Copywriting Notes 07 Final

Copywriting
BMM-Semester-V
By: M H Lakdawala
By: M H Lakdawala 1
Chapter 1.
Copy
INTRODUCTION
What is Copywriting?
Copywriting is essentially selling with words. Copywriting is using words to
convince readers they will benefit (come out ahead) by using a certain product
or service and then motivating them to take action (buy).
Copywriting is the words used in advertisements, TV commercials, and
brochures. Whenever a business promotes itself (through a press release, a
leaflet or a newsletter), it needs a copywriter. Thats why copywriting is
everywhere ! on big posters, local newspaper ads, and every clever slogan. "nd
when you put a postcard in a newsagent#s window, to sell your old hi!fi, you#re
using copywriting again.
Copywriting is probably the most creatie and demanding branch o!
writing. "o# start with a blan$ sheet o! paper. "o# may hae only a co#ple
o! days to meet the client%s deadline. &nd yo#r wor$ co#ld be read by
millions o! people.
Who needs copywriters?
The market is vast. $very business, small and large, has to promote itself. $very
company needs leaflets or direct mail letters. "nd every new product needs a
pack that will entice us to buy it.
These days all organi%ations need to communicate. That includes hospitals, local
authorities and charities. &o the opportunities for the copywriter are infinite.
'ecause organi%ations constantly alter, their literature and ads need regularly
changing, too. That keeps copywriters busy(
To be a good copywriter' what attrib#tes do yo# need?
)ou should be good with words ! able to produce crisp sentences.
Contrary to popular opinion, copywriters don't use fancy words* they#re
more concerned to write clearly and simply.
)ou should be interested in the world of advertising and marketing.
)ou should be responsive, and capable of producing work +uickly.
"nd while many copywriters are inclined to be loners, you must get along
with others, whether a client or colleague.
By: M H Lakdawala 2
,-./C.,0$& 12 C1,)W-.T./3
1. Use &ttention (etting )eadlines
For example print ad for DHL uses only one word as its headline URG!"#$
which is underlined in red$ and is enou%h to attract anyones attention&
'tar "( print ad for "he )i% Fi%ht does not use words$ *ut uses a pair of *oxin%
%lo+es as headline&
*. +,pand )eadline with -ead .aragraph
2ollow up the headline immediately with the first paragraph. .f you ask a
+uestion, answer it. .f you propose a thought, e4plain it. 5on#t leave them
hanging too long6 you may end up hanging yourself.
"he ad for ,aruti !-! fleet solutions uses the headline .ho says mana%in% a
hu%e fleet of company cars is hard wor/0 "his is followed *y the lead para%raph
which explains how ,aruti !-! wor/s
/. Draw the Reader In
"void page and advertising layouts that are confusing or hard to read. -eading
your message should be a pleasure to read. 7eep your copy simple, clear and
concise. Talk to your reader as you would a friend or family member. 'e straight
and sincere with them. &pell it out and e4plain points that need e4plaining. 5on#t
leave your reader second!guessing your copy.
0. 1oc#s on the Reader' not the .rod#ct
1f course your copy must contain information and facts about your product or
service, but that is not your focal point. )ou must focus the reader. 8se their
needs, wants, desires, fears, weaknesses, concerns, and even fantasies to sell
your product or service.
"he ad for La/me Deep 1ore 2leansin% *e%ins with the headline "here's a lot
that shows on your face#&
The body copy incl#des 2 Now' one2and2a2hal! min#tes is all it ta$es to
#ncoer the real yo#. .resenting the complete Deep .ore Cleansing
Regimen !rom -a$me. 3imply beca#se yo#r !ace says it all.
Th#s' not only does the ad tal$ abo#t the prod#ct' it also !oc#ses e4#ally
on the reader. Using words li$e 5yo#6 wo#ld ma$e the reader !eel good'
By: M H Lakdawala 3
rather than an ad that boasts abo#t the prod#ct b#t says nothing abo#t
how to #se it' how it co#ld ma$e yo#r li!e better' etc.
7. Use the 8That9s Right:8 .rinciple
3et your prospect to agree with you. Tell them something they know already. 3et
them to say to themselves, 9That#s -ight(9
"he print ad for JW Marriott starts with the headline 34 5our mom /nows exactly
how you li/e your *ed$ your toast$ and your coffee6&
"his headline will indeed ma/e the tar%et exclaim thats ri%ht7
;. &s$ .roocatie <#estions=
0eading into your copy or headline with thought provoking +uestions will grab the
reader#s interest and move them to read more for the answer.
"he ad for Deccan 2hronicle uses an attracti+e female model as/in% a
pro+ocati+e 8uestion li/e .ant to play the num*er Game0#& "he ad actually
tal/s a*out the impressi+e fi%ures of circulation of the Deccan 2hronicle&
>. ?oe <#ic$ly !rom Intro to the .itch=
5on#t waste your reader#s time trying to 9warm them up9. .f they got that far,
there#s blood flowing already. ,eople are busy creatures. .f you lose their interest,
you neither sell nor profit. 3et on with it(
@. Ae 3incere=
What#s the number one fallback for sales on the web: 2ear( 2ear of being
scammed or ripped!off. The more sincere you are the better your chance of
building a 9selling9 relationship.
"he sincerity and %enuineness of Air Sahara comes across in its ad where the
*ody copy says as hard as we may try at this time of the year 9winter:$ there
are chances of fli%ht delays due to weather conditions& +ery step is ta/en to
help passen%ers %et to their destinations on time& "o ma/e this process easier$
we need your help too&
B. Don9t Contradict "o#rsel!=
5ouble!check your copy. )ou would be surprised to know that many copywriters
unknowingly contradict themselves leaving the reader suspicious, thus
destroying your credibility with them.
1C. Deep "o#r 1oc#s &ligned
The more focused your target group, the better your chance of meeting their
needs. 5on#t try to sell everyone(
11. ?a$e "o#r .rod#ct Irresistible
By: M H Lakdawala 4
5ress it up. )our product should sound like the cream of the crop. 2ocus on your
selling point (price, +uality, etc) and make it impossible for the reader to imagine
another in comparison.
1*. Use 1ear as ?otiation=
2ear is both a weakness and strength, but also a powerful selling tool. 2ear of
in;ury, death or missed opportunity. .f you sell a safety product you would use this
fear to your advantage. .f you#re offering an opportunity, the fear of missing their
chance is a strong seller.
1/. 1lattery will get yo# eerywhere
)es, everyone likes to hear a little flattery. 7eyword here is 9little9. 5on#t overdo it(
10. Ae .ersonable
0et them know that there is a kind, honest and real person behind the page.
,eople would rather deal with people, not companies, corporations or
conglomerates. "dd the 9<uman Touch9 to your copy.
x4 the institutional ad for ure/a For*es which shows model ;diti Gowatri/ar
with her child has a human touch to it$ what with the *ody copy sayin% 6times
ha+e chan%ed& 5et your dreams remain the same& 'o open up& 'ay <yes to
life6#
17. Its (#aranteed
" guarantee reassures the reader that you are reputable and will live up to your
promises.
For example$ in the (im )ar "(2$ the anchor promises that if your# deter%ent is
*etter than (im )ar$ you will %et a years supply of your deter%ent free& "his
%uarantee lends credi*ility to the offerin% and induces the +iewer to act&
1;. Use 8.ower8!#l Words=
9,ower9 words are words that move a buyer by enhancing and reinforcing your
presented idea. Certain words have proven to be movers and shakers in the
advertising world.
+,amples o! pers#asie and attention2grabbing words
$asy Convenient $4clusive .ndulge
3enuine "dvantages Comfortable 5ependable
.mmediate .nstant W"/T$5 W"-/./3
=ore 'iggest 1ldest 1riginal
1>. 3hare a 3ecret
By: M H Lakdawala 5
,eople want to get the inside track. .f you can convince your prospect that you
have an e4clusive message for them, you#re one step closer to a sale.
1@. Deep It -iely=
There are many ways to keep your copy lively. Telling a (brief) story is a strong
techni+ue for getting your message across. &eparating and highlighting key
information or facts is another. 8sing personal pronouns like 9you9, we and us will
add a sense of warmth to your copy.
1B. (o with the 1low
Writing copy re+uires the ability to make a smooth transition from one point to
another. -ather than laying them out like a list, learn to use transitional words.
Transitional words are used to go from one point to another.
*C. Chec$ "o#r 3pelling
Take the time and spell!check your work. 2inding misspelled words in copy
leaves the reader wondering how competent your product or service could be, if
you cannot take the time to be sure you spelled the words in your web copy
correctly.
*1. Use .hoto9s to Demonstrate=
8se photos to demonstrate your product or service. .f used correctly a picture
really is worth a thousand words.
;ds for cosmetics %enerally use photo%raphs to demonstrate the *enefits of
usin% the product smooth s/in$ fairness$ etc&
**. Use (raphics to get &ttention=
8sing buttons, icons and arrows can help direct the reader#s attention to
important details. .f organi%ed correctly they can also help sort facts or messages
into categories.
"he ad for "oyota =ualis uses arrows to draw the readers attention to the uni8ue
features of the +ehicle such as inte%rated *umper> wood finishes panelin%$
captain seats$ etc&
*/. O!!er Testimonials
1ffer short, reputable testimonials. ,eople want to hear what others have to say
about your product or service.
Diana Hayden ,iss .orld ?@@A offers testimonial for Loreal Hair color&
*0 Create a ?emorable -ogo
Create a simple, but memorable logo or custom graphic that your visitor can
easily relate to your product or service
By: M H Lakdawala 6
xamples4
!i/e swoosh
"ata
,ercedes
,cDonald Golden ;rches
*7. Create an Un!orgettable 3logan
8se a short, easy to remember slogan that a reader will walk away with on his or
her lips.
!i/e Bust Do Ct&
(isa Go %et it
1epsi 5eh Dil ,aan%e ,ore
;sian 1aints ,erawalla6&
*;. (et a response
There are many techni+ues for getting a prospect to respond. &pell it out for
them. Tell them to respond. Tell them why they should respond. 3ive them a
reason they should respond now. 1ffer a bonus or freebie if they respond.
This can be done by using words like > order now, order today, for a short time
only, last chance, etc.
$4*
'er+ice C2C2C )an/ "wo .heeler Loans
"a/e Home 1assion 9Hero Honda 1assion: *y Dust payin% Rs& E@@@ only
By: M H Lakdawala 7
&T"3$& ./ C1,)W-.T./3? T<$ ",,-1V"0 ,-1C$&&
The client company representative (product manager) gives the brief to the
client!servicing department of the ad agency. This brief is then broken down into
creative and media brief.
The creative brief is given to the creative director who passes it on to the art
director and the copywriter. These two work in con;unction to create the ad.
The (rough) ad is then shown to the account management team consisting of the
supervisor and manager. They look into legalities that might affect the ad and
whether the ad meets the clients brief and budget. Changes, if any, are
communicated to the creative department
The (rough) ad is then shown to the client servicing dept. The dept. might also
suggest changes. The ad is finally shown to the client for his approval. 1nce the
approval is received, the creative department goes ahead with the actual
production of the ad.
By: M H Lakdawala
Product Manaer o!
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Writing the Copy plat!orm
.n developing the message strategy, the copywriter needs to create a copy
platform, a document that serves as the creative teams guide for writing and
producing the ad. The copy platform is the written strategy statement of the most
important issues to be considered in the ad or campaign > the who, why, what,
where, when and how of the ad*
1. Who is the most li$ely prospect !or the prod#ct?
The copy platform must define the prospect in terms of geographic,
demographic, psychographic, and?or behavioristic +ualities.
*. Why? Does the cons#mer hae speci!ic wants or needs that the ad
sho#ld appeal to?
"dvertisers use two broad categories of appeals. Rational appeals are directed
at the consumers practical, functional need for the product or service6 emotional
appeals are directed at the consumers psychological, social, or symbolic needs.
/. What prod#ct !eat#res satis!y the cons#mers% needs?
What factors support the product claim: What is the products position: What
personality or image > of the product or the company > can be or has been
created: What perceived strengths or weaknesses need to be dealt with:
0. When and where will the messages be comm#nicated? What medi#m?
What time of the year: What area of the country:
7. How sho#ld this be comm#nicated?
What style, approach or tone will the campaign use: "nd generally what will the
copy say:
The answers to these +uestions help make up the copy platform. "fter writing the
first ad, the copywriter should review the copy platform to see if the ad measures
up. .f it doesnt, the writer must start again.
By: M H Lakdawala .
Chapter *.
Writing !or .rint ?edia2 .arts o! a press ad2 the
headline' s#bhead' body copy
WRITING THE COPY
The elements of the copy, from headline to closing should follow the @ steps in
the selling process > A"!.!5!"B in a logical progression.
T)+ )+&D-IN+ .ROEID+3 T)+ 5&6 &ND 5I6
.n copywriting, the attention and interest of the potential customer must be
caught by the headline, or the page will be turned and the possible sale lost.
The headline has / !#nctions=
1. To capt#re attention.
x4 ;xe effect red lips creatin% a sensuous appeal are a +ery attention
see/in% ad and the +isual acts as the headline&
*. To awa$en the interest o! the reader in learning more abo#t the
prod#ct.
"he ad for Cntelli%ent Cn+estor$ which uses the headline .hy *ein% a
re%ular reader of Cntelli%ent Cn+estor is such a healthy ha*it#$ would
awa/en the interest of the readers&
/. To select the special readers who might hae a speci!ic interest in
what yo# are selling.
anadu 1radesh ad tar%ets media planners$ hence the headline
1erhaps the first ad written with the *elief that a media planner is human$
and not a countin% machine#&
1nce the dominant selling point and copy appeal have been determined, there
are several grammatical !orms the headline can take. .t may be determined as*
" statement or part of a statement
"he )usiness 'tandard ad uses a statement the headline4# Cts tou%h *ein% a
)usiness 'tandard reporter#&
" +uestion
Fnida "( ad3 Headline should the new Fnida "( *e *anned0#
By: M H Lakdawala 1/
'urf excel sample laaney /i /ya Garoorat hai
" command.
get it: > Visa
;d for 'tar !ews that has a headline$ which Dust says
Stop#
Fnida "( headline 3 Dont7#
'u*3headline dont Dust en+y the Fndia "($ *uy it#
What a headline contains is more important than the form in which it does it.
)eadlines may be classi!ied by per!ormance as
!ollows=
)eadline Types
Aene!it
News and In!ormation
Command
.roocatie
<#estion
Reason why
Ca#tion headline
)ow2to2type
3electie headline
3ol#tion to problem
&dice headline
(immic$ headline
1F .romise o! a ?aGor Aene!it
This is the safest, most widely used type of headline. "nd for it to be as effective
as possible, it must display the CD benefit your prospect will receive buy
purchasing your product or service.
By: M H Lakdawala 11
The most effective way to determine this benefit is to survey your customers ! by
phone, email, or postal mail. "sk them the top E reasons for purchasing your
product or service, and have them rank them in order. .t#s a good idea to offer
your customers an incentive for providing you with this information.
*. News or In!ormation=
Conveys real news or important information about a product.. .f your product or
service offers something newsworthy, announce it in your headline. /ewsworthy
is usually the introduction of a new product or the improvement of an e4isting
product. <ere are some words you can use in your /ews <eadline* /ew...
"nnouncing... .ntroducing... 2inally... Fust -eleased... /ow... /ow "vailable... "t
0ast...
+,amples=
%& "he "imes of Cndia ad that *oasts of the circulation of "FC as
compared to that of Deccan Herald&
"he "imes of Cndia4 EH?@-I copies&
Deccan Herald 4 ?JIKEL copies#
/. The Command Headline* ,0e "o++and Headline tells your custo+er w0at to do*
Your command should encourage action by offering your prospect a benefit that will
help them. Effective Command Headlines start out with action verbs.
Examples:
Trade In Your Old Motor cycle for-Bye to =aintenance <eadaches(B
0. .roocatie
7. The <#estion )eadline. <ere again, to use this headline, you must really
know your market. )ou need to know what your prospect is thinking, what their
an4ieties are, and what theyre hoping to accomplish. .f you know your target
audience this well, then the Guestion <eadline is an effective headline to use.
The Guestion <eadline should focus on your prospects self interest and ask a
+uestion they want to know the answer to. The best type of +uestions to ask are
+uestions that get your prospect involved.
+,amples=
H AWhat 5oes the &pace &huttle <ave To 5o With 0aIer -unners J )ear
,remium ,rotection Warranty:B
H ACan <alf of "ll 0aser Tag 1wners in "merica 'e Wrong:B
H AWhat 5o The 3iant $ntertainment Companies 7now That )ou 5ont:B
;. The 5Reason Why6 )eadline. With the A-eason WhyB headline, you give our
prospect specific reasons why they should read your ad. A-eason WhyB
headlines are effective because they contain facts and specific numbers.
A-easons whyB headlines dont need to include the words Areason whyB.
Examples:
AJ -easons Why .'= ,rovides )ou With a =ore -eliable &ystemB
7. The )ow2To )eadline. These two words !! Ahow toB, are very powerful words.
)ou can never go wrong using a <ow To <eadline. (1ver J,KKK book titles start
out with <ow To.) <ow To <eadlines promise your prospect a source for
information, advice, and solutions to their problems. .f you ever get stumped for
a headline, use the <ow To <eadline !! it works(
Examples:
H 5)ow To +,pand "o#r C#stomer Aase and Increase "o#r .ro!its6
@. 3electie
&elect a specific audience with specific language and words.
"he ,alaya ,anorama ad$ which addresses ad+ertisers& "he print ad starts
with the headline which says ; few commandments to ad+ertisers this
Mmas&#
Media planer ad o! 1enadu Prades0*
BF 3ol#tion to a problem
This type of headline is a slight variation of the CD benefit headline. The problem
solved by your product or service is the CD benefit ! it#s ;ust presented in a
problem? solution format.
$4ample*
9/ow )ou Can =elt at 0east E .nches of 2at from )our Waist in EK 5ays or 0ess !
3uaranteed(9
This headline presents the benefit of reducing fat in the waist as the CD solution
to the problem of having e4cess fat in the waist area.
1CF The 1lag )eadline
" flag is a phrase calling for the attention of a particular person or group. 8se a
flag headline to attract your target audience ! those most likely to buy your
product or service. 2or e4ampleL
"ttention* /ew =others(
/ew $4ercise &afely 'urns the 2at )ou 3ained 5uring )our ,regnancy in 0ess
than MK 5ays ! 3uaranteed(
)ou can also use the flag headline to increase response by catering your offer to
readers of the publication you#re advertising in. $4ampleL
"ttention* /ewborn Fournal -eaders(
/ew, $4ercise &afely 'urns the 2at )ou 3ained 5uring )our ,regnancy in 0ess
than MK 5ays ! 3uaranteed(
11F The Warning )eadline
This type of headline can yield tremendous results when use properly. There are
a few ways to use this approach. )our headline can propose a warning to read
your message before making a purchase. 1r you can use the warning to flag a
specific audience. The following e4ample uses both of these techni+ues.
N Warning* 5ieters N
5on#t eat another reduced calorie meal until you read this startling messageL
Why )our Current $ating <abits =ay be 5oing =ore 5amage to )our 'ody Than
3ood(
1*F The Testimonial )eadline
This is simply a satisfied customer testimonial used as a headline. <ere#s an
e4ample*
9'ig 'oulder ,rotein ,owder helped me pack on DD pounds of muscle and
reduce my body fat by M.@O in only EJ days, without changing my e4ercise
routine, and .#m convinced it can do the same for you too.9
The +uotes around the headline signify that it#s an actual +uote from a customer,
giving it added validity.
When using this method, it#s important that the testimonial has a strong impact. .t
must make a significant claim related to a ma;or benefit of your product or
service. 5on#t ;ust use an 9average9 testimonial, or it won#t have the desired
effect.
1/. Claim=
.nsist that this product has an outstanding record or performs in a certain
way. .t should not be overly blatant and boastful, if so then it is called
)orn2Alowing.
DHL: when sending shipments to the US more o! "ndias
#ompanies #hoose $s%&
Horn *lowin% the ;sian 1aints yamaraD ad this ad Dust exa%%erates the
dura*ility aspect of the paints which /ind of sounds *oastful&
10. &dice or .romise=
,romise a real benefit if the product is used.
x4 Dont %et a credit card from us and you may end up with the wron%
one in your hands 3 timesofmoney&com ad&
17. -ogo Or 3logan=
&tress the reputation of the company behind it.
"oyota$ "ata *oth use their lo%os for most of the ads for their automo*iles
2amry and Cndica respecti+ely&
1;. ?ood23etting=
&et a mood to create receptivity in the reader.
%& "he B. ,arriott ad$ which uses the headline "he earth is mostly
water& 'o is the +iew from our hotel& ; pictures8ue scene of %irl relaxin%
supports this
1>. .roocatie=
.t must provoke the reader into probing further. .t means startling or
interrupting in order to capture attention. .f a provocative headline is used
it must be pertinent to the product. .f it presents a +uestion, the answer
must lie in the subheadline or body copy and in the products
characteristics, features, and performance. &ometimes it presents a
contradiction or an apparent parado4 to the reader, with the e4planation
provided in the body copy. There are e4ceptions* Those messages where
a headline and very descriptive visuals are able to tell the whole story.
"he ad+ertisement for HLL loo/in% for *a*y models
Headline ' ($de models wanted%
;d for ;mitasha Foundation Her parents cursed the day she was *orn#
1@. Eis#als are as much a part of headlines as are verbal concepts.
%& "he *ad ni%ht Good/ni%ht# ad with Lisa Ray 66&her face tells the whole
story and theres no *ody copy7
3#b2headlines=
&ub!headlines are sectional headlines. There are over lines and underlines. "n
over line is a sub!head that leads into headline.
"n underline is a sub!headline that follows the main headline and leads the
reader into the copy test.
3enerally the purpose of the sub!headline is to support the main headline and
complete the meaning of the headline. .t may also be used to bring out related
but additional or different appeals. .t can also be used to break up a lengthy copy.
1#nctions o! 3#b2headline=
P.nclude important information not communicated in the headline
P Communicate key selling points or information +uickly
P &timulate more complete reading of the ad
AOD" CO."
'ody copy carries the selling message.
1nce the headline and visual have attracted attention and aroused interest, the
body copy attempts further to develop the interest of the potential customer, to
awaken the desire to own the product, and to close with a Acall to actionB.
