ADVERTISING AND PROMOTION MANAGEMENT

WEEK- 8

Lecture 36
Creative Execution
The Advertising appeal refers to the approach used to attract the attention of consumers and
influence their feelings toward the product, service, or cause. An advertising appeal can also
be viewed as “something that moves people, speaks to their wants or needs, and excites their
interest.” The creative execution style is the way a particular appeal is turned into an advertising
message presented to the consumer.
According to William Weilbacher:
The appeal can be said to form the underlying content of the advertisement, and the execution
the way in which that content is presented. Advertising appeals and executions are usually
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independent of each other; that is, a particular appeal can be executed in a variety of ways and
a particular means of execution can be applied to a variety of advertising appeals. Advertising
appeals tend to adapt themselves to all media, whereas some kinds Advertising Appeals.
These approaches are generally broken into two categories:
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• Rational Appeals
Rational appeals promise that the product will deliver certain benefits. They focus on the
reasoning side of the brain. Messages focusing on quality, price, value-for-money,
performance, etc. are examples of rational appeal.
• Emotional Appeals
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Emotional appeals tend to rouse positive or negative emotions. (humour, fear, pride, guilt,
shame, pleasure, affection, status, etc.) in a bid to drive purchase. Consumer behavior analysts
say that some purchasing decisions are based more on reason while others are based more on
emotions.
• Rational Appeals
Informational or we can say rational appeals focus on the consumer’s practical, functional, or
utilitarian need for the product or service and emphasize features of a product or service and/or
the benefits or reasons for owning or using a particular brand. The content of these messages
emphasizes facts, learning, and the logic of persuasion.
Rational-based appeals tend to be informative, and advertisers using them generally attempt to
convince consumers that their product or service has a particular attribute(s) or provides a
specific benefit that satisfies their needs. Their objective is to persuade the target audience to
buy the brand because it is the best available or does a better job of meeting consumers’ needs.
Many rational motives can be used as the basis for advertising appeals, including comfort,
convenience, economy, health, and sensory benefits such as touch, taste, and smell. Other
rational motives or purchase criteria commonly used in advertising include quality,
dependability, durability, efficiency, efficacy, and performance. The particular features,
benefits, or evaluative criteria that are important to consumers and can serve as the basis of an
informational/rational appeal vary from one product or service category to another as well as
among various market segments.
Weilbacher identified several types of advertising appeals that fall under the category of
rational approaches, among them feature, competitive advantage, favorable price, news, and
product/service popularity appeals. Ads that use a feature appeal focus on the dominant traits
of the product or service. These advertisements tend to be highly informative and present the
customer with a number of important product attributes or features that will lead to favorable
attitudes and can be used as the basis for a rational purchase decision.
 Competitive Advantage Appeal is used when the advertiser makes either a direct or
an indirect comparison to another brand (or brands) and usually claims superiority on
one or more attributes.
 A Favorable Price Appeal makes the price offer the dominant point of the message.
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Price appeal advertising is used most often by retailers to announce sales, special offers,
or low everyday prices. Price appeal ads are often used by national advertisers during
recessionary times. Many fast-food chains have made price an important part of their
marketing strategy
 News Appeals are those in which some type of news or announcement about the
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product, service, or company dominates the ad. This type of appeal can be used for a
new product or service or to inform consumers of significant modifications or
improvements. This appeal works best when a company has important news it wants to
communicate to its target market.
 Product or Service Popularity Appeals stress the popularity of a product or service
by pointing out the number of consumers who use the brand, the number who have
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switched to it, the number of experts who recommend it, or its leadership position in
the market.
Emotional Appeals
Emotional appeals relate to the customers’ social and psychological needs for purchasing a
product or service. Many consumers’ motives for their purchase decisions are emotional, and
their feelings about a brand can be more important than knowledge of its features or attributes.
Advertisers can use emotional appeals in many ways in their creative strategy. Ads using
humor, and other appeals that are very entertaining, arousing, upbeat, and/or exciting can affect
the emotions of consumers and put them in a favorable frame of mind.
Many TV advertisers use poignant ads that bring a lump to viewers’ throats. Marketers use
emotional appeals in hopes that the positive feeling they evoke will transfer to the brand and/or
company. Research shows that positive mood states and feelings created by advertising can
have a favorable effect on consumers’ evaluations of a brand.
Types of Emotional Appeals
a. Fear Appeal:
Fear appeal is essentially a negative appeal that cautions consumers against a risk or talks about
the ills of not using a product. Proponents of consumer behavior say that strong fear appeals
tend to be less effective than mild fear appeals. This is because when the appeal is very strong,
people tend to rebuff the undesirable information.
b. Agony appeal:
We all have seen ads that depict in great detail the abrasive area of allergic skin, the effects of
gastric trouble, congested sinus clefts, migraine-like headaches, itching of strategic body parts,
cracked feet, etc. Repulsive and displeasing as they may seem, they are a potent tool most-of-
all for pharmaceutical companies, who can quickly connect with an audience suffering from
these ailments. The audience feels that the advertiser can empathize with its suffering and
hence, the advertiser's credibility gets quickly established.
c. Moral appeal:
Moral appeal is aimed at the audience's sense of right and wrong. Another reason for using
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emotional appeals is to influence consumers’ Interpretations of their product usage experience.
One way of doing this is through what is known as transformational advertising.
A transformational ad is defined as “one which associates the experience of using (that is
consuming) the advertised brand with a unique set of psychological characteristics which
would not typically be associated with the brand experience to the same degree without
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exposure to the advertisement.” Transformational ads create feelings, images, meanings, and
beliefs about the product or service that may be activated when consumers use it, transforming
their interpretation of the usage experience.
Christopher Puto and William Wells note that a transformational ad has two
characteristics:
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1. It must make the experience of using the product richer, warmer, more exciting, and/or more
enjoyable than that obtained solely from an objective description of the advertised brand.
2. It must connect the experience of the advertisement so tightly with the experience of using
the brand that consumers cannot remember the brand without recalling the experience
generated by the advertisement.
Reminder advertising, which has the objective of building brand awareness and keeping the
brand name in front of consumers. Well-known brands and market leaders often use reminder
advertising.

