Welcome to the
DMA’s Creative Certification Course
Part One

Evalua&ng	
  Crea&ve	
  	
  

Wed.,	
  Oct.	
  16,	
  2013	
 ...
Want to reach any of us?
Alan Rosenspan: arosenspan@aol.com
Nancy Harhut:
nancy.harhut@wildeagency.com
Carol Worthington-L...
Scope of the Course
•  How to Evaluate Creative
•  How to Get Great Print Work
•  How to Get Great Digital Work
•  Questio...
Alan Rosenspan
 

 

 

 

Creative director in three countries, for O&M and
Digitas
My teams have won over 100 Awards...
Nancy Harhut
•  Chief	
  Crea<ve	
  Officer,	
  Wilde	
  Agency	
  
•  	
  Decidedly	
  strategy-­‐minded,	
  results-­‐orie...
Carol Worthington-Levy
 

 

Wears three hats – Design/art director, writer and
creative director/consultant for hire
A ...
We’re in the trenches,
just like you!
 

We are all working creative directors and direct
marketing consultants

 

We a...
Who are you?
•  You want to learn more about how to develop
winning creative
•  You want be a better manager and motivator...
Introductions
•  Your name and what you do
•  You biggest challenge…
•  What makes you unique?
“I think I am the only pers...
Before we begin…
•  Judgment call
•  The truth about evaluating creative…
•  Backgrounds and introductions

12	
  
What do you think?

13	
  
14	
  
15	
  
16	
  
17	
  
18	
  
What do you think?
•  What’s your overall reaction?
•  Do you think it will work?
•  What do you like?
•  What do you thin...
20	
  
21	
  
22	
  
23	
  
24	
  
The Truth about
Evaluating Creative
•  You are an excellent judge of creative
•  You are intuitive and thoughtful…
•  …whe...
Our goals for this creative
certificate program
Help you discover…
 

How to get the best creative work

 

What to look...
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

2...
First, a definition
  What is the best creative work?
  You’re not looking for work that
makes you laugh, or may win an
...
•  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...
32	
  
Does it have to be different?
•  Not for the sake of being different
•  Good creative should tell you
something you don’t ...
34	
  
35	
  
•  But it should never, ever take away
from the message
•  Or worse, send the wrong message

36	
  
37	
  
Nancy	
  presents	
  a	
  Big	
  Idea:	
  
	
  
	
  
	
  
	
  

Crea<ve	
  Challenge:	
  Sell	
  auto	
  
insurance	
  	
 ...
Crea<ve	
  Challenge:	
  Sell	
  auto	
  insurance	
  
to	
  an	
  affinity	
  group	
  that	
  was	
  so	
  
unresponsive	
...
New	
  Agency	
  
	
  
Our	
  First	
  Assignment	
  
	
  
Probably	
  also	
  our	
  last	
  
Product:	
  Na<onwide	
  Auto	
  Insurance	
  
	
  
Affinity	
  group	
  target:	
  
Members	
  of	
  the	
  Human	
  Rights...
HRC	
  -­‐	
  Human	
  Rights	
  Campaign	
  
	
  
Largest	
  LGBT	
  equal	
  rights	
  advocacy	
  group	
  and	
  
poli...
Sales	
  Proposi&on	
  
Get	
  HRC	
  discount	
  when	
  you	
  get	
  
Na<onwide	
  auto	
  insurance	
  
	
  
Plus	
  g...
Barriers	
  
Na<onwide	
  is	
  not	
  a	
  low-­‐cost	
  op<on	
  
HRC	
  discount	
  is	
  small	
  
Historically	
  unr...
Barriers	
  
But	
  wait,	
  there’s	
  more…	
  
	
  
Could	
  not	
  acknowledge	
  target	
  was	
  an	
  HRC	
  member...
The	
  Solu&on?	
  
“Slide	
  in	
  under	
  the	
  radar”	
  package	
  
Cast	
  doubt	
  on	
  other	
  insurer’s	
  com...
Did	
  it	
  work?	
  
56%	
  liq	
  over	
  the	
  control	
  
Client	
  wrote:	
  “Wilde	
  Agency’s	
  crea:ve	
  was	
...
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	
  
...
1700	
  V the	
  fi
1700	
  views	
  in	
  iews!	
  rst	
  couple	
  of	
  hours!	
  