'ody copy can be e4tremely important to the success of an ad. .t allows you to
fully convince the target audience of the benefits of the product. 'ut unless you
can get them to read it, it#s a huge waste of your time and your client#s money.
"nd most people wont read body copy!!in fact, QKO of readers won#t read it. &o
what do you do: )ou can leave it out of the ad and hope that the ad will compel
readers to seek more product information elsewhere (at the Web site, at the
showroom, etc.) 'ut sometimes advertising is the most efficient way of
communicating all the product information so you have to write good body copy.
.n that case, you must try to entice readers into the body copy. "nd the best way
to do that is with a great 9lead.9 This is the first sentence of the body copy. /o
matter what style of copy you#re writing, it should draw the reader from the
headline and into the te4t.
The copy approach is the way the copy and its appeal are presented.
Copy approaches' ario#s as they seem' can be gro#ped into
three categories=
D. 1act#al' direct or rational approach
LC2 "he LC2 ad states the *enefits of the Nomal Bee+an policy$ the
eli%i*ility$ minimum sum assured$ etc&
3eeral ways to wor$ o#t this approach
a. Direct selling in!ormation
;ds that offer information on products li/e music cassettes$ *oo/s$ 2Ds$
etc$ which are sold *y the newspaperOma%aGine in which the ads feature$
pro+ide direct sellin% information&
For example "he conomic "imes Entertainment -HH?3-HH- report&
b. Implied s#ggestion H5so!t sell6F
;mway the ad does not ur%e you to *uy today# or hurry#$ instead$ it lays
down the *enefits of usin% ;mway products in a su*tle way& )esides$ since
;mway products are made a+aila*le throu%h personal sellin%$ the *ody
copy does not state any contact address or num*er& Rather$ it states
someday soon$ someone will su%%est that you find out for yourself how
ex8uisite our personal care products are&
c. Testimonial copy
?& .hen 'achin "endul/ar says )oost is the secret of my ener%y#$ he is
offerin% testimony to the *enefit offered *y )oost$ i&e& ener%y&
-& Ratan "ata lends credi*ility to the plea made *y Dept of lectronics
Go+t& of Cndia *y ratifyin% the seriousness of the 5-N )u%&
Aody copy deeloped !or the !act#al approach=
D. "mplification of headline in the lead (D
st
sentence (s) of body copy)
R. ,roof or evidence
E. "dditional details
@. Closing
The ad by .nfosys seeking recruits starts with the )eadline > A We need
Though 0eaders who can assert our 5omain Competence.B
1. &mpli!ication o! headline > A"s a global .T consulting and
services organi%ation, .nfosys is at the cutting edge of .T development and a
thought leader in business and technology domainsLB
*. .roo! or eidence* a seal is shown in the ad which states >
Aest employer to wor$ !or in India
'usiness today > <ewitt "ssociates survey > Fan RKKD
3o!tware%s Aest +mployer
5ata+uest > /21 > ='0 &tudy
=ay RKKD
/. &dditional details* details about 5omain Competency, the focus
areas of the pro;ect, eligibility criteria are given.
0.
7. Closing= &o, if you are a though leader who wants to fly high, act
now(
=ail your resumeL
*. Narratie approach story board
x4 om /ota/ mahindra
; man Doins a party and is *ewildered *y what he sees& He mo+es forward
in a daGe and reco%niGes his own ima%e as an old man& P/ din$ main apne aap
se mila& ;ur apna *ha+ishya de/ha&P He dances to%ether with his +ision$ and
enDoys the carefree moment& P;atmanir*har$ sura/shith& ;Gaad&P "hey *ecome
the life of the party as&&& &&&the ,(F adds$ PFm Nota/ ,ahindra Life Cnsurance&
Beene
/i aGaadi&P
"he ad uses the narrati+e approach to emphasiGe the U'1 of Fm Nota/
,ahindra Life Cnsurance$ i&e& Cndependence&
3eeral ways to wor$ o#t this approach=
a. Descriptie or h#man interest story
By: M H Lakdawala 1-
=ost /31s use this approach to elicit a favorable response from the
readers.
2or e4ample, ad for the "mitasha foundation ! /urturing the girl child,
show the photograph of a girl in rags, with the headline > A<er parents
cursed the day she was born. &o does she.B
b. 53lice o! li!e6 > slice of life ads depict situations that one can relate
to, situations that could have occurred in anyones life. ,cDonald$
2ad*urys dairy mil/$ etc use this approach
c. 1ictional testimony
.n the ad for 5ove, women who have used 5ove narrate the positive
effects of using 5ove in their lives.
d. ?onolog#e or dialog#e
Hind$stan )imes
e. )#mor
,ost of the Fe+icol ads ha+e used humor to ma/e the ads noticea*le$
interestin% as well as memora*le& +en the fe+i8wic/ ad where two
men are shown fishin%$ has the same effect&
"he ad 3 a sua+e %entleman is shown fishin% in a la/e for hours$ *ut
could not catch a sin%le fish& "hen comes a rustic local$ who applies
Fe+i8wic/ at a few places on his fishin% rod$ dips it in the water and
out comes with fi+e fish stuc/ to his rod& "hus$ humor %a+e hi%h
notici*ility as well as recall to the ad&
Aody copy deeloped !or the narratie approach=
.redicament
,ost fair and lo+ely ads start with a predicament the %irl faces pro*lemOs
*ecause of her complexion& li/e the ad in which the father wishes that he had a
son and not a dau%hter& "he dauf%hter comes across an offer for the Do* of an
airhostess$ *ut a after loo/ at her dar/ complexion in the mirror$ only ends up
cursin% herself&
Transition to the prod#ct.
)ut thin%s chan%e when she uses Fair and Lo+ely
By: M H Lakdawala 1.
)appy ending
!ot only does she *ecome *eautiful 9fair: and confident$ she e+en *ecomes an
airhostess&
"he ad ends with the female ta/in% her father out for coffee to a fi+e star hotel$
and the father proudly callin% her <*eta 9son:&
Closing Hs#ggestion to the readerF
&ds' which end with words' li$e I Daldi /iDiye#$ hurry now$ etc&
xample 'afal ad Daldi /iDiye 3 mahurat ni/al na Daye
/. .roGectie or emotional approach
This approach puts the reader realistically into the situation, involving him
emotionally through a pro;ected Afactual storyB or through fictional story about
fictional characters. This approach relies on the customers association with
the characters in the story > as if it were happening to him.
%& "he emotional impact of this type is often felt in copy written a*out
perfume$ cosmetics$ lin%erie$ cars and tra+el&
,cDonalds ad&
; little *oy ta/es a last loo/ around his old home& +erythin% is *ein%
pac/ed up and stashed away to *e mo+ed 'ayin% %ood3*ye to his *est
friend he %ets into the car and they dri+e out& Fn the way$ he spots a
,cDonalds restaurant and&&&&he recalls all the fun they had here& "he
occasions cele*rated and the %ood times come flashin% *ac/ to him& 2ut
to the new house& His sister dra%s him to the window to show him
somethin%& "he father draws a ,ac lo%o in the air& ;s they loo/ out$ the
/id sees a ,cDonald's restaurant opposite and his %loom disappears& "he
ad ends with the Din%le 3 ,cDonald's mein hai /uch *aat&
AOJ+3 &ND .&N+-3
'o4es and panels are great tools for the copywriter. .n the information age,
writers can access huge amounts of information to support their products utility
and demonstrate why customers need it. To avoid having the ads te4t become a
glut of testimonials, data, and off!the!issue discussions, copywriters segregate
information of a secondary and supportive nature into bo4es and panels ne4t to
the main body copy. This allows readers to first focus on the main issues and
later study the detailed facts.
" *ox is copy with a line around all four sides. " panel is an elongated bo4 that
runs the whole length or width of an ad.
'o4es are useful for framing information that the prospect must read > e&%&
coupons$ special offers$ contest rules$ and the order *lan/s&
Guick tips for 'ody copy6
D. " writer must put conviction into their own copy.
R. /ever oversell in your body copy
E. 3et +uickly to the cru4 of your body copy message.
@. 7eep your line of thought on track.
"ddress arguments before they arise.
M.Write for your audience!not yourself.
J. 7eep your copy user friendly
Q. ,resent your body copy in a logical se+uence that relates to the rest of the
te4t.
S. 8se one of the twelve slogans for constructive persuasion.
3-O(&N3
" slogan is a small attractive phrase used in the ad to sum up the advertising
message in a few words. .deally the slogan should be short, preferably T to J
words or even less than T words.
The words must be simple, clear and easy to remember. .t should be so
designed that it can be repeated , perhaps a year or years together. The slogan
should be such that it can be used in any media, whether on TV, radio, press and
outdoor. &logans are not easy to create.
&ometimes, they ;ust come along but most often slogans are the result of hard
work of days together put in by the creative marketing people?advertising people.
3reat slogans are like great ideas, they don#t come overnight.
Aasis !or writing a slogan= Techni4#esK!actors
D. &logans can be based on the Guality of the product.
$4ample* UThe best tobacco money can buy!-othmans.
R. &logan can be based on the 0ife of the company.
$4ample* U " trusted household name for over fifty years!,hilips.
E.&logans can be used to build Trust and confidence.
$4ample* UThe name you can trust! =afatlal.
@.slogans to guard against substitutes.
$4ample* Uwhen its ,hilips, you can be sure.
T. &logans emphasi%ing sales of the product.
$4ample* U.ndias largest selling soft drink concentrate. -asna.
M. &logans emphasi%ing .nternational reputation of the product.
$4ample* UThe worlds favorite airline! 'ritish "irways.
J. &logans can place emphasis on "dvanced technology of the company.
$4ample* U.n tune with tomorrow.! 'ush.
$4ample* 5unlop is 5unlop, always ahead.
Q. &logans emphasi%ing the use of the product.
$4ample* U" pocket doctor for aches and pains!"mrutan;an pain balm.
$4ample* U-eal relief, real fast!=oov.
S. &logans e4pressing 0ove and "ffection
$4ample* U" gift for someone you love!"mul chocolates.
DK. &logans e4pressing Foy and happiness.
$4ample* U <appy days are here again.!Thumps up
DD. &logans emphasi%ing the choice of specific class.
$4ample* UThe choice of new generation! 0ehar ,epsi.
DR. &logans emphasi%ing the comfort and convenience.
$4ample* U"rrive in better shape!Cathay ,acific.
DE.&logans based on pride and possession.
$4ample* /eighbours envy, 1wners pride.
D@.&logans emphasi%ing name of the brand company.
$4ample* U1nly Vimal
DT. &logan based on the headline of the ad.
$4ample* U2ilter and tobacco perfectly matched!Wills. (headline* U=ade for each
other),
The twele slogans o! constr#ctie pers#asion=
D. &logan are about you* &uccessful slogans tend to use the word Uyou some
where in the copy.
R. &logan make promises
E. &logans call for action
@. &logans create ideals* Iindagi ke saath bhi Iindagi ke baad bhi.
T. &logans are it* 3o for it, .ts here, you cant beat it.
M. &logans are in a world of their own. $nter a new world of writing.
J. &logan may rhyme* Top for shops, meals that appeals.
Q.&logans can be full of alliterations
&upremely &cottish &almon
'uy better. 'uy bigger, by far.
S. .n order to sell, slogans dont have to be clever.
The writers choice
The best pen you can buy.
DK. &logans conveniently package everything in one sentence.
"ffordable reliability in your pocket.
DD. &logans repeat key word patterns.
The right price. The best +uality.
DR. UThe slogan is king
The best6 The one6the "nswer, The shape.
1#nctions o! 3logan=
D. "id memory recall* .t should be easy and pleasant to remember.
A . love you -asnaB.
R. To describe the use of a product.
A The weekly update on the hospitality industry! $4press <otelier V caterer
=aga%ine.
E. To suggest the products special advantage or uni+ue benefit. 9
1n time, every time.B 5<0.
@. To suggest increased use or fre+uency of use.
T. To stress the +uality of the product
A 3reater -eliability through 'etter TechnologyB. -ane ( =adras 0imited).
M.To build name and goodwill of the company.
A The worlds favorite airline.B 'ritish "irways.
J. To stress market leadership
A .ndias /o.D -adial.B F7 Tyre.
Q. To emphasi%e international standards.
A World Champion 0ubricants.B Castrol.
=any slogans > also called theme lines or tag lines > begin as successful
headlines. Through continuous use, they become standard statements, not ;ust
in advertising but also for salespeople and company employees. &logans
become a battle cry for the company.
&logans have two basic purposes* to provide continuity to a series of ads in a
campaign and to reduce an advertising message strategy to a brief, repeatable
and memorable positionin% statement.
De )eers ads still use the slo%an Diamonds ;re Fore+erOHeera Hai 'ada Ne
Liye#
'ecause of their use in positioning a company or product, many slogans are
developed at the same time the product or company is conceived.
&logans should be like old friends! recogni%ed instantly year after year.
$ffective slogans are short, simple, memorable and easy to repeat, and most
important, help differentiate the product or the company from its competitors.
-hyme, rhythm, and reason > not to mention alliteration > are valuable tricks of
the trade for slogan writing.
3+&-3' -O(OT".+3 &ND 3I(N&TUR+3
The concise 14ford 5ictionary describes the word U0ogo simply as Ulogo
type. .n turn, logotype is describe as*
Word, or more letters than one, cast in one piece.
/on!heraldic device chosen as company symbols or badge of
organi%ation and used in advertisements, on note paper, etc.
The companys logo is the corporate signature. .t reposes in itself the collective
pride of the company and is designed with great care to represent the personality
of the company and its product. .n other words, the corporate logo embodies the
company with a personality, a human +uality and character.
"part from lending personality to the Companys public image, logo styles also
incorporate nuances about the company. =ovement related corporations like "ir
.ndia, .ndian "irlines, and a host of other airline and travel agencies prefer their
logotypes to move from left to right and underline the sense of motion through
Ctalicised typefaces.
" seal is awarded only when a product meets standards established by a
particular institution or organi%ation.
'unsil/ claimed that it had passed the ri%id tests and had recei+ed the appro+al
of lida Hair Cnstitute of 1aris
&
2ompanies claimin% to *e C'F appro+ed
&ince these organi%ations have credibility as recogni%ed authorities, their seals
provide an independent, valued endorsement for the advertisers product&
The term &eal is sometimes interpreted to mean the company seal or trademark.
They are actually called logotypes. Lo%otypes and si%nature are special designs
of the advertisers company name or product name. They appear in all company
ads and, like trademarks, give the product individuality and provide +uick
recognition at the point of purchase.
Captions=
Captions do form part of copy te4t. Captions are small sentences that seem to
come out the mouth of the people shown in the ads. Comic strip type of copy
make use of captions.
2or e4ample, you must have come across such captions in the print ads of
Tortoise =os+uito Coil.
+ssentialsK CharacteristicsK &ttrib#tes o! a (ood copy=
D. 'e Concise
R. 'e &imple
E. 'e specific
@. 'e ,ersonal
T. =ake it believable
M. 'e clear
J.=ake it interesting
Q.=ake it persuasive
S.7eep a surprise in the copy
DK. 2ollow the headline and illustration.
Creative Tactics* ,rint "d 0ayout
Chapter= /
Writing !or teleision=
3tages o! prod#cing a TE Commercial
1F Writing scripts and deeloping storyboards
*F Arie!ing the prod#cer
/F .re2prod#ction
0F 3hooting
7F .ost2prod#ction
The Two elements that make TV so e4iting are*
(D) &ight
(R) &ound
Important !actors to $eep in mind while writing Teleision copy
1. 1oc#s on single big idea=
TVC are generally use for launching the single 'ig .dea to leave its impression.
$ffective TV commercials merge video and audio into a powerful sales tool. 'ut
don#t think one is more important than the other. "udio and video go hand!in!
hand.
2or e4ample, turn down the volume on any commercial. )ou should be able to
identify the benefits of purchasing a product ;ust from the video. The same holds
true for audio. Close your eyes and listen to the announcer. .f the audio doesn#t
e4plain the product in detail, then the commercial isn#t effective.
,otential customers should be able to hear your message even if they#re not in
the room to see it. "lways use a strong audio and video combination when
creating your own commercial.
*. Thin$ o! teleision as an intimate medi#m.
a) .f you#re advertising a restaurant, don#t ;ust use a shot of your building#s
e4terior. 8se a close!up of your food in your commercial. "nd show people
eating your food.
b) .f you#re producing a ,ublic &ervice "nnouncement (,&") about drunk
driving, don#t ;ust use a shot of a crowd of people at a funeral. &how a tear
streaming down a child#s face.
c) Combining sight and sound should spark your viewers# emotions and help
them identify with your product. "nd if they can identify with your product,
you#re more likely to get
/. ?otiate iewers= Television viewers rarely remember the details of an ad,
but they can recall how the ad made them feel. =ake sure they feel motivated
after viewing yours.
0. (et to the point. )ou have about two seconds to grab the television
viewer#s attention, so use a strong opening image ! the visual e+uivalent of a
strong headline. )ou then have a total of maybe five seconds to say what the
ad is about ! if it#s not clear you#ve lost the viewer for the entire ad.
7. Deep yo#r message simple. &tress your benefits. "nd remember to
stress them visually. )ou can do this by 9showing9 what they are, rather than
;ust 9telling9 what they are.
;. Ae s#re to tell the iewer yo#r name is#ally. ,ut it right there up on the
screen, along with your logo, and your address and phone number. 'etter yet,
hit them twice by having the voice!over announcer read it aloud at the same
time.
>. Don9t !orget yo#r call to action. Tell the viewer what to do ! Call now(((6
Visit your local dealer6 Compare the value6 Come see us6 etc.
Teleision has a tremendo#s adantage oer radio=
.n that action as well as sound can be used in the message. The ability to create
a mood or demonstrate a brand in use gives television it superior capability.
'ut this also changes the whole concept of copy for the copywriting effort. Copy
for television must be highly sensitive to the ads visual aspects as specified by
the creative director.
The opportunities inherent to television as an advertising medium represent
challenges for the copywriter as well. The copywriter must remember that words
do not stand alone. Visuals, special effects, and sound techni+ues may ultimately
convey a message far better than the cleverest turn of a phrase.
Television commercials represent a difficult timing challenge for the copywriter.
Copy must be precisely coordinated with the video. The road map for this
coordination effort is known as a storyboard. " storyboard is a frame!by!frame
sketch depicting in se+uence the visual scenes and copy that will be used in a
television advertisement.
Teleision &dertising 1ormats=
'ecause of the broad creative capability of the television medium, there are
several alternative formats for a television ad*
D) Demonstration. 5emonstrating a brand in action is an obvious format for
a television ad. 'rands whose benefits result from some tangible function
can effectively use this format. 5emonstration with sight and sound lets
viewers appreciate the full range of features of a brand.
R) .roblem and 3ol#tion. " brand is introduced as the savior in a difficult
situation. This format often takes shape as a slice!of!life message, in
which a consumer solves a problem with the advertised brand. " variation
is to promote a brand on the basis of problem prevention.
E) ?#sic and 3ong. =any television commercials use music and singing as
a creative techni+ue. The beverage industries (soft drinks, beer, and wine)
fre+uently use this format to create the desired mood for their brands.
@) 3po$esperson. The delivery of a message by a spokesperson can place
a heavy emphasis on the copy. The copy is given precedence over the
visual and is supported by the visual, rather than vice!versa. $4pert,
average!person, and celebrity testimonials fall into this category.
T) Dialog#e. "s in a radio commercial, a television ad may feature a
dialogue between two or more people. 5ialogue format ads pressure a
copywriter to compose dialogue that is believable and keeps the ad
moving forward. =ost slice!of!life ads in which a husband and wife or
friends are depicted using a brand employ a dialogue format.
M) Eignette. " vignette format uses a se+uence of related advertisements as
a device to maintain viewer interest. Vignettes also give the advertising a
recogni%able look, which can help achieve awareness and recognition.
The Taster#s Choice couple featured in a series of advertisements in the
8nited &tates and 3reat 'ritain is an e4ample of the vignette format.
J) Narratie. " narrative is similar to a vignette but is not part of a series of
related ads. /arrative is distinct in that it tells a story, like a vignette, but
the mood of the ad is highly personal, emotional, and involving. " narrative
ad often focuses on storytelling and only indirectly touches on the benefits
of the brand. =any of the 9heart!sell9 ads by 7odak and <allmark use the
narrative techni+ue to great effect.
(#idelines !or Writing Teleision Copy
D. 8se the video.
R. &upport the video. =ake sure that the copy doesn#t simply hitchhike on the
video.
E. .f all the copy does is verbally describe what the audience is watching, an
opportunity to either communicate additional information or strengthen the
video communication has been lost.
@. Coordinate the audio with the video.
T. &ell the product as well as entertain the audience.
M. 'e fle4ible. 5ue to media!scheduling strategies, commercials are
produced to run as DK! DT!, RK!, EK!, or MK!second spots. The copywriter
may need to ensure that the audio portion of an ad is complete and
comprehensive within varying time lengths.
J. 8se copy ;udiciously.
Q. -eflect the brand personality and image.
S. 'uild campaigns. When copy for a particular advertisement is being
written, evaluate its potential as a sustainable idea.
Common ?ista$es in Copywriting !or teleision
'eyond the guidelines for effective copy in each media area, there are common
mistakes made in copywriting that should be avoided*
D. Eag#eness. "void generali%ations and words that are imprecise in
meaning.
R. Wordiness. 'eing economical with descriptions is paramount. Copy has
to fit in a limited time frame (or space), and receivers bore easily.
E. Unoriginality. 8sing clichWs and worn out superlatives was mentioned as
a threat to print copywriting. The same threat (to a lesser degree, due to
audio and audiovisual capabilities) e4ists in radio and television
advertising. Trite copy creates a boring, outdated image for a brand or
firm.
@. Creatiity !or creatiity9s sa$e. &ome copywriters get carried away with
a clever idea. .ts essential that the copy in an ad remain true to its primary
responsibility* communicating the selling message.
Chapter 0=
Writing Radio Copy
D. Characteristics of -adio environment
R. =essage strategy
E. Writing script
@. -adio production process
1. Characteristics o! Radio enironment
a. -adio has been called the -odney 5angerfield of media because it
gets no respect from many advertisers.
b. -adio is capable of presenting words and Atheatre of the mind.
c. .-adio has also become a medium characteri%ed by highly
speciali%ed programming appealing to very narrow segments of the
population.
d. -adio has survived and flourished as an advertising medium
because it offers advertisers certain advantages for communicating
messages to their potential customers.
