CREATING AND BUYING ADVERTISING - How To Put Your Advertising Plan Into Action

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How to Create Great Advertising

A lot goes into creating great advertising. You need to:

• Set your objective
• Determine your strategy
• Brainstorm for tactics
• Create the ads
• Produce the ads

But before you begin, you must have a good understanding of your audience as well as what your ads should accomplish. The best way to make sure that everyone is working towards the same goal is to develop a creative strategy.

The first step in developing your creative strategy is setting your objectives. Without specific objectives, you'll never be able to determine the effectiveness of the ads. Ask yourself, "What do these ads need to do?" - What's your objective?

What's a good objective?

A good objective is one that solves your business problem. Maybe you've opened a new business and need to get the word out, or you've remolded, or you have a special event to promote. You may be facing heavy competition and you want to set yourself apart from the competition by developing a brand image or by highlighting a unique feature. Maybe you're targeting a new market, so you must create ads that inform the potential traveler and link your destination to their needs. What do you want to communicate? What one thing do the consumers need to believe, understand, or feel about your destination, service or product?

Writing Your Creative Strategy Statement

In its simplest form, your creative strategy needs three things:

• What benefit are you promising, what's your selling proposition?
• Who are you making it to?
• Why should they believe you?
• And you can put all that in a sentence or two:

Ads will target women, 25-54, and convince them that Wisconsin is the place to vacation because it offers a relaxing getaway in beautiful surroundings.

This is the creative strategy statement in its simplest form. However, ad agencies use a much more formal process and create a planning document. This document serves as a guide to others involved in developing the advertisements so that everyone is working with the same understanding. This planning document is called a creative brief, copy platform, or creative workplan. Its length, information, and format vary, but most creative briefs include the following:

The Creative Brief

Objectives	1. Why are we advertising?
Target Audience	2. Who are we advertising to? 3. What do we know about them that will help us? 4. What do we want them to do?
Selling Premise	5. What point can we make that will get them to do that?
Evaluation	6. How will we know we've succeeded?
Creative Process	7. What are some ideas on how to make this point?

Let's go through each of these questions step-by-step. 1. Why are you advertising?

The answer should define the business goal the advertising needs to address. This is your strategic objective.

Increase tourism in Wisconsin by attracting campers to call for a free camping kit and plan their next camping trip to Wisconsin.

2. Who are you advertising to?

Develop a description of the target of your message. The key here is elimination -- don't include everyone and don't make an inspired guess on who might be interested. Focus on who you really need to get in order to make the advertising do what you want it to.

The target is multi-generational and includes anyone interested in camping. However, we want to especially appeal to seniors who travel in RVs when camping.

3. What do you know about them that will help you?

This goes beyond numbers like age, income, size of family. You want to know what makes them tick? What's their relationship with Midwest travel? With your destination or attraction? What role does your tourism offering have in the consumer's broader life context? What experiences have they had that might influence their interest in you? How do they describe you? What stories do they tell about your business?

Our target's current belief is that Wisconsin is a good place to camp because it has natural beauty, friendly people, lots of activities and it's safe. But Wisconsin has not actively promoted itself as a camping destination and our target is camping elsewhere.

4. What do you want them to do?

Give clear, realistic priorities for what you want your audience to do. This is not just a restatement of the business objective, but specifically identifies the action your audience should take in order to achieve your business objective.

We want them to call the 1-800 number with a special extension number to receive their free camping kit and plan their next camping trip in Wisconsin.

5. What point can you make that will get them to do that?

The selling premise is the sales logic behind an advertising message. What is the one idea a consumer should take away so the advertising can do what it is supposed to do? The selling premise should create desire for your product or area and inspire action. Two more tips:

Keep in mind the value your selling proposition provides - Does the value exceed the price and their time to get it?

Does your point differentiate you from the competition? Why will they pick you over the competition?

Regardless of which selling premise you use, you should be able to analyze the logic behind it. Most selling premises demand facts, proof, or explanations to support the claim, benefits, reason, or promise. A reason why includes the support in the "because" part of the statement. Your remaining copy should elaborate on the point of the premise. A claim demands proof or it won't be believed.

Wisconsin has some of the best camping available in a naturally beautiful setting with lots of activities to enjoy.

6. How will you know you've succeeded?

Give yourself hurdles, and a time frame to reach them. Then suggest a way to measure success. What must happen? When? What evidence will we have?

We will add a special extension number to the ads and create a camping packet. Calls will be tracked.

7. What are some ideas on how to make the point?

These are your tactics -- the "how" we're going to get it done. Consider many tactical possibilities. Brainstorm what is most likely to be motivating and involving.

This creative brief was for an ad that ran in a campground directory. We created a full-page four-color ad. We decided to highlight Wisconsin's natural beauty and activities: Great wildlife watching, two Great Lakes and thousands of inland lakes to enjoy, friendly people, safe places, golfing, hiking, biking, and a variety of attractions.