Advertising Execution
Creative execution is the way an advertising appeal is presented. While it is obviously
important for an ad to have a meaningful appeal or message to communicate to the consumer,
the manner in which the ad is executed is also important.
• Straight Sell or Factual Message- One of the most basic types of creative executions is the
straight sell or factual message. This type of ad relies on a straightforward presentation of
information concerning the product or service. This execution is often used with
informational/rational appeals, where the focus of the message is the product or service and its
specific attributes and/or benefits. Straight-sell executions are commonly used in print ads.Ads
for high-involvement consumer products as well as industrial and other busine ss-to-business
products generally use this format
• Scientific or Technical Evidence- In a variation of the straight sell, scientific or technical
evidence is presented in the ad. Advertisers often cite technical information, results of
scientific or laboratory studies, or endorsements by scientific bodies or agencies to support
their advertising claims.
• Spokesperson /Endorsers: Celebrities, created characters or experts whose advice we may
seek or whose opinions we may trust, are chosen to deliver the message.
• Demonstration- Demonstration advertising is designed to illustrate the key advantages of the
product/service by showing it in actual use or in some staged situation. Demonstration
executions can be very effective in convincing consumers of a product’s utility or quality and
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of the benefits of owning or using the brand. TV is particularly well suited for demonstration
executions, since the benefits or advantages of the product can be shown right on the screen.
• Comparison Brand- Comparisons can also be the basis for the advertising execution. The
comparison execution approach is increasingly popular among advertisers, since it offers a
direct way of communicating a brand’s particular advantage over its competitors or positioning
a new or lesser-known brand with industry leaders. Comparison executions are often used to
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execute competitive advantage appeals.
• Testimonial- Many advertisers prefer to have their messages presented by way of a
testimonial, where a person praises the product or service on the basis of his or her personal
experience with it. Testimonial executions can have ordinary satisfied customers discuss their
own experiences with the brand and the benefits of using it.
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• Slice of Life- A widely used advertising format, particularly for pack aged-goods products, is
the slice-of-life execution, which is generally based on a problem/solution approach. This type
of ad portrays a problem or conflict that consumers might face in their daily lives. The ad then
shows how the advertiser’s product or service can resolve the problem. Slice-of-life executions
are often criticized for being unrealistic and irritating to watch because they are often used to
remind consumers of problems of a personal nature, such as dandruff, bad breath, body odour,
and laundry problems. Often these ads come across as contrived, silly, phony, or even offensive
to consumers. However, many advertisers still prefer this style because they believe it is
effective at presenting a situation to which most consumers can relate and at registering
• Animation- An advertising execution approach that has become popular in recent years is
animation. With this technique, animated scenes are drawn by artists or created on the
computer, and cartoons, puppets, or other types of fictional characters may be used. Cartoon
animation is especially popular for commercials targeted at children.
• Personality Symbol- Another type of advertising execution involves developing a central
character or personality symbol that can deliver the advertising message and with which the
product or service can be identified.
• Fantasy- An execution technique that is popular for emotional types of appeals such as image
advertising is fantasy. Fantasy executions are particularly well suited for television, as the
commercial can become a 30-second escape for the viewer into another lifestyle. The product
or service becomes a central part of the situation created by the advertiser.
• Dramatization- Another execution technique particularly well suited to television is
dramatization, where the focus is on telling a short story with the product or service as the star.
Dramatization is somewhat akin to slice-of-life execution in that it often relies on the
problem/solution approach, but it uses more excitement and suspense in telling the story. The
purpose of using drama is to draw the viewer into the action it portrays. Advocates of drama
note that when it is successful, the audience becomes lost in the story and experiences the
concerns and feelings of the characters
Consistency and Brand Awareness
Consistency over creative executions in a campaign and over time is very important for brand
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awareness. Consistency in creative executions enables the look and feel conveyed by the
execution quickly to establish and reinforce this linkage. When a consistent look and feel to a
brand's creative execution have been established, brand awareness will be triggered by the
execution itself, without actual reference to the brand name. The brand name will only confirm
what has been triggered by the look of the advertising.
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A consistent visual or pictorial feel in marketing communication has been found to be a faster
trigger for brand identification than the actual brand name or company logo, because memory
for visuals is superior to memory for encoded labels or words in general. Interestingly, over
half the brain's cortex is used for the processing of visual images. What we are looking for is a
general recognition on the part of the target audience that the pictorial or visual execution
belongs to the brand. That is what permits variation in the executions.
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It is not necessary or even desirable for all the creative executions to look the 'same', only that
they reflect the same overall look and feel. In fact, if the executions in a campaign are seen as
too similar, the campaign will tend to 'wear out' faster. Rather, you want enough variation in
the executions so that they remain fresh, and can be extended over time
Consistency and Brand Attitude
Just as with brand awareness, consistency in the look and feel of creative executions is
important for brand attitude. In developing creative executions, one must be certain that the
message and image are compatible with the target audience's schema. Images that are used
must be chosen to be consistent with the brand's key benefit, and the linkage to the benefit must
be easily made by the target audience. Consistency in creative execution facilitates brand
awareness and with the appropriate visual image also facilitates brand attitude. Every exposure
of a brand's marketing communication, when seen within the context of a consistent, positive
image, helps reinforce a favourable attitude towards the brand. This leads to a more receptive
atmosphere for attending to the specific message content of the advertising.
 Lecture 37
Media Planning
Media Planning consists of a series of decisions made to answer the question for advertisers:
`What is the best means of delivering advertisements to prospective purchasers of my brand or
service ?
Media planning is defined as "the process of designing a course of action that shows how
advertising time and space will be used to contribute to the achievement of advertising and
marketing objectives.”
The media planning process includes many options like mass media such as television,
newspaper, radio, and magazines. As well as out of the home media such as outdoor
advertising, transit advertising, and electronic billboards. A variety of support media such as
direct marketing, the Internet, promotional products, and others sales promotions, and in store
point of purchase options must also be considered.
Properly federation of new media, including branded entertainment and interactive media, has
also provided the market with many options to consider. While at first glance the choices among
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these alternatives might seem relatively straightforward, this is readily the case. Part of the
reason media selection becomes so involved is the nature of the media themselves.
• TV combines both sight and sound, an advantage not offered by other media.
• Magazines can convey more information and may keep the message available with the
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potential buyer for a much longer time.
• Newspapers also offered their own advantages, as do outdoor, direct media, and each of the
others.
• The Internet offers many of the advantages of other media but is also limited in its capabilities.
The characteristics of each alternative must be considered, along with many other factors.
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A good media plan needs to address the following issues: -

• How many audiences is the media plan proposing to reach?
• What are the best media to place the advertisements in?
• How many times should the advertisements appear?
• What would the ideal media mix be?
• Which geographical region should the advertisements appear in?
• Which media should be selected to avoid places which do not have the product
advertised?
• How should the budget appropriation for various media thus chosen be made?
The Indian Media Scenario
The Indian media scene is interested, intriguing, and, at the same time, mind blogging. India
has had a long tradition of oral media that has withstood the test of time and continues to be
used by companies, specially to reach out to the rural hinterland. The reach of the mass media,
however, has not grown in proportion.
The reasons for this include the low level of literacy and widespread poverty, because of which
there is a low per capita ownership of equipment that has kept a vast proportion of the
population from reaping the benefits of an Information Society facilitated by the mass media.
Some basic terms and concept related to media and media planning
1. Media Plan
2. Media Planning
3. Medium
4. Reach
5. Coverage
6. Frequency
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1. Media Plan
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The media plan determines the best way to get the advertisers message to the market. In a basic
sense, the goal of the media plan is to find that combination of media that enables the marketed
to communicate the message in the most effective manner to the largest number of potential
customers at the lowest cost. A number of decisions must be made throughout this process. As
the plan evolves, events may occur that necessitate changes. Many advertisers find it necessary
to alter and update their objectives and strategies frequently.
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The media plan is the guide for media selection. It requires development of specific media
objectives and specific Media strategies which are the plans of action that are designed to attain
these objectives. Once the decisions have been made and the objectives and strategies
formulated, this information is organized into the media then.
2. Media planning
Media planning is the series of decisions involved in delivering the promotional message to the
prospective purchasers what are users of the product or brand. It is a process, in which a number
of decisions are made, each of which may be altered or abandoned as the planned develops.
3. Medium
The medium is the general category of available delivery systems, which includes broadcast
media like TV and radio, print media like newspapers and magazines, direct mail, outdoor
advertising, and other support media. The media vehicle is the specific carrier within the
medium category. For example, time and Newsweek are printed vehicles.
4. Reach
Reach is a measure of the number of different audience members exposed at least once to a
media vehicle in a given period of time.
5. Coverage
Coverage refers to the potential audience that might receive the message through a vehicle.
Coverage relates to potential audience; reach refers to the actual audience delivered.
6. Frequency
Frequency refers to the number of times the receiver is exposed to the media vehicle in a
specified period. While there are numerous more media planning terms that are important and
are uncommonly used.

