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Digital Creative 1 Digital Creative 1 Presentation Transcript

  • Welcome to the DMA’s Creative Certification Course Part One Evalua&ng  Crea&ve     Wed.,  Oct.  16,  2013  —  1:00  to  4:30  pm Presented by Alan Rosenspan • Nancy Harhut • Carol Worthington-Levy  
  • Want to reach any of us? Alan Rosenspan: Nancy Harhut: Carol Worthington-Levy You’ll also find us in LinkedIn! 2  
  • Scope of the Course •  How to Evaluate Creative •  How to Get Great Print Work •  How to Get Great Digital Work •  Questions & Answers throughout, breaks as needed 3  
  • Alan Rosenspan         Creative director in three countries, for O&M and Digitas My teams have won over 100 Awards – including 20 DMA Echo Awards for results. More importantly, a working creative director and direct marketing consultant Client list has included American Express,, Bank of America, Capital One, Embrace Home Loans, Humana, HSBC, Life Line Screening, Oreck, Princess Lines, Scotts Lawn Service, Viking River Cruises, many others 5  
  • Nancy Harhut •  Chief  Crea<ve  Officer,  Wilde  Agency   •   Decidedly  strategy-­‐minded,  results-­‐oriented   •  Na<onally  recognized  for  best-­‐in-­‐class  crea<ve.     •  She  and  her  teams  have  won  over  150  awards  for  direct   marke<ng  effec<veness.   •   More  than  20  years  of  senior  crea<ve  management   experience  honed  Digitas   •  Clients  have  included  Dell,  IBM,  Novar<s,  House  of  Seagram,   Bank  of  America,  AT&T,  American  Express,  Sheraton,  GM,   and  more.  She’s  an  in-­‐demand  speaker  at  DMA  and  other   marke<ng  conferences.   6  
  • Carol Worthington-Levy     Wears three hats – Design/art director, writer and creative director/consultant for hire A stickler for responsive creative: has read it all, tested it all, and even attended a seminar in Switzerland to learn what will encourage response… or crush it!   Was a business partner in a multichannel marketing agency, which she and partners sold to Merkle in 2010   Possibly one of the only 8-time individual DMA Echo winner in 3 categories: Mail, Catalog and Online/digital   Clients: AAA  Auto  Clubs,  5.11  Tac<cal,  Adventures  Cross  Country   teen  travel,  Allstate,  Wine  of  the  Month  Club,  Jacuzzi,  Niman  Ranch   premium  meats,  Comcast,  American  Isuzu,  Intuit,  BMW,  Dish,     DHC  Cosme<cs,  Hewle[-­‐Packard,  and  more 7  
  • We’re in the trenches, just like you!   We are all working creative directors and direct marketing consultants   We are all teachers and students of direct marketing   We all believe in great creative work 8  
  • Who are you? •  You want to learn more about how to develop winning creative •  You want be a better manager and motivator of your team or your agency •  You want to be able to better evaluate creative before investing a lot of time and money 10  
  • Introductions •  Your name and what you do •  You biggest challenge… •  What makes you unique? “I think I am the only person in this room who…” 11  
  • Before we begin… •  Judgment call •  The truth about evaluating creative… •  Backgrounds and introductions 12  
  • What do you think? 13  
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  • What do you think? •  What’s your overall reaction? •  Do you think it will work? •  What do you like? •  What do you think might be improved, or what would you do different? 19  
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  • The Truth about Evaluating Creative •  You are an excellent judge of creative •  You are intuitive and thoughtful… •  …when you stop to actually think about it in a critical way 25  