*. ?edia strategy !or Radio=
Deciding the message is the one o! the important actiity in the adertising
decisions' it incl#des=
D. =essage generation
R. =essage evaluation and selection
E. =essage e4ecution
@. &ocial responsibility review
?essage generation=
"n important component of communication is the message what is said or
written. .n order to understand communication, it is useful to understand the
characteristics of messages and how to construct the most effective messages.
"dvertising people have proposed different theories for creating an effective
message.
-eeves of the Ted 'ates advertising agency favoured linking the brand
directly.
0eo 'urnett and his agency preferred to create a character that e4pressed
the products benefits.
The 5oyle, 5ane and 'ern 'ach agency favoured developing a narrative
story with a problem, episodes related to the problem and outcomes.
Whatever the method is used, creative people should talk to consumers, dealers
and e4perts and e4perts, to have suitability to the message and to understand
likes and dislikes of the customers and the middlemens.
&ome creative people use a deductive framework for generating a advertising
messages.
Fohn =aloney proposed one framework, he saw buyers as e4pecting one of the
four types of reward from a product*
a& Rational
*& 'ensory
c& 'ocial
d& %o satisfaction
'uyers might visuali%e these rewards from*
?& Results of use experience
-& 1roduct in use experience
E& Cncidental to use experience&
Crossing the !o#r types o! rewards with the three types o! e,perience
generate twele types adertising message.
2or e4ample the appeal Uget cloths cleaner is a rational reward promise following
the results of use e4perience.
,essa%e ;ppeal4
=essage appeal is the feature that brings about attitude change on the part of
the audience6 the message appeal can be*
a. Cnformati+e messa%e4 This is to create awareness and knowledge
of new products or new features of e4isting products or service.
b. 1ersuasi+e messa%e4 This type is to create liking, preference,
conviction and purchase of product or service.
c. Reminder messa%e4 This type is to create liking, preference,
conviction and purchase of product or services.
d. Reinforcement messa%e4 This is to convince current purchases that
they made the right choice.
?essage eal#ation and selection=
The good advertisement normally focuses on one core!selling proposition, but
5.7 Twedt suggested that messages be rated on desirability' e,cl#sieness
and belieability.
The advertiser should conduct market research to determine which appeal works
best with its target audience.
?essage e,ec#tion=
The message impact depends not only on what is said, but often more important,
on how it is said. &ome aim for rational positioning and others for emotional
positioning.
3ocial responsibility reiew=
"dvertiser and their agency must be sure their creative advertising does not
overlap social and legal norms.
Writing Radio script
1. When yo# place a radio ad' yo#9re spea$ing to a captie a#dience I
The listener has to take an action (actively change the station) to pass by your
ad. 'ecause listeners are often sitting alone (fre+uently in their cars), speak to
them like you#re having a one!on!one conversation. "ddress them directly, and
your message will get across.
*. On radio' yo# need to $eep yo#r message simple and !oc#sed.
Choose one theme and stick to it. -emember that it takes longer to say
something out loud than it does to read it. The average EK!second radio spot
contains only about JK words. =ention your company name at least three times
in those EK seconds.
/. Di!!erent radio stations re4#ire di!!erent types o! ads.
.n 93uerrilla "dvertising,9 Fay 0evinson identifies two basic types of stations.
9'ackground9 stations are on in the background and are typically music stations
that are listened to passively. 2oreground9 stations re+uire active listening. They
would include talk radio, all!news radio, call!in shows, and the like. =ake your ad
sensitive to the format to keep the listener#s attention ! don#t use a 9voice!only9 ad
on a music station6 don#t put a country and western ;ingle on a classical music
station6 and don#t use a music!driven ad on talk radio.
0. "o# hae two basic choices when it comes to creating a radio ad.
)ou can provide a script and have it read by the announcer. 1r you can provide
a tape. .f you choose the latter, have a professional announcer read the copy6
and consider using background music or sound effects as a way of making the
ad stand out.
7. I! yo#9re #sing a script' consider placing yo#r ads on the show o! a well2
$nown radio personality.
'y having the personality read your ad, it will sound like a testimonial. "nd make
sure the personality is familiar with your product or service ! send them a sample,
if appropriate.
;. Repetition is ery important in radio=
'ecause it takes several airings for the listener to become familiar with your
name and product or service. 2re+uency helps you break through the clutter.
Consider running your spots at the same time every day for a week. Take a week
off and then run it for another week.
>. +ntertaining Commercials sell
<umor, much of the Amad variety, holds audience ;ust as well as the surrounding
program material. =usic is used skillfully to capture attention or to create moods.
The good radio writer knows that in this era of half!listening radio audiences it is
vital to give the listener ;ust one principal idea to carry away. 5etails should be
kept to a minimum.
@. Words are yo#r ill#strations
-adio scriptwriter ;ob is to make those!listening to your commercial see the
product through youre his words alone, smell it, taste it, want it. .f you are asked
to prepare radio commercials for an automobile you must deftly use description,
put your audience in the drivers seat of that car!make them feel its surging
strength!its ease of handling!make them see its handsome lines. 5escription is
vital in a great many radio commercial. .n radio the writer is the artist as well as
the writer.
B. Try them o#t lo#d
The one most important rule to learn about writing for radio is that every single
word you set down on paper for use over the air must be read aloud by you
before you give it your personal approval.
1C. -ength o! words and sentences
&hort words are usually the best radio words. -egardless of their pronunciation
or ease of understanding, words that contain more than three of four syllables
should be used only when absolutely necessary. Thus a Agreat carB is better than
Aan e4ceptional carB! A0ovelyB preferable to AbeautifulB! A goodB to A outstandingB,
and so on
?+T)OD3 O1 D+-IE+R"=
?& "he Li+e 2ommercials
-& 'tation ;nnouncers
E& "he prerecorded commercials
J& ,usic
K& Dialo%
A& ;nnouncement
I& 2ele*rity announcer
Q.
Chapter= 7
Copywriting !or Internet
Interr#ption ?ar$eting
Combined shortage of time and attention is uni+ue to today#s information age.
Consumers are now willing to pay handsomely to save time, while marketers are
eager to pay bundles to get attention.
.nterruption =arketing is the enemy of anyone trying to save time. 'y constantly
interrupting what we are doing at any given moment, the marketer who interrupts
us not only tends to fail at selling his product, but wastes our most coveted
commodity, time. .n the long run, therefore, .nterruption =arketing is doomed as
a mass marketing tool. The cost to the consumer is ;ust too high.
"he alternati+e is 1ermission ,ar/etin%$ which offers the consumer an
opportunity to +olunteer to *e mar/eted to&
'y talking only to volunteers, ,ermission =arketing guarantees that consumers
pay more attention to the marketing message.
.t allows marketers to tell their story calmly and succinctly, without fear of being
interrupted by competitors or .nterruption =arketers. .t serves both consumers
and marketers in a symbiotic e4change.
.ermission mar$eting
Coined and populari%ed by &eth 3odin, permission marketing is the opposite of
traditional interruption marketing. ,ermission marketing is about building an
ongoing relationship of increasing depth with customers. .n the words of &eth
3odin, 9turning strangers into friends, and friends into customers.9
De!inition permission mar$eting= =arketing centered around obtaining
customer consent to receive information from a company.
,ermission marketing has been hailed as a way for marketers to succeed in a
world increasingly cluttered with marketing messages.
1ie steps to dating yo#r c#stomer
A,ermission marketing is ;ust like dating. .t turns strangers into friends and
friends into lifetime customers. =any of the rules of dating apply X and so do
many of the benefits,B says &eth 3odin, author of ,ermission =arketing.
In his boo$' he o#tlines the !ollowing !ie steps to dating yo#r c#stomer=
1. O!!er the prospect an incentie to ol#nteer.
" first date represents a big investment in time, money and ego, so there had
better be reason enough to volunteer. The incentive you offer to the customer
can range from information, to entertainment, to a sweepstakes, to outright
payment for the prospects attention. 'ut the incentive must be overt, obvious
and clearly defined.
*. #sing the attention o!!ered by the prospect' o!!er a c#rric#l#m oer time'
teaching the c#stomer abo#t the prod#ct or serice.
The ,ermission =arketer knows that the first date is an opportunity to sell the
other person on a second date. $very step along the way has to be interesting,
useful and relevant. .nstead of filling messages with entertainment designed to
attract attention, focus on product benefits X specific ways this product will help
the prospect.
/. Rein!orce the incentie to g#arantee that the prospect maintains the
permission.
1ver time, any incentive wears out. Fust as your date may tire of even the finest
restaurant, the prospect may show fatigue with the same repeated incentive.
'ecause this is a two!way dialogue, the marketer can ad;ust the incentives and
fine!tune them for each prospect.
0. O!!er additional incenties to get een more permission !rom the
c#stomer.
The goal is to motivate the customer to give more and more permission over
time. 2or e4ample, permission to gather more data about the customers
personal life, hobbies or interests. ,ermission to offer a new category of product
for the customers consideration. ,ermission to provide a product sample.
7. oer time' leerage the permission to change c#stomer behaior toward
pro!its.
3et them to say A. do.B /ow you can live happily ever after by repeating the
process while selling your customer more and more products.
?ar$eting Campaigns
*pt+"n *pt+*$t:
<ow many times have you gone to a website and entered a contest.
downloaded a free book or white paper, or played a game:
1ften at the bottom of the form there are check bo4es that ask you whether you
would like to receive further information or an email update on the product. This
is opting!in. There is also an opt!out variation!the checkbo4 is already checked
and you have to uncheck it to opt out of the newsletter update or further
information.
When you get email from this company, you feel that it was fine to receive this
mail because you allowed it to arrive at your desktop. .t was solicited and
accepted. That#s what Aopt in, opt!outB is.
*pt+in e mar,eting has two !$n#tions:
D. .ntelligence
R. $ngagement.
Traditional banner ad click!through rates are K.T percent, and traditional
interruption mail is D percent to perhaps R percent at most. Click!through rates for
opt!out still constitutes the bulk of email, with opt!in email being only around EQ
percent of the total email volume as of RKK.The future of opt in email is very
bright , as long as the rules of engagement are clear to the potential recipient of
that email.
Two methods o! Internet adertising are=
-& E+mail: .t is most often te4t based, tagging along on a consumers incoming
messages. .t can include graphics. .t is generally ;ust a few sentences of te4t
embedded in another firms content. "dvertisers purchase space in the e!mail
sponsored by others (e.g. <otmail).
.& We/ site Ad0ertising
8sually includes multimedia content, utili%ing banners, buttons, interstitials, and
sponsorships on Web sites. Web sites advertising can be as small as a line of
te4t with an embedded hyperlink to the advertisers site.
a. Aanners and A#ttons
'anners and buttons occupy designed space for rent on Web pages. This is
similar to the print advertising model used by maga%ines and newspapers,
e4cept on the /et there are video and audio capabilities in that few s+uare
inches of space.
'uttons are s+uare or round and banners are rectangular.
b. 3ponsorship
&ponsorship integrates editorial content and advertising. =ost traditional media
clearly separate content from advertising. &ponsorships are blooming on the web
as banner clutter rises and as more firms build synergistic partnerships to provide
useful content. &ponsorships are particularly well suited for the Web because in
many ways the commercial side of the Web is simply a series of firms pursuing
similar targets.
c. Interstitials=
.nterstitials are ;ava!based ads that appear while the publishers content is
loading. They represent only small percentage of all Web advertising
e4penditure.
d. s#perstitials
The ne4t iteration of interstitials is called superstitials. These feature video like
ads timed to appear when a user moves her mouse from one part of a web site
to another. &uperstitials look like mini videos, using 2lash technology and ;ava to
make them entertaining and fast. "n important variation of interstitials is daughter
windows or pop!ups.
Writing !or Web
1. & simple message in plain +nglish sho#ld be the primary goal. The
e4ecution of that message is simply a Web coding interpretation that takes into
account the speed of downloading the message, the technical ability to view that
message and the degree of interactivity allowed by the prevailing technology.
*. .ermission mar$eting= 8nlike any other type of medium in which your
strategic use of words, graphics and media selection draw your target audience
towards your message, with the Web your audience gives you permission to
communicate your message. This permission marketing is a direct reflection of
the consumers growing ability to discriminate between advertised messages and
settle for their own choice of buying channel.
/. Aeca#se o! the international a#dience Web +nglish has to be precise' to
the point and initing= .t is thought that surfers take no mare than three clicks
per page to decide whether or not to stick with a site. .f your message is not
sufficiently compelling, they simply, click off.
0. Deeping s#r!ers hoo$ed=
=ake sure your words are given the space to breath. &urfers read Web pages
from a middle of the screen outwards. &o plan site accordingly. "s a surfers
attention span is short, every word should be hard working. 0inked together as
paragraphs, your messages form a bridge of arguments that defend your brand
positioning.
T. .t is essential that you keep your dotcom messages flowing. "void Uclosed
reading by featuring link phrases, which encourage the surfer to read further and
longer, like*
'ut!!!!!!
<owever!!!
&o!!!!!!
'ecause!!!!
Whats more!!!!
.n "ddition!!!!!
Dotcom words and phrases
Tremendous, <uge, =ega, celebrate,
=oney, <urry, 'usiness, &top, <ello, 0ove
,rofit, -evealed, 3uarantee, /ew, 8rgent
,lus, )oung, $4plode, -emarkable, Cash,
2resh, 2ree, 8nbelievable, &parkle
&ecrets, /etworking, $nterprise etc.
2ollowing dotcoms copy phrases are used as openers for emails, but they can
double up in dotcom sites.
Chapter: 6
Copywriting !or O#tdoor and Transit Commercials
1utdoor and transit advertising is primarily the graphic artists medium. ,eople
merely glance at the posters and billboards6 no one stops to read them carefully.
<ere, the copy has to be short as possible, mostly a catchy slogan capable of
conveying at least one ma;or idea. The copy must be simple6 direct and compact,
outdoor ads generally use symbols, which are easily recogni%ed, even from a
good distance.
)ou will undoubtedly be concerned with only five ma;or forms of outdoor
advertising*
D. R@!sheet posters (bill!boards)
R. E!sheet posters (seen on walls of stores)
E. ,ainted bulletins and painted walls
@. $lectric A spectacularsB.
T. Transit cards.
What is a .oster?
" poster is a visual communications tool.
"n effective poster will help you...
a. $ngage colleagues in conversation.
b. 3et your main point(s) across to as many people as possible.
The !ollowing are the essentials o! a good o#tdoor copy or poster=
3hort Copy=
)ou cannot afford to be wordy on a poster. <ardly T or M effective words and the
copy is over. .n no case it should e4ceed Q ! DK words.
)#man interest=
.t has got to be read in a ;iffy. &o a human!interest appeal like U'etter late than
/ever has a better chance to be understood. Fust "im and &hoot a poster of
<ot &hot camera with a pretty model immediately impresses the mind. $ven
children form a good sub;ect. <uman tragedies are also appealing.
3ingle Uni4#e Idea=
1ne single but most dominating idea makes a poster successful. U$k )a 5o 'us
is a good e4ample.
&oid 3#btlety=
=oving people have less time to think, poster writers should be, therefore, direct,
straight ward and down!to!the!earth.
-ogo and .ac$age=
Corporate identification marks should be kept prominently on the posters (e.g.,
Tiger of 3oodlass /erolac or 7angaroo of ,atel -oadways). .t Us a good
communication tool in transit medium and outdoor medium. Companys name
should be placed side by side the logo. 3ood logo enhances the name of the
company, e.g. penguin trademarks. ,ackage of the company can also be
prominently placed on a poster.
Eisibility=
,oster should have high visibility. Colour combinations are used to impress the
onlookers. ,osters have some special characteristics of outdoor aids. .t has
widespread popular appeal. These are the links between home and store and
complement the TV ads. 'y its very nature the medium is big and dominant. .t
has a long life. .t has wide coverage. .t is a fle4ible medium.
"nd, finally, let this be clearly understood that writing an ad is very different from
writing a latter, an editorial or an article for a maga%ine. "dvertising writing
re+uires more than an understanding of the techni+ues involved in it. .t re+uires
practice and openness to constructive criticism.
Chapter= @
Copywriting !or Direct ?ail2letters
Chapter B
Copy !or specialiLed areas
1. Corporate adertising
De!inition: .t means any form of advertising, which has as its ob;ective, the
building up of a companys reputation* "dvertising whose purpose is to promote
the image of a corporation rather than the sale of a product or service. "lso
called 9.mage "dvertising.9
The main aim is to build a positive image for the firm in the eyes in internal and
e4ternal public in institutional advertising. .t does not attempt to sell anything
directly. <owever, it does a lot of good to the organi%ation as a whole. .t forcefully
tells how the organisation is a socially responsible institution. .t also tells about
the nationalistic learnings of the organi%ation. .t shows how its actions are
consistent with overall national ob;ectives like environmental protection,
employment generation, literacy, loss prevention, health for all etc. .t is integrated
to public relations function of the organisation.
Corporate advertisements may be addressed either to consumers or other
groups like government, suppliers, financial institutions etc. $ffective Corporate
advertising evokes a positive response amongst the target group and creates
goodwill. Corporate advertising may introduce products indirectly or may
introduce the sales people indirectly. 3la4os advertising on child health may
make doctors favorably inclined to meet its medical representatives.
.nstitutional advertising like product advertising can be in formative, persuasive or
reminder!oriented.
Its obGecties are o! instit#tionalKcorporate adertising are=
D. To make the company known.
R. To make its products?services known.
E. To make its achievements known
@. To make its values known.
T. To make socio!political?economic?moral statements.
The dividing line, between corporate image and corporate reputation is very thin.
8ltimately, it is reduced to a system of honoring corporate commitments towards
various groups with whom the company deals directly? indirectly.
Corporate Image
.t means image or impression created in the public mind by the name or symbol
of a company or organi%ation. .t also referred to as corporate identity and having
much to do with the reputation of the concern.
"51' of 2orporate ;d+ertisin%
1. &docacy
2irm wants public to know where it stands on issue. 8sually, media refuse to
accept ,- message. <ence corporate purchase ad space to present their point
of view

*. 3pecial 3it#ation
e.g. "mir 7han TVC for Coca!cola after pesticide controversy
e.g., public TV programs sponsored by firm
.mprove image thro# choice of program
/. (eneral Image
0argest category of corporate advertising
$nhance basic image
/o specific target
To write an e!!ectie copy !or Corporate adertising the !ollowing are the
essential !actors=
D. The principal role of, corporate advertising is to contribute to the achievement
of corporate ob;ectives by delivering to targeted market participants, selected
messages and impressions which attempt to alter favorably or reinforce
knowledge, perceptions and?or attitudes about the corporation.
R. Corporate advertising informs and persuades product?service markets
concerning the product and au4iliary service benefits of the business offerings.
"ny enhancement of relationship values, which occurs as a result, is a bonus.
E. Corporate advertising also enhance and reinforce the corporations perceived
relationship values, although there may well be some enhancement of perceived
product or service values, as well.
*. 1inancial &dertising=
De!inition: 2inancial advertising refers to advertising in respect of financial
matters by firms, banks and financial institutions. 2inancial advertising is
undertaken in respect of issues of shares, debentures, bonds, deposit schemes,
etc.
The media used for financial advertising is normally newspapers and maga%ines.
&ome large organi%ations may use television and even outdoor media such as
large hoardings.
The media used for financial advertising is normally newspapers and maga%ines.
&ome large organi%ations may use television and even outdoor media such as
large hoardings.
3oing by creative and ad spends alone, the mutual funds or insurance are
emerging as among the biggest and most visible of financial products.
Role o! 1inancial &dertising*
D) $ducates the public
R) -eminder to investors
E) 'uilds goodwill
@) 5evelop &avings Culture
T) 3enerates $mployment
To write an e!!ectie copy !or 1inancial &ds the !ollowing are the essential
!actors=
D) The performance and future prospects of the company
R) The image of the company
E) The premium charged on the share price
@) The support of the broker
T) The truthful statements made in the ads.
M) The mandatory re+uirements
2inancial advertising has a very limited role to play because the product is not
like an 2=C3 or a consumer durable, and consumers are doubly cautious.
"dvertising has limited impact because the audience, 2inancial advertising are
trying to reach doesn#t really look at an ad to make a decision.
While advertising brings the brand into the consumer#s consideration set, the
business is really about distribution. The big hurdle is a general mental barrier
and a lack of concern for financial planning among the RT!ET year!olds. 'ut, with
the growing awareness of a need for alternatives to fi4ed deposits, and with
higher income levels, financial products will become more popular.
1inancial adertising !oc#s more on retail inestors. &ince government
regulation ensures that there is not much differentiation in products, it should
come through in the communication, thats why financial ads must look beyond
the family stereotypes.
2inancial "dvertising is still many stages away from brand building for specific
products.
.t is also important to pro;ect the company as caring and willing to do more for the
customer.
The biggest challenge is raising awareness, and thereby penetration, because
there is a general feeling that Y. don#t need insurance#.9 While advertising overall
will soon become more product!focused, it is e4pected to retain the casual,
caring tone. 2inancial "dvertising is the key differentiator in a multi!brand
environment, especially in an emerging industry where several players start off at
the same time.
9"dvertising which is credible, compelling and relatable will give the consumer
the confidence that Yhere is a company that could be trusted,# and help bring a
brand?company closer to the consumer and establish a long!term relationship.9
Top tips !or !inancial adertising=
D. )our advert should be serious and business like enough to ensure people
would trust you with their money* 'ut do not be too technical* remember some
investors will not know what #discretionary advice portfolio management# or
#managed funds# are.
R. When making an assertion such as #the smart investors choice# have
something to back this up. ,eople are not going to hand over their money to you
;ust because you say they ought to. )ou need proof* results of the previous years
investments, reviews from independent sources (such as the 2T, the $conomist
or Wall &treet Fournal), awards or even personal testimonials.
E. -emember to stay relevant. This may sound obvious but you#d be surprised
how many adverts use eye!catching but completely irrelevant illustrations, photos
and captions. While these may catch the reader#s attention the danger is that
they will remember the pretty picture rather than your company and its message.