Over	
  3000	
  	
  total	
  views,	
...
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 w...
Why are big ideas so important?
 

A big idea cuts through the clutter

 

A big idea can multiply your success 10
times...
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!...
Letter to Ministers in Germany
 

 

 

They were concerned about declining church
attendance
They wanted to “wake up” ...
68	
  
69	
  
70	
  
71	
  
72	
  
73	
  
74	
  
75	
  
76	
  
77	
  
78	
  
79	
  
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?

 ...
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 ...
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 yo...
The “Bed of Nails”
Approach

84	
  
85	
  
86	
  
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 o...
Ancestry.com
  The world’s largest genealogy
company
  Has access to over 3 billion records,
and will help you search
 ...
90	
  
91	
  
92	
  
But make them look good
  Don’t show your prospects as
“dumb”
  Don’t make fun of them…
  Make them into heroes – like
...
94	
  
95	
  
96	
  
97

97	
  
98	
  
99	
  
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...
 

Show and tell

 

Show me what you’ve got

 

Show me what you’re made of

 

“Show me the money”

102	
  
103	
  
104	
  
105	
  
106	
  
107	
  
Imagine a Harley
Davidson Motorcycle
parked inside a great
cathedral
The image cannot be displayed. Your computer may not ...
109	
  
The image cannot be displayed. Your computer may not have enough memory to open the image, or the image may have been corr...
111	
  
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

 

...
114	
  
115	
  
WFNX – 101.7
•  Alternative Rock Station in Boston
•  How can they capture the tone of
their station in a billboard?

116	...
117	
  
118	
  
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 ...
122	
  
123	
  
124	
  
125	
  
126	
  
127	
  
128	
  
129	
  
130	
  
131	
  
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 it...
 

Antwerp Zoo in Belgium was looking
to boost attendance

 

Their elephant got pregnant

 

Send out a birth announce...
135	
  
136	
  
Congratulations, it’s an elephant!	
  
 

Multi-media campaign started right after conception

 

Turned all of Belgium ...
138	
  
 

 

Kai-­‐Mook	
  became	
  the	
  first	
  elephant	
  born	
  on	
  
the	
  internet	
  on	
  May	
  17,	
  2009	
  –...
140	
  
Absolut Best Campaign
 

First ad appeared in 1980; still going strong 1500+ ads later

 

Created by Geoff Hayes of TBW...
142	
  
143	
  
144	
  
145	
  
146	
  
147	
  
148	
  
 
Judge	
  for	
  yourself:	
  
Do	
  these	
  upcoming	
  examples	
  meet	
  that	
  list	
  of	
  
criteria?...	
  
•  ...
Comcast	
  …	
  see	
  if	
  this	
  mailer	
  meets	
  
the	
  criteria	
  
• 
• 
• 
• 
• 
• 

Single-­‐minded	
  message...
Make it a double feature with Comcast High-Speed Internet.

Home	
  entertainment:	
  Comcast	
  

All the speed you need ...
Stephen Maxwell-Levy
12345 South Steiner Street
Apt. A
Niceplace, CA 98765-4321

Home	
  entertainment:	
  Comcast	
  
Pla...
Make it a double feature with Comcast High-Speed Internet.
All the speed you need to download film clips or tunes, watch
mo...
•  This	
  
posi<ons	
  
the	
  reader	
  
as	
  a	
  VIP	
  
when	
  they	
  
get	
  
Comcast	
  
high	
  
speed	
  
inte...
Did	
  it	
  fit	
  these	
  criteria?	
  
Do	
  you	
  think	
  it	
  worked?	
  
• 
• 
• 
• 
• 
• 

Single-­‐minded	
  me...
Isuzu	
  B2B	
  mailing:	
  does	
  this	
  meet	
  the	
  
criteria	
  too?	
  

