to him. E$% he emotional impa#t of this type is often felt in #opy written a)out perfume" #osmeti#s" lin$erie" #ars and tra*el% +#Donald’s ad% < little )oy ta.es a last loo. around his old home% E*erythin$ is )ein$ pa#.ed up and stashed away to )e mo*ed &ayin$ $ood3)ye to his )est friend he $ets into the the #ar and they dri*e out% =n the way" he spots a +#Donald’s restaurant and%%%%he re#alls all the fun they had here% he o##asions #ele)rated and the $ood times #ome flashin$ )a#. to him% 1ut to the new house% His sister dra$s him to the window to show him somethin$% he father draws draws a +a# lo$o in the air%
B"R0S N# /N0LS
'o*es and panels are great tools for the copywriter. +n the information age, writers can access huge amounts of information to support their products utility and demonstrate why customers need it. To avoid having having the ads ads te*t te*t become become a glut glut of testi testimon monial ials, s, data, data, and off!t off!the!i he!issu ssuee discus discussio sions, ns, copywri copywriter terss segregate information of a secondary and supportive nature into bo*es and panels ne*t to the main body copy. This allows readers to first focus on the main issues and later study the detailed facts. " )ox is )ox is copy with a line around all four sides. " panel " panel is is an elongated bo* that runs the whole length or width of an ad. 'o*es are useful for framing information that the prospect must read J e%$% #oupons" spe#ial offers" #ontest rules" and the order )lan.s%
7uick tips for 'ody copy;
. " writer must put conviction into their own o wn copy. 0. Iever oversell in your body copy 4. Het 3uickly to the cru* of your body copy message. :. Geep your line of thought on track. "ddress arguments before they arise. =.Write for your audience!not yourself. @. Geep your copy user friendly . 1resent your body copy in a logical se3uence that relates to the rest of the te*t. 'y8 9 5 2akdawala
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E. >se one of the twelve slogans for constructive persuasion.
SL"2NS
" slogan is a small attractive phrase used in the ad to sum up the advertising message in a few words. +deally the slogan should be short, preferably < to @ words or even less than < words. The words must be simple, clear and easy to remember. +t should be so designed that it can be repeated , perhaps a year or years together. The slogan should be such that it can be used in any media, whether on TV, radio, press and outdoor. &logans are not easy to create. &ometimes, they ust come along but bu t most often slogans are the result of hard wo rk of days together put in by the creative marketing peopleKadvertising people. Hreat slogans are like great ideas, they don#t come overnight.
Basis *or writing a slogan: e'hni8,es*a'tors . &logans can be based on the 7uality of the product. $*ample8 PThe best tobacco money can buy!Dothmans.
0. &logan can be based on the 2ife of the company. $*ample8 P " trusted household name for over fifty years!1hilips. 4.&logans can be used to build Trust and confidence. $*ample8 PThe name you can trust! 9afatlal. :.slogans to guard against substitutes. $*ample8 Pwhen its 1hilips, you can be sure. <. &logans emphasi%ing sales of the product. $*ample8 P+ndias largest selling soft drink concentrate. Dasna. =. &logans emphasi%ing +nternational reputation of the product. $*ample8 PThe worlds favorite airline! 'ritish "irways. @. &logans can place emphasis on "dvanced technology of the company. $*ample8 P+n tune with tomorrow.! 'ush. $*ample8 -unlop is -unlop, always ahead. . &logans emphasi%ing the use of the product. $*ample8 P" pocket doctor for aches and pains!"mrutanan pain balm. $*ample8 PDeal relief, real fast!9oov.
E. &logans e*pressing 2ove and "ffection $*ample8 P" gift for someone you love!"mul chocolates. 'y8 9 5 2akdawala
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F. &logans e*pressing Qoy and happiness. $*ample8 P 5appy days are here again.!Thumps up . &logans emphasi%ing the choice of specific class. $*ample8 PThe choice of new generation! 2ehar 1epsi. 0. &logans emphasi%ing the comfort and convenience. $*ample8 P"rrive in better shape!Cathay 1acific. 4.&logans based on pride and possession. $*ample8 Ieighbours envy, Awners pride. :.&logans emphasi%ing name of the brand company. $*ample8 PAnly Vimal <. &logan based on the headline of the ad. $*ample8 PBilter and tobacco perfectly matched!Wills. (headline8 P9ade for each other), he twel)e slogans o* 'onstr,'ti)e pers,asion: . &logan are about you8 &uccessful slogans tend to use the word Pyou some where in the copy. 0. &logan make promises 4. &logans call for action :. &logans create ideals8 Uindagi ke saath bhi Uindagi ke baad bhi. <. &logans are it8 Ho for it, +ts here, you cant beat it. =. &logans are in a world of their own. $nter a new world of writing. @. &logan may rhyme8 Top for shops, meals that appeals. .&logans can be full of alliterations &upremely &cottish &almon 'uy better. 'uy bigger, by far. E. +n order to sell, slogans dont have to be clever. The writers choice The best pen you can buy. F. &logans conveniently package everything in one sentence. "ffordable reliability in your pocket. . &logans repeat key word patterns. The right price. The best 3uality. 3ua lity. 0. PThe slogan is king The best; The one;the "nswer, The shape. ,n'tions o* Slogan: . "id memory recall8 +t should be easy and pleasant to remember. L + love you DasnaM.
0. To describe the use of a product. L The weekly update on the hospitality industry! $*press 5otelier ? caterer 9aga%ine. 4. To suggest the products special advantage or uni3ue benefit. 6 An time, every time.M -52. :. To sugge suggest st incre increase ased d use or fre3uen fre3uency cy of use. use. 'y8 9 5 2akdawala
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<. To stress the 3uality of the product L Hreater Deliability through 'etter TechnologyM. Dane ( 9adras 2imited). =.To build name and goodwill of the company. L The worlds favorite airline.M 'ritish "irways. @. To stress market leadership L +ndias Io. Dadial.M QG Tyre. . To emphasi%e international standards. L World Champion 2ubricants.M Castrol.
9any slogans J also called theme lines or tag lines J begin as successful headlines. Through continuous use, they become standard statements, not ust in advertising but also for salespeople and company employees. &logans become a battle cry for the company. &logans have two basic purposes8 to provide provide #ontinuity to #ontinuity to a series of ads in a campaign and to reduce an advertising message strategy to a brief, repeatable and memorable positionin$ memorable positionin$ statement . De (eers ads still use the slo$an – “Diamonds
Word, or more letters than one, cast in one piece. Ion!heraldic device chosen as company symbols or badge of organi%ation and used in advertisements, on note paper, etc. The companys logo is the corporate co rporate signature. +t reposes in itself the collective pride of the company and is designed with great care to represent the personality of the company and its product. +n other words, the corporate logo embodies the company with a personality, a human 3uality and character. "part from lending personality to the Companys public image, logo styles also incorporate nuances about the company. 9ovement related corporations like "ir +ndia, +ndian "irlines, and a host o f other airline and travel agencies prefer their logotypes to move from left to right and underline the sense of motion through ;tali#ised typefaces.
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" seal is awarde awarded d only only when when a product product meets meets standa standards rds establis established hed by a partic particula ularr instit instituti ution on or organi%ation. &unsil. #laimed that it had passed the ri$id tests and had re#ei*ed the appro*al of Elida Hair ;nstitute of 0aris % 1ompanies #laimin$ to )e ;&= appro*ed &ince these organi%ations have credibility as recogni%ed authorities, their seals provide an independent, valued endorsement for the advertisers product% product% The term &eal is sometimes interpreted to mean the company seal or trademark. They are actually called logotypes. Lo$otypes logotypes. Lo$otypes and and si$nature si$nature are are special designs of the advertisers company name or product name. They appear in all company ads and, like trademarks, give the product individuality and provide 3uick recognition at the point of purchase.