The 5 M's of Advertising

These elements are crucial in shaping and executing an effective advertising campaign. Here's
a breakdown of each:
•
•
Mission
Money
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• Message
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• Media
• Measurement
1. Mission:
The Mission refers to the purpose or objective of the advertising campaign. This is the
foundational step in any advertising process because it defines the "why" behind the campaign.
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The mission outlines what the business or brand aims to achieve through advertising.
2. Money:
Money refers to the advertising budget. How much money will be allocated to various aspects
of the campaign (creative development, media buys, production costs, etc.)? A clear budget
helps marketers prioritize spending and select the most appropriate channels and strategies.
3. Message:
The Message is the core content of the advertising campaign. It includes what the ad is trying
to communicate to the target audience. The message should align with the mission and resonate
with the audience’s needs, emotions, or desires.
4. Media:
Media refers to the channels or platforms through which the message is delivered to the target
audience. The media selection will largely depend on the audience, campaign goals, and
budget.
5. Measurement:
Measurement refers to how the effectiveness of the campaign will be tracked and evaluated. It
helps in determining whether the mission was achieved and provides insight for future
campaigns. A campaign for a new product may track website visits and conversions to measure
how effective digital ads were in driving sales. A brand could measure the success of a TV ad
by conducting brand recall surveys and tracking changes in consumer awareness or sentiment.

Activities Involved in Developing The Media Planning:

1. The Situation Analysis
2. The Marketing Strategy Plan
3. The Creative Strategy Plan
4. Setting Media Objectives
5. Determining Media Strategy
6.
7.
8.
Selecting Broad Media Classes
Selecting Media Within Classes
Media Use Decision – Broadcast
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9. Media Use Decisions- Print
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10. Media Use Decisions -Other Media

Activities involved in developing the media planning

1. The situation analysis
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Its purpose is to understand the marketing problem. And analysis is made of a company and its
competitor on the basis of:
• Size and share of the total market.
• Sales history, costs, and profits.
• Distribution practices.
• Methods of selling.
• Use of advertising.
• Identification of prospects.
• Nature of the product.
2. The Marketing Strategy Plan
Its purpose is to plan activities that will solve one or more of the marketing problems. It
includes the determination of:
• Marketing objectives.
• Product and spending strategy.
• Distribution strategy.
• Which elements of the marketing mix are to be used.
• Identification of best market segments.
3. The Creative Strategy Plan
Its purpose is to determine what to communicate through advertisements. It includes the
determination of:
• How product can meet consumer needs.
• How product will be positioned in the advertisements.
•
•
Copy themes.
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How product will be positioned in advertisements.
• Number and sizes of advertisements.
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4. Setting Media Objectives
Its purpose is to translate marketing objectives and strategies into goals that media can
accomplish.
5. Determining Media Strategy
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Its purpose is to translate media goals into general guidelines that will control the planners
selection and use of media. The best strategy alternatives should be selected.
6. Selecting Broad Media Classes
Its purpose is to determine which broad class of media best fulfills the criteria. Involves
comparison and selection of broad media classes such as newspapers, magazines, television,
and others. The analysis is called intermedia comparisons. Audience size is one of the major
factors used in comparing the various media classes.
7. Selecting Media Within Classes
Its purpose is to compare and select the best media within broad classes, again using
predetermined criteria it involves making decisions about the following:-
• If magazines were recommended, then which magazines?
• If television was recommended, then
a) broadcast or cable television?
b) network or spot television?
c) if network, which programs?
d) if spot, which markets?
• If radios newspapers were recommended, then which markets shall be used?
• What criteria shall buyers use in making purchases of local media?
8. Media Use Decision - Broadcast
• What kind of sponsorship-like Sole, shared, participating, or other?
• What levels of reach and frequency will be required?
• Scheduling- on which days and months are commercials to appear?
• Placement of spots: in programs or between programs?
9. Media Use Decisions- Print
• Number of ads to appear and on which days and months.
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• Placements of advertisements: any preferred position within media?
• Special treatment: -gatefolds, bleeds, colour, etc.
• Desired reach or frequency levels.
10. Media Use Decisions -Other Media
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• Billboards
• location of markets and plan of distribution.
• Kinds of outdoor boats to be used.
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• Other media-decisions peculiar to those media.

The Importance of Effective Media Planning

The importance of effective media planning has increased due to four key factors: -
1. Increase In Media Options,
2. Fragmentation Of Target Audience,
3. Spiralling Media Costs,
4. Increased Complexity In Media Buying.
 Lecture 38

THE MEDIA PLANNING

The media planning process is a critical part of developing an effective advertising campaign.
It involves several key steps to ensure that the message reaches the right audience, through the
most appropriate channels, and at the optimal times. The media planning process involves
deciding:
1. The Right Target Audience,
2. Selecting appropriate Media Vehicles,
3. Determining the Scheduling of the Media Plan.
1. Deciding the Right Target Audience
The first step in media planning is identifying the target audience. The target audience
represents the group of consumers who are most likely to be interested in the brand’s product
or service. Defining the target audience helps in selecting the right media channels and crafting
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the appropriate message. Understanding the target audience is essential for the effectiveness of
a campaign. By knowing who you are trying to reach, advertisers can ensure the message
resonates and is delivered through the channels the audience frequently uses. If you target the
wrong audience, the ad will not produce the desired results, regardless of how well it is
designed.
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Audience Selection can be done by: -
• Demographics: Age, gender, income level, education, occupation, etc.
• Psychographics: Interests, lifestyles, values, personality traits, and behaviors.
• Geographics: Where the audience is located (urban, rural, specific regions, etc.).
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• Behavioral Factors: Consumer purchasing habits, online behaviors, brand