There are two more things that can be helpful in focusing strategy. You may want to include them in yours:

Tone Statement - What feel do you envision for your campaign? Whimsical, no-nonsense, aggressively competitive, off the wall? An ad's tone is crucial, a large part of what the ad means. What tone do you want to communicate, what attitude is best for your product, target, and advertising need? Be careful though; Although you want the tone to be distinguishing and break through the clutter, you don't want it to be another irritation.

The tonality for the camping ad focused on beautiful scenery in a relaxing atmosphere.

Mandatories and Limitations - Include any restrictions or data which is necessary to a clear understanding of creative direction including legal cautions, continuing use of a successful slogan, or items to feature.

The Department's 1-800 number with the special extension must be included. The overall look should match that of Wisconsin's brand imagery in its other ads.

Different Kinds of Creative Strategies

There are different approaches to creating an ad. Most can be divide between product-oriented strategies an consumer-oriented strategies. When developing you strategy, make sure your not just advertising a problem, you want to advertise the solution to the problem. The problem may be that people are stress out and need to get away. Don't create an ad that only reminds them how stressed out they are - Create an ad that tells them how easy it is for them to get away and relax.

Many good ads borrow from several of these categories:

Product-Oriented

• Generic claim - sell the product category, not your particular product
• Product feature - sell a product feature; appeal to reason.
• Unique selling proposition - sell a customer benefit unique to your offering.
• Positioning - establish a distinct and desirable market niche.

Consumer-Oriented

• Brand image - create and sell a personality for the brand.
• Lifestyle - associate the product with a way of life.
• Attitude - associate the product with a state of mind.
• Lifestage - appeal to the core life situation of your customers, e.g. newlyweds, retired, young single professionals.

Moving from Creative Strategy to Creative Concept

Execution of the strategy is the heart of the creative process in advertising. Developing the execution involves coming up with the creative idea sometimes referred to as the theme, slogan, or creative concept. This is where you take the strategy statement or point and express it in a way that is captivating and exciting.

Although the strategy statement may say everything you want said, it is not distinctive, attention-getting, and memorable. Strategy statements are dull outlines, platforms for discussion and agreement, not messages that will persuade your audience to travel to your destination or attraction.

The creative concept is the big idea that is original and dramatizes your selling point. Effective ads are built on strong creative concepts. Next we'll take a look at how to create both print and broadcast advertising.

Creating Print Advertising

Advertising is basically a relationship between words and imagery. You should seek to create a match between what you say and what you show. The key elements of print advertising are divided between copy and art. The copy elements include headlines, body copy, captions, slogans, and taglines. Art refers to the visual elements, which include illustrations or photography, the type, and the layout itself.

Newspaper Advertisements

Most people see newspaper advertising as a form of news. In fact, newspaper advertising is one of the few forms of advertising that is not considered intrusive. People consult the paper as much to see what is on sale as to find out what happened the night before. You still need to capture the attention of the reader. Your ad should announce:

• What is available?
• How you can get it?
• Why it's desirable?

Production Characteristics - Newspaper is printed on newsprint which is not the best surface for reproducing fine details, especially photographs and fine typefaces. Most papers offer color to advertisers, but because of limitations of the printing process, the color may or may not aligned exactly with the image and it is often costly. Many newspapers have their own graphic artists who can set your ads. Sometimes it's a service included in the gross cost of your ad or you have to pay some additional production charges.

Magazine Advertisements

Advertising that ties closely with the magazine's special interest may be valued as much as the articles. As a result, magazine ads are often more informative and with more copy than newspaper ads. Although there's this built in interest, you still need to catch their attention. To do that, your magazine ads can be more creative than newspaper ads with beautiful photography and graphics that have a strong impact. Magazines are particularly useful for image advertising.

Production Characteristics - Magazine paper is slick, coated and heavier than newsprint. Excellent photographic reproduction is the big difference between newspapers and magazines.

How do you write for a print ad?

For print, there are generally two sections of copy: display, and body copy. Display copy includes all those elements the reader sees during his or her first scanning. These elements, such as headlines, logos and phone numbers, should usually be set in larger type so it captures attention and stops the reader. Body copy, the text of the message, includes more detail and specifics about your destination.

Headlines

Headlines target your prospects, stop the reader, identify your destination or attraction, start the sale, and lure the reader into the body copy. It is the most important element of a print ad because most people who are scanning read nothing more. The following are some suggestions when developing headlines:

• Command headlines have power. You generate commands by using the imperative form of the verb, with "you" understood. "We Want You." "Visit the Zoo." "Just Do It." Commands make you pay attention because someone is verbally pointing a finger, demanding your response. It involves you.
• Questions also make you pay attention, since they invite your participation. "Are you stressed?" "Do you need to get away?"
• Adding "how" or "why" to a headline increases its pull and bonds it to the visual. How and why also gains your interest by promising an immediate benefit -- inside knowledge.
• Use a headline to flag down the readers who are your target audience. If you want parents to read your ad, speak to them directly in the headline.
• Include your product name in the headline (or use product shots or large logos to identify yourself).
• Use both internal and end punctuation on headlines. Most people use periods to close headlines, even when they aren't complete sentences. Periods add a sense of certainty and authority to the fragment or phrase.