Captions: Captions do form part of copy te*t. Captions are small sentences that seem to come out the mouth of the people shown in the ads. Comic strip type of copy make use of captions.
Bor e*ample, you must have hav e come across such captions in the print ads of Tortoise 9os3uito Coil. 0ssentials Chara'teristi's ttri(,tes o* a 2ood 'opy: . 'e Concise 0. 'e &imple 4. 'e specific :. 'e 1ersonal <. 9ake it believable =. 'e clear @.9ake it interesting .9ake it persuasive E.Geep a surprise in the copy F. Bollow the headline and illustration. Creative Tactics8 1rint "d 2ayout
5. Jingles These are catchy little tunes, which we pick up and hum 3uite unconsciously most of the times, like a refrain registered in our brain, which refuses to go away. Qingles make possible the association of memorable phrases with the product or with the company.
"s -avid Agilvy once said, L +f you have nothing to say, sing it.M " ingle with its repeat phrases has a far higher recall value than the visuals do. The signature tunes immediately conure up their products. The music catches the attention of children and teenagers. +t is important to know the target audience when composing a ingle. +t is important to know the target audience when composing c omposing a ingle. The mood briefs are generally given to the ingle singer by the "gency. They tell whether a tune should be Ppeppy or Promantic, or Poyous. They also give a profile of the target audience. &ometimes a story! board is given by the "gency to make the singer aware of the characters e*pected to be mouthing the ingle. 'y8 9 5 2akdawala @
Qingle composing, singing and making it work is highly creative art. Qingle composing involves co! ordination with client, composer, musician, recording studio, singer, voice over person and host of others.
Chapter: A I. %r %rit itin ing g *or *or el ele)i e)isi sion on:: Stages o* prod,'ing a V Commer'ial 1 %riting %riting s'ript s'riptss and de)el de)elopin oping g story(oa story(oards rds 3 Br Brie* ie*ing ing the prod, prod,'er 'er 5 /re/re-pr prod od,' ,'ti tion on 6 Shooting ; /ost /ost-p -pro rod, d,'t 'tio ion n
The Two elements that make TV so e*iting are8 () &ight (0) &ound o',s on single (ig idea: TVC are generally use for launching the single 'ig +dea to leave its impression. $ffective TV commercials merge video and audio into a powerful sales tool. 'ut don#t think one is more important than the other. "udio and video go hand!in!hand.
Bor e*ample, turn down the volume on any commercial. /ou should be able to identify the benefits of purchasing a product ust from the video. The same holds true for audio. Close your eyes and listen to the announcer. +f the audio doesn#t e*plain the product in detail, then the commercial isn#t effective. 1otential customers should be able to hear your message even if they#re not in the room to see it. "lways use a strong audio and video combination when creating your own commercial. &ay you#re selling a handheld vacuum cleaner8 /our video could actually demonstrate the product vacuuming the stairs, hard to reach places and inside a car. /ou#d also use video to show someone struggling with a regular, bulky vacuum cleaner ! fussing with cords and heavy e3uipment. >se your audio to e*plain the advantages of owning your product. /ou#d use words like 6convenient, portable, and lightweight.6 5owever, there are no words more important than your call to action. What do you want your viewer to do Tell them to call now. Arder now. Visit their local dealer. /our video must match your audio to drive home your selling points. Bor instance, you wouldn#t want to see video of a woman struggling with a large vacuum cleaner while you hear audio claiming, 6Aur handheld vacuum cleaner is great for cleaning the inside of your car6 /our message gets distorted. The viewer gets confused. "nd yo u lose the sale. hink o* tele)ision as an intimate medi,m. . +f you#re adverti advertising sing a restaurant restaurant,, don#t ust use use a shot of your building#s building#s e*terio e*terior. r. >se a close!up close!up of your food in your commercial. "nd show people eating your food.
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0. +f you#re you#re producing producing a 1ublic 1ublic &ervice "nnounce "nnouncement ment (1&") (1&") about drunk drunk driving, driving, don#t ust use use a shot of a crowd of people at a funeral. &how a tear streaming down a child#s face. 4. Combining Combining sight and and sound should should spark your viewers viewers## emotions emotions and help them identif identify y with your product. "nd if they can identify with your product, you#re more likely to get S,''ess*,l tele)ision ad)ertising sells thro,gh emotions: . Moti)ate )iewers: Television viewers rarely remember the details of an ad, but they can recall how the ad made them feel. 9ake sure they feel motivated after viewing yours.
0. 2et to the point. /ou have about two seconds to grab the the television viewer#s attention, attention, so use a strong opening image ! the visual e3uivalent of a strong headline. /ou then have a total of maybe five seconds to say what the ad is about ! if it#s not clear you#ve you# ve lost the viewer for the entire ad. 4. Eeep yo,r message simple. &tress your benefits. "nd "nd remember to stress them visually. /ou can do this by 6showing6 what they are, rather than ust 6telling6 what they are. :. Be s,re to tell the )iewer yo,r name )is,ally . 1ut it right there up on the screen, along with your logo, and your address and phone number. 'etter yet, hit them twice by having the voice!over announcer read it aloud at the same time. <. #on=t *orget yo,r 'all to a'tion. Tell the viewer what to do ! Call now; Visit your local dealer; Compare the value; Come see us; etc. ele)ision has a tremendo,s ad)antage o)er radio: +n that action as well as sound can be used in the message. The ability to create a mood or demonstrate a brand in use gives television it superior capability.
'ut this also changes the whole concept of copy for the copywriting effort. Copy for television must be highly sensitive to the ads visual aspects as specified by the creative director. The opportunities inherent to television as an advertising medium represent challenges for the copywriter as well. The copywriter must remember that words do not stand alone. Visuals, special effects, and sound techni3ues may ultimately convey a message far better than the cleverest turn of a phrase. Television commercials represent a difficult timing challenge for the copywriter. Copy must be precisely coordinated with the video. The road map for this coordination effort is known as a storyboard. " storyboard is a frame!by!frame sketch depicting in se3uence the visual scenes and copy that will be used in a television advertisement.
%riting V Copy ele)ision d)ertising ormats: 'ecause of the broad creative capability of the television medium, there are several alternative formats for a television ad8 #emonstration. -emonstrating a brand in action is an obvious format for a television ad. 'rands whose benefits result from some tangible function can effectively use this format. format. -emonstration with sight and sound lets viewers appreciate the full range of features of a brand. 'y8 9 5 2akdawala @4
/ro(lem and Sol,tion. " brand is introduced as the savior in a difficult situation. This format often takes shape as a slice!of!life message, in which a consumer solves a problem with the advertised brand. " variation is to promote a brand on the basis of problem prevention. M,si' and Song. 9any television commercials use music and singing as a creative techni3ue. The beverage industries (soft drinks, beer, and wine) fre3uently use this format to to create the desired mood for their brands. Spokesperson. The delivery of a message by a spokesperson can place a heavy emphasis on the copy. The copy is given precedence over the visual and is supported by the visual, rather than vice!versa. $*pert, average!person, and celebrity testimonials fall into this category. #ialog,e. "s in a radio commercial, a television ad may feature a dialogue between two or more people. -ialogue format ads pressure a copywriter to compose dialogue that is believable and keeps the ad moving forward. 9ost slice!of!life ads in which a husband and wife or friends are depicted using a brand employ a dialogue format. Vignette. " vignette format uses a se3uence of related advertisements as a device to maintain viewer interest. Vignettes also give the advertising a recogni%able look, which can help achieve awareness and recognition. The Taster#s Choice couple featured in a series of advertisements in the >nited & tates and Hreat 'ritain is an e*ample of the vignette format. Narrati)e. " narrative is similar to a vignette but is not part of a series of related ads. Iarrative is distinct in that it tells a story, like a vignette, v ignette, but the mood of the ad is highly personal, emotional, and involving. " narrative ad often focuses on storytelling and only indirectly touches on the benefits of the brand. 9any of the 6heart!sell6 ads by Godak and 5allmark use the narrative techni3ue to great effect.