loyalty, etc.
2. Selecting Appropriate Media Vehicles
Once the target audience has been defined, the next step is to select the appropriate media
vehicles. Media vehicles are the specific platforms or channels through which the advertising
message will be delivered. These media vehicles could range from traditional media (like TV,
radio, and print) to digital media (such as social media platforms, websites, search engines, and
apps). Selecting the right media vehicles ensures that the advertising message reaches the
intended audience through the appropriate channels. Effective media vehicle selection
maximizes the chances of consumer interaction and improves the effectiveness of the
campaign. An ill-chosen media vehicle could waste advertising and lead to poor campaign
performance.
Factors to Consider When Selecting Media Vehicles:
• Audience Reach: How many people does the media vehicle reach, and how closely does it
align with your target audience?
• Cost: What is the cost of advertising on different media vehicles?
• Engagement: How well does the medium engage the audience? Social media ads, for
example, might offer higher engagement opportunities compared to traditional TV ads.
• Message Type: The nature of the message also dictates the media vehicle. A campaign
requiring visual appeal may be better suited to TV or social media, whereas a campaign
focusing on detailed information might be more effective through blogs or print ads.
• Format and Placement: Does the media vehicle allow for the desired ad format?
3. Determining the Scheduling of the Media Plan
The third step in the media planning process is scheduling. Scheduling refers to deciding when
and how often the ads will run, and the duration of the campaign. Timing can greatly influence
the success of an advertising campaign. Proper scheduling ensures the brand’s message reaches
the audience at the optimal times when they are most likely to be engaged or receptive.
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Effective scheduling ensures that the campaign reaches its target audience at the right time and
with the right frequency. By properly timing the release of ads, media planners can optimize
consumer exposure and response.
Factors in Media Scheduling:
• Frequency: How often will the ad be shown? Frequency is important because it ensures the
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message stays top of mind for the target audience. However, too much frequency can lead to
ad fatigue.
• Timing: When will the ad be shown? Is there a specific season, event, or time of day when
the target audience is more likely to be engaged?
• Dayparts: If the campaign is being run on TV or radio, dayparts should be considered. For
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example, ads during prime time will cost more but may reach a broader audience.
• Seasonality: Does the product or service have seasonal demand? If so, the media plan should
reflect the peak seasons when the audience is most likely to purchase. For example, a sunscreen
brand might focus on summer months, while a fitness brand might target New Year's
resolutions.
MEDIA PLANNING PROCESS
A Typical Media Planning Process Consists Of Four Key Steps:
1. Environmental Analysis
2. Determining Media Objectives
3. Developing Media Strategy
4. Preparing and Implementing the Media Plan
1. Environmental Analysis
Environmental analysis is the first step in the media planning process and involves gathering
and analyzing data related to both the external environment and the internal context of the
brand or campaign. This step helps media planners understand the broader landscape in which
the campaign will run, and it provides insights into key factors that will influence media
choices. Environmental analysis helps media planners gain a clear understanding of the market
conditions, audience behavior, and industry trends that will inform the media strategy. By
identifying both opportunities and challenges early on, planners can make data driven decisions
that align with the current media landscape.
2. Determining Media Objectives
The next step is to determine media objectives, which means setting specific, measurable, and
achievable goals for the media campaign. Media objectives are designed to align with the
overall marketing and communication goals of the brand or business. These objectives guide
the media strategy and help determine the most effective media choices. There are four key
determinants of media objectives that a company can consider :-
a. Reach
b.
c.
Frequency
Continuity
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d. Cost
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These elements work together to help media planners optimize the reach and impact of an
advertising campaign while staying within budget.
a. Reach
Reach refers to the total number of unique individuals or households who are exposed to an
advertisement during a specific time period. The goal of reach is to maximize the spread of the
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message to as many members of the target audience as possible. High reach is crucial when the
campaign's objective is to build awareness or introduce a new product to the market. By
reaching a large portion of the target audience, the campaign has the potential to drive attention
and recognition, which can influence future buying decisions.
b. Frequency
Frequency refers to the number of times an individual or household is exposed to the
advertisement over a specific period. It is a measure of repetition and ensures that the message
stays top of-mind for the audience. Frequency is important for achieving brand recall and
ensuring the audience remembers the brand and message. Too little frequency might not make
an impact, while too much can lead to diminishing returns and wasted budget. It’s critical to
the right balance for effective messaging.
c. Continuity
Continuity refers to the pattern and duration of the ad placements over time. It addresses how
often and for how long an advertisement will appear in the selected media. There are different
types of continuity strategies, including continuous, flighted, and pulsed advertising.
Continuity ensures that the ad maintains visibility and reaches the audience at the right time.
d. Cost
Cost refers to the financial resources required to achieve the desired reach, frequency, and
continuity objectives. Budget constraints are a major factor when deciding how to allocate
resources across different media channels. Cost is one of the most critical factors in media
planning. It’s essential to find a balance between achieving the desired reach, frequency, and
continuity while staying within budget. Media planners must carefully allocate resources to
maximize ROI and ensure the campaign is financially feasible.
3. Developing media strategy
Based on the environmental analysis and the media objectives, the company proceeds to
develop a media strategy. Media strategy provides guidelines to be followed while
implementing a media plan. The development of media strategy involves 4 key steps :
• Target Audience Decisions
• Media Budgeting
•
•
Media Selection
Media Scheduling
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i. Target Audience Decisions
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The first and most critical step in developing a media strategy is defining and understanding
the target audience. Media planners need to identify and segment the audience based on various
factors to ensure the media plan targets the right group with the right message. Defining the
target audience accurately helps ensure that the campaign is focused on the people most likely
to engage with the product or service. This step guides subsequent decisions about media
channels, ad formats, and message development. An effective media strategy can only succeed
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if the right audience is targeted.

ii. Media Budgeting
Media budgeting involves determining how much money should be allocated to each media
channel and platform. The budget plays a significant role in shaping the media strategy, as it
dictates how many resources can be spent on reaching the target audience, frequency, and
continuity of the campaign. A well-defined media budget ensures that resources are allocated
efficiently across the campaign, optimizing reach and effectiveness. Without careful budgeting,
a campaign might overspend on inefficient channels or fail to generate enough exposure for its
goals.
iii. Media Selection
Media selection is the process of choosing the specific media platforms, channels, and vehicles
that will be used to carry the campaign. This step is about matching the selected media with
the target audience and campaign objectives.
Aspects of Media Selection:
•Media Type: Choosing between traditional media (TV, radio, print) and digital media (social
media, search engines, websites, etc.).
•Media Vehicles: Selecting specific platforms or programs within each media type. For
example, choosing specific TV shows, websites, or social media platforms that best align with
the target audience. Choosing the right media vehicles is critical to achieving campaign
objectives. The media vehicles must align with the audience’s preferences and behaviors to
maximize reach and effectiveness. The wrong selection could lead to wasted impressions,
missed opportunities, and inefficient use of the budget.
iv. Media Scheduling
Media scheduling involves planning the timing and frequency of ad placements to maximize
the effectiveness of the campaign. This step ensures that the message reaches the target
audience at the right time, based on their media consumption patterns.
Aspects of Media Scheduling:
• Timing and Duration: Deciding when the campaign will run (e.g., during specific months,
days of the week, or times of day) based on the audience's availability and media consumption
habits. EL
• Continuity: Placing ads continuously throughout the campaign period to maintain constant
visibility and reinforce the message.
• Pulsing: Combining elements of both continuity and flighting, where the campaign runs
throughout the year, but with increased intensity during specific periods (e.g., holidays, product
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launches).
4. Preparing and Implementing the Media Plan
The final step is preparing and implementing the media plan, which is the detailed blueprint
for executing the media strategy. This includes the specific steps, timelines, and processes for
buying media, placing ads, and ensuring that the campaign runs smoothly. This step brings the
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media strategy to life. A well-prepared and executed media plan ensures the campaign runs
smoothly and achieves the desired outcomes. Regular monitoring and postcampaign analysis
help assess effectiveness and provide insights for future campaigns.

The Purchase Cycle Funnel

The purchase cycle funnel represents the journey customers take from the first awareness of a
product or service to post-purchase loyalty and advocacy. The process is typically broken down
into several stages, which help marketers understand where potential customers are in their
decision-making process. The funnel narrows as people move through the stages, with fewer
individuals continuing to the next phase, but those who do are more likely to convert and
become loyal advocates
Breakdown of the stages: Awareness, Consideration, Conversion, Loyalty, and Advocacy.
 EL
(Jansen, B. J., & Schuster, S. (2011). Bidding on the buying funnel for sponsored search and keyword
advertising. Journal of Electronic Commerce Research, 12(1), 1.)

