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129 Cards in this Set
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Persuasion matrix |
Helps marketers see how each controllable element in a campaign interacts with consumer's response process Independent variables: communication components (source, message, channel, receiver, destination) Dependent variables: consumer steps in being persuaded (presentation, attention, comprehension, yielding, retention, behavior) |
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Source |
Direct source: spokesperson who delivers message and/or endorses product or service Indirect source: doesn't deliver message, but draws attention to ad |
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Source traits to maximize message influence |
Credibility (Expertise, Trustworthiness) Attractiveness (Similarity, Likability, Celebrity) Power (Compliance) |
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Credibility |
Extent to which the recipient sees the source as having relevant knowledge, skill, or experience and trusts the source to give unbiased, objective information Includes expertise and trustworthiness |
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Internalization |
Information from a credible source influences beliefs, opinions, attitudes, and/or behavior; maintained even after source of message is forgotten; integrates into belief system |
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Sleeper effect |
Persuasiveness of message increases with the passage of time, even from low-credibility sources as receiver forgets source |
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Attractiveness |
Similarity (resemblance betweens source and receiver), familiarity (knowledge of the source through exposure), and likability (affection for the source from appearance, behavior, or personal traits) |
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Identification |
Receiver is motivated to seek some type of relationship with the source and adopt similar beliefs, attitudes, preferences, or behavior; does not integrate into belief system |
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Similarity |
Similar needs, goals, interests and lifestyles |
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Likability: Celebrities |
Overshadowing the product: consumers focus attention on celebrity instead of brand Overexposure: consumers are skeptical because they know celebrities are being paid and endorse too many products Target audiences' receptivity: how well individual matches with target audience Risk to the advertiser: celebrity behavior poses risk to the company; contracts include moral clause ROI: cost for endorser should be more than compensated for by increase in sales |
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Meaning Movement and the Endorsement Process |
Stage 1: Culture - celebrity effectiveness depends on culturally acquired meanings of objects, persons, and context Stage 2: Endorsement - celebrity endorsers bring their meanings and image into the ad and transfer them to the product Stage 3: Consumption - meanings the celebrity has given to the product are transferred to the consumer |
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Q-score |
Determined by survey of representative national panel of consumers Familiarity score: what percentage of people has heard of the person One of my favorites score: absolute measure of appeal Q-score: % "one of my favorite" / % "have heard of person" |
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Decorative models |
Physically attractive person serves as passive model rather than active communicator Generate favorable evaluations |
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Source power |
When source can administer rewards and punishments to the receiver, thus inducing the person to respond to the position advocated
Perceived control and perceived scrutiny) |
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Compliance |
Receiver perceives a source as having power and accepts persuasive influence in hopes of favorable reaction or avoidance of punishment Difficult in nonpersonal advertising |
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Message factors |
Structure (order of presentation, conclusion drawing, sideness, refutation, and verbal vs. visual messages) Appeals (comparative advertising, fear appeals, humor appeals) |
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Primacy effect |
Presenting strongest arguments at the beginning of the message
Should be used if target audience is opposed to the communicator's position |
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Recency effect |
Presenting strongest arguments at the end of the message Should be used when target audience is predisposed tot he communicator's position is is highly interested in the product or issue |
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Conclusion drawing |
Explicitly - more easily understood and effective, better for complex topics, immediate action Implicitly - better for educated people, high levels of involvement, long-term effect, reinforcing message |
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Message sideness |
One-sided message: mentions only positive attributes or benefits; most effective when target audience already holds favorable opinion, less educated audience Two-sided message: presents both good and bad points; more effective when target audience holds opposing opinion, highly educated |
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Refutational appeal |
Communicator presents both sides of an issue and then refutes the opposing viewpoint; make consumers resistant to opposing message More effective than one-sided Useful when defending against attacks or criticism of products; build attitudes that resist change |
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Verbal vs. Visual messages |
Consumers develop images based on visual images May reduce persuasiveness, since processing of images less controlled When verbal information low imagery value, pictures increase recall of product When verbal information high imagery value, pictures do not increase recall of product |
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Comparative advertising |
Practice of either directly or indirectly naming competitors in an ad and comparing one or more specific attributes No longer novel Recall higher, but not attitudes or purchase intentions Useful for new brands, promoting distinct attributes against established brands High-profile marketers use to differentiate brands in competitive marketplace Some hesitate to feature competitors Political advertising |
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Fear appeals |
Evoke emotional response to threat that expresses or implies danger, and arouse individuals to take steps to remove threat More effective when message recipient is self-confident and prefers to cope with dangers More effective among new users of a product |