2,idelines *or %riting ele)ision Copy . >se >se the the vide video. o. 0. &upport the video. video. 9ake sure sure that the copy copy doesn#t doesn#t simply simply hitchhike hitchhike on the the video. 4. +f all the copy does does is verbally verbally describe describe what the audience audience is watching, watching, an opportunit opportunity y to either communicate additional information or strengthen the video communication has been lost. :. Coordin Coordinate ate the audi audio o with with the the video video.. <. &ell the product product as well well as as enterta entertain in the the audience. audience. =. 'e fle*ible. fle*ible. -ue to media!sche media!schedulin duling g strategies, strategies, commerci commercials als are produced produced to run as F! se >se copy copy udi udici ciou ousl sly. y. . Deflec Deflectt the brand brand perso personal nalit ity y and image image.. E. 'uild campaigns campaigns.. When copy for a particula particularr advertisement advertisement is being being written, written, evaluate evaluate its potential potential as a sustainable idea. Common Mistakes in Copywriting 'eyond the guidelines for effective copy in each media area, there are common mistakes made in copywriting that should be avoided8 . Vag,eness. "void generali%ations and words that are imprecise in meaning.
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0. %ordiness. 'eing economical with descriptions is paramount. Copy has to fit in a limited time frame (or space), and receivers bore easily. 4. $noriginality. >sing clichs and worn out superlatives was mentioned as a threat to print copywriting. The same threat (to a lesser degree, due to audio and audiovisual capabilities) e*ists in radio and television advertising. Trite copy creates a boring, outdated image for a brand or firm. :. Creati)ity *or 'reati)ity=s sake. &ome copywriters get carried away with a clever idea. +ts essential that the copy in an ad remain true to its primary responsibility8 communicating the selling message. he Copy ppro)al /ro'ess +n copy approval, copy may be subected to research scrutiny. -evelopmental copy research provides audience interpretations and reactions to the proposed copy. $valuative copy research is where the audience e*presses its approval or disapproval of the copy used in an ad.
The final step in copywriting is getting the copy approved. " typical copy approval process goes as follows. +n the advertising agency, a copywriter submits draft copy to either the senior writer or the creative director, or both. " redrafted copy is forwarded to the account management team within the agency. " main concern at this level is to evaluate the copy on legal grounds.
"fter the account management team has made recommendations, a meeting is likely held to present the copy marketing staff. +nevitably, the client feels compelled to make recommendations for altering the copy. Binally, copy should always be submitted for final approval to the advertiser#s senior e*ecutives. Aften, these e*ecutives have little interest in evaluating advertising and they leave this responsibility to middle managers.
Story(oard Creating the &toryboard is the second level of making a television commercial (TVC). &toryboard is a series of visuals which convey the story or the idea behind the commercial. Ance the concept behind a TVC is ideated, presented to the client, approved and researched, the storyboard artist is called upon to present the ideas visually with a brief from the creative department. +n "dvertising, these visuals are usually hand!drawn. The artist is given a detailed description on the commercial vi%. &ocio!economic profile of the protagonists , their age group, their costumes, the place K location where the TVC is set in and so on. The artist artist then presen presents ts his interpre interpretat tation ion of the commerci commercial al in visual visualss as variou variouss shots shots conceived by the creative team. The dialogues K lyrics of the ingle are written against each corresponding visual. This storyboard is in turn forwarded to the p roducer Kdirector of the TVC.
"fter the initial discussions on the TVC with the creative, the director then takes over the mantle and in consultation with the director of photography, visuali%es the entire film shot by shot. 5is interpretation of the commercial is again presented by a storyboard artist as various shots, locales, look of the models etc on a storyboard but this time in a more detailed version. Bor a TVC, a storyboard makes things easier for all parties involved. +t makes the director#s ob much easier once he has his well!defined visual representation. The -irector of photography too, with the help of a storyboard knows his shots and the angles much in advance and this helps his planning with the kind of e3uipment, lenses , the lighting techni3ue which could be used to make the frames look interesting. The editor, even before the film gets shot, gets a fair idea on the editing pattern, thanks to the storyboard. Brom 'y8 9 5 2akdawala @<
the advertising agency#s perspective, the director#s d irector#s storyboard helps them understand what e*actly the director#s visuali%ation is, of their script.
++. Cinema: rt o* s'ript writing +n a good screenplay, dialogue tends to be used frugally. Too much dialogue clutters up and slows down the impact of the film, especially when it slows down or reduces visually showing the audience what is happening. &o one of the most important important lessons a screenwriter screenwriter can learn is to show rather than tell.
-ialogue is only used to add ad d subtlety to characters and action and a nd to provide additional information that will help the audience better understand what is going on and why. he 0lements o* he S'reenplay i. -rama8 -rama8 Birs Birstt we are are telli telling ng a story story in in the form form of of -D"9" -D"9".. +n prese presenti nting ng our story story on the the scree screen n through the medium of photographed action we have &CD$$I -D"9". The story is about people, giving us characters.
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iii. iii. iv. v. vi. vi. vii. vii. viii. viii.
C5"D"CT C5"D"CT$D+ $D+U"T U"T+AI +AI88 The portra portrayal yal of thes thesee charact characters ers gives gives us C5"D C5"D"CT "CT$D+ $D+U"T U"T+AI +AI.. The characters, being human, have desires. 9AT+V$ 9AT+V$88 These These desires desires caus causee them to to do certain certain thing things!! s!!and and the the causes causes are are called called 9AT+V$ 9AT+V$.. 9otive 9otive find findss its outl outlet et in deeds deeds,, which which are are the effec effects ts of the the causes causes,, giving giving us us "CT+A "CT+AI. I. CAIB2+ CAIB2+CT CT and and &TD>HH &TD>HH2$8 2$8 The vari various ous motive motives, s, clash clashing ing,, give give us CAIB2+ CAIB2+CT CT and and &TD>HH2$. Wait Wa itin ing g for the the outc outcom omee of the the confl conflic ictt gives gives us us &>&1 &>&1$I $I&$ &$ CAITD"& CAITD"&T8 T8 To be be intere interesti sting ng the char charact acters ers must must be be dissim dissimila ilar, r, givin giving g us CAITD CAITD"&T "&T.. C2+9"_ C2+9"_.. The The vario various us mino minorr happen happening ingss throu througho ghout ut are are +IC+ +IC+-$I -$IT&. T&. +ncident by incident the conflict grows into & +T>"T+AI&. $ach situation builds up to a CD+&+&. There must be several situations and crises, following one after another, giving us &$7>$IC$. The se3uence of situations builds to the final situation and the greatest crisis in the story, which culminates in the C2+9"_. "fter which we gather the various threads of the story together and reach the $I-+IH.
-+"2AH>$ is used throughout to add subtlety and to convey information that fleshes out what is being communicated visually. +n addition to these components, there are other fundamentals which are important8 The A'Q$CT of conflict must be of sufficient importance to possess usually involves a single general &>'Q$CT known as T5$9$.
&+HI+B+C"IC$. The story
III. !adio: %riting !adio Copy
. Characteristics of Dadio environment 0. 9essage strategy 4. Writing script :. Dadio production process 'y8 9 5 2akdawala
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1. Chara'teristi's o* !adio en)ironment . Dadio has been called the Dodney -angerfield of media because it gets no respect from many advertisers. 0. Dadio is capable of presenting words and Ltheatre of the mind. 4.Dadio has also become a medium characteri%ed by highly speciali%ed programming appealing to very narrow segments of the population. :. Dadio has survived and flourished as an advertising medium because it offers advertisers certain advantages for communicating messages to their potential customers.