•  This	
  Isuzu	
  truck	
  is	
  a	
  ...
Isuzu	
  Fleet	
  campaign	
  

•  Targeted two
markets ONLY
•  Created a
mailer for
each, that is
very specific to
that i...
Isuzu	
  Fleet	
  campaign	
  
•  This truck can
carry about
6,000 lbs of
cement –
sized specifically
for typical
construc...
Isuzu	
  Fleet	
  campaign	
  
•  A	
  dimensional	
  package	
  
needs	
  all	
  the	
  hardworking	
  
elements	
  that	...
“500	
  gallons	
  of	
  Tomato	
  Paste	
  enclosed”	
  
•  This	
  one	
  is	
  
for	
  the	
  food	
  
service	
  
indu...
Sent	
  out	
  3000	
  boxes	
  	
  
per	
  targeted	
  market	
  
• 
• 
• 
• 
• 

Campaign	
  cost	
  $90,000	
  
We	
  s...
Isuzu	
  B2B	
  fleet	
  mailing:	
  does	
  it	
  meet	
  
our	
  criteria?	
  
• 
• 
• 
• 
• 
• 

Single-­‐minded	
  mess...
One	
  last	
  example:	
  
New	
  Pig	
  site	
  re-­‐launch	
  
Does	
  it	
  have…	
  
•  Single-­‐minded	
  message	
 ...
New	
  Pig	
  needed	
  to	
  launch	
  their	
  
new	
  and	
  improved	
  website.	
  
•  New	
  Pig	
  has	
  goods	
  ...
…so	
  launching	
  the	
  site	
  could	
  not	
  be	
  a	
  
dull	
  or	
  pedestrian	
  event…	
  
•  Customer	
  expec...
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	
  seriou...
New	
  Pig	
  re-­‐launch	
  campaign:	
  	
  
does	
  it	
  meet	
  our	
  criteria?	
  
• 
• 
• 
• 
• 
• 

Single-­‐mind...
Make	
  People	
  Do	
  What	
  	
  
You	
  Want	
  Them	
  To	
  

(Nancy	
  Harhut	
  on	
  Insider	
  <ps	
  on	
  the	...
General	
  adver5sing	
  influences	
  a<tude	
  and	
  
awareness	
  over	
  5me.	
  
Direct	
  marke5ng	
  influences	
  b...
Direct	
  Marke&ng	
  
Targeted	
  
	
  
Measurable	
  
	
  
Ac<on-­‐oriented	
  (CTA)	
  

174	
  
Goal	
  

	
  

	
  Get	
  Response	
  (lead	
  gen	
  or	
  sell	
  off	
  page)	
  
	
  	
  
	
  Reinforce	
  &	
  extend...
Primary	
  Channels	
  for	
  Today’s	
  Discussion	
  
Direct	
  mail	
  
	
  
	
  
Email	
  
	
  

176	
  
Offline	
  Advantages	
  
Tangible	
  
	
  
Oqen	
  more	
  real	
  estate	
  
	
  
Less	
  mailbox	
  clu[er	
  
	
  
3D	
 ...
Online	
  Advantages	
  
Quicker	
  to	
  produce	
  &	
  measure	
  
	
  
Easier	
  &	
  cheaper	
  to	
  modify	
  betwe...
How	
  to	
  give	
  yourself	
  an	
  edge	
  
Study	
  your	
  mailbox/inbox	
  for	
  “repeats”	
  
See	
  what’s	
  pr...
Overarching	
  Crea&ve	
  Guidelines	
  

180	
  
Overarching	
  Crea&ve	
  Guidelines	
  

Get	
  to	
  the	
  point	
  quickly	
  
	
  

	
  	
  
	
  1	
  main	
  message...
Overarching	
  Crea&ve	
  Guidelines	
  

Pop	
  the	
  offer	
  

	
  	
  
	
  And	
  the	
  deadline	
  

182	
  
Overarching	
  Crea&ve	
  Guidelines	
  

You-­‐oriented	
  vs.	
  Us-­‐oriented	
  
	
  	
  
	
  Minimize	
  “we,	
  our,...
Overarching	
  Crea&ve	
  Guidelines	
  

Appeal	
  to	
  human	
  mo&vators	
  
	
  Save	
  $$	
  
	
  Save	
  <me	
  
	
...
Overarching	
  Crea&ve	
  Guidelines	
  

Benefits	
  not	
  features	
  

	
  	
  
	
  Displays	
  perfectly	
  on	
  any	...
Overarching	
  Crea&ve	
  Guidelines	
  

Remove	
  risk	
  
	
  

	
  Guarantees	
  
	
  Free	
  Trials	
  
	
  Proof	
  ...
Overarching	
  Crea&ve	
  Guidelines	
  

Tailor	
  concept/message	
  to	
  audience	
  
	
  	