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Relationship between fear levels and message acceptance |
Message acceptance increases as amount of fear uses rises - to a point beyond which acceptance decreases as the level of fear rises Low level of fear attracts attention and may motivate receiver Increased level of fear results in increased persuasion High levels of fear has inhibiting effects Different people fear different things |
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Protection motivation model |
Suggest that ads using fear appeals should give the target audience information about the severity of the threat, the probability of its occurrence, the effectiveness of a coping response, and the ease with which the response can be implemented
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Humor appeals |
Attract and hold consumers' attention Enhance effectiveness by putting consumers in positive mood, increasing liking and feeling Distract receiver from counterarguing |
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Criticisms of humor appeals |
Ads draw people to humor but distract from brand and attributes Effective humor difficult to product or too subtle for mass audiences Wearout: humor loses appeal when frequently exposed |
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Channel factors |
Personal vs. nonpersonal Alternative mass media Context and environment Clutter |
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Personal vs. nonpersonal communications channels |
Personal influence channels: information is more persuasive than mass media, more flexible, adapt to customer Marketers recognize importance of WOM
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Differences in information processing |
Self-paced: readers process at their own rate and study as long as they desire (print media); information Externally-paced: transmission rate is controlled by the medium (broadcast media); image |
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Qualitative media effect |
Influence the medium has on a message |
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Media environment created by: |
Image of the media vehicle Nature of the program in which the commercial appears |
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Clutter |
Amount of advertising in a medium Television clutter includes all nonprogram material in broadcast environment Trend toward shorter commercials |
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Reasons objectives are needed |
Communications Planning and decision making Measurement and evaluation |
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Marketing objectives |
Statements of what is to be accomplished by the overall marketing program within a given time period Quantifiable, realistic, attainable |
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IMC communications objectives |
Statements of what various aspects of the IMC program will accomplish |
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Sales-oriented objectives |
ROI Increase in sales volume Achievement of sales results |
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Carryover effect |
Monies spent on advertising do not necessarily have an immediate impact on sales |
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Factors influencing sales: |
Economy Product quality Price Distribution Advertising and promotion Competition Technology |
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Where sales objectives are important: |
Sales promotion program with objective of short-term increase in sales Direct-response advertising Retail advertising When advertising plays dominant role in marketing program and other factors stable Advertising and promotional programs; quick fix |
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Communication objectives |
Brand knowledge and interest Favorable attitudes and image Purchase intentions |
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Communications Effects Pyramid: How advertising and promotion perform communication tasks |
Awareness (90%) Knowledge (70%) Liking (40%) Preference (25%) Trial (20%) Repurchase/regular use (5%) |
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GfK Purchase Funnel: Diagnostic model of consumer decision-making |
Awareness
Familiarity Opinion/imagery Consideration One make/model intention Shopping Purchase |
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DAGMAR: An approach to setting objectives |
Communications effects are the logical basis for advertising goals and objectives against which success or failure should be measured Communications task: specific and measurable, can be performed by and attributed to advertising |
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DAGMAR hierarchal model of communication process |
Awareness Comprehension Conviction Action |
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DAGMAR characteristics of objectives |
Concrete, measurable tasks Well-defined target audience Benchmark and degree of change sought Specified time period |
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Benchmark measures |
Determining the target market's present position regarding the various response stages; provides basis for determining communication objectives |
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Criticisms of DAGMAR: |
Consumers do not always go through response hierarchy
Some believe advertising is only effective if it induces consumers to purchase Difficult to implement, better for large companies with big budgets Inhibits advertising creativity by imposing to much structure |
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Problems in setting objectives |
Advertisers fail to set specific objectives for campaigns Agencies do not state appropriate objectives for determining success |
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Inside-out planning |
Consider how marketers can develop and disseminate advertising messages to move consumers along an effects path Goes from brand to consumer |
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Outside-in planning |
Promotional planners study media customers and prospects use, when the marketer's message might be most relevant to customers, and when they are likely to be most receptive to the message Goes from consumers to brand |
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Zero-based communications planning |
Determining which tasks need to be done and which marketing communications functions should be used and to what extent Focuses on task to be done and searches for best ideas and media to accomplish it Marketers monitor social channels for insights, respond to consumer comments, amplify current positive tone, and lead changes in sentiment |
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IMC planning model |