5owever, radio has inherent limitations that affect its role in the adv ertisers media strategy8 a. Creati)e Limitations: "bsence of visual image. " radio commercial is like a TV ad, a short!lived and fleeting message that is e*ternally paced and does not allow the receiver to control the rate at which it is processed. (. ragmentation: The high level of audience fragmentation due to large number of stations. '. Limited !esear'h #ata. "udience research data are often limited, particular compared with TV, maga%ines, or newspapers. d. Limited Listener ttention: +t is difficult to retain listener attention to commercials. Dadio programming, particularly music, is often the background to some other activity and may not receive the listeners full attention. Thus they may miss all or some of the commercials.
"dvantages8 Cost and e**i'a'y: Dadio commercials are very ine*pensive to produce. They re3uire only a script of the commercial to be read by the radio announcer or a copy pf a prerecorded message that can be broadcast by the station. le4i(ility: Dadio is probably the most fle*ible of o f all the advertising media because it has h as a very short closing period, which means advertisers can chan ge their message almost up to the time it goes on the air. Dadio commercials can easily adust their messages to local market conditions and marketing situations.
3. Message strategy #e'iding the message is the one o* the important a'ti)ity in the ad)ertising de'isions7 it in'l,des: . 9essage generation 0. 9essage evaluation and selection 4. 9essage e*ecution :. &ocial responsibility review
9essage generation8 "n important component of communication is the message what is said or written. +n order to understand communication, it is useful to understand the ch aracteristics of messages and how to construct the most effective messages. "dvertising people have proposed different theories for creating an effective message. •
Deeves of the Ted 'ates advertising agency favoured linking the brand directly.
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2eo 'urnett and his agency preferred to create a character that e*pressed the products benefits.
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The -oyle, -ane and 'ern 'ach agency favoured developing a narrative story with a problem, episodes related to the problem and outcomes.
Whatever the method is used, creative people should talk to consumers, dealers and e*perts and e*perts, to have suitability to the message and to understand likes and dislikes of the customers and the middlemens. &ome creative people use a deductive framework for generating a advertising messages. Qohn 9aloney proposed one framework, he saw buyers as e*pecting one of the four types of reward from a product8 a% Rational )% &ensory #% &o#ial d% E$o satisfa#tion 'uyers might visuali%e these rewards from8 A% Results of use experien#e ,% 0rodu#t in use experien#e % ;n#idental to use experien#e% Crossing the *o,r types o* rewards with the three types o* e4perien'e generate twel)e types ad)ertising message. Bor e*ample the appeal Pget cloths cleaner is a rational reward promise following the results of use e*perience.
+essa$e
Message e)al,ation and sele'tion: The good advertisement normally focuses on one core!selling proposition, but -+G Twedt suggested that messages be rated on desira(ility7 e4'l,si)eness and (elie)a(ility. The advertiser should conduct market research to determine which appeal works best with its target audience. Message e4e',tion: The message impact depends not n ot only on what is said, but often more important, on how it is said. &ome aim for rational positioning and others for emotional positioning. 'y8 9 5 2akdawala @
So'ial responsi(ility re)iew: "dvertiser and their agency must be sure their creative advertising does not overlap social and legal norms. %riting !adio s'ript
. When you place a radio ad, you#re speaking to a captive audience J The listener has to take an action (actively change the station) to pass by your ad. 'ecause listeners are often sitting alone (fre3uently in their cars), speak to them like you#re having a one!on!one o ne!on!one conversation. "ddress them directly, and your message will get across. 0. An radio, you need to keep your message simple and focused. Choose one theme and stick to it. Demember that it takes longer to say something out loud than it does to read it. The average 4F!second radio spot contains only about @F words. 9ention your company name at least three times in those 4F seconds. 4. -ifferent radio stations re3uire different types of ads. +n 6Huerrilla "dvertising,6 Qay 2evinson identifies two basic types of stations. 6'ackground6 stations are on in the background and are typically music music stations that are listened listened to passively. Boreground6 stations re3uire active listening. They would include talk radio, all!news radio, call!in shows, and the like. 9ak e your ad sensitive to the format to keep the listener#s attention ! don#t use a 6voice!only6 ad on a music station; don#t put a country and western ingle on a classical music station; and don#t use a music!driven ad on talk radio. :. /ou have two basic choices when it comes to creating a radio ad. /ou can provide a script and have it read by the announcer. Ar you can provide a tape. +f you choose the latter, have a professional announcer read the copy; and consider using background music or sound effects as a way of making the ad stand out. <. +f you#re using a script, consider placing your ads on the show of a well!known radio personality. 'y having the personality p ersonality read your ad, it will sound like a testimonial. "nd make sure the personality p ersonality is familiar with your product or service ! send them a sample, if appropriate. =. Depetition is very important in radio8 'ecause it takes several airings for the listener to become familiar with your name and product p roduct or service. Bre3uency helps you break through the clutter. Consider running your spots at the same time every day for a week. Take a week off and then run it for another week. A. 0ntertaining Commer'ials sell 5umor, much of the Lmad variety, holds audience ust as well as the surrounding program material. 9usic is used skillfully to capture attention or to create mood s. The good radio writer knows that in this era of half!listening radio audiences it is vital to give the listener ust one principal idea to carry away. -etails should be kept to a minimum. . %ords are yo,r ill,strations Dadio scriptwriter ob is to make those!listening to your commercial see the product through youre his words alone, smell it, taste it, want it. +f you are asked to prepare radio commercials for an automobile you must deftly use description, put your audience in the drivers seat of that car!make them feel its surging
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strength!its ease of handling!make them see its handsome lines. -escription is vital in a great many radio commercial. +n radio the writer is the artist as well as the writer. . ry them o,t lo,d The one most important rule to learn about writing for radio is that every single word y ou set down on paper for use over the air must be read aloud by you before you give it your personal approval. 1D. Length o* words and senten'es &hort words are usually the best radio words. wo rds. Degardless of their pronunciation or ease of u nderstanding, words that contain more than three of four syllables should be used only when w hen absolutely necessary. Thus a Lgreat carM is better than Lan e*ceptional carM! L2ovelyM preferable to LbeautifulM! L goodM to L outstandingM, and so on M0H"#S " #0LIV0!+:
A% ,% % K% % C% J% .
he Li*e Li*e 1omm 1ommer er#i #ial alss &tat &tatio ion n
IV. %ritin %riting g *or Inno Inno)a )ati) ti)ee medi, medi,m m +nnovative media focuses on alternative platforms of advertising which open up new avenues for advertisers. "s technological breakthroughs facilitate better modes of communication, the emergence of new media has enhanced reach on several levels.
The result is new advertising vehicles which are wider in reach, specific in targeting and most of all lower in cost. . The copy for innovative medium should reflect Iewness, creativity, novelty and timing which are key themes in innovative medium advertising 0. being different is important. 'ut don#t focus on how better or uni3ue you are. Bocus on how that uni3ueness directly benefits target group; even to the point they can almost taste it. 4. >se words, phrases and imagery that help paint vivid mental pictures. :. &ince innovative medium grab attention the copy should use 1ositive $motional "ppeals8 1ositive appeals highlight product benefits and attributes capable of influencing consumer behavior. They are love, humor, pride, prestige and oy. 9ost baby food products have a mother#s love appeal. <. Ather positive emotional appeals involving p rice, prestige or e*clusiveness =. -irect "ppeals8 -irect appeals are those that clearly communicate with the consumers about a given need, followed by a message that e*tols the advertised brand as a product that satisfies that need.