  • Our goals for this creative certificate program Help you discover…   How to get the best creative work   What to look for; what to watch out for   Provide a Checklist for “How to Evaluate Creative”   Offer ideas for how to motivate people to do their best work for you. 26  
  • Section 1: How to Get The Best Creative Work 27  
  • •  How can you tell if it will work in advance? •  How to give useful and welcome feedback •  Timing & Budget Questions 28  
  • First, a definition   What is the best creative work?   You’re not looking for work that makes you laugh, or may win an award show   You’re looking for creative work that’s going to generate response 29  
  • •  Does it have to be new? •  Does it have to be different? •  What are some signs of good creative? 30  
  • Does it have to be new? •  Not for the sake of being new •  New in this category •  It must be relevant to the product and the market 31  
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  • Does it have to be different? •  Not for the sake of being different •  Good creative should tell you something you don’t know… •  …or make you think of something in a new or different way 33  
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  • •  But it should never, ever take away from the message •  Or worse, send the wrong message 36  
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  • Nancy  presents  a  Big  Idea:           Crea<ve  Challenge:  Sell  auto   insurance     to  an  affinity  group  
  • Crea<ve  Challenge:  Sell  auto  insurance   to  an  affinity  group  that  was  so   unresponsive  the  program  was  about  to   be  cancelled  
  • New  Agency     Our  First  Assignment     Probably  also  our  last  
  • Product:  Na<onwide  Auto  Insurance     Affinity  group  target:   Members  of  the  Human  Rights  Campaign  (HRC)     Goal:   1.  Generate  quotes   2.  Generate  sales      
  • HRC  -­‐  Human  Rights  Campaign     Largest  LGBT  equal  rights  advocacy  group  and   poli<cal  lobbying  organiza<on  in  the  U.S.     LGBT=  Lesbian,  Gay,  Bisexual,  Transgendered    
  • Sales  Proposi&on   Get  HRC  discount  when  you  get   Na<onwide  auto  insurance     Plus  get  Na<onwide’s  great  service   and  prices  
  • Barriers   Na<onwide  is  not  a  low-­‐cost  op<on   HRC  discount  is  small   Historically  unresponsive  target   Iner<a-­‐  only  switch  if  bad  claims  experience/price   hike   Compe<tors  cite  specific  savings  amounts   10¢/piece  –  and  reflect  new  “Join  the  Na<on”   branding  
  • Barriers   But  wait,  there’s  more…     Could  not  acknowledge  target  was  an  HRC  member   Not  allowed  to  use  HRC  name/logo  on  OE   Other  insurers  had  much  more  trac<on     with  LGBT  community  
  • The  Solu&on?   “Slide  in  under  the  radar”  package   Cast  doubt  on  other  insurer’s  commitment  to  the   cause   Prove  NW  is  a  genuine  HRC  supporter   Highlight  many  discounts  available  +  proac<ve   checkups   Signed  by  NW  exec  who’s  also  an  HRC  member  
  • Did  it  work?   56%  liq  over  the  control   Client  wrote:  “Wilde  Agency’s  crea:ve  was  able  to   break  through  to  the  point  where  we  WENT  FROM   SHUTTING  DOWN  OUR  MAIL  PROGRAM  TO  ADDING   EXTRA  MAILINGS  NOT  PREVIOUSLY  BUDGETED.”     2013  ECHO  Award  winner  
  • The  state  of  the  Wine-­‐By-­‐Mail  industry   55  
  • Carol  and  Alan’s  Big  Idea:   56  
  • Which  OE  do  you  think  was  the  winner?   57  
  • Le[er  copy:  friendly,  “I’m   like  you”  approach     What  do  you  do  if  you  buy   wine,  and  you  don’t  like  it?   You  can’t  get  your  money   back.     We  taste  over  300  wines  to   make  sure  it’s  great.       I  never  sell  wine  I  don’t  like.     58  
  • 1700  V the  fi 1700  views  in  iews!  rst  couple  of  hours!   Over  3000    total  views,  and  over  700  cases  of  wine  sold  .  