The body copy is the text of the ad, the paragraphs of smaller type. The content develops the sales message and provides support, states the proof, and gives explanation. This is the persuasive heart of the message. You excite consumer interest with display elements, but you win them over with the argument presented in the body copy.

The following is a copy checklist that will help you when developing your copy:

Copy Checklist

• Do your images and words work together to create impact and meaning?
• Are you writing to your target market with their special characteristics in mind?
• Did you write the way your target talks? Avoid marketing lingo.
• Does your copy sound like something you would say? If not, rewrite it and read it aloud to a friend until it does.
• Did you express yourself in short, succinct expressions?
• Did you write your copy in the present tense, active voice with the simplest sentence constructions?
• Short paragraphs are easier to read and less intimidating than long ones.
• Did you personalize the copy to your target audience?
• Do you sound positive so that your audience will like your destination and have good feelings about it? Don't sound preachy with a negative tone of voice.
• Did you sell the solution and not the problem?
• Did you differentiate yourself from the competition?
• Do you give just enough information to be helpful, but not a word more?
• Do you make it easy for them to do what you want them to do? Don't make it a hassle or they'll associate negative feelings with you.

What makes an ad layout effective?

A layout arranges all the elements to provide a visual order that is aesthetically pleasing. A layout begins with a collection of miscellaneous elements, usually the headline, one or more pieces of art and maybe some accompanying captions, body copy complete with subheads, a brand or signature, and perhaps a trademark, a slogan, or a tagline. Arranging these elements so that they make sense and attract attention is a challenge. These decisions are both functional and aesthetic.

The functional side of the layout makes the message easy to perceive; the aesthetic side makes it attractive and pleasing to the eye. The design should reflect the nature and purpose of the proposition. The following are some key principles of graphic design:

1. The first step is to assemble the parts of your ad. You can't create a great layout until you know what it is you're laying out. The usual components are:

• Headline, subheads, and other display type
• Major illustrations, plus any other visuals
• Body copy
• Logo (symbol), plus tagline
• Any other elements, like coupons or borders

2. Next establish a visual hierarchy among those components. What's most important, less important, least important? Express what's most important by making it most important visually. One rule of thumb is to determine if your ad should be type-dominant or image-dominant.

   Closely related to dominance is the idea of leading the reader through the page, controlling the sequence, or visual flow. Our eyes want to read pages from top to bottom and left to right. Take advantage of this inclination by putting important items in the areas we naturally scan and leave less-important items out of the flow.

   Your layout should be balanced. There are two types of balance -- formal and informal. Formal balance is symmetrical, left to right. Everything is centered. Formal balance is conservative and suggests stability. Informal balance is asymmetrical and creates a more visually exciting and dynamic layout. Diagonal visuals can create an feeling of action and excitement and also help direct the visual flow, e.g. a picture of a golf club swing. The concept of optical center is critical to informal balance. It is the point on the page that our eyes see as the center.

   Proportion is the relationship of the various elements in an ad to each other. The key is variety: Avoid monotony of evenly repeated, evenly spaced shapes. Contrasts of all sort are visually exciting. Two visuals of the same size fight with one another for attention, and neither provides a point of visual interest. Copy and art should be proportionately different.

   Less is More. The more elements that are crowded into a layout, the less effective the ad. Don't overload the layout. The fewer the elements, the stronger the impact. Some advertisers try to crowd as many elements as possible into a limited advertising space because they're is trying to get maximum advertising out of a limited budget. Such ads can be a waste of the advertiser's money if the layout is not skillfully organized. The clutter makes the layout so unappealing that it is frequently ignored by most of its prospective readers. You must feature something in the ad so it stands out. People won't fight through clutter and disorganization. If you make it hard for them to read, they won't bother.

   Unity is also very important to an ad's layout. Do the elements of your ad work together? Do you have harmony, coherence? The ad's appearance should match the message. Consistency, white space, and margins can contribute to an ad's unity and overall appeal.

Consistency - Using one typeface rather than several is a good technique for creating unity, particularly for display copy. If there is a dominant artistic style, stick to it.

White Space - White space is not simply an area where nothing happens. It can be used as a design element. It works in one of two ways: It either frames an element in a sea of white, which gives importance; or it separates elements that don't belong together.

Margins - A margin is simply white space designed to frame the ad and to separate it from everything surrounding it. When beginning an ad, first, draw the ad size; then draw a second set of faint guidelines that indicate the internal margins of the ad. Margins are particularly important in newspapers, where ads frequently abut one another. In magazines, for a special charge, a full-page ad may bleed to the trim of the page, eliminating the margin altogether. If you take a look at any magazine, you'll see that some ads have the white trim around the ad on the page and the color on some ads runs all the way to the edge of the page. The edge of the page is called the bleed area. Its an area that the page leaves for trimming. Bleeds are used for ads that are dominated by photographs. Never place copy within a bleed area, or it could be trimmed off. You must set your internal margins so nothing important goes into the bleed area

How do you produce a print ad?

As you compose the pub schedule, the creative product should be complete and ready for print production. An ad must go through print production in order to accommodate the specifications of a newspaper or magazine. However, before you can produce the ad, you must consider art reproduction.