V. Copy Copywr writi iting ng *or *or Inte Interne rnett
Writing for Web
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5ow to make websites and web pages popular and attract more traffic. 2isted below are some valuable tips to write effective copy for web pages and a nd web sites. . Write for peoples interest8 Writing articles for newspaper or maga%ine is different to writing for +nternet. +t should be kept in mind and strictly adhere to the principles of online on line copywriting to make headlines and copy appeal the online traffic. >nlike writing for print media, writing for web pages is very different in as much as the web traffic is very impatient and any thing less appealing appe aling is not likely to generate any interest. Web posts that captivate readers mind and that are understandable, curt and laconic share good ranking from search engine optimi%ers as well as from the readers. Geep copy stick to one topic and the topic should be burning and topical. 0. &earch $ngine Aptimi%ation8 Write copy that is keyword rich. Write copy around the in!demand keywords for your product or service. This enhances the visibility of web page on the search engines, thereby increasing success rate. "lso adhere to following norms8 i. >D2 must must conta contain in the the prim primary ary keywo keyword rd to to increa increase se your your sear search ch engin enginee ranki ranking. ng. ii. 1rimar 1rimary y keyword keywordss that that you use use in the the >D2 shoul should d also also be includ included ed in headl headline ine of the the copy. copy. iii. iii. The body of copy should should have have suff suffici icient ent seconda secondary ry keywor keywords. ds. iv. The ancho anchorr te*t te*t of links links in in the the body body of te*t te*t should should also also contai contain n keywor keywords. ds. 4. &ince customers can not touch, feel or try the products chosen on +nternet, companies that have online shops should offer warranties for products sold. This practice increases customers confidence thereby their willingness to buy on +nternet :. The +nternet leads to faster discovery of customer needs, greater customi%ation of the p roducts to the customer needs, faster product testing, and shorter product life cycles. <. +nternet offers the opportunity of developing new products or services. To develop a product, there is a need for research on customers needs. +nternet provides the opportunity of offering a core product that satisfies the customers fundamental needs, but it also enables the companies to offer additional services such as interactivity or more information about the companys core product. =. An +nternet, a picture or o r description will replace the physical product offered in the traditional marketplace or in stores. 1roviding complete and relevant product information is crucial in order for the customers to get a realistic picture of the product and to make the product offered more attractive.
VI. VI. %r %riti iting ng 'opy 'opy *or *or SMS SMS 'ampa 'ampaign ignss Critical success factors for writing copy for sms campaigns8 . Delevance8 "dvertising content must be targeted. targeted. The target group would consider downloading and paying for the sponsored content as long as it was relevant.
0. Cost8 Target group for sms campaign are generally e*tremely price sensitive, they will pay for content that they perceive as valuable. 4. "wareness8 Target group should be able to recogni%e that there is a relationship between brands and associated content that they have e*perienced via other channels, 6This is ust like on TV.6 :. 'rand 2oyalty8 Target group for sms campaign perceive some brands as 6trusted,6 and would enoy receiving content they re3uested via opt!in customer ac3uisition methods. <. "ppropriate8 Video content must be designed to meet the needs of the mobile handset. 1articipants did not like the ads that were originally filmed for television and not formatted to their phone 'y8 9 5 2akdawala
Chapter: /rin'iples o* writing press release 'opy. Whatever your obective, you can deploy 1D tactics such as press releases to your advantage. To succeed, you need to understand a few things about the media and how it works. Understandin$ what the +edia -ant +t is important to establish a working relationship between the organisation and the media (both local and national). +ts not enough to want attention. The media have to want to give that attention to you. The secret to successful media relations is to serve your interests by serving the medias interests. The more you can match your story to their needs, the more likely they are to publish +o, need to think a(o,t what they want:
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they want news They They want want read reader er relev elevan ance ce They They want want fres fresh h insi insigh ghts ts..
Aften success in 1D terms comes from a well!crafted, one!page press release. This press release should be a short fact!filled document that tells editors the Pwho, Pwhat, Pwhere, Pwhen, Phow, and sometimes Pwhy of your story. Within its handful of paragraphs, the press release makes a compelling case for8 a. Iewsworthiness b. Deader relevance c. The organi%ations credibility " press release should be able to attract further in3uiry and generate publicity around your offer. %riting a /ress !elease Follow three )asi# steps when writin$ your press release4 ) Het a grip on on the content content J be sure you you have clear underst understanding anding of your story story and all the the facts facts that support it 0) Bollow the standard standard format format J press releases releases have evolved evolved into fast, easily easily skimmed skimmed documents for for the medias convenience 4) Turn your content content into compelli compelling ng news J e*plain e*plain Pwhy its importa important nt to the editors editors readers. readers. Think of it as the Pso what rule. :) Bor every every statement statement you wish wish to include include in the press press release, release, answer, answer, Pso Pso what what What is it adding to the different parties <) 1reparing 1reparing /ourself8 /ourself8 +f you want to capture capture the attention attention of a ournalist, ournalist, think like a ournalist ournalist =) "sk pertinen pertinentt 3uestions 3uestions that that go to to the heart heart of the the story. story. @) Collect Collect answers answers to the the followin following g 3uestions 3uestions88 Who is your productKservice (offer) useful for or meaningful to • 5ow and why is this offer used, deployed or valued • 5ow or where can the offer be obtained •
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) +n addition addition to asking the the big 3uestions 3uestions that capture capture the core idea idea of your press releas release, e, you also have to consider smaller issues such as8 Who J Whos involved +ncludes both the readers or the audience for whom the story is • relevant What J The bulk of your y our press release J the Pwhat J covers all the • specifics of your statement 5ow J 9ay include both the offer and Phow the prospects can ac3uireK use it • Why J The key 3uestion 3 uestion is Pwhy is this important • $*plain the significance of your statement to the editors readers. E) Ane of the easiest easiest ways to liven liven up a press release release and to give it added added credibilit credibility y is to include a direct 3uote from a person connected con nected to the story !preferably someone who is not a member of your organisation. Constr,'ting the 0lements o* the /ress !elease . Bormat Bormattin ting g the top of the the rele release ase.. The press release begins with8 a. Delease Delease date J here here you have two options options;; to make the the release, release, Pfor immedi immediate ate release, release, or, or, to be Pembargoed until a particular publication pub lication date (which you can specify) b. Contact information J how can the editorKournalist contact the organi%ation and to whom should they speak 0. Crea Creati ting ng cat catch ch head headli line ness +n many ways, press release headlines are like any other headlines. They have to communicate the essence of your story right away. 5owever, a press release headline is not a place to make an offer (i.e. selling) J instead it must get right to the point and an d inform.
/our headline must summarise the essence of the release, providing the editor with enough information to provide reassurance that this announcement is both newsworthy and relevant for the publications readers. 5ow do you write a good headline Write about the news plus the benefit the news provides. Think of the news as the actual announcement and the benefit as the reason why the announcement is important to your target audience. 4. The 'ody8 The The press releas releasee starts starts out with with the fundamenta fundamentals ls of your story. story. The opening paragraph should cover8 The facts J establish the fundamental facts of your story J the who, what, when, where, why and • how The reason J why this announcement is newsworthy J articulate why this news is important to the • publications readers •
1roof points J articulate evidence that validates your claims.
Bollowing the opening paragraph, you now have room to elaborate with the Pmiddle of the release. This is your chance to really back!up the promises made in the release with ust enough detail to create a watertight case for the value and meaning of your story. Some ways to do this in'l,de ,sing: . &ubheads J to help smooth the transition into another element of your story or to highlight another key benefit or newsworthy item 0. 7uotes J weave the 3uotes into the story in as seamless and natural a manner as possible he end o* the release
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The purpose of the close of the press release is to signal to the editor that this is the end of the release. /ou do this by adding a Pboilerplate. Boilerplate " Pboilerplate is a brief paragraph, with no more than two or three sentences, about the organisation represented in the release. This information remains the same in every press release your organisation produces, regardless of its contents, and it simply states Pwho you are and Pwhat you do.