  • 7 Key Elements to Look For 61  
  • 1. Does a Big Idea Burst Through? 62  
  • The first question to ask of any direct mail piece, advertisement or press release   63  
  • “Without a big idea, your advertising will pass like a ship in the night.” -David Ogilvy “In direct marketing, the ship will sink.” 64  
  • Why are big ideas so important?   A big idea cuts through the clutter   A big idea can multiply your success 10 times over   You only need one   It costs more to do a bad idea than to do a big idea 65  
  • What is an Idea, anyway?   An idea is a change   “I have an idea; let’s do things the way we’ve always done them before!”   The bigger the change, the bigger the idea 66  
  • Letter to Ministers in Germany       They were concerned about declining church attendance They wanted to “wake up” ministers – and invite them to a discussion about the problems They used a very simple letter – with just one sentence! 67  
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  • How do you know if it’s a big idea?   Is it a new idea? Or new in this category?   Is it relevant to the product?   Does it make you think? Not “what are they talking about?” but about your relationships, your job, your life, your future… 80  
  • How do you know if it’s a big idea?   Does it make you feel? Emotion is stronger than logic   Is it credible? Do you believe it?   Does it stand out from others in it’s category? 81  
  • 2. Does a single-minded message come through?   82  
  •       People have a hard time “getting” even one thing It’s not because they’re dumb; they’re just busy Make sure your message breaks through the clutter – by focusing on one message 83  
  • The “Bed of Nails” Approach 84  
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  • 3. Is the Creative Focused on People?   87  
  • One of the great secrets...   Most companies focus on their products...or worse, themselves   The best companies focus on their prospects and customers 88  
  •   The world’s largest genealogy company   Has access to over 3 billion records, and will help you search   Their most successful direct mail and e-mail 89  
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  • But make them look good   Don’t show your prospects as “dumb”   Don’t make fun of them…   Make them into heroes – like Kodak 93  
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  • 4. Does it have an arresting Visual?   100  
  • The Power of Visual Thinking         People remember less than 10% of what they’re told (and it’s always the wrong 10%) “Follow my directions carefully” People remember more than 50% of what they see They even make it up - to fill in the gaps 101  
  •   Show and tell   Show me what you’ve got   Show me what you’re made of   “Show me the money” 102  
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  • Imagine a Harley Davidson Motorcycle parked inside a great cathedral The image cannot be displayed. Your computer may not have enough memory to open the image, or the image may have been corrupted. Restart your computer, and then open the file again. If the red x still appears, you may have to delete the image and then insert it again. 108  
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  • The image cannot be displayed. Your computer may not have enough memory to open the image, or the image may have been corrupted. Restart your computer, and then open the file again. If the red x still appears, you may have to delete the image and then insert it again. 110  
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  • 5. Does it have a compelling headline?   112  
  • Headlines are Critical   They should have your key benefit in them   80% of people read that – and nothing else   Subject line in e-mail even more important     Johnson box serves the same purpose 113  
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  • WFNX – 101.7 •  Alternative Rock Station in Boston •  How can they capture the tone of their station in a billboard? 116  
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  • 6. Is it involving?   119  
  • What Barnes & Nobles knows 120  
  • 3 Proven Ways to Involve People in your Advertising   Ask questions or quiz them   Use an involvement device   Use the word “you” – a lot 121  
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  • 6. Is it “campaignable?”   132  
  • “Campaignable?”       Is it just a one-shot, or can you build a long term campaign around it? Does it easily lend itself to other media? A big idea can last for years… 133  
  •   Antwerp Zoo in Belgium was looking to boost attendance   Their elephant got pregnant   Send out a birth announcement?   …or create a campaign? 134  