Flow from review of marketing plan to analysis of communications process is unidirectional
Flow between communication analysis and budget determination is two-way interaction |
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Contribution margin |
Difference between total revenue and variable costs |
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Marginal analysis |
As advertising expenditures increase, sales and gross margins increase to a point, then level off Optimal expenditure level is point where marginal costs equal marginal revenues they generate |
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Weaknesses of marginal analysis |
Assumption that sales are a direct measure of advertising and promotion efforts Assumption that sales are determined solely by advertising and prmotion |
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Sales response models |
Concave-downward function: as amount of advertising increases, its incremental value decreases S-shaped response curve: initial outlays of advertising budget have little impact; after certain budget level has been reached, advertising efforts begin to have an effect, incremental gain continues to a point, then returns to little or nothing |
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Top-down budgeting approaches |
Affordable method: all you can afford Arbitrary allocation: no theoretical basis Percentage of sales: taking percent of sales dollars or assigning fixed amount of unit product cost Competitive parity: match competition's expenditures ROI: advertising considered investment, which leads to returns |
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Bottom-up budgeting approaches |
Objective and task method (build-up): defining communications objectives, determining specific strategies, estimating costs Payout planning: determines investment value of advertising appropriation; project revenues and costs; determine how much expenditure will be necessary and when return might be expected Quantitative models: computer-simulated |
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Factors affecting budget allocation |
IMC elements Client-agency policies Market size Market potential Market share goals Economies of scale Organizational characteristics |
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Creative strategy |
Determines what the advertising message will communicate |
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Creative tactics |
How message strategy will be executed |
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Advertising creativity |
Ability to generate fresh, unique, and appropriate or relevant ideas that can be used as solutions to communicate problems Determined by divergence and relevance |
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Divergence: extent to which an ad contains elements that are novel, different, or unusual |
Originality ads: rare, surprising, or move away from obvious and commonplace Flexibility ads: different ideas or switch from one perspective to another Elaboration ads: contain unexpected details or finish and extend basic ideas so they become for sophisticated Synthesis ads: combine, connect, or blend unrelated ideas Artistic value ads: contain artistic verbal impressions or attractive shapes and colors |
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Relevance: degree to which the various elements of ad are meaningful, useful, or valuable to the consumer |
Ad-to-consumer relevance: ad contains execution elements meaningful to the consumer Brand-to-consumer relevance: advertised brand is of personal interest to consumer |
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Creativity process |
Immersion: gathering raw material and information and immersing yourself in the problem Digestion: digesting the information Incubation: turning information over to subconscious Illumination: birth of an idea Reality/verification: studying and shaping the idea |
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Account planning |
Involves conducting research and gathering all relevant information about a client's product, brand, and target market |
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Background research |
Reading anything related to product or market Asking everyone involved with product Listening to what people are talking about Using product and becoming familiar Working in and learning about business |
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General preplanning input |
Books, periodicals, trade publications, websites, scholarly journals, pictures, clipping services |
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Product- or service-specific preplanning input |
Specific studies on product, audience, or combination Problem detection Psychographic studies about consumer lifestyle |
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Problem detection |
Finding ideas around which creative strategies could be based Asking consumers to generate exhaustive list of problems with product |
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Qualitative research |
Focus groups: consumer discussion about topic Ethnographic research: observing consumers in natural environment |
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Verification and revision |
Storyboard: series of drawings used to present visual plan of proposed commercial Animatic: videotape of storyboard |
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Advertising campaign |
Interrelated and coordinated marketing communications activities that center on a single theme or idea that appears in different media across a specified time period Short-term, annual basis |
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Campaign theme |
Strong idea, central message that will be communicated in advertising and promotional activities |
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Slogan/tagline |
Reduces key idea into a few words or a brief statement |
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Creative brief |
Specifies basic elements of creative strategy Basic problem to be addressed Advertising and communications objectives Target audience Major selling idea or key benefits Creative strategy statement (theme, appeal, and execution techniques) Supporting information and requirements |
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Communication interface failure points |
Client or gatekeeper lacking knowledge of some or all of the information needed for effective advertising Client deciding not to share with the agency all of the available information Agency gatekeepers deciding not to share with creative staffers all client information Internal agency communication failures resulting in creative staff not receiving all relevant information |
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Major selling idea |