Chapter: I. Mail Mail "rd "rder er d)e d)erti rtisin sing: g: Mail "rder +t is a distribution channel. Consumer buy direct by post either in response to an advertisement or from a sales promotional catalogue. -eliveries are made through the mail, by carrier direct from warehouse or factory, or sometimes through a local agent. 0efinition 0efinition 9ail order advertising means the ads you y ou place in all the publications p ublications catering to your potential customers. +t also includes the sales letters letters andKor circulars you send out via direct mail or as follow!up materials with your orders. "nd, it also encompasses any radioKtelevision as well as word of mouth or free publicity blurbs you might get.
+n today#s marketplace, most customers can easily access any number of retail stores, but they don#t have the time. +nstead of spending their precious free time at the mall, they can pore through the pages of mail order catalogs that offer ust about everything they can imagine.
a'tors to keep in mind while writing 'opy *or Mail order ad)ertising:
. 9ail order advertising is always set in small type. +t is usually set in smaller type than ordinary print. That economy of space is universal. (0) $very line is utili%ed. 'orders are rarely used. (4) +n mail order advertising there is no boasting, save of super!service. There is no useless talk. There is no attempt at entertainment. There is nothing to amuse. 9ail order advertising usually contains a coupon. That is there to cut out as a reminder of something the reader has decided to do. (:) 9ail order advertisers know that readers forget. They a re reading a maga%ine of interest. They may be absorbed in a story. " large percentage of people who read an ad and decide to act will forget that decision in five minutes. The mail order advertisers that waste by tests, and he does not propose to accept it. &o he he inserts that reminder to be cut out, and it turns when the reader is ready to act. (<) +n mail order advertising the pictures are always to the point. They are salesmen in themselves. They earn space they occupy. (=) The si%e is gauged by their importance. The picture of a dress one is trying to sell may occupy much space. 2ess important things get smaller spaces. 1ictures in ordinary advertising may teach little. They probably result in whims.
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'ut pictures in mail order advertising may form half the cost of selling. "nd you may be sure that everything about them has been decided by many comparative tests. 'efore you use useless pictures, merely to decorate or interest, look over ov er some mail order ads. 9ark what their verdict v erdict is. (@) 9ail order advertising tells a complete story if the purpose is to make an immediate sale. /ou see no limitations there are on amount of copy. The motto there is, 6The more you tell the more you sell.6 "nd it has never failed to prove out so in any test we know. ()&ometimes the advertiser uses small ads, sometimes!large ads. Ione are to small to tell a reasonable story. 'ut an ad twice larger brings twice the returns. " four times larger ad brings four times the returns, returns, and usually some in addition. 'ut this occurs only when the larger space is utili%ed as well as the small space. &et half!page copy in a page space and you double the cost in returns. We have seen many a test prove that.
II. Copywri Copywriting ting *or #ire't #ire't Mail-let Mail-letter terss %riting *or dire't mail-letters7 prod,'t (ro'h,res7 lea*lets7 *olders et'
. -irect mail works because it is 6conversation 6conve rsation in writing.6 Io matter what you have heard, read, or believe most people look forward to receiving and reading their mail. 0. 5ave something to say!!!!! and say it in a way that#s understandable by your audience. 4. Geep the opening paragraph of a direct mail letter short!absolutely no more than @ words. :. Whenever you go to second page in a letter, split the last sentence in half. 'egin it at the bottom of the first page; end it at the top of the ne*t page. Why To pull the reader with you and 6make6 them turn the page. <. Write about benefits. Iot the features that y ou offerY.. 'ut the benefits that readers gain from these features. =. Af your first!time readers, @E^! almost : out of < J will read the 1.&. in your letter first, before they read your letter. The 1.&. is a repeat of earlier key benefits, opportunities, op portunities, offers, how to respond. @. Iever, but never tell a lie. Tell funny stories. 'e entertaining. Weave a scene. 9ake a point. 'e dramatic. &hare a case history. +nclude testimonials. 'ut never e*aggerate. "lways be true. Aften when people are confronted by a long letter (and long letters almost always sell more), they#ll go to the end of the letter because they know that the whole letter will be summed up in the offer and the 1.&. "t least usually. /ou 1.&. can do everything that your headline can do. Geep that in mind. ` /ou can use it to8 ` 'ring up the big promise again ` "dd more benefits ` 1owerfully state the offer ` Create curiosity ` 'uild urgency ` "dd even more credibility and proof 'y8 9 5 2akdawala
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any or all of the above
1rimary purpose of -irect 9ailer ` To motivate the reader to read the message. ` To have the reader act ( Arder the product, schedule a demonstration, send a donation). ` To provide enough information so that the reader knows e*actly what to do. ` To overcome any obections that might prevent or delay action. ` &econdary 1urpose ` To build a good image image of the writer#s organi%ation. i.e. to to strengthen strengthen the commitment commitment of readers who act, and make readers who do not act more likely to respond positively ne*t time. Components of Hood -irect 9ail Hood direct mail has three components8 ` " good product, service, or cause appeal ` " good mailing list ` " good appeal " good product appeals to a specific segment, can be mailed, and provides an ade3uate profit margin. " good &ervice or cause fills an identifiable need. " good mailing list has accurate addresses and is a good match to the product. " good appeal offers a believable description of benefits, link the benefits of the product or service to a need or desire that motivates the reader. 9akes the reader want to read the letter, and motivates the reader to act. a ct. The appeal is made up of the words in the letter, the pictures in the brochure, and a ll the parts of the package, from outer envelop to reply card.
#ire't Mail strategies start with three (asi' steps:
. 2earn about the product, service, or organi%ation 0. Choose and analy%e the target audience 4. Choose a central selling point. p oint. These steps interact How to organie a #ire't Mailer:
Apener (&tar)8 The opener of your letter gives you 4F seconds to motivate readers to read the rest or thrown away. " very successful subscription letter for 1sychology Today started out8 -o you still close the bathroom door when there#s no one in the house o (rain storm possi(le openers7 ,se the *o,r (asi' modes: . 7uestions 0. Iarration 4. &tarling statements a :. 7uotations 1. @,estions 'y8 9 5 2akdawala
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-ear writer What is the best way to start writing This letter selling subscriptions to Writer#s digest goes on the discuss 5emingway#s strategy for getting started on his novels and short stories. Writer#s -igest offers practical advice to writers who want to be published. This information in the letter is useful to any writer, so the recipient keeps reading; the information also helps to prove the claim that the maga%ine will be useful. Hood 3uestion challenge but don#t threaten the reader. They#re interesting enough that readers want the answers, so they read the letter. 1oor 3uestion8 do you want information about investments 'etter 3uestion8 can you still make money investing in land +. Narration7 stories7 ane'dotes -ear membership candidate8 . +#m writi writing ng to to offer offer you a ob. ob. 0. +t#s +t#s not a perma permane nent nt ob, unders understa tand nd.. /ou# /ou#ll ll be work workin ing g for for only only as much much time time as you find find it rewarding and fun. 4. +t#s even a paying paying ob. An An the contra contrary, ry, it will cost you money. money. This fund! raising letter from earth watch invites readers to participate in its e*peditions, subscribe to its ournal, and donate to its programs. $arth watch#s volunteers help scientists and scholars dig for ruins, count bighorns, and monitor changes in water; they can work as long as they like; they pay their own(ta* deductible)e*penses. Variations of this mode include special opportunities, twists, and challenges.
