Guidelines for making better advertising decisions
Published on 04/27/1998 under Ad Management
Judging from the number of lame and truly awful print ads you see in trade publications these days, I'd have to say many managers are struggling with how to make decisions regarding creative concepts and executions. And I'll readily admit, even after many years in the business, it's not an easy task.
One reason is that strong ads almost universally contain something that makes you uncomfortable: an unusual photo, a headline that smacks readers between the eyes, an offer requiring the advertiser to do something out-of-the-ordinary or give something away that costs actual money.
It's a lot safer to pick an inconspicuous or straightforward concept because you're less likely to be criticized by others in your company. Managers who normally see themselves as home run kings suddenly turn into singles hitters when they step up to the advertising plate. And that's unfortunate, because advertising is the one area where a little extra bang can bring a fistful of bottom-line results.
Another reason ads are weak these days is they are rarely approved by one or two people. Either we start off with an unwieldy committee (the 'task force") or the number of people grows casually on Ad Approval Day ("Shouldn't we let Dave see that? And what about Fred and his group? Call and see if they can pop over.").
The more people you have chipping away the sharp edges, the more likely you are to end up with a soft teddy bear - cute and cuddly, but not very effective as a communications tool.
Another reason ads turn out weak is that creative approaches are very subjective. One off-handed comment can turn the decision down a path of no return. An outspoken individual can easily lead others to a decision he or she wants. And because there's no right or wrong way to do things in advertising, that aspect alone makes left-brain, technologically disciplined managers wish the whole thing would go away quickly.
People who work in occupations driven by principles and fundamental laws have a hard time with the idiosyncrasies of advertising. So to help ease this painful process, here are some "fundamentals" to look for the next time you're in a position of having to approve creative materials.
1. Is the single most important benefit properly emphasized?
You shouldn't try to say too much in an ad because the reader is only pausing a few seconds on each page as he or she flips through a publication. Make sure your ad selects the strongest benefit and presents it prominently and persuasively.
Many industrial advertisers include only features and assume the reader will be able to convert these into benefits. This is what you call your basic "killer assumption." Don't make readers do your work for you. Help them come to the conclusions you want without breaking a sweat. They're busier today than ever before, and no one has time to waste.
And before moving on, let me acknowledge that not all ads are designed to promote products and services. Image-building ads are important, too. The same question, however, should be asked: "Is our most important message being properly emphasized."
2. Is your visual a stopper?
Some managers assume a beauty shot of the product is all you need. That may work in a brochure or flier, but not in an ad. Trade magazine readers are searching for information to do their jobs better, but don't expect them to see a product shot and immediately understand how that product can solve a problem better than what they are already using.
Dramatize the most important benefit, either by showing the product in action or by visualizing the problem and offering your product or service as a solution. Remember your prospective customers are human just like you. They will respond to emotional appeals as well as rational ones.
3. Is your visual relevant to the key message?
Borrowed interest can be a powerful stopping device if it helps the reader understand how your product or service works, or if it instantly shows you understand his or her problem. But it can be a disaster if used improperly.
If you're not sure, test the approach on people who are LIKE THE TARGET AUDIENCE. If you have engineers in your company who are similar to the ones you're trying to communicate with, show them the concept and see if it connects. If you don't have people like this in your company, take the concept to customers you trust and try it out on them.
By all means, don't give up on a strong concept because it doesn't "speak to you" or it makes you uncomfortable. You're probably not like the target audience.
4. Does the layout have a sense of balance and flow?
Is there a single, large visual that catches your eye first? Does the headline work in tandem with the main visual to stop you from flipping on to the next page? Is it obvious who sponsored the ad, and is your logo given its own space as a signature?
Forget about what you've heard about reverse type. If your ad is inviting and the body copy is set in a readable font of adequate size and leading, your copy will be read whether the layout dictates positive or reverse treatment. You shouldn't spoil an otherwise arresting layout by insisting that body copy be set black on white background. People today are used to reading copy in a rainbow of colors.
5. Is your "offer" clear?
Take a lesson from our friends in direct marketing and think through your offer. What exactly do you want the reader to do as a result of seeing your ad? Send for more information? Call for a demonstration? Request a sample? Log on your web site?
Be clear and specific about this and your results will improve dramatically.
So there are five fundamentals for separating strong ad concepts from the 98 lb. weaklings. And while these guidelines should help you feel more comfortable during the selection process, I'm also hoping you choose an approach that makes you feel a little uncomfortable. Because that's the one that will more than likely deliver the best results.