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  • Congratulations, it’s an elephant!     Multi-media campaign started right after conception   Turned all of Belgium into proud parents   Millions of people followed her 22 month development from inception to birth – including her first ultrasound photograph! 137  
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  •     Kai-­‐Mook  became  the  first  elephant  born  on   the  internet  on  May  17,  2009  –  weighing  a   healthy  100  kilograms.     Zoo  a[endance  more  than  doubled  –  over   300,000  new  visitors 139  
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  • Absolut Best Campaign   First ad appeared in 1980; still going strong 1500+ ads later   Created by Geoff Hayes of TBWA     Ads have become collector’s items; thousands of people write in requesting their favorite Rolled out “In an Absolute World” in 2007 141  
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  •   Judge  for  yourself:   Do  these  upcoming  examples  meet  that  list  of   criteria?...   •  Big  idea   •  Single-­‐minded  message   •  Focused  on  people   •  Arres<ng  visual   •  Compelling  headline   •  Involving   •  Campaignable   151  
  • Comcast  …  see  if  this  mailer  meets   the  criteria   •  •  •  •  •  •  Single-­‐minded  message   Focused  on  people   Arres<ng  visual   Compelling  headline   Involving   Campaignable   152  
  • Make it a double feature with Comcast High-Speed Internet. Home  entertainment:  Comcast   All the speed you need to download film clips or tunes, watch movie previews or music videos, even play online games. Includes security tools from McAfee® designed to keep your online experience safe and virtually free from viruses and annoying pop-ups . . . a $115 value, yours free! Why wait? Experience the speed, reliability and security of Comcast High Speed Internet. Get it now! Call now and save with Comcast: 1-800-381-4460 Film Festival Committee PRSRT STD U.S. POSTAGE PAID Permit No. 657 Sacramento, CA PO Box 5147 San Ramon, CA 94583 You’re invited to the world’s most exclusive film festival. V.I.P. PASS ENCLOSED Stephen Maxwell-Levy 12345 South Steiner Street Apt. A Niceplace, CA 98765-4321 •  VIP  invita<on   gets   a[en<on   •  They  flip  it   over…   Place: Your Place Time: Whenever Audience: You and a few hand-picked guests 153  
  • Stephen Maxwell-Levy 12345 South Steiner Street Apt. A Niceplace, CA 98765-4321 Home  entertainment:  Comcast   Place: Your Place Time: Whenever Audience: You and a few hand-picked guests It’s the World’s Most Exclusive Film Festival Call now to R.S.V.P. 1-800-381-4460 •  Concept:   you  can   have  your   own  private   film  fes<val   in  your     home    —   how??...   154  
  • Make it a double feature with Comcast High-Speed Internet. All the speed you need to download film clips or tunes, watch movie previews or music videos, even play online games. Includes security tools from McAfee® designed to keep your online experience safe and virtually free from viruses and annoying pop-ups . . . a $115 value, yours free! Why wait? Experience the speed, reliability and security of Comcast High Speed Internet. Get it now! Call now and save with Comcast: 1-800-381-4460 •  Challenge:  Comcast  high  speed  internet  might  at  first  not  seem   Film Festival Committee like  entertainment  as  much  as  for  email  and  website  access.  But   Comcast  wanted  to  posi<on  it  as  a  way  to  download  movies   PRSRT STD U.S. POSTAGE PAID Permit No. 657 Sacramento, CA PO Box 5147 San Ramon, CA 94583 You’re invited to the world’s most exclusive film festival. 155  
  • •  This   posi<ons   the  reader   as  a  VIP   when  they   get   Comcast   high   speed   internet   156  
  • Did  it  fit  these  criteria?   Do  you  think  it  worked?   •  •  •  •  •  •  Single-­‐minded  message   Focused  on  people   Arres<ng  visual   Compelling  headline   Involving   Campaignable   157  
  • Isuzu  B2B  mailing:  does  this  meet  the   criteria  too?   •  This  Isuzu  truck  is  a  huge  seller   •  It’s  especially  well  sized  for   two  industries:  light   construc<on,  and  the  food   industry   •  Challenges:  how  to  get   companies  with  fleets  to   consider  buying  several   instead  of  just  one   •  Budget  $90,000   158  
  • Isuzu  Fleet  campaign   •  Targeted two markets ONLY •  Created a mailer for each, that is very specific to that industry •  This one is light construction: This truck can carry “6000 pounds of cement” 159  
  • Isuzu  Fleet  campaign   •  This truck can carry about 6,000 lbs of cement – sized specifically for typical construction load •  Of course it’s absurd – the box is 12 in. wide 160  