5. Startling Statements This fund!rising letter from $arth watch invites readers to participate in its e*peditions, subscribe to its ournal, and donat its programs. $arth watch#s volunteers help scientists and scholars diag for ruins, count bighorns, and monitor changes in water; they can work as long as they like, they pay their own (ta*! deductible) e*penses. Variations of this mode include special opportunities, twists, and challenges. 6. @,otations
6+ never tell my partner that my ankle is sore or my back hurts. /ou can#t give in to pain and still perform.6 The series of which this letter is a part sells season tickets to the "tlanta ballet by focusing on the people who work to create the season. $ach letter 3uotes a different member of the company. The opening 3uote is used on the envelope over a picture of the ballerina and as an opener for the letter. The letters encourage readers to see the artists as individuals, to appreciate their hard work, and to share their e*citement about each performance.
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Body GChain The chain chain is the body body of the the letter. letter. +t +t provides provides the logical logical and and emotional emotional links links that moves moves readers readers from their first flicker of interest to the action that is wanted. " good chain answers reader#s 3uestions, overcomes their obections, and involves them emotionally. Content for the body of the letter can include . +nformati +nformation on readers readers will will find useful useful even if they do not not buy or give. 0. &tories &tories about how the product was developed developed or or what the the organi%ati organi%ation on has done. done. 4. &tories &tories about people people who have have used the product product or who who need the organi%a organi%ation# tion#ss help :. Word picture picturess of readers readers using using the the product product and enoying enoying its its benefits benefits.. 'tion Close GEnot
The action close in the letter must do d o four things8 Tell the reader what to do8 Despond. "void if (6if you#d like to tryY6). "nd why not (6why not send in a check6). They lack positive positive emphasis emphasis and encourage encourage your reader to say no. 9ake the action action sound of easy8 fill in the information on the reply card, sign the card (for credit sales), put the card and check (if payment is to accompany the order) in the envelope, and mail the envelope. +f you provide an envelope envelope and pay postage, stress stress those facts. Affer a reason for acting promptly8 promptly8 Deaders who think they are convinced but wait to act are less likely to buy or contribute. Deasons for acting promptly are easy to identify when a product is seasonal or there is a genuine limit on the offer J time limit, price rise scheduled, limited supply, and so on. &ometimes you can offer a premium or a discount if the reader acts 3uickly. When these condition do not e*it, remind readers that the sooner they get the product, the sooner they can benefits from it; the sooner they contribute funds, the sooner their dollars can go to work to solve the problem. $nd with a positive picture8 of the reader enoying the product (in a sales letter) or of the reader#s money working to solve the problem (in a fund raising letter). The last sentence should never be a selfish re3uest for money. The action close can also remind readers of the central selling point, stress the guarantee, and mention when the customer will get the product.
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III. III. %ritin %riting g 'opy 'opy *or yell yellow ow page pages: s: Tell your custome customers rs the benefits benefits of buying buying your productsKs productsKservic ervices es immediately immediately There#s There#s not much time so you have to grab a potential customer#s attention. Tell them how long you#ve been in business, why you are different from your competitors and what associations you belong to. &et the business name big and bold but not in all caps. "ll caps are harder to read. The larger font makes the name stand out. &ummari%e &ummari%e the scope scope of the the business business (and (and a key selli selling ng point) point) in the the #/ear Dound Dound /ard /ard 9aintenance# subheading. "rrange "rrange the main services services in columns columns instead instead of that centere centered d paragraph paragraph with bullets. bullets. Ane column of short words, one column of phrases ! more contrast that#s easier to scan. >sed contrast contrast (si%e) (si%e) and placement placementKalig Kalignment nment (lower (lower right corner) corner) to to emphasi%e emphasi%e the telephone telephone number (call to action). Copy should should be descrip descriptive. tive. 1eople 1eople are are usually usually ready ready to make make a purchase purchase or get get more information when they use the /ellow 1ages. 1roof read8 read8 Ance your your ad goes in in the /ellow /ellow 1ages, it#s it#s going going to stay that that way for an entire entire year. 1roofread 1roofread 1roofread +f you sell 6dogs6 and your ad says you sell 6dots6 then you#ll have to wait until ne*t year to fi* the error.
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IV. IV. %r %riti iting ng 'opy 'opy *or *or trade trade dire dire't 'tory ory Hive Hive The Them m Wha Whatt The They y Want Want.. /ou have to look through the eyes of the consumer ! imagine that they#re interested in the product but... but what They may worry about the safety of using a credit card, ordering online, privacy, system compatibility, getting unwanted unk mail and so on. "nd make sure you put your message across with the right tone. 'usiness users have very different needs and ways of e*pressing themselves from the average home user. 9ake sure you don#t throw street!slang at the +T guy, or C1> usage patterns at the young game player. "nother universal universal techni3u techni3uee that works works is the use use of testimon testimonials ials.. +f a target group scanning a trade directory looking at a productK p roductK service that appeals to him, the testimonials can swing it. 'ut make sure they look genuine, or you#re wasting your time. " three sentence praise of features, attributed to a person#s full name and company. Copy for trade directo directory ry should should be short, short, to the the point, point, and lots lots of them them The copy should should be benefit! benefit! Copy Copy using compli complicated, cated, comple*, comple*, pretent pretentious ious language language doesn#t doesn#t sell. sell. Bollow Bollow the 64 C#s6 C#s6 Dule Dule88 $*pre $*press ss your your offer offer as Clearly, as convincingly and as compellingly as possible. Borget things things like like 6best,6 6fastes 6fastest,6 t,6 6cheapest6 6cheapest6 and other, other, broad claims. claims. 'ecause 'ecause the worst worst thing you you can do, second to making broad claims, is to e*press those claims broadly.
V. %riting %riting 'opy 'opy *or *or 'lassi 'lassi*ied *ied ad)ertis ad)ertiseme ement7 nt7 The art of writing a powerful advertisement, in three or four lines in such a way that it conveys the message and induces the reader to buy the product, is not easy. a. The classifi classified ed advertiseme advertisement nt if written written well well could at times times substi substitute tute a display display advertisement which would be much more e*pensive. b. Whether it is newspaper, any other print media or internet, the classified classified advertisement is a powerful way of conveying your message and sell a product. c. Classified Classified adverti advertisement sement gives gives you very very little little room to convey convey your message message.. 'ut art of of conveying a powerful, attractive, attention grabbing message is a challenge in itself. d. The readers readers will will be scanning scanning hundreds hundreds of advertise advertisements ments at a furiou furiouss pace. /our advertisement has to make him stop and get the attention. The first two or three words have to be really catchy. +t should induce the reader to read the advertisement. e. /ou should should remember remember that that the reader reader is is not looking looking at what you you say, but but what he wants. wants. There would be other advertisements adve rtisements vying with you with e3ually catchy words to lure him away. The choice of your words should make him to believe it is e*actly what he is looking for. =. There are four important ingredients in go od classified advertisement. i. +t has has to to grab grab the the att atten enti tion on of of the the read reader er.. ii. ii. Ie*t Ie*t it it has has to make make him him inte intere rest sted ed in in the the pro produc duct. t. iii. iii. Then Then cre creat atee a desi desire re in in him him to posse possess ss the the prod product uct.. iv. iv. Then Then it it has has to ind induce uce him him to take take acti action on,, to buy buy the the produ product ct.. v. Heneral Henerally ly reade readers rs resp respond ond to to advert advertise isement mentss with with names names and and phone phone numbe numbers rs than than blind advertisements. "dvertisements in bold letters would get more attention attention but more e*pensive.
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VI. VI. B3B B3B d)e d)ert rtis isin ing g
'usiness!to!business advertising is where business houses uses advertising to attract custom from other businesses rather the general public. 0efinition 0efinition "dvertising directed to other businesses, rather than to consumers
"n area of advertising for products, services, resources, materials, and supplies purchased and used by businesses. his area in'l,des: () +ndustrial advertising, which involves goods, services, resources, and supplies used in the production of other goods and services; (0) Trade advertising, which is directed to wholesalers and retailers who buy the advertised product for resale to consumers; (4) 1rofessional advertising, which is directed to members of various professions who might use or recommend the advertised product; and, (:) "gricultural advertising, which is directed to farmers as business customers of various products and services.