  
	
  Segment	
  and	
  v...
Overarching	
  Crea&ve	
  Guidelines	
  

Know	
  target’s	
  main	
  objec&on	
  and	
  how	
  to	
  
overcome	
  it	
  
...
Overarching	
  Crea&ve	
  Guidelines	
  

Persuade	
  vs.	
  entertain	
  
	
  

	
  	
  
	
  You	
  have	
  seconds	
  to...
Overarching	
  Crea&ve	
  Guidelines	
  

Strong	
  CTAs	
  
	
  
	
  

	
  	
  
	
  Visually	
  prominent	
  
	
  Repeate...
The Secret to Getting
Great Creative
 

 

Creative people always have choices. They can’t always
decide what they will ...
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 th...
The Briefing Meeting
•  A brief should never simply be handed-out
or e-mailed.
•  It should be an interactive process; wit...
Your Role in Briefing
Creative
 

 

 

 

To initiate the project and provide the
information necessary to complete i...
Not Your Role
 

To dictate the work

 

To withhold information or fail to provide it on a
timely basis

 

To not hav...
The Role of Creatives

 

To represent the consumer’s point-of-view

 

To be an “expert” on their business – advertisin...
Not the Role of Creatives
 

 

 

 

To give the client only what they asked for…
To postpone the work and do a last-...
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

...
202	
  
The Creative Strategy Form
1. Project Description
  What are we doing? Why?
2. Objective
  What are we trying to achieve...
The Creative Strategy Form

4. Main message and proof
  What is the single most important reason that someone

will buy o...
The Creative Strategy Form
5. Offer
  What do they get?
  What do they have to do to get it?
6. Key points
  What other...
The Creative Strategy Form

9. Mandatories
  Legal, logo, etc.
10. Budget
  How much do we have?
  Let the value of the...
207	
  
Put time on your side…
 

 

 

You want to give creative people time to do their
best…
..but you also want your projec...
Think in stages
 

 

 

Ideally, you want them to come back with rough
ideas within 5-7 days
This keeps your project f...
Two questions you must answer
12. What is the target market currently using/doing?
  Understand their mindset
  Are they...
Reviewing the
Work

211	
  
Best Practices
 

 

 

Allow them to finish their presentation, before
you jump in
Start by acknowledging how much wor...
Be constructive
 

 

 

See the big picture first – don’t nitpick
Never get personal. Not “I don’t like that
headline”...
Moving ahead
 

 

 

Take the time to provide thoughtful, useful
feedback
This is your first exposure to the work; the...
215	
  
 

 

 

Never say “The client will never buy this…”
Don’t try to anticipate what others will say or
think; give your o...
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 w...
How do you know…?

 

 

 

The only guarantee in direct marketing is a
moneyback guarantee
It can be very surprising w...
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 thr...
5. Do the offer and main benefits
come through quickly and clearly?
6. Does the offer stand out?
7.  Is it believable? Are...
 

	
  

	
  

	
  

	
  

	
  	
  

9. Does it make you think or make
you feel
10. Will it stand out from others in this
...
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 fo...
1.  It must be 100% absolutely clear
•  Above all, it must be clear and easyto-understand
•  If people don’t “get it” – yo...
2. It must have a compelling offer
•  “If you want to dramatically improve your
response, you must improve your offer” – A...
3. Credibility is king

•  We need to prove what we claim

•  We must use numbers, specifics, facts, lists
•  Testimonials...
230	
  
The rest of the
Scott’s LawnService
case-history

231	
  
232	
  
233	
  
234	
  
235	
  
236	
  
237	
  
238	
  
239	
  
240	
  
241	
  
242	
  
243	
  
244	
  
What do you think?
•  What’s your overall reaction?
•  Which package did you like best?
•  Which do you think worked best?...
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 ...
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...
Workshop segment:

Create your OWN big idea
•  Who would want your product or service?
•  What are your product’s features...
Thank you!
Alan Rosenspan,
Nancy Harhut &
Carol Worthington-Levy
See you tomorrow at
Part 2: Creative Rules that Work for ...
Digital Creative 1
Digital Creative 1
Digital Creative 1
Digital Creative 1
Digital Creative 1
Digital Creative 1
Digital Creative 1
Digital Creative 1
Digital Creative 1
Digital Creative 1
Digital Creative 1
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Digital Creative 1