@. 1ffer some kind of benefit. What makes you different and better than your
competition:
T. Try giving away some free advice. " lot of adverts are ultimately ;ust saying
#trust us with your money, we are the best# but why should people believe you:
)ou may be an established brand, but why not show your e4pertise through a
news style advert on the state of the economy or free advice.
This shows you believe in your e4perts6 that you do know what you are talking
about rather than ;ust asserting that you do. "lso since you have been generous
enough to give away this information, the reader may be more likely to give you a
call than the other firms who ;ust say #pick me, . am the best.#
M. 1ffer a uni+ue selling proposition. When it comes to almost any type of
financial product your customer is faced with a huge variety of different firms to
choose from.
J. "lways take care of the statutory and legal re+uirements.
/. Recr#itment adertisements
De!inition: -ecruitment advertising is all about advertising a vacancy. .ts
ob;ective is to save time, improve the +uality of applicants and reduce the cost of
selection process.
These ads can represent appro4imately TK per cent of the total selection process
cost in time and e4penses. .neffective ads lead to more un+ualified applicants
and a more costly and time!consuming resume!screening process. Thus .t is an
advertising which is designed to recruit staff of any kind. Consists mostly of
classified and semi!display advertisements.
1ro*lems with current Recruitment ad+ertisements
N =any ads are too long and therefore, too costly.
N =ost ads attract far too many applicants (especially, un+ualified but hopeful
ones).
N =any ads ask for credentials and?or years of e4perience which are often
considered to be barriers.
N &ome ads are too short, overly vague, and ambiguous or are missing essential
+ualifications.
N &ome ads are overly creative in style or wording (e.g., The ideal candidate will
have a passion for customer satisfaction, en;oy working with clients, has
initiative, e4cellent problem solving skills, is energetic, enthusiastic, highly
motivated and professional with single minded dedication to service e4cellence).
,oints to remember for writing effective recruitment advertisements
D) "void too many ad;ectives and adverbs.
R) .nclude the salary range.
E) "void include misleading ;ob titles.
@) &imple words without creating any confusion
T) 1nly give relevant information
M) 3ive emphasis on per+uisite +ualification
J) "void credentials or years of e4perience as it prevent talented people
without e4perience to apply
,erformance!based recruitment ads highlight the essential +ualifications of the
vacancy and the ,erformance Clause re+uires applicants to submit a customi%ed
application for that ;ob, itemi%ing how they meet each of the re+uired essential
+ualifications.
,otential applicants really appreciate the 9self!screening9 benefits of the
,erformance Clause. .t helps them to reali%e that they are un+ualified or
over+ualified for the position and probably shouldnt waste your time or their own.
0. Retail &dertising
De!inition: 1ffers goods or services for sale direct at an address or addresses
within a radius of QK kilometres (TK miles) of the town in which the main edition of
the publication is produced. -etail advertising encompasses all advertising by
stores that sell goods or services directly to the consuming public. -etail
advertising varies widely in it effectiveness.
1ne study showed that consumers often respond with suspicion to retail price
advertisements. &ource, message, and shopping e4perience seem to affect
consumer attitudes toward these advertisements.
The problem results from the retail store often treating advertising as a
secondary activity. $4cept for some retail giants, they rarely hire advertising
agencies. .nstead, store managers usually accept responsibility for advertising
along with other duties.
To correct this deficiency, management should assign one individual both the
responsibility and the authority to develop an effective retail!advertising program.
Retail &dertising ObGecties
Retail adertising includes all advertising by stores that sell goods or services
directly to the consuming public. -etail advertising varies widely in it
effectiveness. 1ne study showed that consumers often respond with suspicion to
retail price advertisements. &ource, message, and shopping e4perience seem to
affect consumer attitudes toward these advertisements.
-etail "dvertising 1b;ectives
7. International mar$ets2 -ang#age and campaign trans!er.
De!inition o! "nternational Ad0ertising* a product or service in a country other
than where it originates.
.. C1/&T-"./T& 1/ ./T$-/"T.1/"0 "5V$-T.&./3
". 0anguages*
a. There are many more languages than countries
b. Technical accuracy of perfect translations are not sufficient !!
c. ,ersuasive messages must speak the Alanguage of the heartB !! intimate
local knowledge is re+uired
'. -ole of "dvertising in &ociety
5ifferent role of advertising in each country
"dvertising is growing faster in many overseas markets
&pain, 7orea, Taiwan, Thailand up DTO per year
China advertising increased TKO per year in DSSKs
C.=edia "vailability
5. Two factors at work to keep advertising from being available overseas*
3overnment regulation ! may limit commercials
Communications infrastructure in other countries*
$. 3overnment Controls
,roblem for marketers everywhere !! government regulations
D. Tobacco, alcohol, drugs are special targets
R. &ome media not available or very limited
E. "dvertising messages have restrictions ! @K countries regulate the
languages that can be used
@. "d budget can draw government attention (too large)
"lso, ad budgets of drug firms
T. &ome countries restrict ownership of ad agencies
DJ countries allow only minority foreign ownership
.ndonesia, /igeria, ,akistan allow none at all
2. Competition
a. &ome markets ! international companies compete with each other
b. &ome markets ! international company competes against nationals
c. /ational company may increase or change budget because of
international companies advertising
2. "gency "vailability
a. &ome countries have only one international agency, some two
b. 2re+uently, two agencies are affiliates of large international agency
(&ervice may be better than numbers suggest)
c. 8.&. and 8.7. have over TKK international agencies each
d. Guality of service corresponds to economic development
0ocali%ed or &tandard (approach):
D. "rguments reflect self!interested evaluations of parties involved
R. =anagement of local subsidiary and the agency are defensive
about uni+ueness of the market and need for special approaches
E. &ub;ective factors influence other side of argument
@. .nternational agency ?ad manager favor international approach
T. .nternational manager has bias toward international approach
M. 5esire of top management to have Aone name, one image,
worldwideB
J. 0ocali%ed and standardi%ed refer to two e4tremes of international
advertising spectrum
Q. /either e4treme is usually practiced
/ote for writing copy for international market
D. <umorous e4amples ! corpse for body
R. $nglish language in campaigns should be of Tth!Mth grade levels
E. 8se no slang words
@. Copy should be short
T. Visual presentation minimi%es need for translation
6. .olitical adertising
De!inition:
D ,olitical advertising includes communications supporting or opposing a
candidate for nomination or election to either a public office or an office of a
political party (including county and precinct chairs).
R. ,olitical advertising includes communications supporting or opposing an
officeholder, a political party, or a measure (a ballot proposition).
This type of advertising is undertaken by political parties or candidates,
especially, during election times. Thus ,olitical advertisement is a paid
e4pression in any mass media. ,olitical advertising is a primary means through
which candidates, parties, and issue advocacy groups communicate to the
citi%enry.
'ecause political advertising, unlike product advertising, must get results in a
short period of time, political practitioners use several kinds of political
advertising*
(D) .mage
(R) .ssue
(E) "nd negative advertising.
"lthough there e4ists no rule in using political advertising, prior to the DSQKs
candidates usually used issue or image ads at the beginning of a campaign to
establish their positive image and then used negative ads at the end of the
campaign to attack the opponent.
<owever, those strategies were abandoned in the DSQKs. " significant trend in
today#s political advertising is the increasing use of negative political advertising.
.n today#s political campaign, candidates, either challengers or incumbents, use
negative ads from the beginning of a political campaign.
$ven when television is used to communicate political truth (at least from one
candidate#s perspective), the truth can be negatively packagedXattacking the
opponent#s character and record rather than supporting one#s own.
.f there is a single trend obvious to most "merican consultants, it is the
increasing proportion of negative political advertising.... "t least a third of all spot
commercials in recent campaigns have been negative, and in a minority of
campaigns half or more of the spots are negative in tone or substance.
'ecause most negative ads have been employed to attack the opponent#s image
or issues, people may e4pect negative political ads to have standard formats and
intense messages.
.mportant points to remember while writing political advertising copy
3arramone et. al. asserted that negative ads are very effective when
differentiating or discriminating candidates# images, and they pointed out that*
D. 'y providing concrete substantive information, a negative political ad may
allow voters to distinguish candidate +ualities, positions, and performance more
readily than would other types of political information that provide less e4plicit
information.

R. The copy focus on the past, present and potential achievements of the
concerned party or candidates. Copy also tries to e4posed defects or
weaknesses of the opposition so as to convince the voters to vote for their party
or candidates.
Where 5oes .t "ppear:
D. ,olitical advertising includes communications that appear in pamphlets,
circulars, fliers, billboards or other signs, bumper stickers, or similar forms of
written communication.
R. ,olitical advertising includes communications that are published in
newspapers, maga%ines, or other periodicals in return for consideration.
E. ,olitical advertising includes communications that are broadcast by radio or
television in return for consideration.
@. ,olitical advertising includes communications that appear on an .nternet
website.
,olitical advertising in .ndia
8se of a professional agency for a political campaign in .ndia dates back to the
DSQKs when -a;iv 3andhi used one. <owever, it seems only now that political
parties are beginning to see the value of scientific planning and marketing
techni+ues as they go into elections.
$ven the Congress has classified its constituencies based on sure wins, doubtful
and lost !! and are supposedly focusing efforts accordingly. " far cry from the
otherwise intuitive strategies adopted by the local leaders to rouse local emotions
and garner votes.
The first EK years of elections were driven by one wave !! the euphoria of
.ndependence and the Congress# heritage of being involved in the struggle
against the 'ritish. "nd so poll after poll, the Congress came to power.
.n the last state elections, the 'F, supposedly did a constituency!by!constituency
analysis and applied locali%ed strategies for each market !! depending on the
issues in each market. The result* 'F, swept the polls in three of the four states.
"nd thus reaped the benefits of micro marketing.
>. A*A &dertising
De!inition: + "n area of advertising for products, services, resources, materials,
and supplies purchased and used by businesses.
This area includes* (D) industrial advertising, which involves goods, services,
resources, and supplies used in the production of other goods and services6 (R)
trade advertising, which is directed to wholesalers and retailers who buy the
advertised product for resale to consumers6 (E) professional advertising, which is
directed to members of various professions who might use or recommend the
advertised product6 and, (@) agricultural advertising, which is directed to farmers
as business customers of various products and services.
'R' is traditionally focused on relationships. That means less emphasis on
generating transactions and more on providing customers with a consistent
stream of information and service.
'usiness now conforming to consumer trend. .n the same way that groups of
consumers became defined by their attitudes and values rather than by gender
or geography, business buyers are now being viewed as humans with
predispositions, likes and dislikes, rather than as dispassionate decision makers.
'asing 'R' appeals on facts and logic is no longer considered the only way to
market. 3aining attention and market share through emotional appeals to
business buyers is now emphasi%e.
2or e4ample, "TVT advertised its services to businesses through emotion!
packed scenarios where managers desperately rue their decisions to switch
phone companies.
This approach appeals to those who value reliability, a rational way to be, but it
does so by striking fear in their hearts.
What type is your target: 8nderstanding the psychographics or logic system of
your particular business target, whether chemists, doctors or data systems
managers, may be e4pedited by convening several focus groups of typical
prospects.
$ven a limited amount of feedback can cast a shimmering light on how to mold
creative strategy. "lso, some research is available relating ;ob functions to
personality types. 1ne study disclosed that analytical types will predominate
among chemical managers, and that type responds best to logic, not emotion.
This e4ample forewarns that it is sometimes best to aim for the head, not the
heart.
1actors to $eep in mind while writing copy !or A*A &dertisement=
D. Consumer online advertising works because they are on their own time and
are more willing to be diverted to different types of activities. The goal of
advertising should be to make that ;ob easier. "n advertiser that properly targets
the message will be successful. ,eople are receptive to appropriate marketing
messages at work. With 'RC, the advertisers are after instant transactions. .n
'R', customers don#t usually click and purchase.
R. 'ecause 'R' advertisers are not necessarily looking for an instant purchase,
they must look at a longer time line to determine the effectiveness of their
approach. That is why click!through rates are not particularly effective in
measuring 'R' ad effectiveness.
E. /ot only is the 'R' purchasing cycle longer, but also there is usually more
than one person making the decision. The ad viewer might pass the information
along to someone else or save the information for future reference.9
@. 0ately, however, other aspects of 'RC advertising > such as positioning and
brand awareness > are being increasingly emphasi%ed also in 'R' advertising.

Creating 'R' "dvertising Creating 'R' "dvertising
@. -OC&- &DE+RTI3IN(
De!inition: + advertising by businesses within a city or directed toward customers
within the same geographic area. 0ocal advertising is sometimes called 9retail
advertising9 because so much is placed by retail stores, although not all retail
advertising is for local stores (&ears and Target). 0ocal advertising is critically
important because most consumer sales are made ! or lost ! locally.
a& )ypes o! lo#al ad0ertisers + there are !o$r main types:
D. 5ealers or local franchises of regional or national companies.
R. &tores that sell a variety of branded merchandise.
E. &pecialty businesses and services.
@. 3overnmental, +uasi!governmental, and nonprofit organi%ations.
b. Types o! local adertising
D) .rod#ct adertising 2 promotes a specific product or service.
.. Re%ular price!line advertising ! informs consumers about
services or merchandise offered at regular prices.
... 'ales ad+ertisin% ! placing items on sale, offering specials,
or reducing prices.
.... 2learance ad+ertisin% ! a special form of sales advertising
used to make room for new items, getting rid of old or slow!
moving items.
*. Instit#tional adertising ! attempts to create a favorable
long!term perception of the business as a whole, not ;ust
a particular product or service.
/. Classi!ied adertising ! te4t ads listed under
classification headers.
c. 0ocal advertisers have been using integrated marketing communications (.=C)
for centuries combining personal selling with media advertising, direct marketing,
sales promotion, and public relations.
d. Creating local adertising
D. =any local advertisers succeed using a 9schlock9 approach
R. 2inding big ideas for local advertising can be e4tremely difficult. &ome
local advertisers look to the merchandise for ideas. "n important goal is to
develop and consistently present a distinctive look.
E. Cooperatie Hco2opF &dertising is ready!made advertising, cooperative
programs, or merchandising support provided by wholesalers,
manufacturers, and trade associations to local dealers.
i. Vertical cooperative advertising !
manufacturer provides the complete ad
and shares the cost of the advertising
time or space with the local company.
ii. <ori%ontal cooperative advertising !
firms in the same business or in the
same part of town advertise ;ointly.
<ow /ational and 0ocal "dvertisers 5iffer
The basic principles remain the same for both national and
local advertisers, but local advertisers have special
challenges stemming from the day!to!day realities of running
a small business. <ence, national and local advertisers differ
in*
a& 1o#$s
1. National adertisers
a. focus on building brands (ads focus on
competitive features).
b. Compete with only a few others for large
market shares
c. ,lan strategically to launch, build, and
sustain brands
d. =arketing e4ecutive rarely see
customers, they think in terms of large
groups (segments, niches, target
markets) and design ads to speak to
these markets, getting feedback via
customer complaint lines, etc.
*. -ocal merchants
a. Carry hundreds of different brands, so
the focus is on attracting customers to a
particular point ! their place of business.
b. Compete with many companies for
individual customers and sales volume.
c. ,lan short!term tactics, rather than
strategy (&tay open 0abor 5ay: 'uy a
new sign:)
d. 0ocal advertisers see their customers
and interact with them in nonbusiness
ways getting feedback every day.
b. Time orientation
D. /ational advertisers think long!term (five!year
plans, etc.)
R. 0ocal advertisers are week!to!week planners.
E.
c. Reso#rces
D. /ational advertisers have big budgets and
large manpower.
R. 0ocal advertisers have small budgets and
small manpower.
The media used is normally the newspapers, cable network, neon signs, posters,
billboards and even local cinema and local television networks. 0ocal advertising
builds name and goodwill of the local brands and brings in more sales from the
local buyers.
'esides retailers, large firms may also go in for local advertising usually at the
time of market! testing of a product. This happens especially in case of a soft
launch consumer product in selected area before embarking promotional
campaign at a national level.
"lso many a times, some firms may first locali%e their marketing efforts and once
success has been achieved, they spread out to wider hori%ons. " classic
e4ample could be U5ainik 'haskar, which was initially advertised and sold only in
=adhya ,radesh and later entered other states such as -a;asthan, 8ttar
,radesh and <aryana.
2actors to 3e kept in +ind to write copy !or local ad$ertise+ent:
D. The copy emphasi%e on price, availability and location.
R. The aim of the copy is not only to promote a particular brand but to
inform the consumers about where to get the merchandise, the
stock or variety available, prices and new offers.

B. Image &dertising
De!inition= ,romoting the image, or general perception, of a product or service,
rather than promoting its functional attributes. Commonly used for differentiating
brands of parity products. .t is a long!term investment in building awareness,
credibility and trust with prospects ! current and future.
.t is important to distinguish between corporate advertisement, and image
advertisement. Corporate identity is concerned with the visual aspects of a
company#s presence. When companies undertake corporate identity e4ercises,
they are usually moderni%ing their visual image in terms of logo, design, and
collaterals. &uch efforts do not normally entail a change in brand values so that
the heart of the brand remains the same ! what it stands for, or its personality.
'ut changes to logos, signage, and even outlet design do not always change
consumer perceptions of +uality, service, and the intangible associations that
come to the fore when the brand name is seen or heard.
The best that such changes can do is to reassure consumers that the company is
concerned about how it looks. 'rands do have to maintain a modern look, and
the visual identity needs to change over time. 'ut the key to successfully
effecting a new look is evolution, not revolution.
Totally changing the brand visuals can give rise to consumer concerns about
changes of ownership, or possible changes in brand values, or even un;ustified
e4travagance. .f there is a strong brand personality to which consumers are
attracted, then substantial changes may destroy emotional attachments to the
brand. ,eople do not e4pect or like wild swings in the personality behavior of
other people, and they are ;ust as concerned when the brands to which they
have grown used e4hibit similar 9schi%ophrenic9 changes.
Arand identity is the total proposition that a company makes to consumers ! the
promise it makes. .t may consist of features and attributes, benefits,
performance, +uality, service support, and the values that the brand possesses.
The brand can be viewed as a product, a personality, a set of values, and a
position it occupies in people#s minds. 'rand identity is everything the company
wants the brand to be seen as.
Arand image, on the other hand, is the totality of consumer perceptions about
the brand, or how they see it, which may not coincide with the brand identity.
Companies have to work hard on the consumer e4perience to make sure that
what customers see and think is what they want them to.
The ob;ective of .mage advertisement is to close the gap between 'rand identity
and 'rand .mage.
1actors to $eep in mind while writing copy !or Image &dertisement
The heart of Image &dertisement is that the advertised message
a. .s true,
b. .s clearly directed to the public,
c. -uns over and over.
d. 'e Consistent* The tone and look of your image advertising and
your product advertising should be consistent. ,rospects using both
will recogni%e, and be uncomfortable with, an attempt to send
different or conflicting messages.
e. 8se of the same logo, call to action and contact information in all of
your advertising is one way to form a common link. "nd if you
develop a slogan or tag line that reflects your image, make it a part
of every ad you create ! it will help bring you more leads in the long
term.
"pple e4presses liberty regained6 ,epsi, youthfulness6 1il of 1lay, timeless
beauty6 &aturn, the "merican competitive spirit6 and "TVT, the promises of the
future. ,eople have a need for a specific product or service (i.e., carpet cleaning,
pest control, ;ewelry, bank service) at different times and when they need that
product or service, you want them to think of you first.
"nother effective techni+ue is the third!party testimonial. " complimentary letter
from a satisfied client, a +uote from a seller with a compelling story, a photo with
a buyer#s family in front of their new home L any of these can be developed into
an effective image ad.
"fter getting written permission from the client to use their story and their name,
build this 9instant reference9 into your advertising.
=ost readers en;oy newspaper classified advertising because the ads reflect
9people ;ust like me.9 &o a testimonial from a client gives you immediate
credibility, and rapport, with your prospects.
$ffective image advertising answers three +uestions for the prospective buyer or
seller*
D. Who you are.
R. What you do.
E. Why you are the professional of choice in your niche.
.mage ads can run in TV?-adio, newspapers, maga%ines or billboards
1C. 1ashion and li!estyle adertising=
De!inition= 2ashion and lifestyle advertising, primary goal is to create a mood or
lifestyle that consumers will want to emulate.
Target audience is attracted to fun, caring relationships6 relationships that make
them want to e4perience what the advertising depicts. 2ashion advertisements
carry badges that are easy to identify, relate to or be inspired by. $ach new
season#s fashion advertising created a bu%% and consumers wore, as a social
statement as much as a fashion statement.
The .ndian consumer has never been more willing to e4periment with products
with the element of contemporary design than he?she is now. Guality and
contemporary design have emerged as the new value drivers for consumers
today.
2uture trends, therefore, indicate that value e+uations will incorporate aesthetic
considerations alongside economic and functional considerations.
.n the pre!DSQKs, price was the predominant purchase determinant6 some years
later, +uality coupled with price assumed importance. The DSSKs witnessed an
assortment of +uality, range and price calling the shots. Today, some EK million
.ndian consumers determine their purchase decisions across diverse categories
based on contemporary design coupled with +uality.
/e4t, the demographics is Yama%ingly# in favour of fashion. .ndia will have the
largest numbers of population in the RK!@@ year age group within the ne4t few
years ! with the willingness and ability to pay. &uch a breakdown doesn#t e4ist
even in a market as huge as China.
.ndia is rich not only in its cultural and diverse heritage, but also in its preferences
for colours, foods, interaction, as well as the traditional retailing formats. There is
a lot to learn from this and apply to the products made today, and also into our
retail formats.
2actors to keep in +ind w0ile writin copy !or 2as0ion and li!estyle ad$ertisin
D. 2ashion is personal and individualistic. Therefore, copy need to guide
customers to a place or product where he or she feels delighted ! using
that service or product should make one feel fashionable.
R. =ore and more .ndians now want to dress differently and brands and
retailers had a difficult time trying to meet the varied tastes and
preferences of consumers.
E. $thnicity seemed to be the flavour of the season ! something copywriters
needed to capitali%e on. There are enough fashion products available in
.ndia6 retailers only need to place them in such a way that they look
fashionable to customers.9
.ndian retailers and fashion brands need to provide +uality, as this was the only
way we could compete with products from countries such as China. .ndustry
e4perts unanimously agreed that fashion brands ought to work harder in creating
fashion tastes along desired channels ! that brands must try to reach out to
customers beyond the affluent sections.