1. Awareness (Top of the Funnel)

The awareness stage is the first step in the customer’s journey, where they first learn about the
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brand, product, or service. They may not yet be aware of their specific need or desire for the
product but are introduced to the existence of the solution. The Goal here is To attract a wide
audience and raise awareness about the brand and To educate potential customers about the
existence of the product or service.
2. Consideration (Middle of the Funnel)
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At this stage, the customer is aware of the product and begins to consider it as a solution to
their needs. They start to engage more deeply, gathering more information, comparing
alternatives, and weighing the pros and cons. The Goal here is to nurture the relationship with
potential customers by providing valuable information that helps them evaluate the product
and To position the brand as a solution to their problem or need.
3. Conversion (Bottom of the Funnel)
Conversion is the stage where a potential customer decides to purchase the product or service.
This is where the business aims to turn the interested prospect into a paying customer. The Goal
here is to persuade the customer to make a purchase decision and finalize the transaction and
to provide a smooth and compelling buying experience.
4. Loyalty (post-purchase)
After a customer makes a purchase, the focus shifts to keeping them satisfied and encouraging
repeat purchases. Loyalty is about building a long-term relationship with the customer and
ensuring they have a positive experience with the product and the brand. The Goal here is to
ensure customer satisfaction and encourage repeat business and To turn first-time buyers into
loyal customers who will return for future purchases.
5. Advocacy (Beyond the Purchase)
Advocacy is the final stage of the funnel, where loyal customers become brand ambassadors.
These customers not only continue to buy from the brand but also share their positive
experiences with others, helping to bring in new prospects. The Goal here is to encourage
customers to actively promote and recommend the brand to others and to leverage word-of-
mouth marketing and customer testimonials to attract new prospects.
The purchase cycle funnel, comprising Awareness, Consideration, Conversion, Loyalty, and
Advocacy, is a framework that helps marketers understand the customer journey from the first
touchpoint to post-purchase engagement. By recognizing the various stages in the funnel,
businesses can tailor their marketing efforts to meet customers' needs at each step, improve the
customer experience, and optimize the chances of conversion and long-term loyalty.
Additionally, moving customers from loyal purchasers to advocates can help drive organic
growth and bring in new leads through word-of-mouth marketing and referrals.
Problems in Media Planning
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The media strategy decision has not become a standardized task. A number of problems
contribute to the difficulty of establishing the plan and reduce its effectiveness. these problems
include insufficient information, inconsistent terminologies, time pressures, and difficulty
measuring effectiveness.
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a) Insufficient Information
While a great deal of information about markets and the media exists, media planners often
require more than is available. Some data are just not measured, either because they cannot be
or because measuring them would be too expensive.
b) Timing of Measurement
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The timing of measurement is also a problem, some audience measures are taken only at
specific times of the year.
c) Inconsistent Terminologies
Problems arise because the cost basis used by different media often vary and the standards of
measurement used to establish these costs are not always consistent.
d) Time Pressures
It seems that advertisers are always in a hurry, sometimes because they need to be, other times
because they think they need to be.
e) Difficulty Measuring Effectiveness
Because it is so hard to measure the effectiveness of advertising and promotions in general it
is also difficult to determine the relative effectiveness of various media or media vehicles.
While progress is being made in this regard the media planner may have little more than an
estimate of or a good guess at the impact of these alternatives.
 Lecture 39
Media Planning Decision
Media planning decisions are determined by the following questions: -
1. To whom do we advertise?
2. Where do we advertise?
3. When do we advertise?
4. In which media should we advertise?

1. To whom do we advertise?
Target audience- While a number of target markets might be derived from the situational
analysis, to decide which specific groups to go after, the media planner may work with the
client, account representative, marketing department, and creative directors. A variety of
factors can assist media planners in this decision. Some will require primary research, whereas
others will be available from published or secondary sources. Media planners are often more
concerned with the percentage figures and index numbers than with the raw numbers.
2. Where do we advertise?
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Geographical area- The planer must identify each geographic market to be advertised in and
allocate a funds to each. The question of ‘where do we advertise’ relates to geographic
conditions. Companies often find that sales are stronger in one area of the country or the world
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than another and may allocate advertising expenditures according to the market potential of an
area.
What variables should be considered?
• Brand Development Index
• Category Development Index
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BDI and CDI measure the sales strength of a particular brand (or product category) within a
specific market relative to its sales strength in the country as a whole.
Brand Development Index (BDI)
The brand development index (BDI) helps marketers factor the rate of product usage by
geographic area into the decision process. The Brand Development Index (BDI) compares the
percentage of the brand's total sales in a given market area with the percentage of the total
population in the market to determine the sales potential for that brand in that market area. The
higher the index number, the more market potential exists.
Category Development Index (CDI)
Category Development Index (CDI) which is another index that can be useful to marketers in
determining where to allocate the media budget. It is computed in a manner similar to the BDI
index, except that it uses information regarding the overall product category rather than for
specific brands.
This index uses the ratio of the following variables:–
• Percentage of the total product category sales in a given market
• Percentage of total population in the given market
By performing the mathematical calculation shown here, the advertiser is able to determine the
potential for development of the total product category in a given area.
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PT
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When this information is combined with the BDI, a much more insightful promotional strategy
may be developed. Beginning with the CDI, the marketer can first look at how well the product
category does in a specific market area. Then a brand analysis would follow to see how well
the brand is doing relative to its competitors. Together, this information provides a clearer
picture of where to allocate the media budget.
 3. When do we advertise?
When deciding on the optimal times to advertise, scheduling is a key consideration to ensure
that the message reaches the right audience at the most effective time. Other factors includes
frequency objectives, budgets, publication frequency.

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Scheduling
Companies would like to keep their advertising in front of consumers at all times as a constant
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reminder of the product or brand name. In reality, this is not possible for a variety of reasons.
Nor is it necessary. The primary objective of scheduling is to time promotional efforts so that
they will coincide with the highest potential buying times. For some products these times are
not easy to identify, for others they are very obvious.
Continuity- Continuity refers to a continuous pattern of advertising, which may mean every
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day, every week, or every month. The key is that a regular or a continuous pattern is developed
without gaps or non-advertising periods. Such strategies might be used for advertising for food
products, laundry detergents, or other products consumed on an ongoing basis without regard
for seasonality.
Flighting- A second method, flighting, employs a rest regular schedule, with intermittent
periods of advertising and non-advertising. At some time periods, there are heavier promotional
expenditures, and at others there may be no advertising.
Pulsing- Pulsing is a combination of the first two methods. In a pulsing strategy, continuity is
maintained, but at certain times promotional efforts are stepped up. The scheduling strategy
depends on the objectives, buying cycles, and budget, among other factors.
4. In which media classes should we advertise?
When deciding in which media classes (types of media, like newspapers, television, digital,
etc.) to advertise, it’s essential to evaluate several key factors to ensure the chosen media will
effectively deliver the message to the target audience and meet campaign objectives.
Advertisers should consider: -
• Selectivity- advertisers’ must consider geographic and class selectivity
• lead time- the amount of time a medium requires before the advertisement will be run.
• Creative aspects- how will the medium supports the message appeal and style.
• Longevity- how long the advertisement message will last.
• Cost- Advertisers’ must consider relative costs.