Central theme, big idea that attracts attention, gets a reaction, and sets product or service apart from competition |
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Developing the major selling idea |
Using a USP Creating a brand image Finding the inherent drama Positioning |
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Unique selling proposition (USP) |
Each ad makes proposition to consumer Proposition must be one that the competition cannot or does not offer Proposition must be strong enough to move customers to brand (Sustainable competitive advantage) |
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Image advertising |
Development of strong, memorable identity for brand Associate brand with certain symbols with cultural meaning |
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Inherent drama |
Characteristic of the product that makes the consumer purchase it |
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Positioning |
Advertising is used to establish the company or brand in a particular place in the consumer's mind Creative strategy when a firm has multiple brands competing in the same market |
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Advertising appeal |
Approach used to attract attention of consumers and/or to influence their feelings toward the product, service, or cause Informational/rational Emotional (transformational) Combination Reminder Teaser User-generated content |
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Creative execution style |
Way a particular appeal is turned into an advertising message presented to the consumer |
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Informational/rational appeals |
Focus on 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 using a particular brand Emphasize facts, learning, and logic Persuade to buy because it is the best available or does a better job of meeting needs |
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Rational motives |
Comfort Convenience Economy Health Sensory Quality Dependability Durability Efficiency Efficacy Performance |
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Types of rational appeals |
Feature appeal
Competitive advantage appeal Favorable price appeal News appeal Product/service popularity appeal |
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Emotional appeals |
Relate to consumers' social and/or psychological needs for purchasing a product or service Psychological states or feelings directed to the self (pleasure or excitement) Social orientation (status or recognition) Reduce price sensitivity Continue to work during recessions |
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Emotional integration |
Commercials portray characters in the ad as experiencing an emotional outcome from product use |
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Transformational ad |
Create feelings, images, meanings, and beliefs about the product or service that may be activated when consumers use it, transforming their interpretation to the usage experience |
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Characteristics of transformational ads |
Must make experience of using product richer, warmer, more exciting, and/or more enjoyable than that obtained solely from objective description Must connect the experience of the ad so tightly with the experience of using the brand that consumers cannot remember the brand without recalling the experience generated by the ad |
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Combining rational and emotional appeals: emotional bonding |
Evaluates how consumers feel about bans and the nature of any emotional rapport they have with a brand compared to the ideal emotional state they associate with the product category |
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Emotional bonding: three levels of relationships with brands |
Product benefits Personality Emotions |
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Reminder advertising |
Building brand awareness and/or keeping brand name in front of consumers Online ads Mere exposure: repeated exposure can result in favorable feelings toward it |
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Teaser advertising (mystery ads) |
Designed to build curiosity, interest, and/or excitement about a product or brand by talking about it but not actually showing it |
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User-generated content (UGC) |
Ads are created by consumers rather than by company and/or agency Contests to create ads for consideration Crowd-sourced TV commercial or print ads Interactive and social media Corporate image rather than sell product |
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Advertising (creative) execution |
Way an advertising appeal is presented: Straight-sell or factual message Scientific/technical evidence Demonstration Comparison Testimonial Slice of life Animation Personality symbol Imagery Dramatization Humor Combinations |
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Straight-sell |
Straightforward presentation Informational/rational appeals Print ads, TV ads High-involvement product |
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Scientific/Technical evidence |
Variation of straight-sell Cite technical information, scientific results, or endorsements from scientific agencies to support claims |
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Demonstration |
Illustrate key advantages Utility or quality TV ad, demonstration ad |
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Comparison |
Direct way of communicating brand advantage over competitors Positioning new or lesser-known brand with industry leaders Competitive advantage appeals |
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Testimonial |
Person praises product on basis of personal experience Effective when person is someone audience can identify with Weight-loss Endorsement: well-known or respected individual speaks on behalf of company or brand, not necessarily based on personal experience |
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Slice of life |
Problem/solution approach Portrays problem consumers might face and shows how product can resolve problem Viewed as contrived, phony, or offensive for reminding consumers of personal problems Slice of death (B2B): fear appeal; focus on negative consequences from making wrong decision in supplier Dramatization of real-life Companies with large advertising budgets |
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Animation |
Popular for commercials targeted at children Animated scenes drawn by artists or created on computer Technological innovations |
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Personality symbol |
Developing a central character or personality symbol that can deliver the advertising message and with which the product or service can be identified |
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Imagery |