  1. 1. 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  
  2. 2. Want to reach any of us? Alan Rosenspan: arosenspan@aol.com Nancy Harhut: nancy.harhut@wildeagency.com Carol Worthington-Levy CWL@Worthington-Levy.com You’ll also find us in LinkedIn! 2  
  3. 3. 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  
  4. 4. 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, Ancestry.com, 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  
  5. 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  
  6. 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  
  7. 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  
  8. 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  
  9. 9. 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  
  10. 10. Before we begin… •  Judgment call •  The truth about evaluating creative… •  Backgrounds and introductions 12  
  11. 11. What do you think? 13  
  12. 12. 14  
  13. 13. 15  
  14. 14. 16  
  15. 15. 17  
  16. 16. 18  
  17. 17. 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  
  18. 18. 20  
  19. 19. 21  
  20. 20. 22  
  21. 21. 23  
  22. 22. 24  
  23. 23. 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  
  24. 24. 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  
  25. 25. Section 1: How to Get The Best Creative Work 27  
  26. 26. •  How can you tell if it will work in advance? •  How to give useful and welcome feedback •  Timing & Budget Questions 28  
  27. 27. 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  
  28. 28. •  Does it have to be new? •  Does it have to be different? •  What are some signs of good creative? 30  
  29. 29. 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  
  30. 30. 32  
  31. 31. 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  
  32. 32. 34  
  33. 33. 35  
  34. 34. •  But it should never, ever take away from the message •  Or worse, send the wrong message 36  
  35. 35. 37  
  36. 36. Nancy  presents  a  Big  Idea:           Crea<ve  Challenge:  Sell  auto   insurance     to  an  affinity  group  
  37. 37. Crea<ve  Challenge:  Sell  auto  insurance   to  an  affinity  group  that  was  so   unresponsive  the  program  was  about  to   be  cancelled  
  38. 38. New  Agency     Our  First  Assignment     Probably  also  our  last  
  39. 39. Product:  Na<onwide  Auto  Insurance     Affinity  group  target:   Members  of  the  Human  Rights  Campaign  (HRC)     Goal:   1.  Generate  quotes   2.  Generate  sales      
  40. 40. 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    
  41. 41. Sales  Proposi&on   Get  HRC  discount  when  you  get   Na<onwide  auto  insurance     Plus  get  Na<onwide’s  great  service   and  prices  
  42. 42. 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  
  43. 43. 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  
  44. 44. 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  
  45. 45. 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  
  46. 46. The  state  of  the  Wine-­‐By-­‐Mail  industry   55  
  47. 47. Carol  and  Alan’s  Big  Idea:   56  
  48. 48. Which  OE  do  you  think  was  the  winner?   57  
  49. 49. 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  
  50. 50. 1700  V the  fi 1700  views  in  iews!  rst  couple  of  hours!   Over  3000    total  views,  and  over  700  cases  of  wine  sold  .  
  51. 51. 7 Key Elements to Look For 61  
  52. 52. 1. Does a Big Idea Burst Through? 62  
  53. 53. The first question to ask of any direct mail piece, advertisement or press release   63  
  54. 54. “Without a big idea, your advertising will pass like a ship in the night.” -David Ogilvy “In direct marketing, the ship will sink.” 64  
  55. 55. 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  
  56. 56. 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  
  57. 57. 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  
  58. 58. 68  
  59. 59. 69  
  60. 60. 70  
  61. 61. 71  
  62. 62. 72  
  63. 63. 73  
  64. 64. 74  
  65. 65. 75  
  66. 66. 76  
  67. 67. 77  
  68. 68. 78  
  69. 69. 79  
  70. 70. 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  
  71. 71. 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  
  72. 72. 2. Does a single-minded message come through?   82  
  73. 73.       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  
  74. 74. The “Bed of Nails” Approach 84  
  75. 75. 85  
  76. 76. 86  
  77. 77. 3. Is the Creative Focused on People?   87  
  78. 78. One of the great secrets...   Most companies focus on their products...or worse, themselves   The best companies focus on their prospects and customers 88  
  79. 79. Ancestry.com   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  
  80. 80. 90  
  81. 81. 91  
  82. 82. 92  
  83. 83. 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  
  84. 84. 94  
  85. 85. 95  
  86. 86. 96  
  87. 87. 97 97  
  88. 88. 98  
  89. 89. 99  
  90. 90. 4. Does it have an arresting Visual?   100  