11. Trade &dertising=
De!inition: .t is undertaken by manufacturers of consumer goods as well as
industrial goods. .t is undertaken to influence the dealers to stock and promote
the advertisers goods. Through trade advertising, the advertisers e4pect the
response Astock and promote the sale of my products.B
"dvertising falls into two main categories* consumer advertising, directed to the
ultimate purchaser, and trade (or business!to!business) advertising, in which the
appeal is made to business users through trade ;ournals and other media.
Trade ads are meant to sell, not increase brand awareness. &o the content and
design of the typical trade ad is geared to providing as much information about a
product or service as possible. The result is that trade ads tend to be copy
intensive, listing all the product features, benefits, and reasons to buy that can be
crammed into the ad.
Trade ads also make liberal use of bullets, underlines, sub!headlines, etc., ;ust to
make sure the reader doesn#t miss anything, and to make everything look
important. "ll of this makes for pretty tough sledding for the reader (if they make
the effort to read). 'ut it doesn#t have to be that way.
2actors to keep in +ind w0ile writin copy !or 2as0ion and li!estyle ad$ertisin
Trade ads can dramatically increase their readership, and the return on their
cost, if you keep these three things in mind*
1. Don9t oerloo$ yo#r brand
Trade ads are far more inviting and engaging for the reader when they
incorporate a company#s uni+ue brand identity ! logo, tagline, color scheme, etc.
Trade advertising should be recogni%ed as an opportunity to sell and reinforce
brand identity at the same time.
-eaders are much more easily drawn to advertising that communicates a uni+ue
brand personality. &o incorporate a sense of brand in your trade advertising and
see for yourself how your ad almost magically stands out in the clutter of other
ads. "nd watch your readership and response increase.
*. Write !or the reader
<ave you ever noticed the tendency of trade ads to talk about the company,
instead of the customer: =ake sure your ad is focused on customer needs, not
company credentials. -emember the old sales adage 9if there#s nothing in it for
me (the customer), then there#s nothing in it for you (the seller)9 when you craft
your copy.
/. Create 84#ic$8 ads
=ake sure your ad is created to be 9+uick.9 Guick to be noticed, +uick to scan or
read and, most important, +uick to connect with the reader#s needs with your
product or service. Whatever you#re trying to sell, the reader has got to 9get it9
+uickly or he likely won#t get it at all.
0ayout is critical to being +uick. 7eep your ad layout simple, clean and easy to
look at, even when a lot of copy is involved. 0arge copy blocks are killers that
discourage readership. &o break it up into easily digestible bits.
Trade advertising and good creative work can, and should, peacefully co!e4ist.
When they do, the dollars you invest in trade ads will yield bigger returns in
readership and profits.
The media used includes trade ;ournals, industrial maga%ines, and direct mail.
1*. ?ail Order &dertising=
?ail Order
.t is a distribution channel. Consumer buy direct by post either in response to an
advertisement or from a sales promotional catalogue. 5eliveries are made
through the mail, by carrier direct from warehouse or factory, or sometimes
through a local agent.
De!inition: =ail order advertising means the ads you place in all the publications
catering to your potential customers. .t also includes the sales letters and?or
circulars you send out via direct mail or as follow!up materials with your orders.
"nd, it also encompasses any radio?television as well as word of mouth or free
publicity blurbs you might get.
.n today#s marketplace, most customers can easily access any number of retail
stores, but they don#t have the time. .nstead of spending their precious free time
at the mall, they can pore through the pages of mail order catalogs that offer ;ust
about everything they can imagine.

1actors to $eep in mind while writing copy !or ?ail order adertising=
D. =ail order advertising is always set in small type. .t is usually set in smaller
type than ordinary print. That economy of space is universal.
(R) $very line is utili%ed. 'orders are rarely used.
(E) .n mail order advertising there is no boasting, save of super!service. There is
no useless talk. There is no attempt at entertainment. There is nothing to amuse.
=ail order advertising usually contains a coupon. That is there to cut out as a
reminder of something the reader has decided to do.
(@) =ail order advertisers know that readers forget. They are reading a maga%ine
of interest. They may be absorbed in a story. " large percentage of people who
read an ad and decide to act will forget that decision in five minutes. The mail
order advertisers that waste by tests, and he does not propose to accept it. &o he
inserts that reminder to be cut out, and it turns when the reader is ready to act.
(T) .n mail order advertising the pictures are always to the point. They are
salesmen in themselves. They earn space they occupy.
(M) The si%e is gauged by their importance. The picture of a dress one is trying to
sell may occupy much space. 0ess important things get smaller spaces. ,ictures
in ordinary advertising may teach little. They probably result in whims.
'ut pictures in mail order advertising may form half the cost of selling. "nd you
may be sure that everything about them has been decided by many comparative
tests. 'efore you use useless pictures, merely to decorate or interest, look over
some mail order ads. =ark what their verdict is.
(J) =ail order advertising tells a complete story if the purpose is to make an
immediate sale. )ou see no limitations there are on amount of copy. The motto
there is, 9The more you tell the more you sell.9 "nd it has never failed to prove
out so in any test we know.
(Q)&ometimes the advertiser uses small ads, sometimes!large ads. /one are to
small to tell a reasonable story. 'ut an ad twice larger brings twice the returns.
" four times larger ad brings four times the returns, and usually some in addition.
'ut this occurs only when the larger space is utili%ed as well as the small space.
&et half!page copy in a page space and you double the cost in returns. We have
seen many a test prove that.
1/. .R &dertising
De!inition: ,ublic -elations "dvertising represents the management and
communicates the policies, problems and performances to the public. .t should
therefore be ob;ective. ,ublic -elations "dvertising is effective when the
organisation practices what it preaches because ,- means SK p.c. doing and DK
p.c. talking about it.
.t generally precedes the share issues these days to create a favorable climate
for investing public. "nnual -eports of the companies and the chairmans speech
have also the potential of being good public -elations "dvertising provided they
are e4cellently drafted.
,ublic -elations "dvertising addressed to customers is about the price revisions
for whatever reasons customer educations ads, notice about change in
address?phone numbers grievance redressal mechanism etc.
.t is the must at the time of crisis like a fire in a factory, ma;or accident or disaster.
.t then becomes an effective damage!containing device.
.t may be appreciated that many areas of institutional and ,- "dvertising
overlap. .nstitutional "dvertising definitely has a ,- content but is more indirect
and philosophic. ,- "dvertising on the other hand can be down!to4eart05 and is a
communication with any of the public with which the organisation interacts.
,ublic relations advertising directs a controlled public relations message at an
important public. When companies sponsor art events, programs on public
television, or charitable activities, they fre+uently place public relations ads in
other media to promote the programs and their sponsorship, enhance their
community citi%enship, and create public goodwill.
De!inition.: ,ublic relation advertising is undertaken to build, enhance and
maintain a good corporate image of the company in the eyes and minds of the
general public. .t deals with issues rather than advertising of products or
services.
,ublic relations advertising can be undertaken not only by corporate firms but
also by anyone such as government, individuals, social groups, trade groups of
employees, etc.
Types o! .R &dertising
There are four main types*
1. Instit#tional &dertising= .t is also known as corporate image advertising. .t
is undertaken to build, maintain and improve good image of the firm in the minds
of general public.
The emphasis in the ads is placed on the company rather than it products or
services.
The copy of the institutional advertising normally referred is*
D. -esearch V 5evelopment of the firm
R. /umber of factories or branches of the firm
E. The number of employees and facilities provided to them
@. 2oreign collaborations, if any.
T. 5istribution network of the firm
M. =arket position of the firm
J. ,roducts or services offered by the firm.
Q. &ocial welfare programmes undertaken by the firm etc.
.& Ad0o#a#y Ad0ertising: .nstitutional advertising when presented in an
aggressive manner is called as advocacy advertising. The company can
advocate its arguments on several issues ranging from government policies to
employees issues like strikes.
The copies for such types of "ds are usually argumentative and controversial in
nature.
2& 3$/li# ser0i#e ad0ertising
,ublic service advertising is an effective way to increase awareness of urgent
crime!related issues facing a community!!including drug abuse, gang violence,
and hate crimes!!and to build consensus around possible solutions.
" company is often referred to as corporate citi%ens. "s a citi%en, a company
may contribute to the service of the public through public service advertising.
,&" dears with the social and cultural issues. &uch issues are dealt with the
intention of improving public welfare. $4amples of such advertising include
campaigns such as 6
a. "nti!drugs campaign
b. "nti!smoking campaign
c. "nti!noise or dirt pollution campaign.
d. 2amily planning or family welfare campaigns.
e. Concern for the girl child campaign
f. "nti!dowry and anti!child marriages campaign, etc.
/ormally large firms or social organi%ations like 0ion club, and government
bodies undertakes such public service advertising. The media of advertising
includes newspapers, maga%ines and even radio and television.
4* Political &d$ertisin: %sa+e i$en in part 6'
14* 6o$ern+ent &d$ertisin:
De!inition: "dvertising is one of many tools the 3overnments use to
communicate with the public. .t is an important element in helping the
government fulfill its duty to inform its citi%ens, in the official language of their
choice, of government policies, programs, services or initiatives, or of dangers or
risks to public health, safety or the environment.
.n order to ensure the effectiveness and efficiency of its advertising programs, the
3overnment evaluates its ma;or campaigns. 2or reporting purposes, the
evaluation of government advertising is part of public opinion research activities
and includes advertising pre!testing and post!campaign research, including recall
surveys that measure the effectiveness of a campaign in reaching its target
audience and desired ob;ectives.
.n order to ensure the effectiveness and efficiency of its advertising programs, the
3overnment evaluates its ma;or campaigns. 1ne of the most commonly heard
criticisms of advertising by government is that the advertisements are publicly
funded party propaganda.
1ne of the often!cited defenses for advertising by government is the rationale
that it is merely responding to re+uests. 3overnment advertising seek to
ascertain not only what packaging would best be suitable, but also what kinds of
information, if any, are needed.
The point is that any unsolicited information, which does not respond to a need
for it, will meet with negative reaction on the part of the public. ... .n other words,
if general publics are not aware of programs, they do not re+uire information and
the demand for it is non!e4istent. This raises the +uestion as to whether or not
government can generate the demand for consumption of packaged information.
De!inition .: "n advertising by which the government engages the public on
issues of importance and modifies its policies based on that response.
.nformation from government about its policies is necessary for citi%ens to make
rational choices.
15. Agricultural advertising
Definition: "gricultural advertising, which is directed to farmers as business
customers of various products and services. .t promotes products used in
farming and agribusiness.
There are two ma;or types of agricultural advertising6
a. "gricultural inputs
b. "gricultural produce
1actors to $eep in mind while writing copy !or &gric#lt#ral adertising
D. &mall and scattered production* "s the small farmers production is very small,
he cannot influence the market supply or the price of his produce.
R. &easonal* during harvesting season, the prices of the commodities come down
in the market
E.'ulky and perishable product* 5ue to the bulkiness of the farm products,
transportation and storage become difficult and e4pensive. This demand greater
care in storage and transportation.
@. Variation in +uality and Guantity* The production depends upon the
environmental factors like rainfall and pest incidence and agricultural methods.
Therefore the products vary in +uality and +uantity.
T. 5emand* The products are essential commodities. <ence, price changes do
not bring great changes in demand. 5uring season, the supplies are high and
prices fall.
M.8norganised =arket* The markets are unorgani%ed, unregulated and sub;ect to
manipulation by middlemen. .t has been observed that the farmer gets only @K to
MKO of the price paid by the consumer with the balance shared by various
intermediaries.
J. ,roduction oriented "ctivity* The farmer is concerned only with production and
he does not have sufficient finance, knowledge and e4pertise for marketing of the
produce. <e has no voice in fi4ing the ultimate price for the consumer.
1;. R#ral &dertising
De!inition: -ural .ndia represents the heart of .ndia. "ppro4imately QKO of .ndia
lives in over half a million villages (MRJ,KKK), generating more than half of the
national income. -ural advertising challenge is to reach this magnitude of the
rural masses where scores of official languages and a few hundred rural dialects
are spoken.
.t should be acknowledged that different media mi4 is needed to convey
messages to rural consumers. There is a need to understand what appeals to
urban customers may not be appropriate for their rural counterparts owing to
their different lifestyle. The entire communication and also the vehicles for the
communicated message thus have to be different. .t has been noticed that
below!the!line communication like alternative and innovative ways of
communication played a key role in building reassurance and trust, and so it is
vital.
.n addition to rural market discourse, media forms such as wall paintings,
calendar advertising, outdoor advertising, print, radio and television advertising.
Eario#s !actors to be $ept in mind !or writing copy !or rural masses=
D. .f the .ndian advertising industry is to tap rural .ndia, it has to be firmly
grounded in rural perception, values and traditions.
R. .t has to draw itself in local colours and modes of communication to make
it relevant to the rural masses.
E. .t has to gain the trust of the masses by undercutting e4isting dependency
on conventional advertisement on one hand and deceptive and
manipulative claims on the other. This should be done with different
innovative strategies that should be carried out within the framework of @!
- s, that is,
Z -elevance
Z -eliability
Z -each
Z -eincarnate innovation
"ny media vehicle or advertisement in rural .ndia will be successful in terms of
influencing people only if those advertisements are able to ensure all of the @!-s.
/ow, for different categories of product, the weights of different -s should be
different, i.e., say, for some category, -elevance may have more impact than
-eliability or -eincarnating innovation. <owever, in some other case, it will be the
other way round. This effect will be seen more in rural areas due to lack of
information and clarity of the source of the information.
0. Aroad strategies o! r#ral adertising
The prevalent ways of advertising in rural areas through different e4isting media
and all t0e alternative and innovative media broadly revolve around three
strategies, namely,
D. .nfluencer strategy
R. ,articipatory strategy
E. &how!and!tell strategy
In!l#encer strategy=
The role of the influencer or influencing communication cannot be ignored as far
as rural .ndia is concerned. The advertisements that revolve around this very
strategy actually depend on the influence of different influential people and?or
events in the villages to put across the message powerfully with more effect and
purchase intention. "n e4ample of this kind of advertisement may be brand
endorsement by any influential person in the village like the U=ukhiya or the
Uschool master.
.articipatory strategy=
$vents like different festivals and different games and sports competitions
actually have a high participation level in the rural .ndia as other sources of
entertainment are very less in those areas. &o, these events and shows offer
great opportunity to reach rural .ndia cost effectively. 5ifferent brands sponsor
different events and shows in rural villages which is actually a cost!effective way
to advertise with the participatory strategy.
3how2n2tell strategy=
=any brands are venturing into different ways to educate their rural consumers
about their brands and their usage through different shows and events. This kind
of initiatives actually creates huge awareness about the brand among the
interested people in the rural .ndia. 5ifferent health related advertisements like
,olio awareness and ".5& awareness programmes involve a Ushow!n!tell
strategy of advertising.
I2Impact model hypothesis
This model will take into account the different strategies discussed above and it
will work by assigning different weights to different factors of the media, which
actually affects the purchase decision and purchase intention.
1>. 1ood and beerages
De!inition: "dvertisers using many methods to try and get target segment to
buy their food and beverages products. =anufacturers create ;ingles, or catchy
sayings, to encourage customers to think of their products.
7arious style o! copywritin !or 2ood and 3e$eraes ad$ertisin:
1* 8denti!y t0e !ood product t0at is connected to*
9'etcha can#t eat ;ust one.....9 (2rito 0ay)
*. Create characters that are associated with their prod#ct or brand. 2or
e.g. favorite 9food9 characters, such as Tony The Tiger, The <oney Comb 7id,
The /estle Guick 'unny.
/. 1amily 1#n 2 a product is shown as something that brings families together, or
helps them have fun together6 all it takes is for mum or dad to bring home the
9right9 food, and a ho!hum dinner turns into a family party.
0. +,citement 2 who could ever have imagined that food could be so much fun:
1ne bite of a snack food and you#re surfing in California, or soaring on your
skateboard(
7. 3tar .ower ! your favorite sports star or celebrity is telling you that their
product is the best( 7ids listen, not reali%ing that the star is being paid to promote
the product.
;. Aandwagon ! ;oin the crowd( 5on#t be left out( $veryone is buying the latest
snack food* aren#t you:
>. 3cale ! is when advertisers make a product look bigger or smaller than it
actually is.
@. .#t Downs ! are when you put down your competition#s product to make your
own product seem better.
B. 1acts and 1ig#res ! are when you use facts and statistics to enhance your
product#s credibility.
1C. Repetition 2 advertisers hope that if you see a product, or hear it#s name over
and over again, you will be more likely to buy it. &ometimes the same
commercial will be repeated over and over again.
Important aspect o! 1ood and beerages adertising=
2ood and 5rug "dministration (25") regulates food advertising under its
statutory authority to prohibit deceptive acts or practices under various &ection of
the 25" "ct.
"s set out in various section the 25" will find an advertisement deceptive under
&ection and, therefore, unlawful, if it contains a representation or omission of fact
that is likely to mislead consumers acting reasonably under the circumstances,
and that representation or omission is material.
The 1ood and Dr#g &dministration (1D&) has authority over the labeling,
packaging, and branding of packaged foods and therapeutic devices. The 25"
strives to provide perfect information# ensuring that products are labeled truthfully
with the information people need to use them properly.
1@. D#rables adertising=
.n economics, a d#rable good or a hard good is a good which does not +uickly
wear out, or more specifically, it yields services or utility over time rather than
being completely used up when used once. =ost goods are therefore durable
goods to a certain degree. ,erfectly durable goods never wear out.
$4amples of durable goods include cars, appliances, business e+uipment,
electronic e+uipment, home furnishings and fi4tures, houseware and
accessories, photographic e+uipment, recreational goods, sporting goods, toys
and games.
3one are the days when consumers had a limited choice when it came to
purchasing Consumer 5urables. /ow, with the bulging list of new entrants in the
category, consumers have a wider range to choose from. The obvious outcome is
that the consume durables players have had to pump up their advertising
initiatives.
Eario#s !actors to be $ept in mind !or writing copy !or rural masses=
1. =a;or consumer durable sales pick up during the festive season across all
segments. Consumer durables sales increase by about RT!EK per cent
during the festive season.
*. There is the relationship between price and +uality
/. 8se verbal and nonverbal elements str#ct#red and composed to fill
predetermined space and time formats
0. .s a nonpersonal comm#nication of information because advertising is
directed to groups of people instead of individuals
7. .s usually designed to win converts through pers#asion
1B. .ersonal prod#cts=
.ersonal prod#cts are products that have a +uick turnover, and relatively low
cost. Consumers generally put less thought into the purchase of 2=C3 than
other products. The absolute profit made on a 2=C3 product is less6 however
they are generally sold in high numbers. <ence profit in 2=C3 goods generally
scales with the number of goods sold, rather than the profit made per item.
The classification generally includes a wide range of fre+uently purchased
consumer products including* toiletries, soaps, cosmetics, teeth cleaning
products, shaving products, detergents, and other non!durables such as
glassware, bulbs, batteries, paper products and plastic goods. The category may
include pharmaceuticals, consumer electronics and packaged food products and
drinks, although these are often categori%ed separately.
Note !or writing e!!ectie copy !or personal prod#cts
D. .n some categories, such as toilet soaps, there has been little creativity and
innovation, and instead a misplaced insistence on Ybribing# the consumers with
freebies. .n such cases, the consumer have reali%ed that the 8&, is ;ust a better
effective price X an effective loss of pricing power through a move away from
branding into commoditi%ation.
R. .magery and price premium is central to personal products marketing
propositions. <owever, that needs to be backed by a clear value add. Taking the
consumer for granted does not pay6 companies that 9fleece9 the consumer with
unduly high margins may eventually be forced to compete with one another in
taking price cuts(
E. The trend is, in favour of companies that have not merely made brand
promises, but also kept them(
Chapter= 1C
The s$ill o! proo! chec$ing
&s$ yo#rsel! the !ollowing 4#estions when reiewing each page=
5o all the images appear:
"re all the images clear in the printout:
5o the e+uations contain all the correct characters:
"re all the margins set correctly:
5oes all the te4t fit within the margins given for your page
si%e:
"re the margins devoid of any page numbers, headers and
footers:
"re there any blank pages: .s there any missing te4t:
.roo! chec$ing g#ide=
As a proo!reader yo$ sho$ld #he#, the #opy to ens$re #orre#t:
&pacing, alignment, font, and style
3rammar, spelling, capitali%ation, and punctuation
,lacement and flow of content
)o mar, #orre#tions on a hard+#opy proo! yo$ sho$ld:
8se an ink color that will be highly visible and clearly distinguishable from
the copy (e.g. red).
8sing the table of marks on the reverse side as your guide, place a
proofreading symbol for each correction within the copy and
corresponding detail in the closest margin ne4t to the line where the
correction is needed.
.f more than one correction must be indicated in the same margin for a
line, write the e4planations in the proper order and separate them with a
forward slash ?.
Write material to be inserted in the margin and mark its placement with a
caret [.
)o a#hie0e the highest le0el o! a##$ra#y possi/le:
Work in a +uiet place where you will not be disrupted.
Take your time.
/ever assume or guess that something is right. .f in doubt, check it out.
&rt Chec$
5o you have the latest file:
"re there any inconsistencies in the layout (colors, headers and footers,
fonts, picture bo4es and outlines, stroke widths, alignment, etc.):
"re photos and artwork placed correctly within their bo4es:
5o photos and other graphics fill bo4es or bo4es allow for the full graphic
as appropriate:
<ave the bleeds been set correctly:
"re the folds correct:
"re the fonts correct (not replaced, substituted, or locally styled):
5oes the te4t flow correctly:
5oes ;ustified te4t look good (no rivers or over hyphenation):
"re photos and artwork the correct resolution and suitable +uality:
<ave the color separations been tested:
&pot color ;obs only (includes spot varnish).
1verall, does it look good (no red flags, +uestions, or concerns):
Fust common sense(
<as everything been thoroughly communicated in writing to the printer:
)ou can never over communicate with your printer(
Chapter 11
The grammar o! copy writing=
Copywriting doesn#t necessarily demand the strictest observance to formal
$nglish grammar. 'ecause your ob;ective is to build an empathetic rapport with
your readers, you want to write the way they speak. 5epending on the
circumstances and your intended audience, using slang, sentence fragments,
contractions, collo+uialisms, and so on is perfectly acceptable. )et you still want
to maintain credibility, so not everything goes. When writing copy, you#re walking
a fine line between informality and incomprehensibility.