Ad consists primarily of visual elements such as pictures, illustrations, and/or symbols rather than information Goal is to encourage consumers to associate the brand with the symbols, character, and/or situation shown in the ad Emotional appeal Products where differentiation is based on physical characteristics is difficult Soft drinks, liquor, clothing, cosmetics Rely on visual elements like photography, color, tonality, and design to communicate image Right feelings and reactions from target audience |
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Usage vs. user imagery |
Usage imagery: showing how a brand is used or performs and the situation in which it is used User imagery: focus is on the type of person who uses the brand |
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Dramatization
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Telling a short story with the product or service as the star Television Akin to slice-of-life with problem-solution approach, but more excitement and suspense Draw viewer into action, experience concerns of feelings of characters Exposition, conflict, rising action, climax, resolution |
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Humor |
Can be used as a way of presenting other advertising appeals Television or radio, some print ads |
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Creative tactics for print advertising: |
Headlines Body copy Visual elements Layout |
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Headline |
Worlds in the leading position of the ad Read first or positioned to draw the most attention Larger type, set apart from body copy First thing people look at, followed by illustration Few go beyond headline to body copy Must give reader reason to read copy portion Main theme, appeal, or proposition in a few words Engage attention and interest of consumers most likely to buy product (segmentation based on publication) Address specific needs, wants, or interests |
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Types of headlines: depend on creative strategy, advertising situation, relationship to other ad components |
Direct headline: straightforward and informative in terms of message and directed target audience; specific benefit, promise, or reason to be interested
Indirect headline: provoke curiosity and lure readers into body copy to learn answer or get explanation; questions, provocations, how-to statements and challenges |
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Subheads |
Secondary heads within a print ad Smaller than main headline but larger than body copy Enhance readability of message by breaking up large amounts of body copy and highlighting key sales points Reinforce headline and slogan |
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Body copy |
Main text portion of a print ad Heart of message, but hard to attract target audience Long enough to communicate the message yet short enough to hold interest Flows from points made in headline or subheads Written for different appeals and executions |
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Visual elements |
Illustration is dominant, determines effectiveness Must attract attention, communicate idea or image, and work in synergistic faction with headline and body copy to produce effective message Sometimes visual is message Identification marks: brand name, company or trade name, trademarks, logos Photos or hand-drawn or painted illustrations Colors or black and white or splash of color Focus of visual |
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Layout |
Physical arrangement of various parts of the ad (headline, subheads, body copy, illustrations, and identifying marks) Determines space to work with How much copy to write and size and type of visual |
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Creative tactics for television: |
Video Audio (voiceover, needledrop, jingles) Difficult to get and maintain viewers' attention because of clutter and distraction of viewers Not self-paced |
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Video |
What is seen on screen Dominates commercial Attract attention and communicate idea, message, and/or image Decisions about product, presenter, action sequences, demonstrations, settings, talent, lighting, graphics, color, and identifying symbols |
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Audio |
Voices, music, and sound effects Voices heard through direct presentation or conversation Voiceover: message delivered or action on screen narrated by announcer not visible Needledrop: prefabricated, multipurpose, and highly conventional music; inexpensive substitute for original music; paid for on one-time basis Jingles: catchy songs about a product or service that carry the advertising theme and a simple message |
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Music in television advertising |
Gets attention Breaks through advertising clutter Communicates key selling point Helps establish image or position, add feeling |
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Two kinds of works to which companies negotiate rights when licensing music for commercials |
Musical composition: music notes and words Master recording: includes voice of original artist (often advertisers have it performed by someone with a similar voice) |
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Planning and production of TV commercials |
Decide type of appeal (rational or emotional - humor, fear, romance, fantasies) and execution style (straight-sell or announcement, demonstration, testimonial, or comparison) to be used Ads must entertain as well as inform Script: written version of a commercial that provides detailed description of video and audio content Storyboard and/or animatic Preproduction, production, postproduction |
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Preproduction activities |
Selection of a director Selection of a production company Bidding Cost estimation and timing Production timetable (construction, location, client approvals, casting, wardrobes) Preproduction meeting |
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Production |
Location versus set shoots Night/weekend shoots Talent arrangements |
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Postproduction |
Editing Processing Recording of sound effects Audio/video mixing Opticals Client-agency approval Duplicating Release/shipping |
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Guidelines for evaluating creative output |
Consistency with brand's marketing and advertising objectives Consistency with creative strategy and objectives, communicating what it's supposed to Appropriateness for target audience Communication of clear and convincing message to the customer Not overwhelming the message with creative execution Appropriateness for the media environment in which it is likely to be seen Truthfulness and tasteulness |