  • Isuzu  Fleet  campaign   •  A  dimensional  package   needs  all  the  hardworking   elements  that  tradi<onal   flat  mail  does!   161  
  • “500  gallons  of  Tomato  Paste  enclosed”   •  This  one  is   for  the  food   service   industry   •  Typical  load   for  this   industry   would  be   500  gallons   of  tomato   paste   162  
  • Sent  out  3000  boxes     per  targeted  market   •  •  •  •  •  Campaign  cost  $90,000   We  sold  140  trucks   Bo[om  line  -­‐  $4.2  million  in  sales   New  leads  generated  for  future  contact   Huge  ROI   163  
  • Isuzu  B2B  fleet  mailing:  does  it  meet   our  criteria?   •  •  •  •  •  •  Single-­‐minded  message   Focused  on  people   Arres<ng  visual   Compelling  headline   Involving   Campaignable   164  
  • One  last  example:   New  Pig  site  re-­‐launch   Does  it  have…   •  Single-­‐minded  message   •  Focused  on  people   •  Arres<ng  visual   •  Compelling  headline   •  Involving   •  Campaignable   165  
  • New  Pig  needed  to  launch  their   new  and  improved  website.   •  New  Pig  has  goods  to  help  control  chemical     and  water  spills  —  including  the  “pig”   They  have  developed  a  kooky  persona  with   catalogs  with  pigs  on  them,  and  their  Leak  and   Spill  catalog  featuring  Sparky,  a  cartoon  pig     with  a  hardhat   •  An  improved  website  gives  them  another   reason  to  contact  customers  and  get  them   to  re-­‐register  in  the  updated  system     166  
  • …so  launching  the  site  could  not  be  a   dull  or  pedestrian  event…   •  Customer  expecta<ons   are  high  –  New  Pig   customers  expect  to  see   an  event  turn  into  a  ‘PIG”   event!     •  Step  1  Email…   167  
  • Landing  page  pays  off  and  generates   excitement  about  the  new  site…   168  
  • Catalog  wrap  is  essen<al  because  many   don’t  check  their  email   169  
  • Campaign  targeted  a   hardworking  audience   who  loves  a  humorous   break  from  the  serious   subject  of  chemical  spills   and  hazardous  waste!   Mouse  pad   with  contact   info   170  
  • New  Pig  re-­‐launch  campaign:     does  it  meet  our  criteria?   •  •  •  •  •  •  Single-­‐minded  message   Focused  on  people   Arres<ng  visual   Compelling  headline   Engaging   Campaignable  –  well,  yes,  it  IS  a  campaign…   171  
  • Make  People  Do  What     You  Want  Them  To   (Nancy  Harhut  on  Insider  <ps  on  the  power  of  direct   marke<ng  crea<ve)    
  • General  adver5sing  influences  a<tude  and   awareness  over  5me.   Direct  marke5ng  influences  behavior   immediately.   173  
  • Direct  Marke&ng   Targeted     Measurable     Ac<on-­‐oriented  (CTA)   174  
  • Goal      Get  Response  (lead  gen  or  sell  off  page)        Reinforce  &  extend  brand  posi<oning   175  
  • Primary  Channels  for  Today’s  Discussion   Direct  mail       Email     176  
  • Offline  Advantages   Tangible     Oqen  more  real  estate     Less  mailbox  clu[er     3D  =  high  opening  rate   177  
  • Online  Advantages   Quicker  to  produce  &  measure     Easier  &  cheaper  to  modify  between  rounds     Click  to  respond     OLA  =  animated,  dynamic   178  
  • How  to  give  yourself  an  edge   Study  your  mailbox/inbox  for  “repeats”   See  what’s  proven  to  work  in  the  marketplace   Read  the  masters      John  Caples  “Tested  Adver<sing  Methods”    David  Ogilvy  “Ogilvy  on  Adver<sing”    H.G.  Lewis  “Effec<ve  Email  Marke<ng”   Follow  the  trades   Test,  test,  test   179  
  • Overarching  Crea&ve  Guidelines   180  
  • Overarching  Crea&ve  Guidelines   Get  to  the  point  quickly          1  main  message    Don’t  risk  confusing  the  audience   181  
  • Overarching  Crea&ve  Guidelines   Pop  the  offer        And  the  deadline   182  
  • Overarching  Crea&ve  Guidelines   You-­‐oriented  vs.  Us-­‐oriented        Minimize  “we,  our,  us,  my,  I,  our  company”   183  
  • Overarching  Crea&ve  Guidelines   Appeal  to  human  mo&vators    Save  $$    Save  <me    Self-­‐improvement    Feel  special/recognized    Look  good  to  others    Feel  smart    Make  life  easier    Discover  new  things    Feel  safe   184  
  • Overarching  Crea&ve  Guidelines   Benefits  not  features        Displays  perfectly  on  any  device  –  so    you  can  easily  read  wherever  and    whenever  you  want   185  
  • Overarching  Crea&ve  Guidelines   Remove  risk      Guarantees    Free  Trials    Proof  points    3rd  party  endorsements    Tes<monials     186  
  • Overarching  Crea&ve  Guidelines   Tailor  concept/message  to  audience        Segment  and  version    Personalized  and  relevant    Acknowledge  previous  behavior   187  