'0' is traditionally focused on relationships. That means less emphasis on generating transactions and more on providing customers with a consistent stream of information and service. 'asing '0' appeals on facts and logic is no longer considered the only way to market. Haining attention and market share through emotional appeals ap peals to business buyers is now emphasi%e. Bor e*ample, "T?T advertised its services to businesses through e motion!packed scenarios where managers desperately rue their decisions to switch phon e companies. This approach appeals to those who value reliability, a rational way to be, but it does so by striking fear in their hearts. %hat type is yo,r target& >nderstanding the psychographics or logic system of your particular business target, whether chemists, doctors or data systems managers, may be e*pedited by convening several focus groups of typical prospects.
&ome believe that the online medium will shift the '0' paradigm, as '0' customer behavior is precisely tracked, analy%ed, and responded to with advertising that more directly galvani%es sales.
a'tors to keep in mind while writing 'opy *or B3B d)ertisement: . Consumer online advertising works because they are on their own time and are more willing to be diverted to different types of activities. 'ut the same +nternet users ('0' Target), on the ob during the day, are better focused. They are involved in solving a specific problem. The goal of advertising should be to make that ob easier. "n advertiser that properly targets the message will be successful. 1eople are receptive to appropriate marketing messages at work. With '0C, the advertisers are after instant transactions. +n '0', customers don#t usually click and purchase. 'y8 9 5 2akdawala EF
0. 'ecause '0' advertisers are not necessarily looking for an instant purchase, they must look at a longer time line to determine the effectiveness of their approach. That is why click!through rates are not particularly effective in measuring '0' ad effectiveness. 4. Iot only is the '0' purchasing cycle longer, but also there is usually more than one person making the decision. The ad viewer might pass pa ss the information along to someone else or save the information for future reference.6 :. 2ately, however, other aspects of '0C advertising J such as positioning and brand awareness J are being increasingly emphasi%ed also in '0' advertising. Creating '0' "dvertising Creating
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Chapter: 1D #i**erent types o* 'opy I. d)er )ertoria rial "n advertorial is an advertisement written in the form of an obective opinion editorial, and presented in a printed publication usually designed to look like a legitimately and independent news story. The term 6advertorial6 is a portmanteau of 6advertisement6 and 6editorial.6
"dvertorials differ from publicity advertisements because the marketer must pay a fee to the media company for the ad placement, whereas publicity is placed without payment to the media company and with no control over the copy. copy . 9ost publications will not accept advertisements that look e*actly like stories from the newspaper or maga%ine they are appearing in. The differences may be subtle, and disclaimerssuch as the word 6advertisement6may or may not appear. &ometimes euphemisms describing the advertorial as a 6special promotional feature6 or the like is used. "dvertorials commonly advertise new products or techni3uessuch as a new design for golf e3uipment or a new form of laser surgery. The tone is usually closer to that of a press release than of an obective news story8 advertisers will not spend money to describe the flaws of their products. 9any newspapers and maga%ines will assign staff writers or freelancers to write advertorials, usually without a byline credit. " maor difference between regular editorial and advertorial is that clients usually have content approval of o f advertorials, a lu*ury usually not provided with regular editorial. " related practice is the creation of material that looks like traditional media (for instance, a newspaper or maga%ine) which is in fact created by a company to market its products. Ane familiar e*ample are airline in!flight maga%ines which usually feature reports about travel destinations to which the airline flies. 1roduct placement is another form of non!obvious n on!obvious paid!for advertising. This strategy was first populari%ed during the energy crisis of the E@Fs. 9obil Ail felt its efforts to gets its side of the story out through the "merican press was failing. 1olitical and media advisor Bred -utton developed a strategy to publish p ublish 9obil Ail#s opinion as an advertisement on editorial pages across the country. The strategy proved successful in getting its message out to both the public as well as politicians and 9obil Ail 3uickly became identified with this uni3ue advertising strategy. II. II. In*o In*om mer'i er'ial al +nfomercials are television commercials that run as long as a typical television program (roughly 0 minutes, 4F seconds). +nfomercials, also known as paid programming (or teleshopping in $urope), are normally shown outside of peak hours, ho urs, such as late at night or early in the morning. The word infomercial is a portmanteau, which is formed by combining the words 6information6 and 6commercial6. "s in any other form of advertisement, the content is a commercial message designed to represent the viewpoints and to serve the interest of the sponsor. +nfomercials are often made to closely resemble actual television programming, usually talk shows, with minimal acknowledgement that the program is actually an advertisement.
+nfomercials are designed to solicit a direct response, which is specific and 3uantifiable, and are, therefore, a form of direct response marketing (not to be b e confused with direct marketing). The ad response is delivered directly to television viewers by infomercial advertisers through the television ad. +n normal 'y8 9 5 2akdawala
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commercials, advertisers do not solicit a direct response from viewers, but, instead, brand their product in the market place amongst potential buyers. +nfomercial advertisers may make use of flashy catchphrases (such as 6&et it and Borget it6), repeat basic b asic ideas, andKor employ scientist!like characters or celebrities as guests or hosts in their ad. Bamous infomercial personalities include8 Cher, Heorge Boreman (with the Heorge Boreman Hrill), -aisy Buentes, Qack 2alanne, Chuck Iorris, Don 1opeil, Tony Dobbins, Cheryl Tiegs, and GevinXTrudeau. The book "s &een on TV (7uirk 'ooks) by 2ou 5arry, &am &tall and Qulia &palding highlights the history of such memorable products as the Blowbee, the Chia 1et, and Hinsu knives. 'ecause of the sometimes sensational nature of the ad form, consumer advocates recommend careful investigation of the claims made within any infomercial ad and investigation of the company sponsoring the subect product of the infomercial before purchasing the featured product or products. +nfomercials are for the largest part shown late night to early morning between 08FFam and =8FFam. +++. Comparati)e ad)ertising , Comparative advertising is a special form of advertising. +t is a sales promotion device that compares the products or services of one undertaking un dertaking with those of another, or with those of other competitors. "ll comparative advertising is designed to highlight the advantages of the goods or services offered by the advertiser as compared to those of a competitor. +n order to achieve this obective, the message of the advertisement must necessarily underline the differences between the goods or services compared by describing their main characteristics. The comparison made by the advertiser will necessarily necessarily flow from such a description. ,n'tion o* 'omparati)e ad)ertising Comparative advertising should enable advertisers to obectively demonstrate the merits of their products. Comparative advertising improves the 3uality of information available to consumers enabling them to make well!founded and more informed decisions relating to the choice between competing productsKservices by demonstrating the merits of various comparable products. 'ased on this information, information, consumers may make informed and therefore efficient choices. (These statements are true only if the comparative advertising is obective.)
Comparative advertising which aims to obectively and truthfully inform the consumer promotes the transparency of the market. 9arket transparency is also deemed to benefit the public interest as the functioning of competition is improved resulting in keeping down prices and improving products. Comparative advertising can stimulate competition between suppliers of goods and services to the consumer#s advantage. +V. Copy *or di**erent lang,ages The most important factor to be kept in mind for writing copy for different language is the conte*t of the readers# general knowledge of language. . " copy writer must have some conception of what is meant by 6normal language6. $very language has evolved to have many different kinds of functionality, each of which corresponds to different situations and styles of use. Brom an analytic point of view, it seems to make most sense to understand 6normal language6 to include the variety of styles of language that mature speakers and readers control. This will form the backdrop of everyday language in its many functions, against which we can view advertising language.
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0. 2ike many aspects of human being and human behavior, our unconscious knowledge of language is much greater than our conscious knowledge of it. While writing copy the facts about language that are immediately accessible to the average person only should be use. 4. Bocus on creative possibilities language allows,
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