There are two general types of images that are reproduced in print - line art and photography.

A simple drawing is called line art because the image is just solid black lines on a white page. Line art reproduces easily and is often best for newspaper.

Photographs are much more complicated because they have a range, or shades, or gray tones between black and white. Photographs must be converted into halftones in order to be printed. The halftone process begins when the original photograph is shot by another camera after a fine screen is placed over the original. The image is converted to a pattern of dots that gives the illusion of shades of gray.

Screens

The quality of the image depends on how fine the screen is that is used to convert the original picture to a dot pattern. Because of the roughness of newsprint, newspapers use a relatively coarse screen, usually 65 to 100 lines per inch. (This is referred to as a 65-line screen.) Magazines use finer screens, which may be 110 or 133. The higher the number, the finer the screen and the better quality of reproduction. It helps to know the line screen of the different publications in which you advertise. If you try to run a very fine screen in a newspaper, the resulting printed image may turn out very dark and fuzzy looking.

Following are some easy steps to guide you in producing black and white as well as color ads. Remember, you can always ask the publication for their particular material requirements and what they recommend.

Black and white newspaper and magazine ads

If an ad is black and white and is to run in newspaper, a laser output and the photo are given to a film vendor to produce a high resolution scan. The vendor will usually want to know what line screen to use. This scan is put onto a computer disk and returned to the agency or directly to the advertiser if they're producing the ad.

Next, the high-resolution scan must be incorporated into the approved layout.

If a publication can accept an ad electronically, then the ad with all file pieces is compiled onto a disk. This disk should include all ad elements, including any fonts and logos. The disk, along with a directory of the disk and a printout of the ad, is sent to the publication.

If you send many newspapers ads, then subscribing to a service, such as AP ADSEND, may be an option. The Associated Press (a national newspaper association) offers a service where you can send a camera-ready ad to them electronically along with a listing of newspapers and issues dates. Ad Send will than forward the files to all publications indicated. Often the fee is less then what it would cost to overnight an ad directly to the newspaper.

If a newspaper does not accept ads electronically, the same vendor who did the high-resolution scan can be given a disk with the keyline (a layout which reflects placement for artwork and copy) of the ad. They will then pull a velox or high-quality proof and send it to the publication. The newspaper or magazine will prepare their plates for the press run, and incorporate the ad into the page.

Four-color newspaper and magazine ads

Photo, disk and laser are given to the film vendor, who scans the photo for high resolution.

The vendor then strips the photo into the keyline and generates either a proof or matchprint for you to view.

When the color proof is viewed, any color corrections that must be made are marked on the proof. The film vendor then makes the corrections and pulls a final proof.

Upon approval of the final proof, the vendor ships the films and proofs to the publication, usually a magazine.

SAMPLE NEWSPAPER ADVERTISMENT

Text reads: Haven't you done enough for the rest of the world? Perhaps it's time to do a little something for you.As in a little rest and relaxation. As in a Wisconsin getaway. We let the sun, water and scenery do the work. So you don't have to do a thing. For your free Wisconsin Getaway Guide, call 1-800-432-8747.

CREATING BROADCAST ADVERTISING

Television Commercials

Good television advertising uses the impact of action and motion to attract attention and sustain interest. Effective television advertisements also use storytelling, both for entertainment value and to make a point.

Various elements work together to create the visual impact of television commercials. Audio and visual elements do not stand alone. They must be put into the right setting and surrounded by appropriate props. The right talent must be chosen, and appropriate lighting and pacing are critical, along with other elements.

Television commercials can be very expensive to produce and only make sense if the ads will reach large numbers of people. There are a number of ways to produce a television commercial. It can be filmed or videotaped. It can also be shot frame by frame using animation techniques. In planning television advertising, there are many considerations:

Length - The most common length for a commercial is 30 seconds. Because of the increasing cost of air time, 60-second commercials are rare. An advertiser may buy a 30-second spot and split it in half for two related messages. If the two messages are interdependent, the strategy is called piggybacking.

Scenes - A commercial is planned in scenes. The scene is made up of several segments of action which occur in a single location. Within each scene there may be a number of shots from different angles. A 30-second commercial is usually planned with four to six scenes using four to six locations, though a fast-paced commercial may have more.

Talent - Deciding who will appear in the commercials, or the voice you will hear over the scenes, is critical to effectiveness. Talent will receive a fee for the production and must be paid a usage fee when the spots are airing.

Local Productions - Most local commercials are simple, relatively inexpensive, and are shot at the local station or production facility on videotape. The sales rep from the station may work with you to write the script, and the station's director handles the taping of the commercial. You may not have access to special effects and high-tech production techniques, but it is cost-effective.

On-location Productions - These are done at one or a series of locations. Often an outside production company that specializes in TV commercials is hired.

Scripts and Storyboards

A television commercial is created in two pieces: a script and storyboards. A script is the written version with all the words, dialogue, lyrics, instructions, and description. The storyboard shows the number of scenes, the composition of the shots, and the progression of the action.

Television Scripts - The script is written in two columns with the audio on the right and the video cues on the left. The key to the structure of a television script is the relationship between the audio and the video.