  • Overarching  Crea&ve  Guidelines   Know  target’s  main  objec&on  and  how  to   overcome  it        Build  in  your  best  sales  argument   188  
  • Overarching  Crea&ve  Guidelines   Persuade  vs.  entertain          You  have  seconds  to  capture  a[en<on    Clarity  trumps  cute  and  clever   189  
  • Overarching  Crea&ve  Guidelines   Strong  CTAs            Visually  prominent    Repeated    Make  ordering  easy   190  
  • The Secret to Getting Great Creative     Creative people always have choices. They can’t always decide what they will work on; but they can always decide how much of their effort and heart they will put into their work. Your goal is to make them want to go that extra step for your projects, your product , your company – and of course, for you. 191  
  • Where the Best Creative Work Begins 192  
  • Briefly speaking •  Successful creative starts with a well thoughtout brief or Creative Strategy Form •  It doesn’t end there – but it starts there •  The more time and effort you put into your brief – the more likely you are to get effective work 193  
  • The Briefing Meeting •  A brief should never simply be handed-out or e-mailed. •  It should be an interactive process; with the final brief emerging from the meeting •  You need to encourage comments and questions – and get the answers as soon as possible 194  
  • Your Role in Briefing Creative         To initiate the project and provide the information necessary to complete it To be an “expert” on your business; or to get the answers they need before the work is completed To be open to new ideas and solutions To give constructive and specific feedback to help improve the work (when necessary) 195  
  • Not Your Role   To dictate the work   To withhold information or fail to provide it on a timely basis   To not have the answers   To create false deadlines or emergencies   To abuse creatives in any way, shape or form 196  
  • The Role of Creatives   To represent the consumer’s point-of-view   To be an “expert” on their business – advertising and direct marketing   …and to become an “expert” on the clients business   To come up with big ideas 197  
  • Not the Role of Creatives         To give the client only what they asked for… To postpone the work and do a last-minute scramble To give up, or do less than their best To think that that account people, or clients, aren’t smart or good at their jobs 198  
  • The Death of an Agency 199  
  • The Creative Strategy Form 200  
  • The Creative Strategy Form   Every company has a different format   It is a blueprint of the job -- and a contract       It should be developed, agreed on and signed by everyone involved in the project - particularly the most senior person It can be used to evaluate work It has to be simple, understandable – not just filled with jargon 201  
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  • The Creative Strategy Form 1. Project Description   What are we doing? Why? 2. Objective   What are we trying to achieve?   What do we want people to do?   Be as specific and realistic as possible 3. Target Audiences   The more specific, the better 203  
  • The Creative Strategy Form 4. Main message and proof   What is the single most important reason that someone will buy our product or respond to our mailing?   Why should anyone believe you…? 204  
  • The Creative Strategy Form 5. Offer   What do they get?   What do they have to do to get it? 6. Key points   What other benefits do we need to communicate? 7. Ways to Respond   Did we make it easy?   Did we give them a choice? 8. Tone and Manner   Consistent with the product? 205  
  • The Creative Strategy Form 9. Mandatories   Legal, logo, etc. 10. Budget   How much do we have?   Let the value of the customer drive the budget 11. Schedule   How much time is left?!!!! 206  
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  • Put time on your side…       You want to give creative people time to do their best… ..but you also want your project to stay top-ofmind Plus you don’t want them to forget anything, or worse, do it at the last-minute 208  
  • Think in stages       Ideally, you want them to come back with rough ideas within 5-7 days This keeps your project fresh in their minds and motivates them to get started right away After this first meeting, you can give them more time to refine, make changes, add to the mix 209  
  • Two questions you must answer 12. What is the target market currently using/doing?   Understand their mindset   Are they using a competitive product? Making do without?   Why should they switch to yours? 13. “You know you need it when…”   When does someone know they need your product?   Puts you in their shoes   Identifies points of pain   You’re looking for agreement... 210  