  91. 91. 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  
  92. 92.   Show and tell   Show me what you’ve got   Show me what you’re made of   “Show me the money” 102  
  93. 93. 103  
  94. 94. 104  
  95. 95. 105  
  96. 96. 106  
  97. 97. 107  
  98. 98. 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  
  99. 99. 109  
  100. 100. 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  
  101. 101. 111  
  102. 102. 5. Does it have a compelling headline?   112  
  103. 103. 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  
  104. 104. 114  
  105. 105. 115  
  106. 106. WFNX – 101.7 •  Alternative Rock Station in Boston •  How can they capture the tone of their station in a billboard? 116  
  107. 107. 117  
  108. 108. 118  
  109. 109. 6. Is it involving?   119  
  110. 110. What Barnes & Nobles knows 120  
  111. 111. 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  
  112. 112. 122  
  113. 113. 123  
  114. 114. 124  
  115. 115. 125  
  116. 116. 126  
  117. 117. 127  
  118. 118. 128  
  119. 119. 129  
  120. 120. 130  
  121. 121. 131  
  122. 122. 6. Is it “campaignable?”   132  
  123. 123. “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  
  124. 124.   Antwerp Zoo in Belgium was looking to boost attendance   Their elephant got pregnant   Send out a birth announcement?   …or create a campaign? 134  
  125. 125. 135  
  126. 126. 136  
  127. 127. 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  
  128. 128. 138  
  129. 129.     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  
  130. 130. 140  
  131. 131. 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  
  132. 132. 142  
  133. 133. 143  
  134. 134. 144  
  135. 135. 145  
  136. 136. 146  
  137. 137. 147  
  138. 138. 148  
  139. 139.   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  
  140. 140. Comcast  …  see  if  this  mailer  meets   the  criteria   •  •  •  •  •  •  Single-­‐minded  message   Focused  on  people   Arres<ng  visual   Compelling  headline   Involving   Campaignable   152  
  141. 141. 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  
  142. 142. 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  
  143. 143. 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  
  144. 144. •  This   posi<ons   the  reader   as  a  VIP   when  they   get   Comcast   high   speed   internet   156  
  145. 145. Did  it  fit  these  criteria?   Do  you  think  it  worked?   •  •  •  •  •  •  Single-­‐minded  message   Focused  on  people   Arres<ng  visual   Compelling  headline   Involving   Campaignable   157  
  146. 146. 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  
  147. 147. 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  
  148. 148. 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  
  149. 149. Isuzu  Fleet  campaign   •  A  dimensional  package   needs  all  the  hardworking   elements  that  tradi<onal   flat  mail  does!   161  
  150. 150. “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  
  151. 151. 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  
  152. 152. Isuzu  B2B  fleet  mailing:  does  it  meet   our  criteria?   •  •  •  •  •  •  Single-­‐minded  message   Focused  on  people   Arres<ng  visual   Compelling  headline   Involving   Campaignable   164  
  153. 153. 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  
  154. 154. 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  
  155. 155. …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  
  156. 156. Landing  page  pays  off  and  generates   excitement  about  the  new  site…   168  
  157. 157. Catalog  wrap  is  essen<al  because  many   don’t  check  their  email   169  
  158. 158. 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  
  159. 159. 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  
  160. 160. Make  People  Do  What     You  Want  Them  To   (Nancy  Harhut  on  Insider  <ps  on  the  power  of  direct   marke<ng  crea<ve)    
  161. 161. General  adver5sing  influences  a<tude  and   awareness  over  5me.   Direct  marke5ng  influences  behavior   immediately.   173  
  162. 162. Direct  Marke&ng   Targeted     Measurable     Ac<on-­‐oriented  (CTA)   174  
  163. 163. Goal      Get  Response  (lead  gen  or  sell  off  page)        Reinforce  &  extend  brand  posi<oning   175  
  164. 164. Primary  Channels  for  Today’s  Discussion   Direct  mail       Email     176  
  165. 165. Offline  Advantages   Tangible     Oqen  more  real  estate     Less  mailbox  clu[er     3D  =  high  opening  rate   177  
  166. 166. Online  Advantages   Quicker  to  produce  &  measure     Easier  &  cheaper  to  modify  between  rounds     Click  to  respond     OLA  =  animated,  dynamic   178  
  167. 167. 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  
  168. 168. Overarching  Crea&ve  Guidelines   180  
  169. 169. Overarching  Crea&ve  Guidelines   Get  to  the  point  quickly          1  main  message    Don’t  risk  confusing  the  audience   181  
