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Digital Creative 1
This document provides an overview of a creative certification course being held on evaluating creative work. The course will be presented by three experienced creative directors: Alan Rosenspan, Nancy Harhut, and Carol Worthington-Levy. It introduces the presenters and provides their backgrounds and experiences. The scope of the course is outlined and will cover how to evaluate creative work, how to get great print and digital work, and will include a question and answer section. Contact information is provided for each presenter.
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Digital Creative 1
- 1. Welcome to the DMA’sCreative Certification Course Part One Evaluating Creative Wed., Oct. 16, 2013 — 1:00 to 4:30 pm Presented by Alan Rosenspan • Nancy Harhut • Carol Worthington-Levy
- 2. Want to reachany 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. Scope of theCourse • How to Evaluate Creative • How to Get Great Print Work • How to Get Great Digital Work • Questions & Answers throughout, breaks as needed 3
- 5. Alan Rosenspan Creative directorin 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
- 6. Nancy Harhut • ChiefCreative Officer, Wilde Agency • Decidedly strategy-minded, results-oriented • Nationally recognized for best-in-class creative. • She and her teams have won over 150 awards for direct marketing effectiveness. • More than 20 years of senior creative management experience honed Digitas • Clients have included Dell, IBM, Novartis, House of Seagram, Bank of America, AT&T, American Express, Sheraton, GM, and more. She’s an in-demand speaker at DMA and other marketing conferences. 6
- 7. Carol Worthington-Levy Wears threehats – 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 Tactical, Adventures Cross Country teen travel, Allstate, Wine of the Month Club, Jacuzzi, Niman Ranch premium meats, Comcast, American Isuzu, Intuit, BMW, Dish, DHC Cosmetics, Hewlett-Packard, and more 7
- 8. We’re in thetrenches, 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
- 10. 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
- 11. Introductions • Your nameand what you do • You biggest challenge… • What makes you unique? “I think I am the only person in this room who…” 11
- 12. Before we begin… •Judgment call • The truth about evaluating creative… • Backgrounds and introductions 12
- 13. What do youthink? 13
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- 19. What do youthink? • 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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- 25. The Truth about EvaluatingCreative • 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
- 26. Our goals forthis 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
- 27. Section 1: How toGet The Best Creative Work 27
- 28. • How canyou tell if it will work in advance? • How to give useful and welcome feedback • Timing & Budget Questions 28
- 29. 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
- 30. • Does ithave to be new? • Does it have to be different? • What are some signs of good creative? 30
- 31. Does it haveto 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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- 33. Does it haveto 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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- 36. • But itshould never, ever take away from the message • Or worse, send the wrong message 36
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- 39. Nancy presents aBig Idea: Creative Challenge: Sell auto insurance to an affinity group
- 40. Creative Challenge: Sellauto insurance to an affinity group that was so unresponsive the program was about to be cancelled
- 41. New Agency Our FirstAssignment Probably also our last
- 42. Product: Nationwide AutoInsurance Affinity group target: Members of the Human Rights Campaign (HRC) Goal: 1. Generate quotes 2. Generate sales
- 43. HRC - HumanRights Campaign Largest LGBT equal rights advocacy group and political lobbying organization in the U.S. LGBT= Lesbian, Gay, Bisexual, Transgendered
- 44. Sales Proposition Get HRCdiscount when you get Nationwide auto insurance Plus get Nationwide’s great service and prices
- 45. Barriers Nationwide is nota low-cost option HRC discount is small Historically unresponsive target Inertia- only switch if bad claims experience/price hike Competitors cite specific savings amounts 10¢/piece – and reflect new “Join the Nation” branding
- 46. Barriers But wait, there’smore… Could not acknowledge target was an HRC member Not allowed to use HRC name/logo on OE Other insurers had much more traction with LGBT community
- 47. The Solution? “Slide inunder the radar” package Cast doubt on other insurer’s commitment to the cause Prove NW is a genuine HRC supporter Highlight many discounts available + proactive checkups Signed by NW exec who’s also an HRC member
- 54. Did it work? 56%lift over the control Client wrote: “Wilde Agency’s creative 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
- 55. The state ofthe Wine-By-Mail industry 55
- 56. Carol and Alan’sBig Idea: 56
- 57. Which OE doyou think was the winner? 57
- 58. Letter 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
- 60. 1700 Views! 1700 viewsin the first couple of hours! Over 3000 total views, and over 700 cases of wine sold .