Budget considerations
One of the most important decisions in the development of media strategy is cost estimating.
The value of any strategy can be determined by how well it delivers the message to the audience
with the lowest cost and the least waste. Advertising and promotional costs can be categorized
in two ways. The absolute cost of the medium or vehicle is the actual total cost required to
place the message.
Relative cost
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Relative cost refers to the relationship between the price paid for advertising time or space and
the size of the audience delivered. It is used to compare media vehicles if costs are important
because the manager must try to optimize audience delivery within budget constraints. Since a
number of alternatives are available for delivering the message, the advertiser must evaluate
the relative costs associated with these choices. The way media costs are provided and
problems in comparing these costs across media often make such evaluations difficult.
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Determining Relative Cost of Media
To evaluate alternatives, advertisers must compare the relative costs of media as well as
vehicles within these media. The broadcast print and out-of-home media do not always provide
the same cost breakdowns, not necessarily to vehicles within the print media.
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• Following are the cost based used:

• Cost Per Thousand- For many years the magazine industry has provided cost
breakdowns on the basis of cost per thousand people reach. The formula for this
computation is:-
 Cost per ratings point (CPRP)- The broadcast media provide a different comparative cost
figure, referred to as cost per ratings point or cost per point CPP, based on the following
formula:-

Audience Measures used in Media Planning

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• Reach- the percentage of different homes or people exposed to a media vehicle or vehicles at
least once during a specific Specified period of time.
• Average frequency- the average number of times the reached audience is exposed to the
media vehicle during a specified period of time.
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• Gross rating points- a summary measure that combines the program rating and the average
number of times the home or person is reached during a specified period of time.
• Reach x Average Frequency = Gross Rating Point
Major media types
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•Newspapers: Print publications that provide news, articles, advertisements, and other content.
They can target local, regional, or national audiences.
•Television: A broadcast medium offering both visual and auditory content, including
commercials, news, and entertainment programs, reaching large audiences across a wide
geographic area.
•Direct Mail: A form of advertising that involves sending physical promotional materials (such
as catalogs, flyers, or postcards) directly to consumers’ homes or businesses.
•Radio: An audio-only medium that broadcasts music, news, talk shows, and commercials to
a wide audience, often localized by region or genre.
•Magazines: Periodical publications that feature articles, stories, and advertisements, often
targeted at niche audiences based on interests, profession, or demographic group.
•Outdoor: Advertising through physical locations such as billboards, bus stops, airports, and
transit ads that provide high visibility to pedestrians and commuters.
•Yellow Pages: A directory, traditionally in print and now often digital, that lists businesses by
category and provides contact information, helping people find services in their area.
•Newsletters: Regularly distributed publications, often by organizations or businesses, that
provide updates, news, and information to subscribers or members.
•Brochures: Printed materials typically used for promotional purposes, offering information
about products, services, or events in a compact, easy-to-read format.
•Telephone: Direct communication through calls, including telemarketing or customer service
interactions, or via automated systems to deliver messages or advertisements.
•Internet: Digital platforms, websites, and social media that provide a range of content
including articles, videos, and advertisements, offering global reach and interactivity.
Television
It has often been said that television is the ideal advertising medium. It’s ability to combine
visual images, sound, motion, and colour, presents the advertiser with the opportunity to
develop the most creative and imaginative appeal of any medium. However, TV does have
certain problems that limit or even prevent its use by many advertisers.
Advantages of television
• Creativity and impact-
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• Coverage and cost effectiveness Advertising on television
• Captivity and attention
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• Selectivity and flexibility
Disadvantages of Television
• Costs through television.
• Lack of selectivity
• Clutter
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• Limited attention by viewers

• Zapping- Zapping refers to changing channels to avoid commercials.
• Zipping- Zipping refers to fast forwarding through commercials as they appear
when viewing a previously recorded movie or some other program.
• Negative evaluation
Print Advertisement
A print advertisement is a type of advertising that appears in printed media, such as newspapers,
magazines, brochures, billboards, and other physical formats. Print ads are designed to capture
the attention of readers and convey a message, typically with the goal of promoting a product,
service, event, or idea.
Advantages of Print Advertisement
• Flexibility
• Penetration
• Geographic and language selectivity
•
 Lecture 40
THE ART OF COPY WRITING
Some general thoughts on copywriting from some of the most influential people in the history
of advertising:
“If you think you have a better mousetrap, or shirt, or whatever, you've got to tell people, and
I don't think that has to be done with trickery, or insults, or by talking down to people.... The
smartest advertising is the advertising that communicates the best and respects consumers'
intelligence. It's advertising that lets them bring something to the communication process, as
opposed to some of the more validly criticized work in our profession which tries to grind the
benefits of a soap or a cake mix into a poor housewife's head by repeating it 37 times in 30
seconds.”
—Lee Clow, creator of the Apple Macintosh "1984" advertisement'
“As I have observed it, great advertising writing either in print or television is disarmingly
sim-ple. It has the common touch without being or sounding patronizing. If you are writing
about baloney, don't try to make it sound like Cornish hen, because that is the worst kind of
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baloney. Just make it darned good baloney.”
—Leo Burnett, founder of the Leo Burnett agency, Chicago
“Why should anyone look at your ad? The reader doesn't buy his magazine or tune his radio
and TV to see and hear what you have to say.... What is the use of saying all the right things in
the world if nobody is going to read them? And, believe me, nobody is going to read them if
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they are not said with freshness, originality and imagination.”
—William Bernbach, cofounder of one of the most influential agencies during the 1960s,
Doyle Dane Bernbach
“Never write an advertisement which you wouldn't want your family to read. Good products
can be sold by honest advertising. If you don't think the product is good, you have no business
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to be advertising it. If you tell lies, or weasel, you do your client a dis-service, you increase
your load of guilt, and you fan the flames of public resentment against the whole business of
advertising.”
—David Ogilvy's ninth of eleven commandments of advertising

According to the UK advertising guru, David Ogilvy, ‘people do read lengthy advertisements
if they are skillfully written’. The most significant part of the copy is the headline, and
sometimes even a small shift in the text brings magnanimous results. A short ad copy is the
most popular in consumer-product advertising, or an artful, indigenous lengthy ad copy may
work wonders too.
Copywriting
Copywriting is the process of expressing the value and benefits a brand has to offer, via written
or verbal descriptions. Copywriting requires far more than the ability to string product
descriptions together in coherent sentences. One apt description of copywriting is that it is a
search for ideas combined with a never-ending search for new and different ways to express
those ideas.
Advertising Copy
An advertising copy is a term used to describe the main text used in the advertisement. The text
could be a dialogue, a catchy punch line or a company’s dictum. It is a print, radio or TV
advertising message that aims at developing and retaining an interest of the target customer and
prompting him to purchase the product within a couple of seconds. An advertisement copy is
mostly a result of extensive advertising and consumer research designed by professional
copywriter’s employees by advertising agencies. Drafting an ad copy demands skill and effort.
An ad copy involves a complete investigation of the target audience. There is a substantial
effort that goes into making an ad copy. Companies outsource their ad campaigns. The
advertisement industry flourishes when they succeed in delivering the advertisement just like
its copy
Types of Ad Copy
Human Interest Copy