  170. 170. Overarching  Crea&ve  Guidelines   Pop  the  offer        And  the  deadline   182  
  171. 171. Overarching  Crea&ve  Guidelines   You-­‐oriented  vs.  Us-­‐oriented        Minimize  “we,  our,  us,  my,  I,  our  company”   183  
  172. 172. 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  
  173. 173. Overarching  Crea&ve  Guidelines   Benefits  not  features        Displays  perfectly  on  any  device  –  so    you  can  easily  read  wherever  and    whenever  you  want   185  
  174. 174. Overarching  Crea&ve  Guidelines   Remove  risk      Guarantees    Free  Trials    Proof  points    3rd  party  endorsements    Tes<monials     186  
  175. 175. Overarching  Crea&ve  Guidelines   Tailor  concept/message  to  audience        Segment  and  version    Personalized  and  relevant    Acknowledge  previous  behavior   187  
  176. 176. Overarching  Crea&ve  Guidelines   Know  target’s  main  objec&on  and  how  to   overcome  it        Build  in  your  best  sales  argument   188  
  177. 177. Overarching  Crea&ve  Guidelines   Persuade  vs.  entertain          You  have  seconds  to  capture  a[en<on    Clarity  trumps  cute  and  clever   189  
  178. 178. Overarching  Crea&ve  Guidelines   Strong  CTAs            Visually  prominent    Repeated    Make  ordering  easy   190  
  179. 179. 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  
  180. 180. Where the Best Creative Work Begins 192  
  181. 181. 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  
  182. 182. 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  
  183. 183. 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  
  184. 184. 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  
  185. 185. 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  
  186. 186. 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  
  187. 187. The Death of an Agency 199  
  188. 188. The Creative Strategy Form 200  
  189. 189. 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  
  190. 190. 202  
  191. 191. 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  
  192. 192. 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  
  193. 193. 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  
  194. 194. 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  
  195. 195. 207  
  196. 196. 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  
  197. 197. 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  
  198. 198. 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  
  199. 199. Reviewing the Work 211  
  200. 200. 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  
  201. 201. 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  
  202. 202. 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  
  203. 203. 215  
  204. 204.       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  
  205. 205. How do you know if it will work before it goes out? 217  
  206. 206. “You cannot judge direct marketing. It judges you.” - Denny Hatch 218  
  207. 207. 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  
  208. 208. 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  
  209. 209. Checklist 12 questions to ask about any creative execution 221  
  210. 210. 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  
  211. 211. 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  
  212. 212.               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  
  213. 213. These are all the ways to evaluate creative for regular advertising. But direct marketing has to work even harder 225  
  214. 214. 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  
  215. 215. 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  
  216. 216. 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  
  217. 217. 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  
  218. 218. 230  
  219. 219. The rest of the Scott’s LawnService case-history 231  
  220. 220. 232  
  221. 221. 233  
  222. 222. 234  
  223. 223. 235  
  224. 224. 236  
  225. 225. 237  
  226. 226. 238  
  227. 227. 239  
  228. 228. 240  
  229. 229. 241  
  230. 230. 242  
  231. 231. 243  
  232. 232. 244  
  233. 233. What do you think? •  What’s your overall reaction? •  Which package did you like best? •  Which do you think worked best? •  Why? 245  
  234. 234. We told you that you’re an excellent judge of creative! 246  
  235. 235. 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  
  236. 236. John Caples encourages a prospect to impress their friends 248  
  237. 237. David Ogilvy sparks intrigue with a plain white shirt 249  
  238. 238. Bill Bernbach turns the tables on big American cars 250  
  239. 239. 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  
  240. 240. 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  
  241. 241. 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  
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