8sing sentence fragments
"ccording to the rules, 9real9 sentences must have complete sub;ect!verb!ob;ect
constructions6 anything less is a 9fragment9 that must be re;ected. /onsense. "s
long as your fragments clearly communicate complete thoughts, they can be a
perfectly acceptable part of your rhetorical tool chest for most assignments.
When they#re used thoughtfully, short fragments create pauses that bracket your
ideas for greater emphasis. When they#re used arbitrarily, they create confusion
and disturb the rhythm of your writing.
+nding sentences with prepositions
There are still some goose!stepping grammarians who insist that you can#t end
sentences with prepositions. They don#t know what they#re talking about. When it
comes to this issue, they don#t have a leg to stand on. 1therwise, this sentence
would have to read, 9They don#t know the issues about which they are talking,9 or
9They don#t have a leg upon which to stand.9
)es, ending sentences with prepositions is perfectly acceptable, as long as your
intended meaning is clear and the preposition isn#t redundant. 2or e4ample, you
might ask, 9Where are you going:9 but not, 9Where are you going to:9
3tarting sentences with 8and8 or 8b#t8
&ome people say you can never begin a sentence with the con;unctions 9and9 or
9but.9 They#re wrong. "nd plenty of grammar authorities agree. &ometimes
leading with 9and9 or 9but9 is the most effective way to make an effective
transition. ()et you don#t want to overdo it.)
Using a thesa#r#s
The bane of readers everywhere, the thesaurus encourages writers to apply
gratuitously overblown rhetoric (like this) instead of plain language (like that).
)ou#re better off using your thesaurus as a doorstop than a writing aid. With rare
e4ceptions, short, simple words are best. 'e a straight talker, not a pompous
interlocutor (9windbag9).
Using contractions and slang
Who says you can#t use contractions: "nd dude, slang can be okay, too X as
long as you#re using the right slang with the right audience. When in -ome,
speak as the -omans do. 8se &tandard $nglish with the business crowd. " word
of caution, however* .f you can#t speak an insider#s lingo with spot!on accuracy,
don#t even try. Fust use simple, conversational $nglish.

Using actie ers#s passie lang#age
.n the active voice, the sub;ect takes action. .n 9Caesar con+uered 3all,9 the
sub;ect, 9Caesar,9 is the agent of the action, 9con+uered.9 'ut this sentence was
written in the passive voice, 93all was con+uered by Caesar,9 the agent of the
action now becomes buried in the predicate.
"s a grammatical issue, the passive voice isn#t necessarily wrong. 'ut in most
cases it#s weaker, less emphatic writing. When you aim to encourage action, the
passive voice undermines your impact. )ou want to make your products and
services the agents of beneficial action in your prospects# lives. Think, 9This
product (sub;ect) makes (verb) this happen (ob;ect),9 not 9This conse+uence was
caused by this product.9

&pplying correct spelling and p#nct#ation
)ou can get away with sentence fragments and slang, but incorrect spelling and
punctuation undermine your credibility, making your company look stupid and
eroding confidence in your professionalism.
Don9t proo!read yo#r own wor$. )es, of course you should go over everything
you write and make corrections before submitting your writing. .n fact, reading
your work out loud is a terrific way to uncover some typos, grammatical errors,
and perhaps some mis;udgments in rhythm and tone. 'ut the writer#s review
should never be the final check before printing and publication. Writers are too
close to their own work, and they#ll either replicate their errors in the editing
process or 9read9 into their review what they thought they wrote, instead of what#s
actually on the page. .f you can, have a professional proofreader review your
work. "t the very least, have someone with e4cellent $nglish language skills
review it.

Distr#sting yo#r word processor9s spelling and grammar chec$ers
5on#t trust spelling and grammar checkers. &pelling checkers can#t interpret the
conte4t of your word choices, so they can#t, for e4ample, distinguish among the
correct uses of 9there,9 9they#re,9 or 9their,9 or 9it#s9 and 9its.9 "nd the grammar
checkers are notoriously incapable of interpreting comple4 sentences, often
returning grossly incorrect advice.
R#les to Aend or Area$
2or copywriters, writing the way people talk is absolutely essential. Why:
'ecause copy that is friendly, informal and conversational stands a better chance
of getting prospects to click, call or buy. Which is e4actly why sacrificing the
following conventions can be in the copywriters best interest.
$nding sentences with a preposition. To some a no!no, ending a sentence with a
preposition can warm up your copywriting. Which sounds friendlier to you* A<ere
is the information you re+uestedB or A<ere is the information you asked forB:
'eginning sentences with a con;unction. 'eginning sentences with con;unctions
(and, or, but, nor) is more common, even in ;ournalism. /ot only is it the way
people talk, it can shorten sentence length, a plus in delivering sales messages.
1ther informal devices. 8se contractions to warm up your message. "lso, use
sentence fragments. /ot only do they shorten average sentence length, they add
rhythm. "nd drama.
,unctuation. 8se punctuation to your selling advantage. .m inclined to use more
dashes and an occasional e4clamation point and ellipsis to add drama and
e4citement to the sales message. Commas can be pretty sub;ective, so . have a
tendency to use the minimum amount to keep readers moving through the copy
as +uickly as possible.

Chapter 1*
Di!!erent types o! copy
1. &dertorial
"n advertorial is an advertisement written in the form of an ob;ective opinion
editorial, and presented in a printed publication Xusually designed to look like a
legitimately and independent news story. The term 9advertorial9 is a portmanteau
of 9advertisement9 and 9editorial.9
"dvertorials differ from publicity advertisements because the marketer must pay
a fee to the media company for the ad placement, whereas publicity is placed
without payment to the media company and with no control over the copy. =ost
publications will not accept advertisements that look e4actly like stories from the
newspaper or maga%ine they are appearing in. The differences may be subtle,
and disclaimersXsuch as the word 9advertisement9Xmay or may not appear.
&ometimes euphemisms describing the advertorial as a 9special promotional
feature9 or the like is used.
"dvertorials commonly advertise new products or techni+uesXsuch as a new
design for golf e+uipment or a new form of laser surgery. The tone is usually
closer to that of a press release than of an ob;ective news story* advertisers will
not spend money to describe the flaws of their products.
=any newspapers and maga%ines will assign staff writers or freelancers to write
advertorials, usually without a byline credit. " ma;or difference between regular
editorial and advertorial is that clients usually have content approval of
advertorials, a lu4ury usually not provided with regular editorial.
" related practice is the creation of material that looks like traditional media (for
instance, a newspaper or maga%ine) which is in fact created by a company to
market its products. 1ne familiar e4ample are airline in!flight maga%ines which
usually feature reports about travel destinations to which the airline flies.
,roduct placement is another form of non!obvious paid!for advertising.
This strategy was first populari%ed during the energy crisis of the DSJKs. =obil 1il
felt its efforts to gets its side of the story out through the "merican press was
failing. ,olitical and media advisor 2red 5utton developed a strategy to publish
=obil 1il#s opinion as an advertisement on editorial pages across the country.
The strategy proved successful in getting its message out to both the public as
well as politicians and =obil 1il +uickly became identified with this uni+ue
advertising strategy.
*. In!omercial
.nfomercials are television commercials that run as long as a typical television
program (roughly RQ minutes, EK seconds). .nfomercials, also known as paid
programming (or teleshopping in $urope), are normally shown outside of peak
hours, such as late at night or early in the morning. The word infomercial is a
portmanteau, which is formed by combining the words 9information9 and
9commercial9. "s in any other form of advertisement, the content is a commercial
message designed to represent the viewpoints and to serve the interest of the
sponsor. .nfomercials are often made to closely resemble actual television
programming, usually talk shows, with minimal acknowledgement that the
program is actually an advertisement.
.nfomercials are designed to solicit a direct response, which is specific and
+uantifiable, and are, therefore, a form of direct response marketing (not to be
confused with direct marketing). The ad response is delivered directly to
television viewers by infomercial advertisers through the television ad. .n normal
commercials, advertisers do not solicit a direct response from viewers, but,
instead, brand their product in the market place amongst potential buyers.
.nfomercial advertisers may make use of flashy catchphrases (such as 9&et it and
2orget it9), repeat basic ideas, and?or employ scientist!like characters or
celebrities as guests or hosts in their ad. 2amous infomercial personalities
include* Cher, 3eorge 2oreman (with the 3eorge 2oreman 3rill), 5aisy 2uentes,
Fack 0alanne, Chuck /orris, -on ,opeil, Tony -obbins, Cheryl Tiegs, and
7evin\Trudeau. The book "s &een on TV (Guirk 'ooks) by 0ou <arry, &am &tall
and Fulia &palding highlights the history of such memorable products as the
2lowbee, the Chia ,et, and 3insu knives.
'ecause of the sometimes sensational nature of the ad form, consumer
advocates recommend careful investigation of the claims made within any
infomercial ad and investigation of the company sponsoring the sub;ect product
of the infomercial before purchasing the featured product or products.
.nfomercials are for the largest part shown late night to early morning between
R*KKam and M*KKam.
/. Mingles
These are catchy little tunes, which we pick up and hum +uite unconsciously
most of the times, like a refrain registered in our brain, which refuses to go away.
Fingles make possible the association of memorable phrases with the product or
with the company.
"s 5avid 1gilvy once said, A .f you have nothing to say, sing it.B " ;ingle with its
repeat phrases has a far higher recall value than the visuals do. The signature
tunes immediately con;ure up their products. The music catches the attention of
children and teenagers. .t is important to know the target audience when
composing a ;ingle. .t is important to know the target audience when composing
a ;ingle.
The mood briefs are generally given to the ;ingle singer by the "gency. They tell
whether a tune should be Upeppy or Uromantic, or U;oyous. They also give a
profile of the target audience. &ometimes a story!board is given by the "gency to
make the singer aware of the characters e4pected to be mouthing the ;ingle.
Fingle composing, singing and making it work is highly creative art. Fingle
composing involves co!ordination with client, composer, musician, recording
studio, singer, voice over person and host of others.
3logans=
" slogan is a small attractive phrase used in the ad to sum up the advertising
message in a few words. .deally the slogan should be short, preferably T to J
words or even less than T words. The words must be simple, clear and easy to
remember. .t should be so designed that it can be repeated , perhaps a year or
years together. The slogan should be such that it can be used in any media,
whether on TV, radio, press and outdoor. &logans are not easy to create.
&ometimes, they ;ust come along but most often slogans are the result of hard
work of days together put in by the creative marketing people?advertising people.
(reat slogans are li$e great ideas' they don9t come oernight.
Aasis !or writing a slogan= Techni4#esK!actors
D. &logans can be based on the Guality of the product.
$4ample* UThe best tobacco money can buy!-othmans.
R. &logan can be based on the 0ife of the company.
$4ample* U " trusted household name for over fifty years!,hilips.
E.&logans can be used to build Trust and confidence.
$4ample* UThe name you can trust! =afatlal.
@.slogans to guard against substitutes.
$4ample* Uwhen its ,hilips, you can be sure.
T. &logans emphasi%ing sales of the product.
$4ample* U.ndia6s largest selling soft drink concentrate. -asna.
M. &logans emphasi%ing .nternational reputation of the product.
$4ample* UThe worlds favourite airline! 'ritish "irways.
J. &logans can place emphasis on "dvanced technology of the company.
$4ample* U.n tune with tomorrow.! 'ush.
$4ample* 5unlop is 5unlop, always ahead.
Q. &logans emphasi%ing the use of the product.
$4ample* U" pocket doctor for aches and pains!"mrutan;an pain balm.
$4ample* U-eal relief, real fast!=oov.
S. &logans e4pressing 0ove and "ffection
$4ample* U" gift for someone you love!"mul chocolates.
DK. &logans e4pressing Foy and happiness.
$4ample* U <appy days are here again.!Thumps up
DD. &logans emphasi%ing the choice of specific class.
$4ample* UThe choice of new generation! ,epsi.
DR. &logans emphasi%ing the comfort and convenience.
$4ample* U"rrive in better shape!Cathay ,acific.
DE. &logans based on pride and possession.
$4ample* /eighbours envy, 1wners pride.
D@. &logans emphasi%ing name of the brand company.
$4ample* U1nly Vimal
DT. &logan based on the headline of the ad.
$4ample* U2ilter and tobacco perfectly matched!Wills. (headline* U=ade for each
other),
The twele slogans o! constr#ctie pers#asion=
D. &logan are about you* &uccessful slogans tend to use the word Uyou some
where in the copy.
R. &logan make promises
E. &logans call for action
@. &logans create ideals* Iindagi ke saath bhi Iindagi ke baad bhi.
T. &logans are it* 3o for it, .ts here, you cant beat it.
M. &logans are in a world of their own. $nter a new world of writing.
J. &logan may rhyme* Top for shops, meals that appeal.
Q. &logans can be full of alliterations
&upremely &cottish &almon
'uy better. 'uy bigger, by far.
S. .n order to sell, slogans dont have to be clever.
The writers choice
The best pen you can buy.
DK. &logans conveniently package everything in one sentence.
"ffordable reliability in your pocket.
DD. &logans repeat key word patterns.
The right price. The best +uality.
DR. UThe slogan is king
The best6 The one6the "nswer, The shape.
1#nctions o! 3logan=
D. "id memory recall* .t should be easy and pleasant to remember.
A . love you -asnaB.
R. To describe the use of a product.
AThe weekly update on the hospitality industry! $4press <otelier V caterer
=aga%ine.
E. To suggest the products special advantage or uni+ue benefit. 9
1n time, every time.B 5<0.
@. To suggest increased use or fre+uency of use.
T. To stress the +uality of the product
A3reater -eliability through 'etter TechnologyB. -ane ( =adras 0imited).
M. To build name and goodwill of the company.
A The worlds favourite airline.B 'ritish "irways.
J. To stress market leadership
A .ndias /o.D -adial.B F7 Tyre.
Q. To emphasise international standards.
A World Champion 0ubricants.B Castrol.
0. )#mor' !ear and 3e, &ppeal
<umour has always been a great way to sell, especially if used tastefully. one
has traditionally seen humour being used to sell either 2=C3 or durables.
Conventional wisdom had it that you don#t use humour to sell serious products
like insurance or products where the technology and value proposition seemed to
be the hero.
"nd of course the 3overnment thought that the entire populace was a morose
mass of morons who did not have a sense of humour. "s they say, 9you can think
like only you can9.
That#s why Centre &hock and "lpenliebe successfully used humour and other
Yserious# service industries didn#t. Well, these days, the ;oke is on those who did
not dare to use humour. 2or one, humour is light, elevating, re;uvenating and has
great repeat value.
1n a more practical level, humour is a great differentiator, more so, when others
don#t have the guts to use it. -emember any advertising for batteries: 1dds on,
you have forgotten all the serious stuff about technical specs and the like. The
&tandard 2urukawa advertising where the campaign used humour in small!si%ed
print advertising (Why is a &tandard battery like a mother!in!law: 'ecause it
goes 9on and on and on9.)
The fantastic animation and humour packaged tightly with superb art direction for
"maron 'atteries. 2rom the Ysing!song# narrative to the Yting!tong# sign off, the
advertisement is a winner all the way. <utch and /okia have discovered the ;oys
of entertaining customers not ;ust with their products but also with their
advertising. " recent TV commercial has an animated family that is Yshrunk# to
watch movies on their handsets.
1ne would of course, wish that recognised songs are not directly lifted and used.
/okia, in fact, had another memorable commercial where an army of clowns
scrambles to put a smile on a dreary customer#s face. That#s entertainment for
you. 5ominos and -eliance .nfocomm have been using the ama%ing width of
e4pression that ,aresh -awal can bring to any role he graces to keep their
audiences smiling. ,aresh really brings the -.= commercial to life with his
persona.
2or many years (yes, private insurers have been advertising for about four years
now) insurance companies thought that since they dealt with Ymorbid# sub;ects
like death and in;ury, they should put on a black hat, hold a sickle in their hands
and act as if the grim reaper had come to collect the insurance premium from the
hapless customers.
2ortunately, they seem to be breaking out of that mindset now. .C.C. ,rudential
deserves to be congratulated for leading the charge in the right direction. The
fact that its YChintamani# advertisement in its TV and print versions is doing an
encore this year proves that there is no Ychinta#, only money for .C.C. and 0owe
in persisting with this lighter approach.
By: M H Lakdawala -/
Tata ".3 has also decided that a smile is a good policy and has created its
second TVC in the Ysmile genre.# "ll in all, the message seems to be clear. =ake
the customer smile and you can laugh all the way to the bank.
.ros and Cons o! Using )#mor
&dantages
D. "ids attention and awareness
R. =ay aid retention of the message
E. Creates a positive mood and enhances persuasion
@. =ay aid name and simple copy registration
T. =ay serve as a distracter and reduce the level of counterarguing
Disadantages
D. 5oes not aid persuasion in general
R. =ay harm recall and comprehension
E. =ay harm comple4 copy registration
@. 5oes not aid source credibility
T. .s not effective in bringing about sales
M. =ay wear out faster
Use o! )#mor
1A4*5A6LE )*WA5D HUM*5
D. Creative personnel
R. -adio and television
E. Consumer non!durables
@. 'usiness services
T. ,roducts related to the humorous ploy
M. "udiences that are*
J. )ounger
Q. 'etter educated
S. 8p!scale
DK. =ale
DD. ,rofessional
U(1A4*5A6LE )*WA5D HUM*5
D. -esearch directors
R. 5irect mail, newspapers
E. Corporate advertising
@. .ndustrial products
T. 3oods or services of a sensitive nature
M. "udiences that are*
J. 1lder
Q. 0ess educated
S. 5own!scale
DK. 2emale
By: M H Lakdawala -1
DD. &emi! or 8nskilled
DR. ,ayday uses a humorous print ad
1ear &ppeal
.ncreases viewer interest in the ad and the persuasiveness of the ad. 8sed with
health and beauty products, idea marketing, insurance. =ost e4perts believe that
a moderate level of fear is most effective.
&dertising thro#gh 1ear
2ear is a great motivator and has been the basis of many successful advertising
campaigns. 2ear of not gaining what you hope to achieve, or losing what you
have are powerful motivators. The insurance and health industries have made
millions from this one.
"t times, we]ve all been motivated by fear. 2ear appeals have been used
e4tensively in marketing communications over the course of this century. The use
of fear appeals is grounded in the belief that some form of arousal is necessary
for individual behavior change to occur and that presentation of information alone
is insufficient to change, or greatly influence, individual behavior.
2ear is used to threaten or arouse fear in an audience in order to stimulate
attitude change
With the increase of technology and power of the media come more and more
instances in which fear appeals are used. /ot only are fear appeals used to sell
products, but they are used to promote health, hygiene, and other things.
.n using fear appeals, some negative behavior is usually associated with a
negative effect, like smoking and lung cancer, or a positive behavior, unpracticed,
is associated with a negative effect, like brushing teeth and cavities.
.n the latter, the communicator will try to persuade the audience in avoiding the
negative effect by practicing the positive behavior. The use of fear appeals in
advertising has increased over the years, but the communicators have yet to
harness the e4act formula for producing consistent results time and again.
The fear appeal is a somewhat risky approach to making a connection with the
consumer.
=ost likely, using fear in advertising will make some connection with the
audience.
<owever, the problem lies in making sure that the audience leaves the ad with a
positive connection towards your brand.
2ear appeals are commonly seen in public service campaigns, such as anti!
smoking or drinking and driving advertisements. <owever, fear appeals are also
used on the consumer brand level as well. 2or e4ample, breath mint ads often
feature the conse+uences of having bad breath. The message to the consumer is
A. dont want to embarrass myself by having bad breath, therefore . should buy
this breath mint.B
Consumers are likely to connect to this type of appeal if they were involved in a
similar situation themselves.
3+J &..+&- IN &DE+RTI3IN(
2or many products it is possible to find (or invent) a se4ual connection. <owever,
the se4ual connection is much easier to set up for men than for women.
Types o! 3e, &ppeal
D. &ubliminal techni+ues
R. /udity or partial nudity
E. &e4ual suggestiveness
@. 1vert se4uality
T. &ensuality
&re 3e, &ppeals +!!ectie?
D. -esearch -esults reveals that*
R. &e4 and nudity do increase attention.
E. -ated as being more interesting.
@. 1ften leads to strong feelings about the advertisement.
T. 'rand recall is lower.
M. 1ften interferes with message comprehension
1actors to Consider When Using Decoratie ?odels
D. The presence of female (or male) decorative models improves ad
recognition, but not brand recognition.
R. The presence of a decorative model influences emotional and ob;ective
evaluations of the product among both males and female audiences.
E. The presence of an attractive model produces higher purchase intentions
when the product is se4ually relevant than if it was not se4ually relevant.
@. "ttractive models produce a higher level of attention to ads than less
attractive models.
The se4 appeal in advertising is not ;ust about the physical act but also love,
affection and friendship. 0ove is always a fantastic area of appeal because
people either have it, want it or lost it. "nother type of successful se4 appeal is in
the fashion industry. Wear this or this and you]ll have such and such se4 appeal*
be noticed more, stared at more, receive more compliments etc.
1n the surface, the se4y model in an ad undoubtedly draws attention to the
advertising. <owever, in order for advertising to truly work, a connection must be
made.
8se of se4ual imagery in advertising has been critici%ed on different grounds.
Conservatives, especially religious ones, often consider it obscene. =any
feminists feel it ob;ectifies women (as women are more often portrayed in a
se4ual manner than men). &ome claim it reinforces se4ism.
7. 1eel good &ds
92eel good9 ads are those ads which do not have a specific call for a response*
to buy something, to do something, to take action, or to vote. "s this term is used
here, 9feel good ads9 can describe the many different ads and sponsorships
which generate good will, or create a feeling of warmth and pleasantness, so that
we know and like the product or the company.
$4ecution of humor in ads must be done carefully to ensure its appropriateness.
=ore importantly, humor has some trouble in translation across international and
cultural boundaries. "n ad created for "nheuser 'usch for 'udweiser 'eer
showed ants carrying a bottle of 'udweiser to their nest and tipping it up. " noise
like a bottle opening is heard and the contents of the bottle drain into the ant
nest. We hear loud music and the ground shakes in time to the music. The ad
worked in all ma;or markets of the world e4cept one. The Chinese interpreted the
commercial as featuring a pesticide to kill ants.