Storyboards - A storyboard shows each scene and must communicate the most information about that scene. Under the frame will be a short version of the audio, just enough to locate the dialogue in relation to the video. The storyboard is a very important tool for showing the basic concept of the commercial.

The production of a television commercial begins with pre-production planning and continues through rehearsal, the shoot and post-production editing.

Radio Commercials

Radio is theater of the mind in which a story is created in the imagination of the listener. The listeners are active participants in the construction of the message. How the characters look and where the scene is set come out of their personal experience.

Although radio is pervasive, it is seldom the listeners' center of attention. Most people who are listening to the radio are doing something else at the same time. The primary challenge for radio advertisers is to break through the various distractions and get the audience focused on the message.

You can capture a listener's attention with one of two strategies. One, use a catchy tune and heavily repeated lyrics to embed the message in an inattentive mind. Or two, be intrusive.

How do you write radio copy?

Writing radio copy requires a particular style and certain tools. Like television scripts, radio copy is written for a certain time frame and according to a particular form and code.

Style

Radio copy should be simple, avoid complex information, and use conversational language. Word choice should reflect the speech of the target audience. Determine if it should sound like a news "special report", comedy, soothing or seductive. Try to match the style to the message and audience, as well as break through the clutter.

Tools

It's also important to think of your target audience when using the tools to develop your message. The overall sound should appeal to your audience. For example, if you're trying to reach an older audience, soft sounds and low tones may be difficult for them to hear.

Radio uses three primary tools to develop messages: voice, music, and sound effects. These can be manipulated to create a variety of different effects.

Voice is probably the most important element. Voices are heard in jingles, in spoken dialogue, and in straight announcements. Most commercials have an announcer, if not as the central voice, at least at the closing to wrap up product identification.

Music is another important element of radio. Music can be used behind the dialogue to create mood and establish the setting or a jingle can be used to carry a theme or for product identification. Music can be composed for a commercial or it can be borrowed from an already recorded song - but for a cost. There are a number of music libraries that sell stock music. Since this music is not copyrighted, there is no guarantee that other ads will not use the same music.

Sound Effects (SFX) are also used to convey a setting. The sounds of birds and water crashing on a beach creates an image in our minds. Sound effects can be original, but more often they are taken from recordings.

Writing the Radio Script

Timing - The common lengths of radio commercials are 10, 20, 30, and 60 seconds. The 10-second and 20-second commercials are used for reminders and product identification. More elaborate messages are usually 30 or 60 seconds.

Forms - Radio scripts use a common form and code. The scripts are typed double-spaced with two columns. The narrow column on the left describes the source of the sound, and the wider column on the right gives the actual content of the message, either in words or a description of sound or music. The typing style is important because type cues tell the producer and the announcer instantly what is happening. For example, anything that isn't spoken is typed in capital letters. This includes the source identification in the left column and all instructions and descriptions that appear in the right column. Underling is used to call attention to music and sound effects in the right column so the announcer can see them instantly that those instructions are not to be read over the microphone.

How to produce the radio commercial

Radio commercials are generally taped and duplicated for distribution. The radio producer is in charge of getting the announcer cast, and the commercial recorded, mixed and duplicated. All the sound elements are recorded separately or laid down in stages. Voices can be double- and triple-tracked to created richer sounds. There may be as many as 24 separate tracks for an ad. Mixing occurs when the tracks are combined, with appropriate adjustments made to volume and tone levels.

Commercials for local advertisers may be produced by local stations, with the station's staff providing creative and production expertise. The recording is done in-house using the station's studio.

SAMPLE RADIO ADVERTISMENT

SFX: A MIX OF REAL AND SURREAL SFX TO SUPPORT STORYLINE.

VOICE: In the far corner of her mind, the woman carried a picture. A picture of a young girl running across a sunlit pier on a perfect Wisconsin day on a perfect Wisconsin lake. And standing now on that same pier years later and seeing her own children playing in the water, the woman... began... to run. Across the warm wood of the pier, across the years that separated her from the girl she used to be. And as she reached the end of the pier, she joined hands with that little girl. And together they jumped into the clear, timeless water. When she came to the surface and saw her own children around her, she was no longer just their mother. She was one of them. And the lake and the sun and the sweet smell of pine would be theirs forever.

ANNCR: There really is a place like this. For a free Wisconsin Getaway Guide, call 1-800-432-TRIP. 1-800-432-TRIP. (almost a whisper) Wisconsin.

CREATING OTHER ADVERTISING

How do you create a direct mail piece?

The following are some guidelines for creating a direct mail piece. Because a direct mail piece is a form of print advertising, you can refer to the creating print section for more tips.

Be attention getting. Americans receive almost four tons of junk mail every year, and 44 percent of it is never opened. How do you get them to open your mail? Put some language or design on the envelope to get it opened. Your envelope (or whatever piece that is first seen) functions like a print ad's headline.

Think of the copy as a letter to a friend. Direct-mail advertising has become extremely targeted. When you know something about the audience you're mailing to, this knowledge will help you figure out what to say to get your mail noticed. Be as warm and as informal or formal as the situation dictates, use the language of the consumer, and share his or her mindset.