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Human interest copy entices the emotions and senses of its prospective customers rather than
the intellect and judgment. This advertisement copy defines the product to people instead of
sticking to facts. Human Interest copy gets to selling part indirectly or reluctantly. It focuses
on people’s undying interest in themselves, their families and friends. The most important
forms of Human-Interest Copy are humorous copy, fear copy, and story copy.
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Reason Why Copy
A Reason Why advertising copy offers reasons as to why the consumers are expected to buy
the product of a particular brand. The reason why copy appeals directly to the intellect or the
judgment of an individual than the emotions. It tries to explain the product qualities and
benefits by giving evidence in the forms of testimonials, guarantees, customer experiences, and
so on. The approach of this copy explains reasons to readers as to why the advertised product
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must be purchased. The format of this copy states a fact about a product or a service in the
headline and then explaining why the fact is true in its further text. This form of advertising
works better in print than on media, because broadcasting an ad has a limitation with respect
to time. There are good chances of the viewer missing the headline or the reasons why the
headline claims to be the truth.
An Educational Ad Copy
An Educational Ad Copy attempts to inform, update and prompts its clients to buy a product
by educating the prospective customers. It is designed to educate the public about the attributes
of the product. Introductory ad copies are usually created in this way. It is the responsibility of
every manufacturer to educate the prospects regarding the product and endure a warm welcome
amongst its clients. Such an ad copy signifies the benefits and special features of the product.
Institutional Ad Copy
Institutional copy doesn’t sell its goods and services. Institutional ad copy aims at promoting
the selling house. It focuses to build a strong reputation for the selling house. The main
objective of this type of ad copy is to create, maintain, and increase the goodwill through its
philosophy, objectives and policies so that the prospective customers register it in their minds.
Institutional copy invites the target customers to the selling outlet. It is also called as prestige
or corporate advertising
Suggestive Copy
A suggestive copy suggests or attempts to convey the message to the readers directly or
indirectly and prompts them to purchase the product. Suggestive ad copy works best when the
reader is confused regarding the quality of the product and is juggling with decision making
regarding his purchase
Expository Copy
Expository copy conflicts with the Suggestive copy. An Expository copy doesn’t conceal
anything about the product but instead exposes the facts that are clear and apt. It describes the
product features, uses, merits, operation and benefits of the products or services. Even a swift
glance registers quickly in the consumer’s mind and is quite easy to remember or pick up.

General Copy Principles

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Regardless of the specific ad medium, copy is usually more effective if it is simple, containing
only one or two key ideas; contains a benefit or idea unique to the brand being advertised; is
extendible (can lead to several variations in a campaign); and flows naturally and smoothly
from beginning to end. Good ads are specific, using facts and figures and believable details
instead of generalities. An example is the 1993 MCI telephone campaign that offered customers
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written "proof positive" of the savings they would get every ninety days, compared with those
from other phone carriers
One overriding rule for developing copy is to keep the format simple, uncluttered, and
straightforward. Whether in print or in broadcast, the tendency for including too much
information or for complicating the television commercial with too many scene changes, or
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scenes that are not well integrated, should be avoided. This principle of simplicity extends to
the language used as well. Like cluttered format, complicated language is unlikely to induce
people to spend the time to "figure it out." The message should always be true to the product.
Claims should be substantiable, and the style should not be radically altered over the life cycle
of the product
Print Copy Principles
One of the key elements is the headline, which must flag down the target reader and pull him
or her into the body copy, offering a reward for reading on. This is best achieved by headlines
that appeal to the reader's self-interest (e.g., by offering free, useful information), are new and,
offer new twists on familiar sayings or evoke curiosity (e.g., by asking a quizlike question)."
Since most people reading print ads never go beyond the headline, it is also extremely important
that the headline and visual complement each other so well and "tell the story”. So easily, that
a reader who only looks at the headline and main visual can "get the message" without having
to read a word of the body copy. As for the body copy itself, it should be detailed and specific
(recall), support the headline, and be readable and interesting.
Copy should be only as long as needed to do the selling task (high-involvement purchases may
call for detailed copy), but body copy can be made readable by the use of subheads and
captions. This extra recall effect of pictures that exemplify verbal product attribute information
appears to occur only when the verbal information is itself of low imagery (does not involve
visualization of a concept or relationship).
Such imagery or visualization occurs more easily if the ad uses concrete rather than abstract
words, if the ad is believable, and if the ad does seem to create more liking for the ad and the
brand. The message of the ad is also more memorable if its various parts are consistent. Other
research has discovered that more imagery is evoked if the picture makes it easy for the
consumer to plausibly imagine himself or herself in engaging in that behavior." The effects of
an ad's pictures on brand attitudes (liking) seem to increase if they contain product-relevant
information, especially for highly involved consumers.
Television Copy Principles
Show a sample of 200 respondents a 30-minute program with test ad Embedded Program is
broadcast on a cable channel so respondents may view the program in their homes. The day
after viewing, respondents are contacted and asked to name the commercials they remember
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seeing during the program– If unable to name the commercials, they are prompted with correct
and incorrect answers– This tests both aided and unaided recall.
Purchase intent can be ascertained with a pre-post exposure measurement– Prior to watching,
respondents are asked what brand they are likely to purchase next time– After exposure,
respondents are asked what brand they would prefer to buy ?
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The ability to create a mood or demonstrate a brand in use gives television wonderful
capabilities; it also affords you the ability to really screw up in magnificent fashion for a very
large and expensive audience (no pressure here).Obviously, copy for television must be highly
sensitive to the ad's visual aspects. It is a visual medium; you should try to not let the words
get in the way. The opportunities inherent to television as an advertising medium represent
challenges for the copywriter as well. Certainly, the inherent capabilities of television can do
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much to bring a copywriter's words to life. But the action qualities of television can create
problems.
First, the copywriter must remember that words do not stand alone. Visuals, special effects, and
sound techniques may ultimately convey a message far better than the cleverest turn of phrase.
Second, television commercials represent a difficult timing challenge for the copywriter. It is
necessary for the copy to be precisely coordinated with the video.
If the video portion were one continuous illustration, the task would be difficult enough.
Contemporary television ads, however, tend to be heavily edited (that is, lots of cuts), and the
copywriting task can be a nightmare. The copywriter not only has to fulfill all the
responsibilities of proper information inclusion (based on creative platform and strategy
decisions), but also has to carefully fit all the information within, between, and around the
visual display taking place. The road map for this coordination effort is known as a storyboard.
A storyboard is a important shot-by-important shot sketch depicting in sequence the visual
scenes and copy that will be used in a television advertisement.
Radio Copy Principles
The following are a suggestions for effective Radio Copy :
• Use common, familiar language- The use of words and language easily understood and
recognized by the receiver is even more important in radio than in
• Use short words and sentences- The probability of communicating verbally increases if
short, easily processed words and sentences are used. Long, involved, elaborate verbal
descriptions make it difficult for the listener to follow the copy.
• Stimulate the imagination- Copy that can conjure up concrete and stimulating images in the
receiver's mind can have a powerful impact on recall.
• Repeat the name of the product- Since the impression made by a radio ad is fleeting, it may
be necessary to repeat the brand name several times before it will register. The same is true for
location if the ad is being used to promote a retail organization.
• Stress the main selling point or points- The premise of the advertising should revolve
around the information that needs to be presented. If selling points are mentioned only in
passing, there is little reason to believe they'll be remembered.
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• Use sound and music with care- By all means, a copywriter should take advantage of all the
audio capabilities afforded by the radio medium, including the use of sound effects and music.
While these devices can contribute greatly to attracting and holding the listener's attention, care
must be taken to ensure that the devices do not overwhelm the copy and therefore the persuasive
impact of the commercial.
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• Tailor the copy to the time, place, and specific audience- Take advantage of any unique
aspect of the advertising context. If the ad is specified for a particular geographic region, use
colloquialisms unique to that region as a way to tailor the message. The same is true with time-
of-day factors or unique aspects of the audience.
For radio ads, a key principle usually is to write copy that "creates a picture in the mind's eye"
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of the listener. The radio ad must pull the listener in from whatever is being done when the ad
comes on, into an imagined situation, through use of the human voice, sound effects, humor,
and music. Research shows that sound effects increase imagery activity and, through that, the
evocation of feelings that are not verbally describes in the area. Though it can occasionally be
distracting, product related imagery usually increases the ad’s likability and the recall and
recognition of ad claims." It is usually also important in radio to mention the brand name and
the key selling benefit early and often. Short words and short sentences are usually easier to
understand on the radio. Obviously, radio ads can use various creative tools, and a typology of
different kinds of radio ads has been developed.
Cyberspace Copy Principles
Cyber copy evolved from a very techno-speak community, with a
twentysomething, Gen-Z meet techno nerd kind of voice. Cyber copy's style has been
influenced by this history. The medium itself, its structure and its active nature, suggests a type
of writing closer to print than to television copy, but not traditional print copy either. This is a
medium where audience has a significantly different meaning than it does in traditional one-
way (non-interactive) media. Audience members often come to cyberads, that is they seek out
the ads or other online IBP material, rather than the other way around.
In other cases, cyber ads pop up as one moves from Web page to Web page, but these pop-ups
are fortunately going the way of the eight-track. The medium itself (online computer) is a
fundamentally more user-directed medium than print, television, or radio. This means that
consumers approach (and read) cyberads somewhat differently than other ads. Most believe
there is still more incentive to read cybercopy than traditional print advertising. Further, much
cybercopy is direct response, thus dictating copy style.
Outdoor Copy Principles
For outdoor ads, where the message must be communicated in a few seconds, the copy and
visual (such as large pack shot) must be extremely short, simple ,strong, and obvious-there is
no time for ease. Outdoor ads are recalled more if they have fewer words, are about more
involving products, are creatively more distinct, and are on the right-hand side of highways
than on the left-hand side (from the drivers' perspective)
Slogans