  • Reviewing the Work 211  
  • Best Practices       Allow them to finish their presentation, before you jump in Start by acknowledging how much work has been done, and what you like Review the brief to make sure that everything important has been addressed 212  
  • Be constructive       See the big picture first – don’t nitpick Never get personal. Not “I don’t like that headline” but “Does this headline have the main benefit?” Go through the Checklist with them 213  
  • Moving ahead       Take the time to provide thoughtful, useful feedback This is your first exposure to the work; they have been at it for days Resist the urge to change for change’s sake 214  
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  •       Never say “The client will never buy this…” Don’t try to anticipate what others will say or think; give your own opinion Remember you are all on the same side 216  
  • How do you know if it will work before it goes out? 217  
  • “You cannot judge direct marketing. It judges you.” - Denny Hatch 218  
  • Besides…   “Creative” packages don’t usually work   The “ugly” stuff almost always seems to win   Even the best work seems to produce a disappointingly low response 219  
  • How do you know…?       The only guarantee in direct marketing is a moneyback guarantee It can be very surprising what works and what doesn’t However, if you use the following checklist, you will maximize the probability of success 220  
  • Checklist 12 questions to ask about any creative execution 221  
  • 1.  Is it on strategy? 2.  Is it appropriate to the product and the positioning? 3.  Is there a big idea? Does it come through? 4. Does it have a striking visual or graphic?     222  
  • 5. Do the offer and main benefits come through quickly and clearly? 6. Does the offer stand out? 7.  Is it believable? Are claims supported with facts or testimonials? Is there a guarantee? 8. Does it include a strong call to action in every element?     223  
  •               9. Does it make you think or make you feel 10. Will it stand out from others in this category? 11.  Are all the elements working as hard as they can for you? 12. The big question: would you respond? 224  
  • These are all the ways to evaluate creative for regular advertising. But direct marketing has to work even harder 225  
  • We have to get people to act   Go to our website   Call a toll-free number   Send in an application or response form   Bring something into a store 226  
  • 1.  It must be 100% absolutely clear •  Above all, it must be clear and easyto-understand •  If people don’t “get it” – you lose •  You need to be direct in direct marketing 227  
  • 2. It must have a compelling offer •  “If you want to dramatically improve your response, you must improve your offer” – Axel Anderson •  They must know exactly what you want them to do, and how •  They must have an urgent reason to act now 228  
  • 3. Credibility is king •  We need to prove what we claim •  We must use numbers, specifics, facts, lists •  Testimonials are critical •  One false note can kill response 229  
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  • The rest of the Scott’s LawnService case-history 231  
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  • What do you think? •  What’s your overall reaction? •  Which package did you like best? •  Which do you think worked best? •  Why? 245  
  • We told you that you’re an excellent judge of creative! 246  
  • Back to The Big Idea •  Big ideas are what’s needed to give a product or service an advantage in the marketplace •  Every good product has a USP – Unique Selling Proposition. •  This USP is one way to find your way to your Big Idea. •  For example… 247  
  • John Caples encourages a prospect to impress their friends 248  
  • David Ogilvy sparks intrigue with a plain white shirt 249  
  • Bill Bernbach turns the tables on big American cars 250  
  • Name some big ideas… •  Can you name some big ideas that helped a product or service rise above the rest? •  What comes to mind? 251  
  • Workshop segment: Create your OWN big idea •  Who would want your product or service? •  What are your product’s features and benefits that make it worth having and using? •  What is your product’s Unique Selling Proposition… that is, what makes your product different and better than all others? •  How could you describe or illustrate this to have immediate meaning to your customer? •  Brainstorm with the person next to you to discuss these questions for 10 minutes each… and then we’ll discuss a few of your ideas. 252  
  • Thank you! Alan Rosenspan, Nancy Harhut & Carol Worthington-Levy See you tomorrow at Part 2: Creative Rules that Work for Print Thursday Oct 17, 2012 — 8:30am - 12:00pm 253