Cover all aspects of the transaction. Direct advertising functions as a complete sales message. You're not just piquing interest. You're conducting the whole deal, from getting your target audience to open the envelope to closing the sale -- or creating the action you want. Your copy must do a lot: catch attention; stimulate desire; create belief by stating and proving the benefits; overcome general skepticism and specific objections; make the product tangible; and close with a strong call to action. And remember, you don't want to create more work for your customer. Give them enough information to take the work out of the call to action.

What about a general brochure or booklet?

A general brochure or booklet can be developed and used as a fulfillment piece - something you send out to follow-up a request for information. This is similar to creating a direct mail piece or print advertising, but you can be more informative. The Department of Tourism has done some research and here's what we found out:

A comprehensive publication with activities, events, maps and accommodations was the preferred format. It is user friendly and makes the planning process easy.

• Color pictures are integral to luring potential vacationers.
• List your 800 number.
• Don't overdue the advertising - information-commercial creates more credibility.
• Don't make it too "slick" - credible information is preferred over a "hyped" advertising approach.
• Include an Internet address on the cover.
• Include a section on kid-friendly activities or locations.
• Indicate any activities that are free.
• Highlight or star activities or events that are new from last year.

How do you create an out-of-home ad?

Out-of-home advertising, such as billboards or bus sides, usually functions as a supplemental medium and seems to work best to help introduce new products, build rapid brand awareness, add reach to a campaign, or serve as reminder advertising for well-known brands and products. As with direct mail, out-of-home advertising is also a form of print and you can refer to the creating print section for more tips, but the following outlines some guidelines key for creating an out-of-home ad:

Speed is of the essence. The advertising must be simple in order to be quickly comprehended. Generally, think in terms of one image and a few words. Or perhaps a few words and a logo.

Think big. One of the main strengths of outdoor boards is that they invoke our respect for the monumental.

Regard it as a poster. Conceptually, outdoor advertising is like a poster, the selling idea reduced to one strong visual/verbal relationship.

Take advantage of placement. With outdoor advertising, you generally know exactly where the ad will be, so in a way you know exactly who your audience is.

Consider manipulations and sequences. Outdoor boards, bus cards, subway cards, airport posters, and the like also allow, even invite, you to say something and then add to it over time or you can ask a question on one board and answer it on another.

What are your advertising choices on the Internet?

In addition to your own home page, which should be promoted in your ads along with your phone number, there are other ways to reach Internet users. You can run an ad or "banner" on someone else's site that invites people to click through to your site. Newspaper sites are a good place to start, particularly if they have an online travel section. If you are a non-profit, other sites may be willing to include a link to your home page as a service to their visitors. There are many small Internet marketing firms or freelancers who provide online marketing services. They can be helpful in technical creation and placement of your ads on the Internet.

Think, See And Hear Like Your Customer

The most important thing to remember when creating advertising is to think, see and hear like your customer. Use language that your customer uses. It will sound familiar, friendly and understandable. Also, be sensitive to sound and color. As people age, it gets more difficult for them to read fine print and hear certain tones. Some points to keep in mind:

• With age, it becomes difficult for people to distinguish between blues and greens.
• Small decorative print and all caps is hard to read.
• Advertising is not studied - it catches attention.

PUTTING YOUR CREATIVE TO WORK

Buying Advertising

Because media costs are high, advertising decisions must be made carefully, using a systematic approach. This decision process is divided into three simple steps: 1.) Developing, 2.) Executing, and 3.) Evaluating an advertising program. When you developed your ad plan, you should have answered these questions:

• Who is the target audience?
• What are the advertising objectives?
• What is the advertising budget?
• What is the timing of the advertising campaign?
• Where should the advertisements run?
• Once the above elements are answered, you can begin developing the advertising media plan.

How do you select the media?

Every advertiser must decide where to place its advertisements. Newspapers, magazines, radio and TV are examples of advertising media. This "media selection" decision is related to the target audience, type of product, nature of message, campaign objectives, budget and costs of alternative media.

Basic Terms

Media buyers speak a language of their own, so every advertiser involved in selecting the right media for their campaign must be familiar with some common terms used in the advertising industry.

Because you'll want to connect with the largest number of individuals in the target market, you must be concerned with reach. Reach is the number of different people who have seen or heard your advertisement.

The exact definition of reach sometimes varies among the different media. Newspapers often use reach to describe their total circulation or the number of different households that buy the paper. Television and radio stations, in contrast, describe their audience using the term rating -- the percentage of households in a market that are tuned to a particular TV show or radio station. If you don't know the reach of your medium, ask your sales representative. In general, as an advertiser, you should try to maximize reach in your target market at the lowest cost.

Although reach is important, you must also be consider how you can make certain that your target audience hears a message more than once. This is because consumers often do not pay close attention to advertising messages, some of which contain large amounts of information. When advertisers want to reach the same audience more than once, they are concerned with frequency, the average number of times a person in the target audience is exposed to a message or advertisement. It's been said that a person needs to see an ad ten to fifteen times before they'll act on it. Running an ad more then once is often more cost effective, because, in the long run, it generates more awareness and action.

