The Fundamentals of Messaging. Deborah Obalil Executive Director Association of Independent Colleges of Art & Design

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1 The Fundamentals of Messaging Deborah Obalil Executive Director Association of Independent Colleges of Art & Design

2 What are the key tactical elements of marketing? Product People Price Promotion Position Place Politics

3 Consumer insight Purchase decisions are made in the unconscious mind. Repetition implants the purchase idea in the unconscious mind. Jay Conrad Levinson Guerrilla Marketing

4 Promotion Strategy Say what? To whom? How & Where?

5 Promotion What are we saying about ourselves? What communications tactics are we currently using? Which have worked best/least? What other messages and media could we be using? Are we budgeting enough for marketing to be effective? Are we capturing the data to know what s working and what s not?

6 Communications Mix Brochure Reminder Card Posters Ticket Inserts Direct Mail Radio ads Print ads TV ads Billboards Yellow Pages Special Event Public Relations Telemarketing Sampling Coupons Point-of-purchase Displays

7 3 Keys to a Powerful Message Intimate understanding of the target Product positioned to address consumer needs and desires Solid communications strategy

8 Communications Strategy Objective - What do you want the communication to do? Raise awareness? Make people buy? Target - Who are we trying to reach with the message? Message - The promise; one concise statement

9 Communications Strategy Support - The facts and features that support the promise; the reason to believe the message is true Tone - Feeling inspired by the message; the product s personality

10 Can you find the Communications Strategy in this ad? Turn off the tube and come out to Brookfield Zoo. Our new 24,000 square foot interactive wetlands exhibit features a lot of colorful characters. None of them in politics.

11 Communications Strategy - The Swamp: Brookfield Zoo Objective To convince the target to come to the new Interactive Wetlands Exhibit at the Brookfield Zoo Target Adults who don t want to live life on the sofa... and don t want their children to either Message The new wetlands exhibit at Brookfield Zoo is a hip, fun, live adventure you ll enjoy... And so will your children Support Large exhibit over 24,000 square feet Interactive Lots of different, colorful creatures Tone Appeal to adults, but position the exhibit as fun for everyone. Fun, rediscovery of your childhood.

12 Find the Communications Strategy in this ad

13 Communications Strategy Freak: John Leguizamo Objective To convince the target to come to see John Leguizamo in Freak. Target Hip young adults, or those who still believe they are (Boomers), who are looking for entertainment on the edge Message John Leguizamo is a hip, one-of-a -kind, off-the-wall comedian who will freak you out... and your date as well Support The critics from the biggest New York newspapers (and CBS-TV) were really enthusiastic about him; quotes from Boomer icons Tone Appeal to hip, young, with it crowd by reflecting their attitudes and speaking their language... and standing out on the page

14 Exercise Develop a communications strategy The Cutting Edge presenting organization is planning a 3-day run of E&K's all-nude, butohinspired, 90 minute with no intermission performance piece entitled Waves. Past experience has shown that contemporary visual arts audiences often know more about butoh than performance audiences, though E&K have strong brand recognition in the dance world. The piece will be performed in a non-traditional space that is accessible by public transit.

15 Task #2 Apply that communications strategy to an online or social media channel (aka not traditional print media or radio). How might your efforts be different given the same communications strategy using different media delivery platforms?

16 Making Messages Stick Simple Unexpected Concrete Credible Emotional Stories Source: Chip & Dan Heath heathbrothers.com

17 Simple

18 Unexpected

19 Concrete

20 Credible

21 Emotional

22 Stories

23 Beware the Curse of Knowledge

24 Turn your Mission into a Simple Unexpected Concrete Credible Emotional Story s

25 Making it Real

26 Two Roles Making communication materials Directing someone else who makes them

27 Doing it yourself Don t if you can avoid it. Need one thing above all else a concept

28 Concept vs. Strategy A concept is actionable A concept is a creative version of the strategy A concept is the way a strategy is executed

29 Example Concept American Express Their goal: Get people to use the card The strategy: Make using the card an expression of user status The concept: Status becomes exclusivity. Desire. Envy. Idolize. Idols - Make this the card of our idols and it becomes the card of status

30 American Express Example And the campaign is, Member Since One of the most recognizable campaigns in history. Athletes, politicians wide range of people in the campaign. Also leads to Membership has its privileges

31 What s This?

32 Another example Absolut Vodka Their goal: Get people to ask for or buy Absolut Vodka The strategy: Play off the tasteless nature of vodka to show that it goes with any occasion, you can be creative with it The concept: Artistic/creative play on the bottle, making it most recognized bottle on the bar shelf

33 Choosing your media Challenge pre-conceptions Ask yourself if your media matches your message Remember the mix

34 Challenge preconceptions If you feel like you have to beg something from people, turn around and demand it Pretend you re a 2 year-old and ask Why about 100 times

35 Match media to message & target Different media choices for different targets Niche media can be powerful Don t mix emotion and logic

36 Cutting through the clutter Powerful language Impactful visuals Use color for effect Make it easy to read Establish and maintain consistent layout style Develop a logo or logotype

37 Doing it yourself Don t try to do it all at once Do your strategy on a Monday Wait until Wednesday to come up with a concept On Friday worry about execution Break it up into manageable and separate tasks give each step breathing room

38 Getting someone else to do it No one is as committed as you It is your job to keep them focused Creative people are not good at external focus. They focus on what matters to them. Selfish lot that they are. Creative Director

39 Your responsibilities Focus and clear definition will get you what you want and need NEVER try to tell someone what you see in your head

40 Getting someone else to do it Clearly define executional parameters What color is your logo? What is the name/date/location of what you are selling? What is the media? Or is that open for discussion?

41 The Message What is the single most important point that you want the audience to walk away knowing? This is not a series of points. It is not a variety of nuances. If I hit the audience over the head with a hammer what would they remember?

42 Creative Brief components What is the product? (All the specifics) Who is the audience? (Names, addresses) Why would the audience care? (Note this is not why does it matter) What are the executional mandatories

43 Getting someone else to do it Once you ve given your input, get out of the way Ask for three versions to choose from Pick the one you like It is not a salad bar

44 Getting someone else to do it. When giving feedback. DO NOT try to provide half a solution. If you have a problem with something, work to explain what you want to accomplish. Don t say things like, just move the logo over there and I like the word gregarious instead of nice.

45 Back to the exercise Write the creative brief for E&K s engagement. Remember... - What is the product? - Who is the audience? - Why would the audience care? - What are the executional mandatories - What is the message?