- 61. 7 Key Elements to LookFor 61
- 62. 1. Does a BigIdea Burst Through? 62
- 63. The first questionto ask of any direct mail piece, advertisement or press release 63
- 64. “Without a bigidea, your advertising will pass like a ship in the night.” -David Ogilvy “In direct marketing, the ship will sink.” 64
- 65. Why are bigideas 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
- 66. What is anIdea, 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
- 67. Letter to Ministersin 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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- 80. How do youknow 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
- 81. How do youknow 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
- 82. 2. Does a single-minded message comethrough? 82
- 83. People have ahard 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
- 84. The “Bed ofNails” Approach 84
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- 87. 3. Is theCreative Focused on People? 87
- 88. One of thegreat secrets... Most companies focus on their products...or worse, themselves The best companies focus on their prospects and customers 88
- 89. Ancestry.com The world’slargest 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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- 93. But make themlook 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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- 100. 4. Does ithave an arresting Visual? 100
- 101. The Power ofVisual 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
- 102. Show and tell Showme what you’ve got Show me what you’re made of “Show me the money” 102
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- 108. Imagine a Harley DavidsonMotorcycle parked inside a great cathedral 108
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- 112. 5. Does ithave a compelling headline? 112
- 113. Headlines are Critical Theyshould 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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- 116. 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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- 120. What Barnes &Nobles knows 120
- 121. 3 Proven Waysto 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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- 133. “Campaignable?” Is it justa 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
- 134. Antwerp Zoo inBelgium was looking to boost attendance Their elephant got pregnant Send out a birth announcement? …or create a campaign? 134
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- 137. Congratulations, it’s anelephant! 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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- 139. Kai-Mook became thefirst elephant born on the internet on May 17, 2009 – weighing a healthy 100 kilograms. Zoo attendance more than doubled – over 300,000 new visitors 139
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- 141. Absolut Best Campaign Firstad 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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- 151. Judge for yourself: Dothese upcoming examples meet that list of criteria?... • Big idea • Single-minded message • Focused on people • Arresting visual • Compelling headline • Involving • Campaignable 151
- 152. Comcast … seeif this mailer meets the criteria • • • • • • Single-minded message Focused on people Arresting visual Compelling headline Involving Campaignable 152
- 153. Home entertainment: Comcast •VIP invitation gets attention • They flip it over… 153
- 154. Home entertainment: Comcast •Concept: you can have your own private film festival in your home — how??... 154
- 155. • Challenge: Comcasthigh speed internet might at first not seem like entertainment as much as for email and website access. But Comcast wanted to position it as a way to download movies 155
- 156. • This positions the reader asa VIP when they get Comcast high speed internet 156
- 157. Did it fitthese criteria? Do you think it worked? • • • • • • Single-minded message Focused on people Arresting visual Compelling headline Involving Campaignable 157
- 158. 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 construction, and the food industry • Challenges: how to get companies with fleets to consider buying several instead of just one • Budget $90,000 158
- 159. 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
- 160. 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
- 161. Isuzu Fleet campaign •A dimensional package needs all the hardworking elements that traditional flat mail does! 161
- 162. “500 gallons ofTomato Paste enclosed” • This one is for the food service industry • Typical load for this industry would be 500 gallons of tomato paste 162
- 163. Sent out 3000boxes per targeted market • • • • • Campaign cost $90,000 We sold 140 trucks Bottom line - $4.2 million in sales New leads generated for future contact Huge ROI 163
- 164. Isuzu B2B fleetmailing: does it meet our criteria? • • • • • • Single-minded message Focused on people Arresting visual Compelling headline Involving Campaignable 164
- 165. One last example: NewPig site re-launch Does it have… • Single-minded message • Focused on people • Arresting visual • Compelling headline • Involving • Campaignable 165
- 166. New Pig neededto 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
- 167. …so launching thesite could not be a dull or pedestrian event… • Customer expectations are high – New Pig customers expect to see an event turn into a ‘PIG” event! • Step 1 Email… 167
- 168. Landing page paysoff and generates excitement about the new site… 168
- 169. Catalog wrap isessential because many don’t check their email 169
- 170. Campaign targeted a hardworkingaudience who loves a humorous break from the serious subject of chemical spills and hazardous waste! Mouse pad with contact info 170
- 171. New Pig re-launchcampaign: does it meet our criteria? • • • • • • Single-minded message Focused on people Arresting visual Compelling headline Engaging Campaignable – well, yes, it IS a campaign… 171
- 172. Make People DoWhat You Want Them To (Nancy Harhut on Insider tips on the power of direct marketing creative)