.n advertising, any individual 9feel good9 ad must be put into a wider conte4t, as a
small part of a larger ad campaign. 2or e4ample, most ads targeted at kids not
only seek an immediate response (kids or their parents buy something, now), but
also to build long!term good will for 9later9 because kids will grow up to be adults.
/ote how often kids will say 9When . grow up, .#m going to get a ....9
,eople buy from people they know, and like.
;. DemonstrationK
5emonstration advertising is designed to illustrate the key advantages of the
product? service by showing it in actual use or in some staged situation.
5emonstration e4ecutions can be very effective in convincing consumers of a
products utility or +uality and of the benefits of owning or using the brand. TV is
particularly well suited for demonstration e4ecutions, since the benefits a little
less dramatic than TV demonstration ads can also work in print.
>. Testimonials
=any advertisers prefer to have their messages presented by ways of
testimonials, where a person praises the product or service on the basis of his or
her personal e4perience with it. Testimonial e4ecutions can have ordinary
satisfied customers discuss their own e4periences with the brand and the
benefits of using it.
This approach can be very effective where the person delivering the testimonial
is someone with whom the target audience can identify or who has an interesting
story to tell. The testimonial must be based on actual use of the product or
service to avoid legal problems, and the spokesperson must be credible.
"pple Computer made effective use of testimonials as part of its A &witchB
campaign, which features computer users from various walks of life discusing
why they switch from Windows!based machines to =acintoshes. The people
giving the testimonials in the ads are from various walks of life .
&witch was an advertising campaign launched by "pple Computer on Fune DK,
RKKR. .t featured what the company referred to as 9real people9 who had
9switched9 from the =icrosoft Windows platform to the =ac. "n international
television and print ad campaign directed users to a website where various myths
about the =ac platform were dispelled. The television commercials were directed
by $rrol =orris.
7& Light 1antasy:
Creates a fantasy around the product or its use.
$4ample* V., 2renchie ads, showing a woman thinking of the 2renchie man
saving her from a villain.
B. 3lice o! -i!e
"dvertising!copy techni+ue where a real!life problem is presented in a dramatic
situation and the item being advertised becomes the solution to the problem.
5etergent manufacturers rely upon this advertising format heavily.
These types of advertisements connect with consumers on a personal level. The
ads usually portray a family scene occurring (a 9slice of life9) during a typical day.
These advertisements create a positive feeling about specific products in the
minds of consumers because they can relate to these everyday situations which
they too face.
Widely used in print advertising formats, this e4ecution shows a real life problem
and what the person in the ad does to overcome it. This e4ecution is a
combination of the demonstration and the testimonial e4ecutions. "ds for
consumer products use this method effectively. "n e4ample is a housewife who is
having trouble cleaning her kitchen floor, with a product offered which can solve
this problem.
1C. Reason why copy=
9-eason Why9 was the answer of 7ennedy to what makes people purchase a
particular good. 9True #-eason!Why# copy is logic plus persuasion plus
conviction, all woven into a certain simplicity of thought!pre!digested for the
average mind, so that it is easier to understand than to misunderstand it.
.n addition, the growing importance of national advertising of branded products
produced a perfect condition for growth of 9reason!why9 adverting. The need to
stimulate interest and desire seemed to be fully satisfied by 9-eason!Why9 ads,
which aimed to present the consumer with convincing arguments to purchase the
advertised brand. "ds had the task of pointing out the distinctive characteristics
of a brand and e4plaining its superiority. .n this sense, 9reason!why9 advertising
was the appropriate method of implementing a strategy of product differentiation.
11. 1#nd raising copy=
The fund raising copy is all about inspiring potential donors to believe in a cause.
The copy says une4pected things in elegant ways, which moves readers and
stirred thier emotions, which angered them or made them proud, a copy which
they want to read from beginning to end. 'ut fine words alone dont make for
good fundraising copy, as &mith knows. .ts how you use them that count.
-emember the old -oman aphorism, UWhen Cauis spoke in the &enate the
people said, AThat was a remarkably fine speechB, but when =arcellus spoke
they shouted, A0et us now march on 'y%antium(B.
2or =arcellus powerfully put words had moved his listeners not to sympathy but
to action. )ou need to know to write more clearly, more convincingly and more
accessibly with clarity and precision.
1*. Comparatie copy=
Comparative advertising, as a special form of advertising, is a sales promotion
device that compares the products or services of one undertaking with those of
another, or with those of other competitors. "ll comparative advertising is
designed to highlight the advantages of the goods or services offered by the
advertiser as compared to those of a competitor. .n order to achieve this
ob;ective, the message of the advertisement must necessarily underline the
differences between the goods or services compared by describing their main
characteristics. The comparison made by the advertiser will necessarily flow from
such a description.
1#nction o! comparatie adertising
Comparative advertising should enable advertisers to ob;ectively demonstrate
the merits of their products. Comparative advertising improves the +uality of
information available to consumers enabling them to make well!founded and
more informed decisions relating to the choice between competing
products?services by demonstrating the merits of various comparable products.
'ased on this information, consumers may make informed and therefore efficient
choices. (These statements are true only if the comparative advertising is
ob;ective.)
Comparative advertising which aims to ob;ectively and truthfully inform the
consumer promotes the transparency of the market. =arket transparency is also
deemed to benefit the public interest as the functioning of competition is
improved resulting in keeping down prices and improving products. Comparative
advertising can stimulate competition between suppliers of goods and services to
the consumer#s advantage.
Chapter 1/
Copy !or di!!erent a#diences=
1. Copy !or Children
Why understanding a childs mind is important for a marketer
"s a primary market, children have access to money from various sources and
spend part or all of it on themselves. They generally spend on products like
beverages, books, confectionery, snacks and sports gear. =any brands are now
affordable, and brand messages are flashed continuously on various television
channels.
"s influencers, they play a key role in the purchase process by making re+uests
or demands for certain products. &ome products like cars, air!conditioners,
refrigerators and washing machines (normally an adult domain) catch their fancy
and they would like to own them.
This segment has been fuelled by factors like double!income parents willing to
meet their kids demands (maybe as a substitute for their attention, time etc), and
easy access to market information via the media and peer pressure.
)et another segment formed by them is the future market. Wooing them early
with market programmes enable companies to convert them into loyal customers
when they reach market age.
7ids have been used in a number of advertisements to provide an emotional
platform so that the ad has a chance of being uni+ue. "lso the presence of a
child communicates AfamilyB and not individual values.
3ome common positioning ideas #sed in TE commercials hae been=
7ids being naughty, defying parents (eg, Videocon .nternet TV where he
creates havoc at a movie shooting),
5oing things differently (Carrier air!conditioners making teenagers drinks
free%e),
By: M H Lakdawala --
Concern?love and fulfillment of wishes by parents (7issan Tom Tom
&auce, where the father spruces up the kids lunch). <owever, in order to
target them effectively it is essential to have a thorough understanding of
who they are.
7ids!0ink, the market research arm of 7idstuff ,romos V $vents, carried
out a number of focus group discussions among &$C!", seven to DT!year!
old boys and girls in 5elhi on various aspects.
.eople who matter most in li!e
" ma;ority of seven! to DR!year!olds said it was parents and siblings with an
appreciable number conveying that teachers and cousins also played a key role.
"mong DE! to DT!year!old boys, other than parents and siblings, advice from
friends with e4perience in the profession they wished to choose also mattered.
Teachers played a key role in imbibing moral values.
The girls had almost similar views6 but they said AWe are more formal with
teachers6 parents are almost like friends.B
" brand can play a key role in kids lives by understanding who matter most to
them and then trying to create a relationship based on that insight. 2or intance,
the =aggi ad showed kids coming to their mother saying, A=ummy, bhookh lagiB,
an "nnapurna .odised &alt ad shows teachers playing a game with the students,
while a grandmother is seen telling her grandchildren not to take short!cuts in an
ad for <imalaya Chyavanaprash.
'iggest fears or worries
The seven! to DR!year!olds are petrified by lions, snakes, ghosts and lesser evils
like the class teacher, specially when they havent done their homework, losing a
good position in class, e4ams, board e4ams and friendships breaking up.
2or the boys, the stress was more performance!related* A<ow to be a successful
man, how to come first in class, difficulties in my career and studies, what if .m
not able to do what my parents e4pect from me, board e4amsB. &ome others
were pollution, not owning a cellphone and losing near and dear ones.
The girls were perturbed by Afailure in achieving anything you want, failing in
board e4ams, relationship with parents, fight with mothers losing friends and
World War ...B.
2ears and worries are powerful emotions and marketers who can help comfort a
child by resolving a fear will have gained a loyal patron.
The most important thing in li!e
A2un, fame, money, doing good to others, becoming a cricketer, discovering what
scientists have yet not discovered, becoming a doctor to help the poor,B are some
of the most vital things in the life of seven! to DR!year!olds. 2or DE! to DT!year!old
boys it was simple* =oney only or money and fame. The girls were more e4plicit
with answers like fame, respect, money and satisfaction.
Technology in their lies
By: M H Lakdawala -.
=ost seven! to DR!year!olds are familiar with a ,C and use it for e!mail, games,
pro;ect work and surfing sites like cartoonnetworkindia.com, classteacher.com,
pitara.com and \eali%.com. Computers are mostly used in school as only a few
had ,Cs at home.
"mong DE! and DT!year!old boys, the ,C applications were nearly the same as
seven! to DR!year!olds. &ome pointed out Achatting with cousinsB and Aworking on
different softwareB as additional use. &ome popular sites were rediff.com,
indiatimes.com, yahoo.com, egurucool.com and espn.com. =a;ority used ,Cs at
school, some at home and few at cyber cafWs.
The girls responses were similar to the boys. They used the ,C mostly for
chatting, e!mail and games. &ome singled out playing cards, using ,aint'rush
software and collecting news and articles. 2avourite sites were yahoo.com,
indiatimes.com, hotmail.com and baa%ee.com. Children today are much more
sophisticated and computer literate than we were. .n order to sell to them,
marketers need to understand implications of technology in their lives X for
e4ample, it has made them less social to some e4tent.
3ome !ao#rite brands 3een2 to 1*2year2olds
Cornetto*!Bbecause the cone is very crispB
'oomer* Abecause its sweeter and softer (than other gums)B
="^ Candy* Abecause there are so many different typesB
2rooti* Abecause its mango and naturalB
<ead V &houlders* Abecause it keeps hair silkyB
&unsilk* Abecause it nourishesB
5oy* Abecause it comes in different colours and si%esB
'and "id* Abecause of free stickersB
=-2 Cricket 'at* Abecause it has a firm strokeB
1/2 to 172year2old boys
Cadbury 5airy =ilk* Abecause its tastyB
/irulas ice cream* Abecause the flavours are very nice and there is
varietyB
"lpenliebe* Abecause it tastes goodB
<ero Cycles* Abecause they are cool, better than others and run very
fasterB
'ritannia* Abecause of its wide range of biscuitsB
-eebok* Abecause they are durable and fashionableB
'enetton* Abecause its coolB
1/2 to 172year2old girls

,epsodent* Abecause it is in fashion and . like the adsB
=c5onalds burger* Abecause its very tasty and they are the bestB
By: M H Lakdawala ./
Top -amen /oodles* Abecause they taste goodB
Temptations chocolate* Abecause it is temptingB
0akme* Abecause it is the bestB
5ominos pi%%a* Abecause they are yummyB
Compared to adults, kids are less capable of processing product information, and
they have lesser product e4perience to reali%e in their decision!making process.
They search for bits and pieces of information that they can make sense of and
tend to develop brand loyalty based on these. =arketers need to understand how
kids receive brands while targeting them.
+ssentials to $eep in mind while writing copy !or Children=
While writing copy !or $ids we need to adapt the mar$eting
programmes. Aased on their n#ances they need to be treated specially.
3ome simple steps are=
D. 7eep the positioning simple and childlike* The communication message
must be based on simple ideas and appeal to the kids imagination.
$4ample* 'oomer chewing gum with the ;ingle A'oom boom boomerB and
'oomer =an, the super hero.
R. 3ive them instant gratification* 7ids are over;oyed by instant gratification,
however small the gift may be. Tattoos with candy, dinky cars with =aggi
noodles and cricket bats with =ilo are some e4amples of freebies that
have successfully driven sales among kids. These premiums appeal to
kids who are constantly seeking e4citement and novelty on a short!term
basis. "lso collectibles work well in peer groups, which are strong among
kids.
E. -each their height and sell to them* -etail outlets selling to kids need to
reali%e that children who come to their store must be made comfortable X
for instance, give a sweet to every kid who comes in.
@. 5isplay products at their level so that they can conveniently interact with
them. 7ids love bright colours and cartoon characters X make sure your
store has those.
T. Copywriters should always take into account the level of knowledge,
sophistication and maturity of the audience to which their message is
primarily directed.
M. )ounger children have a limited capacity for evaluating the credibility of
information they receive. They also may lack the ability to understand the
nature of the information they provide. Copywriters, therefore, have a
special responsibility to protect children from their own susceptibilities.
J. -eali%ing that children are imaginative and that make!believe play
constitutes an important part of the growing up process, copy writers
should e4ercise care not to e4ploit unfairly the imaginative +uality of
children.
Q. "dvertising should not stimulate unreasonable e4pectations of product
+uality or performance either directly or indirectly.
By: M H Lakdawala .1
S. -ecogni%ing that advertising may play an important part in educating the
child, advertisers should communicate information in a truthful and
accurate manner and in language understandable to young children with
full recognition that the child may learn practices from advertising, which
can affect his or her health and well being
DK. . Copy writers are urged to capitali%e on the potential of advertising to
influence behavior by developing advertising that, wherever possible,
addresses itself to positive and beneficial social behavior, such as
friendship, kindness, honesty, ;ustice, generosity and respect for others.
DD. Care should be taken to incorporate minority and other groups in
advertisements in order to present positive and pro!social roles and role
models wherever possible. &ocial stereotyping and appeals to pre;udice
should be avoided.
DR. "lthough many influences affect a child#s personal and social
development, it remains the prime responsibility of the parents to provide
guidance for children. "dvertisers should contribute to this parent!child
*. Copy !or women2 )omema$ers' modern women
.t#s no longer ;ust the men who decide whether the house needs a plasma TV,
more shelves, a new bath, or even a remodeled kitchen. Women are buying a
ma;ority of all consumer!electronics and home!improvement goods today,
besides the weekly groceries.
.n the process women are dramatically changing how products are designed and
marketed in .ndia. -esearch is starting to show that women trust editorial content
more than ads. "s a response. <ence marketing representatives are meeting
with the editors of 3ood <ousekeeping, -eal &imple, Cosmo3irl, $ssence, .n
&tyle, 1, ,arents, and Working =other, among others. Women shop differently
from the way men does* 2emales research more e4tensively and are less likely
to be influenced by ads. 9Today#s woman is the chief purchasing agent of the
family and marketers have to recogni%e that.
'anks and financial!service companies have created entire departments that
market investment products e4clusively to women. .ndeed, it would be a mistake
to ignore this fast!growing segment of wealthy individuals. This deeper!pocketed
female consumer#s aspirations and taste have given rise to the new 9mass lu4ury
movement,9 where the mainstream public has become aware and ac+uisitive of
designer and brand names previously solely in the domain of the affluent. 7arl
0agerfeld, the doyen of haute couture, designed pieces for mass retailer <V=
that sold out in hours, and discounter Target (T3T ) has such names as .saac
=i%rahi, Cynthia -owley, and 0i% 0ange in its stable of designers. 'rands like
Coach (C1< ) are making handbags and key chains at lower price points, and
=ercedes (5C^ ) and '=W ('=W ) are putting out cars that middle!class
consumers can afford.
. i.OD +J&?.-+. =arketers warn that retailers and manufacturers assume that
marketing to women is as easy as changing the color of a product to pink. 9.f
you#re serious about reaching the female consumer, you have to care about her
and get to know what she desires. .t#s critical they understand the female
consumer#s needs and dissatisfactions, and come up with ideas and solutions.
"pple#s success with the i,od mini is any indication, such optimism is well
founded. Women are lapping up a ma;ority of the multicolored minis, contributing
significantly to "pple#s dramatic sales increase.
Whether their efforts involve retraining sales staff or redesigning products,
companies that pay attention to the female consumer could hit the mother lode.
2actors to keep in mind while writing copy for women
D. While writing copy pay more attention to style and form.
R. The !emale cons#mer is ery b#sy and has a comple, web o! d#ties.
/ot that reaching this type of shopper is without challenges. The female
consumer is very busy and has a comple4 web of duties that makes her
less than readily available. Copy should be crisp and right on target.
E. 8Women do a lot o! homewor$ be!orehand and aren#t willing to be
da%%led by the copy which doesn#t give any practical information.
@. Women are de!ining the new al#e e4#ation 22 combine the practical
with the aesthetic. The increased spotlight on the female shopper is even
starting before the marketing and selling phase in some cases. Computer
maker are coming out with lighter laptops in nontraditional colors. 2ew
have launched a line of tools ergonomically designed to suit a woman#s
smaller hand. ("nd they come in blue, not pink.). This empowered woman
hasn#t escaped the notice of <arley!5avidson (<5.. .t added a section on
its Web site for female bikers, with tips on appropriate gear and how to
ride safely. <arley says it was responding to the growing popularity of
motorbikes among women* &ales to women grew to DKO, or RE,KKK, of all
bikes sold in RKKE vs. ;ust RO in DSQT
T. 3he9s the dominant in!l#ence in n#clear !amily ho#sehold.. &he#s the
chief purchasing agent of the family. &he#s e4tremely brand!attuned and
does a lot of research before buying. &he can#t afford to buy everything
and will decide where to trade up or down. &he decides when her family
needs a vacation and where they should go. &he#s the dominant influence
in a two!person household.
M. &nd she9s also into home improement in a big way. &he looks
around, and she has a hierarchy of things that she wants to do. <er top
priorities are a new bath or kitchen. <er bathroom is her sanctuary, a
Facu%%i (FFI ) gives her the chance to be alone and rela4. "nd the Viking
oven will help her be the heart and soul of the family by helping her
prepare meals better, faster, and to perfection when everybody gets
together at the dinner table. &he#s a source of inspiration !! she thinks big
in wanting to improve the +uality of life for her family. <er ideas and big!
ticket purchases have completely turned around the home!improvement
business.
J. )er sense o! ethics is ery strong, and if a product is faulty, she will not
only never buy from you again but also tell all her friends.
Q. 3)&R.+R ON .RIC+3. -ecent research shows that they#re on par with
men in their ability to understand gadgets and are also early adopters.
<owever, the difference is that they#re more likely than men to shop
around for better prices and demand reliability, ease of use, and style.
S. 7eep going back to the +uestion of how women reveal themselves. When
do they rela4, when do they share, and when do they come up with +uick!
thinking answers:
DK. They ;ust don#t like stupid!funny advertising. Women are funny, women are
neat and women are different. 'ut if you have !! to use a pun !! broad
stroke opinions of them, then you relegate them to stupid roles.
DD. Women progress through their thoughts in a very conte4tual way. They#re
not linear.
DR. &tudy women and listen to them.
DE. =ost importantly, the research demonstrate that women are actually
consciously avoiding altogether brands that unrealistically portray images
of women in their advertising. Women are tired of being bombarded with
advertisements that use unrealistic images to portray their gender
D@. 1verwhelmingly, women are willing to make purchasing decisions based
on the images used in advertising. "ds portraying women who have
digitally perfected physi+ues or who lead seemingly carefree lives are not
resonating with many female consumers. &tudies found that companies
whose advertising portrays the depth and variety of women#s lives in a
realistic way, meaning images of women actually doing ;obs versus posed
pictures of women who may or may not be participating in the activity, will
be rewarded.9
DT. &everal surveys have suggested that women want to see a part of
themselves in advertising images. 'ut now it can also be proven that
women are consciously avoiding brands that unrealistically glamorise
women or portray their lives in an ideali%ed way, which should be vital
information for the business of advertising.
DM. Women clearly reward marketers who understand how to portray women
in a frank, rather than romantici%ed way. The result showed how,
overwhelmingly, advertisers who present diverse, reality!based images
that reflect professionalism and ageing got the most positive responses.
"n important finding was also the physical disconnection between the
women who are usually portrayed in ads and the average woman in terms
of si%e. The new average body that respondents want to see in advertising
is a larger woman.
/. Copy !or senior citiLens
&ociety will change because of population aging. The baby!boom generations
age now ranges from @R to MK. "s the demographic bulge works its way from mid
to late life, businesses will beXas 5ick &troud, author of "he KH31lus ,ar/et
statesXcompelled by economic logic to shift their center of gravity from the
younger generation to the older generation.
=atures believed that a lifetime of commitment was re+uired to accomplish their
goals. 5uty came before pleasure. The ;ob to be done re+uired that they
postpone their own gratification. =atures prospered by thinking and doing
together. ,rogress was assured as long as everyone followed the rules of the
road and moved united in the same direction. =atures developed this unity by
conforming to a larger system of values that emphasi%ed hard work as its own
reward, financial security through savings, the good of the group before that of
the individual, and a belief that the good life had to be earned.
Though =atures have always had to sacrifice to meet the demands of conformity,
they have also always succeeded. Therefore, conformity and fitting in have been
linked for them to success.
.n developing successful strategies for the mature market, both rational and
emotional appeals must be understood and e4ploited. 3rowing old is a physical
as well as an emotional condition. &ome women, for e4ample, buy face cream
because the product softens their skin or reduces roughness.
These are entirely rational decisions based on the products ability to perform
some function.
.ndeed, the mature market actually en;oys a high degree of discretionary income.
-esearch shows that some attitudinal or psychographic segments in the mature
market are more brand loyal than others and their loyalties are to specific classes
of products, not to all products across the board. The mature market is e4tremely
varied and will only reward marketers who are willing to deal with its comple4ities
and pursue a targeted strategy.
D. &pecial needs
R. <igh discretionary incomes
E. &pare time
A#t how can copy e!!ectiely target senior mar$et?