For example, if you place a full-page ad in your local newspaper on each of the five weekdays, some individuals will be exposed to none of the ads, others will see one of them, still others two, and so on. Frequency tells you the average number of times individuals in the target audience were exposed to these five ads. Like reach, greater frequency is desirable. But because of the cost, the media planner often must balance reach and frequency. Cost per thousand (CPM) refers to the cost of reaching 1,000 individuals or households with the advertising message in a given medium.

TERM	WHAT IT MEANS
Reach	The number of different people exposed to an advertisement.
Rating	The percentage of households in a market that are tuned to a particular TV show or radio station.
Frequency	The average number of times an individual is exposed to an advertisement.
Cost per thousand (CPM) Gross Rating Points	The cost of advertising divided by the number of thousands of individuals or households who are exposed. This is reach times frequency.

What are your media choices?

Television

Television is a powerful medium because it communicates with both sight and sound. Network television, the most costly purchase, can reach up to 95 percent of the homes in the United States. Spot television, on the other hand, enables the advertiser to hand pick a specific audience in a specific area. By scheduling spots to air during certain dayparts or programs, you can reach your target market in a cost efficient means.

The major disadvantage of both spot and network television is cost. Because of high rates, many advertisers have reduced the length of their commercials from 30 seconds to 15 seconds. This practice, referred to as splitting :30s, reduces costs but severely restricts the amount of information that can be conveyed. Another problem with television is the likelihood of wasted coverage -- having people outside the market for the product see the advertisement. Cable TV is another area to consider, since ad rates are often less expensive than the prime time on major networks. You may not be reaching as many people, but you likely have less waste since you can pinpoint audiences very precisely.

Radio

There are seven times as many radio stations as television stations in the United States. The major advantage of radio is that it is a segmented medium. There are all-talk stations, rock stations, jazz stations, news stations, etc. A media buy can be tailored to the profile of your audience. There is an immediacy to radio (visit this weekend, attend this event) and greater flexibility to your buy.

The disadvantage of radio is that it has limited use for products that must be seen by the audience. Another problem, not unlike TV, is the ease with which consumers can tune out a commercial by simply switching the station. Peak radio listening time is during the drive times (6 to 10 am and 4 to 7 pm).

Magazine

The marketing advantage of this medium is the great number of special-interest publications that appeal to defined segments. For instance, if your target consists of avid runners, there is Runners World; for the outdoors and hiking enthusiasts -- Backpacker; for vacation planners -- Midwest Living and so on. In addition to the distinct audience profiles of magazines, good color production is an advantage that allows magazines to create strong advertising images.

While the cost of national magazines is a disadvantage, many publications publish regional and even metro editions, which reduce the cost and wasted coverage. In addition to cost, a limitation to magazines is their infrequency. Some magazines are only printed on a bi-monthly basis.

Newspaper

Newspapers are an important local medium with excellent reach potential. Because of the daily publication of most papers, you can place an ad that require immediate action -- this weekend only, special event Saturday, call this 800 number now.

The disadvantage of newspaper is that they are rarely saved by the purchaser, so companies are generally limited to ads that call for an immediate customer response. Also, companies cannot depend on newspapers for good color reproduction.

Direct Mail

Direct mail allows the greatest degree of audience selectivity. By selecting names from your own database of interested people and past visitors or buy purchasing a qualified list from a direct mail company, you can reach an audience who is already interested in your offering. This is an excellent reason to start your own database if you don't already have one. Later in this booklet, we'll discuss the benefits, as well as how to develop and work with a database.

Another advantage of direct mail is that you can provide complete information on your destination or attraction, compared with that in a newspaper ad or a 30-second radio spot.

One disadvantage of direct mail is that rising postal costs are making it more expensive. Another limitation is that people view direct mail as "junk," and the challenge is to get them to open a letter.

Outdoor

The most cost-effective advertising vehicle is outdoor billboards. The visibility of this medium is good reinforcement for products, and it is a flexible alternative. An advertiser can buy space in the desired geographical market. It can be as specific as a certain expressway location, or proximity to a store, for instance.

The disadvantage to billboards is that there is not an opportunity for a lengthy message. Also, the message is considered "fleeting" since the drive-by times are so often very fast. The message has to stand out so it won't be forgotten once the billboard is passed.

Transit

This medium includes messages on the interior and exterior of buses, subway cars and taxis. There is a great deal of selectivity with this medium, allowing you to buy space by neighborhood or bus route.

One disadvantage of this medium is that the heavy travel times, when the audiences are the largest, are not conducive to reading advertising copy. As with billboards, concise break-through messages are critical.

Interactive

Advertising on the Internet is the fastest-growing media vehicle. To date, there are over 56 million U.S. residents who are Internet users. This media vehicle has the advantage of active reader involvement and attention -- users have the capability of choosing different sites, and for that matter, viewing advertisements. Furthermore, the demographic profiles of Internet users is desirable to advertisers -- 68 percent have household incomes of $50,000+ and 83 percent have a college education.