- 173. General advertising influencesattitude and awareness over time. Direct marketing influences behavior immediately. 173
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- 175. Goal Get Response (leadgen or sell off page) Reinforce & extend brand positioning 175
- 176. Primary Channels forToday’s Discussion Direct mail Email 176
- 177. Offline Advantages Tangible Often morereal estate Less mailbox clutter 3D = high opening rate 177
- 178. Online Advantages Quicker toproduce & measure Easier & cheaper to modify between rounds Click to respond OLA = animated, dynamic 178
- 179. How to giveyourself an edge Study your mailbox/inbox for “repeats” See what’s proven to work in the marketplace Read the masters John Caples “Tested Advertising Methods” David Ogilvy “Ogilvy on Advertising” H.G. Lewis “Effective Email Marketing” Follow the trades Test, test, test 179
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- 181. Overarching Creative Guidelines Getto the point quickly 1 main message Don’t risk confusing the audience 181
- 182. Overarching Creative Guidelines Popthe offer And the deadline 182
- 183. Overarching Creative Guidelines You-orientedvs. Us-oriented Minimize “we, our, us, my, I, our company” 183
- 184. Overarching Creative Guidelines Appealto human motivators Save $$ Save time Self-improvement Feel special/recognized Look good to others Feel smart Make life easier Discover new things Feel safe 184
- 185. Overarching Creative Guidelines Benefitsnot features Displays perfectly on any device – so you can easily read wherever and whenever you want 185
- 186. Overarching Creative Guidelines Removerisk Guarantees Free Trials Proof points 3rd party endorsements Testimonials 186
- 187. Overarching Creative Guidelines Tailorconcept/message to audience Segment and version Personalized and relevant Acknowledge previous behavior 187
- 188. Overarching Creative Guidelines Knowtarget’s main objection and how to overcome it Build in your best sales argument 188
- 189. Overarching Creative Guidelines Persuadevs. entertain You have seconds to capture attention Clarity trumps cute and clever 189
- 190. Overarching Creative Guidelines StrongCTAs Visually prominent Repeated Make ordering easy 190
- 191. The Secret toGetting 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
- 192. Where the Best CreativeWork Begins 192
- 193. Briefly speaking • Successfulcreative 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
- 194. 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
- 195. Your Role inBriefing 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
- 196. Not Your Role Todictate 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
- 197. The Role ofCreatives 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
- 198. Not the Roleof 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
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- 201. The Creative StrategyForm 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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- 203. The Creative StrategyForm 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
- 204. The Creative StrategyForm 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
- 205. The Creative StrategyForm 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
- 206. The Creative StrategyForm 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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- 208. Put time onyour 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
- 209. 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
- 210. Two questions youmust 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
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- 212. Best Practices Allow themto 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
- 213. Be constructive See thebig 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
- 214. Moving ahead Take thetime 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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- 216. Never say “Theclient 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
- 217. How do youknow if it will work before it goes out? 217
- 218. “You cannot judge directmarketing. It judges you.” - Denny Hatch 218
- 219. Besides… “Creative” packages don’tusually work The “ugly” stuff almost always seems to win Even the best work seems to produce a disappointingly low response 219
- 220. How do youknow…? 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
- 221. Checklist 12 questions toask about any creative execution 221
- 222. 1. Is iton 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
- 223. 5. Do theoffer 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
- 224. 9. Does itmake 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
- 225. These are allthe ways to evaluate creative for regular advertising. But direct marketing has to work even harder 225
- 226. We have toget 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
- 227. 1. It mustbe 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
- 228. 2. It musthave 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
- 229. 3. Credibility isking • 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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- 231. The rest ofthe Scott’s LawnService case-history 231
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- 245. What do youthink? • What’s your overall reaction? • Which package did you like best? • Which do you think worked best? • Why? 245
- 246. We told youthat you’re an excellent judge of creative! 246
- 247. Back to TheBig 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
- 248. John Caples encourages a prospect toimpress their friends 248
- 249. David Ogilvy sparks intrigue with aplain white shirt 249
- 250. Bill Bernbach turns the tables onbig American cars 250
- 251. Name some bigideas… • Can you name some big ideas that helped a product or service rise above the rest? • What comes to mind? 251
- 252. Workshop segment: Create yourOWN 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
- 253. Thank you! Alan Rosenspan, NancyHarhut & Carol Worthington-Levy See you tomorrow at Part 2: Creative Rules that Work for Print Thursday Oct 17, 2012 — 8:30am - 12:00pm 253