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Copywriters are often asked to come up with a good slogan or tagline for a product or service.
A slogan is a short phrase in part used to help establish an image, identity, or position for a
brand or an organization, but mostly used to increase memorability. A slogan is established by
repeating the phrase in a firm's advertising and other public communication as well as through
salespeople and event promotions. Slogans are often used as a headline or subhead in print
advertisements, or as the tagline at the conclusion of radio and television advertisements. A
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good slogan can serve several positive purposes for a brand or a firm.
First, a slogan can be an integral part of a brand's image and personality. BMW's slogan, "The
Ultimate Driving Machine," does much to establish and maintain the personality and image of
the brand.
Second, if a slogan is carefully and consistently developed over time, it can act as a shorthand
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identification for the brand and provide information on important brand benefits. The long-
standing slogan for Allstate Insurance, "You're in Good Hands with All-state," communicates
the benefits of dealing with a well-established insurance firm.
A good slogan also provides continuity across different media and between advertising
campaigns. Nike's "Just Do It" slogan has given the firm an underlying theme for a wide range
of campaigns and other promotions throughout the 1990s. In this sense, a slogan is a useful
tool in helping to bring about thematic integrated marketing communications for a firm.

The Copy Approval Process

The final step in copywriting is getting the copy approved. For many copywriters, this is the
most dreaded part of their existence. During the approval process, the proposed copy is likely
to pass through the hands of a wide range of client and agency people, many of whom are ill-
prepared to judge the quality of the copy. The challenge at this stage is to keep the creative
potency of the copy intact. As David Ogilvy suggests in his commandments for advertisements,
but they can't write them."
The copy approval process usually begins within the creative department of an advertising
agency. A copywriter submits draft copy to either the senior writer or the creative director, or
both. From there, the redrafted copy is forwarded to the account management team within the
agency. The main concern at this level is to evaluate the copy on legal grounds. After the
account management team has made recommendations, a meeting is likely held to present the
copy, along with proposed visuals, to the client's product manager, brand manager, and
marketing staff. Inevitably, the client representatives feel compelled to make recommendations
for altering the copy.
In some cases, these recommendations realign the copy in accordance with important
marketing strategy objectives. In other cases, and problematic. From the copywriter's point of
view, they are rarely welcome, although the copywriter usually has to act as if they are.
Depending on the assignment, the client, and the traditions of the agency, the creative team
may also rely on various forms of copy research.
Copy research is either developmental or evaluative. Developmental copy research can actually
help copywriters at the early stages of copy development by providing audience interpretations
and reactions to the proposed copy. Evaluative copy research is used to judge copy after it's
been produced. Here, the audience expresses approval or disapproval of the copy used in an
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ad. Copywriters are not fond of these evaluative report cards.
Common Mistakes in Copywriting.
• The preceding discussions have shown that print, radio, and television advertising present the
copywriter with unique challenges and opportunities.
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• Copy in each arena must be compatible with the various types of ads run in each medium and
the particular capabilities and liabilities of each medium and format.
• Beyond the guidelines for effective copy in each area, some common mistakes made in
copywriting can and should be avoided:
• Vagueness- Avoid generalizations and words that are imprecise in meaning. To say that a car
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is stylish is not nearly as meaningful as saying it has sleek, aerodynamic lines.

• Wordiness- Being economical with descriptions is paramount. Copy has to fit in a limited
time frame (or space), and receivers bore easily. When boredom sets in, effective
communication often ceases.
• Triteness- Using clichés 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)
exists in radio and television advertising. Trite copy creates a boring, outdated image for a
brand or firm.
• Creativity For creativity’s Sake- Some copywriters get carried away with a clever idea. It's
essential that the copy in an ad remain true to its primary responsibility: communicating the
selling message. How-ever, copy that is extraordinarily funny or poses an intriguing riddle yet
fails to register the main selling theme will simply produce another amusing advertising failure.
 REFERENCES

• Belch, G. E., & Belch, M. A. (2018). Advertising and promotion: An integrated

marketing communications perspective. mcgraw-hill.
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• Jethwaney, J. N., & Jain, S. (2012). Advertising management. Oxford University
Press.
• Shah, K., & D'Souza, A. (2009). Advertising & promotions an IMC
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• O'Guinn, T. C., Allen, C. T., Semenik, R. J., & Close, A. (2009). Advertising and
integrated brand promotion. Mason: South-Western.
• Batra, R., Myers, J. G., & Aaker, D. A. (2006). Advertising management. Pearson.
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McGraw-Hill Book Company.
• Hackley, C., & Hackley, R. A. (2021). Advertising and promotion.
• Hackley, C. (2010). Advertising and promotion: An integrated marketing

•
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communications approach. Sage.
Belch, G. E., & Belch, M. A. (2016). Advertising & promotion. The McGraw-
Hill/Irwin Series i Marketing.
• Trout, J., & Ries, A. (1986). Positioning: The battle for your mind. New York, NY:
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