There are some disadvantages to using this medium. With technology constantly changing, it is difficult to completely control the user experience over time. Secondly, the return on investment is sometimes difficult to measure. Lastly, not everyone is online.

How do you schedule the advertising?

There is no correct schedule to advertise a product, but two factors should be considered. The first is the purchase frequency -- the more frequently the product is purchased, the less repetition is required.

Second, companies need to consider the forgetting rate, the speed at which buyers forget the brand if advertising is not seen nor heard.

There are two basic approaches to setting advertising schedules:

• Continuous schedule - Advertising of a product runs throughout the year, when demand and seasonal factors are unimportant.
• Flight schedule - Advertising is distributed unevenly throughout the year because of seasonal demand, heavy periods of promotion, or introduction of a new product.

How do you execute a media buy?

Buying Print

When purchasing advertising space in newspapers or magazines, please follow the steps listed below:

Once the objectives of the campaign have been set, select the appropriate newspapers and/or magazines which fit your target audience.

Call your sales representative to negotiate advertising rates. These can also be found on the publication's annual rate card. At this time, you can also discuss possible positioning options. Do you want your ad to run in a travel section, near special editorial, or on a particular page leading into a special section? Generally, the best placement is near related editorial or right reading, far forward (the outside of the right hand page). Another excellent position is the inside or back cover. There is usually an additional charge for these positions in magazines.

Prepare a publication schedule, which is a complete listing of publication titles, insertion dates (dates the ad is schedule to run, rates, circulations, closing dates (when the space must be reserved and when the ad must be ready) and total costs.

Upon approval of the publication schedule, an insertion order is sent to the representative at the publication. This document reserves the correct ad size and also verifies the rate. You also want to indicate special positioning requests on this document.

Buying Broadcast

To purchase advertising on radio and television stations, the media buyer, whether that's you or an agency representative, will negotiate with sales reps of various stations or rep firms. In negotiating, the buyer seeks to achieve the lowest possible price for the most desirable inventory of spots. Once prices have been negotiated, the buyer should examine the total buy - investigate marketplace availabilities and overall pricing with the goals and objectives of the campaign in mind. The following questions should be answered prior to placing an order:

• Which stations; how many?
• How many spots per station?
• Which dayparts?

After talking to the reps about desired stations and pricing, an order can be placed. The buyer calls the rep as soon as the negotiation is completed. This call should cover: the client name, the product, flight date, length of message, and unit or package price. Within 24 hours, the rep will confirm or decline the buy at the proposed standards.

To complete the buy, the rep will fax a written confirmation to the buyer. The buyer is responsible for promptly reporting back to the rep on any discrepancies between the verbal order and the written confirmation. In addition, a detailed schedule should be generated. Contents of the schedule usually include the following:

Header

• Market
• Station
• Client
• Product
• Buyer
• Rep
• Date

For Each Spot

• Start date and number of weeks
• Spot length
• Number of spots per week
• Rotation
• Time or daypart
• Estimated demographic performance
• Cost per spot

Even though you've scheduled the space, it's still important to track when the ads actually run. The station does their best to run the ads when scheduled, but can not always do so. The stations can provide you with an affidavit report (a certified document listing when your commercials aired). Any pre-emptions (ad ran at a different time), makegoods (ran an additional ad due to errors), or credits should be noted on the schedule or written on a separate form and should include the following:

• Original spot
• Reason for change
• Makegood spot
• Any cost differences

Once the buy has been completed, the buyer should always keep an eye out for upgrades, which will improve the efficiency or delivery of an existing buy. The key is to stay in close contact with the rep to learn of any opportunities. Buyers should keep a close eye on spot performance, because they may re-negotiate schedules to compensate for shortfalls in audience levels.

EVALUATING THE ADVERTISING PROGRAM

How do you know if the advertising program is effective?

The advertising decision process does not stop with executing the advertising program. The advertisements should be post-tested to determine whether they are achieving their intended objectives. There are five common approaches to post-testing:

• Aided Recall - After being shown an ad, respondents are asked whether their previous exposure to it was through reading, viewing or listening.
• Unaided Recall - A question such as, "What ads do you remember seeing yesterday?" is asked of respondents without any prompting to determine whether they saw or heard advertising messages.
• Attitude Tests - Respondents are asked questions to measure changes in their attitudes before and after an advertising campaign.
• Inquiry Tests - Ads generating the most inquiries are presumed to be the most effective.
• Sales Tests - Charting increases in sales against when the advertising was running. Could also include total sales volume at the end of a season or year. This should also include analysis of how it compared to similar time periods in the prior year.

SAMPLE INTERNET BANNER

As with most advertising, it's important to tailor your message to your audience. For example, we chose to use a forecast as a fun theme when advertising a Wisconsin vacation on the Weather Channel. The banner flips through three images delivering an active message. The final screen invites the viewer to click through to Wisconsin's site. This banner only appeared on weather sites in the Twin Cities and Chicago area. When a person from one of those areas went to the site, this banner appeared. In one month, approximately 119,000 people saw this banner (referred to as impressions). Of the total impressions, 950 people clicked through to Wisconsin's web site.