D. 9The key elements are to keep message direct,9 advises <ayward. 9The
over!TKs are e4perienced consumers, so they don#t want to read flowery
language. )ou also need to give them a lot of information. &eniors have a
lot of time on their hands and so you must be prepared for answering
many more detailed +uestions than you would for RK!year!olds.9
R. "ttracting the over TK#s re+uires not only adapting the advertising
message, but a long!term strategy. 9)ou need a global vision,9. 9There is
no point for e4ample, for a telephone company to create a new product for
seniors if it doesn#t train a person to look after them. To be successful in
this market, you need to think not only about marketing but also training
staff, proper communication, perhaps setting up a hotline and also values.
" lot of companies thinks that is a lot to think about(9
E. Copy writers must avoid depicting older consumers in negative ways.
$ven =atures who are not as active and healthy as they would like to be
dislike advertising assaults that remind them of their problems.
@. Copy writers commonly err by emphasi%ing the biological age of their
consumers. " few years ago, a ma;or personal!products company
introduced a shampoo aimed at older women. The advertising e4plicitly
mentioned that the product was designed especially for women over @K.
There may be perfectly good reasons to switch to a different shampoo as
you age, but the emphasis on age ensured that the product would be
unpalatable to any self!respecting @K!plus!year!old. e.g. " series of TV
ads that 5isney World aired is a prime e4ample of how to appeal to
=atures without pandering to them. .n one of these ads, 'oomer parents
are pictured at home with their children, wondering aloud about what on
earth their parents could be doing at 5isney World. Then the camera shifts
to the faces of two happy, healthy older people in the =agic 7ingdom.
They are playing golf, swimming, dancing late into the night. 2or =atures,
the ad makes a strong appeal to their conviction that they have earned a
rich and full retirement ! and are still young enough to en;oy it.
T. =arketers can reach this practical, hard!working generation as they en;oy
their retirement but not by selling products for 9old people.9 They have to
be smarter than that. 2ocus instead on themes that leverage the way
=atures are motivated to buy.
M. ,lay to the notion that this generation overcame daunting odds to achieve
their successes. 5on#t be loud or brash6 they already get the point. "fter
working hard and sacrificing for so many years, they have reached a level
of financial comfort and a time in their lives where they can feel freer to
spend money on themselves . . . because they#ve earned it.
J. 2or most of their peak consuming years, =atures have foregone the
e4tras. 'ut this is not to say that =atures never spent money. .ndeed, their
spending built our contemporary consumer marketplace. Their style of
spending, however, reflected the more cautious, disciplined values of their
savings!focused outlook. $ven as =atures spent, they actually saved a lot
of money. "nd much of this spending was for others anyway, especially
their children.
Q. "s they age, satisfied and secure, =atures will begin to spend more
money on themselves. 'ut they won#t turn into profligate spendthrifts in the
mold of their 'oomer children. -esearch shows that consumers MT years
old and older are the least likely to be cutting back on food purchases,
shopping less, or adhering more strictly to a budget. They are also less
likely to buy large, economy si%es or cut back on eating out. ,art of this, of
course, reflects older consumers with less fle4ibility in their lives. 'ut it
mostly shows that =atures have reached a level of financial comfort.
S. /evertheless, _=atures#` interest in pleasurable or e4citing e4periences for
their own sake is low. They are not now and never have been as
hedonistic as 'oomers. They want to en;oy life, but they don#t want to go
overboard. The overriding attitude here is that they have enough money to
en;oy their retirement, and they plan to do so ! wisely and responsibly.
DK. -estaurants trying to attract =atures should invest in better lighting, inside
and outside. =atures will feel safer driving into a bright parking lot, and
they will be less likely to fall. 'esides, we all want a clean, well!lighted
place
0. Copy !or +,ec#ties=
<ere are a few tips to keep in mind while writing copy for corporate e4ecutive.
D. 'e prepared. This is the most important strategy if you want to successfully
sell to an e4ecutive. -esearch the company before your meeting. Visit their
website. "sk for an annual report. Talk to people within the organi%ation if
possible. 3ain as much information as you can before writing copy for
e4ecutives.

R. "void details. The ma;ority of e4ecutives are not interested in the details.
$4ecutives are big picture thinkers so be prepared to discuss your
product?service on a macro level.
E. -espect their time. The most precious commodity to an e4ecutive is time. The
average senior!level businessperson has at least TR hours of uncompleted work
on their desk at any given time. ,lus, they usually have only one or two of
unscheduled time in a typical week. =ost e4ecutives get to the point very +uickly
and e4pect others to do the same. 'e direct, concise, and to the point.
@. <ave " -elevant =essage. 5eliver " -eal &olution That &olves " Critical
Challenge
T. 'usiness people are often so tied to their businesses or products that they get
tunnel vision and fail to look at their copy from their readers# perspective.
M. 'e benefit!rich, of course. 'ut more important, be ego!driven when describing
those benefits.
J. "ppeals to Their $go
$4ecutives people are still the ones okaying the deal, whipping out their credit
cards or signing the checks. "nd e4ecutives always buy for personal, selfish
reasons.
Q. Copy using convoluted, comple4, highfalutin language doesn#t sell product to
e4ecutives.
S. 2ollow the 9E C#s9 -ule* $4press your offer as Clearly, as convincingly and as
compellingly as possible.
DK. 'e enthusiastic. 'e energetic. 'e e4cited about your offering, because your
;ob is to transfer that e4citement into the minds of your buyers.
DD. 8se words, phrases and imagery that help paint vivid mental pictures. When
e4ecutives can visuali%e the process of doing what you want them to do,
including the en;oyment of the benefits of your offer, you drive their actions
almost instinctively.
DR. )ou need to make them feel important. Write as if you were speaking W.T<
your prospect, right in front of them, in a comfortable, conversational manner.
DE. When you do, your copy will imply that you understand them, you feel for
them and their 9suffering9 (for which you have a solution), and you#re ready to
nurture and take care of them.
D@. 2orget things like 9best,9 9fastest,9 9cheapest9 and other, broad claims.
'ecause the worst thing you can do, second to making broad claims, is to
e4press those claims broadly.
DT. .f you want to tell people how better or different or superior or uni+ue your
offering is, make sure you e4press those claims in your sales message in a way
that directly benefits your buyer and appeals to her ego.
DM. 'eing different is important. 'ut don#t focus on how better or uni+ue you are.
2ocus on how that uni+ueness directly benefits e4ecutives6 even to the point they
can almost taste it.
By: M H Lakdawala .-
DJ. "gain, $4ecutives buy on emotion. They always have and always will. They
only ;ustify their decision with logic, and rationali%e their feelings about your
offering with logic.
DQ. $ven when selling to multinational, 2ortune TKK corporations, the buyers are
people, not companies. ,urchasing agents are people. 5ecision!making
committees are made up of people. $ven C!level e4ecutives with M! or J!figure
incomes are people.
DS. "n e4ecutive always buy for personal desires, selfish reasons and self!
interested motives. Why: 'ecause people are people. ,eriod. .t#s been that way
for millions of years. )our ;ob is to e4press your offer in terms that trigger their
emotions, press their hot buttons, ;erk their tears, tug at their heartstrings and
nudge them into taking action. .f not, you#re only telling. /ot selling.
7. Copy !or "o#th
With @T per cent of the .ndian population below the age of DS, there is a huge
opportunity for companies to catch it young and make it stay, as it gets older.
With the DKK!million or so DJ!R@ year olds in a position to earn money and
e4ercise greater decision!making power in the ne4t few years, now is a good
time to start a conscious Ycatch them young# strategy to hook into this generation
and secure the future.
"t the very minimum, it is about making your advertising more young and =TV!
ish, but that is only the tip of the iceberg* .t is about getting them to e4perience
your brand early so that they begin to develop an affinity for it, so that when they
become mainstream consumers, they view you more favourably than others. The
larger task, is to create special Y3eneration /e4t# products and services, which
are more in tune with them than a one!si%e!fits all offering. "n even larger task
would be to become a part of their lives, something that they identify as theirs, or
something that understands them better than anything else before,
)outh populate the markets of the future, while having a tremendous amount of
discretionary spending power today. They also have a huge influence on their
parents# purchases. "lmost all consumer brands being launched (as well as
e4isting brands) need to engage in youth marketing campaigns if they want to
create brand loyalty and long!term success for this giant demographic.
0ook around, and you will see several e4amples of youth marketing* &2 Fean#s
new Yoil and grease# collection, <'1#s Y3eneration =e# programme slot, 'arista#s
Ycoffee collection# of $lle DQ cosmetics, 0ipton .ced Tea#s sponsorship of a
By: M H Lakdawala ..
=umbai youth theatre group, and maga%ines such as Femina Girl, 'e+enteen
and B;, (Bust ;nother ,a%aGine).
The usual suspects ! the cola ma;ors ! have gone beyond catchy taglines and
celebrity endorsements. ,epsi has a dedicated Ypepsi%one# on )ahoo( and
premiered its YWhat#s there:# and J8p 2ido campaigns on it. .t has an integrated
mobile!.nternet platform for J8p, with downloads of picture messages, ring
Certainly, =TV ! whose primary audience is DT!R@!year!olds and secondary
audience is R@!E@ year olds ! can claim to be among the early movers in
marketing to the youth. &ince the launch of its .ndia!specific service in DSSM, the
music channel has e4tended its dialogue with the youth by way of online, on!
ground and off!air activities and research. The channel has music albums,
apparel and accessories and a co!branded credit card. =asterCard "sia ;udged
the =TV Citibank Card, launched in "pril RKKD, the best youth programme in the
"sia ,acific region. .t garnered over TK,KKK members in the first DT months of its
launch, and was followed up with a translucent credit card, meant to reflect the
9values of clarity and transparency9 that are upheld by the youth.
This is particularly important for a company that is perceived as older, or catering
to an older segment, as in the case of =aruti, TV& =otor, or 7inetic. =aruti
recently launched a limited edition of two!door Ien cars, and marketed them as
9very private9 vehicles with which to 9announce your single status.9 7inetic and
TV& have created a separate category of scooterettes* TV& upgraded its &cooty
with the &cooty ,ep, with more youthful styling and metallic colours. The 7inetic
Iing and Iing -ockin# have a cola can holder, an 2= radio and a mobile phone
charger6 the Iing is priced at -s RT,KKK, which makes it affordable to a larger
consumer base, says &ula;;a 2irodia =otwani, Foint =anaging 5irector, 7inetic
$ngineering.
Certainly, it is harder for a consumer durable ma;or or an auto company to target
the youth because there is a price inflection point. While some companies have
tried ! like =irc $lectronics did, with its Candy range of televisions ! it is difficult to
create a lower!priced offering that is also aspirational and desirable.
'ut there certainly is a space for 2=C3 ma;ors to create youth!oriented
categories, like Colgate has done with 2resh $nergy 3el, and <00 has done with
the "4e range for young men. 9Till a few years ago, one!si%e!fits!all products did
well, and very few marketers actually segmented the market. 'ut now they#ve
realised they don#t need to do it that way. .n fact, <indi film!makers seem to have
realised the benefit of segmenting* rather than make family dramas with
something for everyone, the smart ones are also making slick movies for the
urban youth, spending ;ust a couple of crores, and marketing them savvily and
recovering their money sooner.9
By: M H Lakdawala 1//
.ndeed, far too many advertisers assume the youth are irresponsible and ;ust out
to have fun, but they are also e4tremely savvy when it comes to spending, are
strongly opinionated, have a high social conscience and are focused on their
careers. =arketing to them will re+uire a change in mindsets6 this generation#s
attitude is very different toward such issues as consumption vs. savings,
accessing credit vs. living within your means, consumption hierarchy and
priorities, and even what constitutes a necessity and a lu4ury.
9" big trap is the belief that the liberalisation generation will rock to the tune of fun
and frivolity. 'ut the truth couldn#t be further* they are a regular, boring, work!hard
generation, in a hurry to achieve material goals so that they can play hard, as
well.
+ssentials !or writing copy !or yo#th=
D. 1ne of the most responsible ways to approach the youth market is to
convey information in a clear, straightforward fashion.
R. When deciding on the creative, the team debated using language and
imagery that would give it #cool# credentials.
E. There are many reasons behind the phenomenon coined in marketing!
speak as 731) (kids growing older younger), and it is certainly not all
down to advertising and marketing..-ather than telling them 9you should
do this9, instead show them and treat young people with respect or credit
their intelligence. .f you ad;ust copy writing so that it is teen!oriented, they
don#t feel they#re being e4ploited. 3ood marketing is all about changing
the product into something that teens are actually looking for.#
@. )outh attitudes* =arketers who believe that edgy, ris+ue images are the
most effective way of reaching an audience of young adults may not be as
in tune with the youth of today as they would like to believe.
T. /ew research from 1=5 .nsight suggests that young people are
e4hibiting a growing sense of responsibility for their actions. The research
forms part of 1=5#s ongoing -1"- youth marketing pro;ect, which is now
in its DKth year. The study compares the views of DT! to RT!year!olds in
RKKT, with DT! to RT!year!olds in DSST.The study shows that today#s young
people are purposely going out to get drunk less, are more aware that
drugs are e+ually, if not more, dangerous than alcohol, more of them
believe smoking to be #stupid# and they demonstrate a greater awareness
of what is going on around them. They also feel more charitable toward
their environment, both immediate and global.
M. =arketers aiming at 3en!) fre+uently assume they respond to brands with
hip, edgy statements that cut through media clutter and push the
boundaries of style and taste.
By: M H Lakdawala 1/1
Chapter 10
Use o! Non2Eerbal comm#nication in adertising
,ictures in advertising are very e4pensive. /ot in cost of good art work alone, but
in the cost of space. 2rom one!third to one!half of an advertising campaign is
often staked on the power of the pictures.
"nything e4pensive must be effective, else it involves much waste. &o art in
advertising is a study of paramount importance. ,ictures should not be used
merely because they are interesting. 1r to attract attention. 1r to decorate an ad.
"ds are not written to interest, please or amuse. )ou are not writing to please the
masses. )ou are writing on a serious sub;ect ! the sub;ect of money spending.
"nd you address a restricted minority.
,ictures in many lines form a ma;or factor. 1mitting the lines where the article
itself should be pictured. .n some lines, like "rrow Collars and most in clothing
advertising, pictures have proved most convincing. /ot only in picturing the collar
or the clothes, but in picturing men whom others envy, in surroundings which
others covet. The pictures subtly suggest that these articles of apparel will aid
men to those desired positions.

"dvertising pictures should not be eccentric. 5on#t treat your sub;ect lightly. 5on#t
lessen respect for your self or your advertisement by any attempt at frivolity.
,eople do not patroni%e a clown. There are two things about which men should
not ;oke. 1ne is business, one is home.
"n eccentric picture may do you serious damage. 1ne may gain attention by
wearing a fools cap. 'ut he would ruin his selling prospects. Then a picture,
which is eccentric or uni+ue, takes attention from your sub;ect. )ou cannot afford
to do that. )our main appeal lies in headline. 1ver!shadow that and you kill it.
5on#t, to gain general and useless attention, sacrifice the attention that you want.
5on#t be like a salesman who wears conspicuous clothes. The small percentage
he appeals to are not usually good buyers. The great ma;ority of the sane and
thrifty heartily despise him. 'e normal in everything you do when you are seeking
confidence and conviction.
3eneralities cannot be applied to art. There are seeming e4ceptions to most
statements. $ach line must be studied by itself. 'ut the picture must help sell the
goods. .t should help more than anything else could do in like space, else use
that something else.
=any pictures tell a story better than type can do. .n advertising of ,uffed 3rains
the picture of the grains were found to be most effective. They awake curiosity.
/o figure drawing in that case compare in results with these grains.
1ther pictures form a total loss. We have cited cases of that kind. The only way
to know, as is with most other +uestions, is by compared results.
&hould every ad have a new picture: 1r may a picture be repeated: 'oth
viewpoints have many supporters. The probability is that repetition is an
economy. We are after new customers always. .t is not probably that they
remember a picture we have used before. .f they do, repetition does not detract.
5o color pictures pay better than black and white: /ot generally, according to the
evidence we have gathered to date. )et there are e4ceptions. Certain food
dishes look far better in colors. Tests on lines like oranges, desserts, etc. show
that color pays.
Color comes close to placing the products in actual e4hibition.
'ut color used to amuse or to gain attention is like anything else that we use for
that purpose. .t may attract many times as many people6 yet not secure a hearing
from as many whom we want. The general rule applies. 5o nothing to merely
interest, amuse, or attract. That is not your province. 5o only that which wins the
people you are after in the cheapest possible way.
.ict#res in &dertisements
D .t is more effective than words.
R They support the copy.
E .n visually oriented ads, they serve as the copy with only the headline
appearing as the copy.
@ They are demonstrative.
T They can make us understand technical details.
M "ssociations and images are created.
J They evoke moods.
Q Colour photographs give high fidelity to the products.
S 'ackground and atmosphere can be shown effectively with their use
Colo#r .re!erences in &dertising .hotograph
.n "dvertising ,hotograph the most preferred colour by both e4es is blue, though
for women #red# sometimes is the first, and blue stands second. .n general,
adults have a preference for blue and red (or any shade of red!pink, rose,
crimson, maroon etc.)
"ccording to psychologists, the ranking of colours for girls runs like first, red and
then yellow, green and blue in that order. "s they advance in years, blue comes
up in ranking, yellow dipping down. The average adult has a liking for blue, red,
green and yellow in that se+uence.
The colour used in advertising must have brightness, the right degree of contrast
and an aesthetic appeal. The choice of the right colour creates identification and
makes for the right type of atmosphere. Colour advertisements are eye
pleasing. <owever, colours that are chosen must give the right psychological
suggestion. Colour at times gives structural motion to the ad copy. There is no
alternative to colour when advertising a premium product or a prestige product.
CR+&TIE+ ARI+1
1nce an effective appeal is found, the advertiser should prepare a creative brief,
typically covering one or two pages, it is an elaboration of the positioning
statement, and it should include*
a& Ney messa%e
*& "ar%et audience
c& 2ommunication o*Decti+es
d& )enefits to promise
e& 'upports for the promise
f& ,edia to *e used&
!ote *oxes will expand to accommodate +er*ia%e& "ry to /eep 2reati+e )rief as
concise as possi*le&&
(Client /ame) Creative 'rief 2ormat
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&treet City &tate ,in Code
.roGect 3#mmary= 2lear$ concise description of proDect /eep *rief&
Target &#dience= .hom are you tryin% to attract0 )e specific&
Dey ?essages= Fne or two /ey thrusts# those most important to the proDects
success&
Dey Aene!its= .hats in it for the audience0
Aac$gro#ndKCompetitie .ositioning= )riefly discuss the competition$ mar/et
realities$ o*stacles$ etc&
Comm#nication 3trategy= Cndicate any specific elements to *e included
9lo%os$ /ey +isual ima%es$/ey words and phrases$ /ey contact information$
specific internet lin/s etc&:
Desired ?essage Tone= How do you want the messa%e percei+ed 33 creati+e$
fun$ warm$ acti+e0
.roGect Timeline= Cndicate maDor milestones&
&nticipated A#dget=
Other= ;dd any /ey information not co+ered under the a*o+e items&
.repared by =
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&ccepted by=
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The Client &ervicing $4ecutive has to write this DK!point brief in this format and
hand it over to the creative team who will work on the ad campaign or the
television commercial based on this. The e4ecutive writes this brief based on the
briefing given to him by his client. We take one e4ample that the client is ',0
=usic &ystems.
1. Aac$gro#nd* ',0 =usic &ystems or an "udio product that is two!in ones is
an important segment of ',0. ('ritish ,hysical 0aboratories). "part from this ',0
manufactures washing machines, televisions, microwave ovens too. They have
built an image as being a customer >friendly company and they are known well
for their e4cellent! after!sales service. ',0 =usic &ystems were leaders about
four years ago, but the invasion of foreign music systems has affected their
brand and market!share badly. The leader today seems to be &ony. The
campaign run by ',0 for their music systems last year helped to a certain e4tent
by creating brand awareness and building an identity of the product as a very
personal part of the user!in the sense most of the people referred to ',0 music
systems as an emotional part of their lifestyle. 'ut now with a whole range of
foreign brands like &ony, ,anasonic and "iwa, ',0s image is fi%%ling out very
slowly.
*. Comm#nication ObGectie!2or the year RKK@, the ad campaign including the
press, outdoor advertising that is hoardings and bill boards and the television
commercialsL have one basic ob;ective!that is to re;uvenate the brand of ',0
=usic &ystems in the mind of the consumers (people). The message should
bring out the customer friendly +ualities of ',0 audio systems and convey the
message that despite the foreign brands, the ',0 music system shall remain
Ayour best friend for )earsB The +uality of being loyal to an .ndian brand has to be
conveyed very strongly.
/. Dey Insight= ',0 =usic &ystems will never let you down, while the foreign
brands may fi%%le out soon, but the .ndian product like the ',0 system shall be
part of your life forever.
0. Target &#dience= 8rbanites in the age group of RK to TK!male and female!
upwardly mobile!middle and upper middle class.
7. Desired ResponseK &ction !rom the Target &#dience* To consider buying
',0 music system instead of a foreign brand.
;. 3#pport= The client!servicing e4ecutive has to give any research figures data
and even ads of the competitors to the creative team that will help them to get a
better idea. The servicing e4ec can even take the creative team to the showroom
and show them the models of the product or even watch the customer behaviour
inside the shop.
>.Tas$ at hand= To present a five ad press campaign that will be in colour in all
the mainstream papers across the country starting "pril RKK@ and it will run upto
Fune RKK@. "ll the premier maga%ines like .ndia Today and 1utlook too are part
of the media plan. Commercial slots in channels like the popular serials are being
booked.
The creative team should also work out a story!board for the television
commercial which will be on the same lines as the press campaign.
@..ersonality and tone o! the comm#nication= Though we wish to present the
',0 music systems as .ndias favourite brand, but do not make the campaign
very desi!it should have the grace and dignity!something like the asian paints ads
where the traditional culture of warmth so representative of .ndia comes out well.
The ',0 music systems should be promoted as A part of your life inseparable
companionB
B.?andatory Re4#irements= " complete colour finished campaign has to be
presented to the client along with the story board for the commercials. ,oint of
purchase materials like stickers, streamers that can be put up inside outlets have
to be designed.
1C.Time 1rame2presentation to the client on Fanuary RR at R pm!the presentation
will be made to the chief marketing and publicity and his team.
By: M H Lakdawala 1/-

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