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CHAPTER TWELVE
The Creative Side and Message Strategy
GENERAL CONTENT: MULTIPLE-CHOICE QUESTIONS
Which dimension of effective advertising represents the “art” part?
a.
strategic dimension
b.
personal dimension
c.
creative dimension
d.
media dimension
e.
evaluative dimension
(c; easy; p. 352)
1.
Which dimension of effective advertising represents the “science” part?
a.
strategic dimension
b.
personal dimension
c.
creative dimension
d.
media dimension
e.
evaluative dimension
(a; easy; p. 352; LO1)
2.
3.
An ad that means something to the target audience means the idea is
___________.
a.
relevant
b.
original
c.
impactful
d.
significant
e.
unexpected
(a; moderate; p. 371)
4.
An advertising idea is considered ___________ when it is novel, fresh,
unexpected, and unusual; and it is considered ___________ when it’s one of a
kind.
a.
relevant; impactful
b.
impactful; relevant
c.
original; creative
d.
creative; original
e.
creative; relevant
(d; difficult; p. 371; LO3; AACSB Analytic Skills)
394
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
5.
An idea that breaks through the clutter, gets attention, and sticks in memory
is
said to have ___________.
a.
relevance
b.
originality
c.
staying power
d.
impact
e.
science
(d; moderate; p. 371; LO3; AACSB Analytic Skills)
6.
The ROI of effective advertising stands for ___________.
a.
real, original, and intense
b.
relevant, original, and impact
c.
relevant, original, and intense
d.
real, on-target, and insistent
e.
ready, on, and in
(b; moderate; p. 371; LO3; AACSB Analytic Skills)
7.
A(n) ___________ is a creative concept that implements the advertising
strategy
so that the message is both attention getting and memorable.
a.
big idea
b.
creative brief
c.
artful statement
d.
big bang
e.
central idea
(a; easy; p. 371; LO3; AACSB Analytic Skills)
8.
Using an idea that someone else has originated is known as ___________.
a.
duplicate advertising
b.
revised advertising
c.
copycat advertising
d.
recycled advertising
e.
reused advertising
(c; easy; pp. 371-372; LO3; AACSB Reflective Thinking)
9.
A process of jumping from the strategy statement to an original idea that
conveys
the strategy in an interesting way is known as the ________ and means moving
from the safety of a predictable strategy statement to an unusual idea that
hasn’t
been tried before.
a.
creative leap
b.
creative gap
c.
creative bridge
d.
creative brief
e.
creative idea
(a; moderate; p. 372; LO3; AACSB Analytic Skills)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
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Part Four: Principles: Creativity and Breakthrough Advertising
10.
What is often used to test the idea before it runs to try to determine
whether it
works?
a.
concept testing
b.
concept evaluation
c.
brainstorming
d.
comparative analysis
e.
copy-testing
(e; moderate; p. 380; LO3; AACSB Analytic Skills)
11.
Which of the following is a common technique advertisers use to force the
creative leap?
a.
make an unusual association
b.
concept listing
c.
language manipulation
d.
use similes
e.
take physical risks
(a; moderate; p. 372; LO3; AACSB Analytic Skills)
12.
Which of the following statements is false regarding creative thinking?
a.
Creativity is a special form of problem solving and everyone is born with
some talent in that area.
b.
In advertising, creativity is limited to the writers and art directors.
c.
Free association creates the juxtaposition of two seemingly unrelated
thoughts.
d.
Right-brain thinking is intuitive, nonverbal, and emotion-based thinking.
e.
Divergent thinking uses exploration to search for all possible alternatives.
(b; moderate; pp. 355; 372; 377; LO3; AACSB Reflective Thinking)
13.
Which of the following is a common technique that creative thinkers use to
stimulate new ideas?
a.
free association
b.
divergent thinking
c.
analogies and metaphors
d.
right-brain thinking
e.
all of the above
(e; moderate; pp. 372; 377; LO3; AACSB Analytic Skills)
14.
Which of the following is NOT a common technique that creative thinkers use
to
stimulate new ideas?
a.
free association
b.
divergent thinking
c.
analogies and metaphors
d.
right-brain thinking
e.
copycat thinking
(e; moderate; p. 372, 377; LO3; AACSB Analytic Skills)
396
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
15.
Which technique used by creative thinkers creates the juxtaposition of two
seemingly unrelated thoughts?
a.
free association
b.
divergent thinking
c.
analogies and metaphors
d.
right-brain thinking
e.
left-brain thinking
(a; moderate; p. 377; LO3)
16.
Which technique used by creative thinkers differs from the rational, linear
thinking that we use to arrive at the “right” conclusion and uses exploration
(playfulness) to search for all possible alternatives?
a.
free association
b.
divergent thinking
c.
analogies and metaphors
d.
right-brain thinking
e.
left-brain thinking
(b; moderate; p. 372; LO3; AACSB Reflective Thinking)
17.
Which technique used by creative thinkers is intuitive, nonverbal, and
emotionbased thinking?
a.
free association
b.
divergent thinking
c.
analogies and metaphors
d.
right-brain thinking
e.
left-brain thinking
(d; moderate; p. 372; LO3; AACSB Analytic Skills)
18.
Which type of thinking is logical, orderly, and verbal?
a.
right-brain
b.
left-brain
c.
top-brain
d.
back-brain
e.
lateral-brain
(b; moderate; p. 372; LO3)
19.
A person who tends to deal in expressive images, emotion, intuition, and
complex
interrelated ideas that must be understood as a whole rather than as pieces
is
________-brain dominant.
a.
right
b.
left
c.
top
d.
front
e.
back
(a; moderate; p. 372; LO3)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
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Part Four: Principles: Creativity and Breakthrough Advertising
20.
Which of the following is a step in the idea-generating process called
creative
aerobics?
a.
come up with a list of facts about a product
b.
create new “names” for the product
c.
look for similarities between dissimilar objects
d.
create new definitions for product-related nouns
e.
all of the above
(e; easy; p. 376; LO4; AACSB Analytic Skills)
21.
Which of the following is NOT a step in the idea-generating process called
creative aerobics?
a.
come up with a list of facts about a product
b.
create new “names” for the product
c.
look for similarities between dissimilar objects
d.
create new definitions for product-related nouns
e.
copy-test ideas with a focus group
(e; moderate; p. 376; LO4; AACSB Analytic Skills)
22.
Which of the following statements is false regarding the creative person?
a.
Creative advertising people may be zany, weird, off-the-wall,
unconventional, and most importantly, eccentric.
b.
In advertising, creativity is both part of the job description and a goal.
c.
Creative people are found in business, science, engineering, advertising,
and many other fields.
d.
Creative problem solvers are risk takers with a high tolerance for
ambiguity.
e.
Most people can sharpen their skills and develop their creative potential.
(a; moderate; p. 355, 375; LO4; AACSB Analytic Skills)
23.
Which of the following is a key characteristic of creative people who do well
in
advertising?
a.
problem solving
b.
ability to visualize
c.
openness to new experiences
d.
conceptual thinking
e.
all of the above
(e; easy; p. 375; LO4; AACSB Analytic Skills)
24.
Which of the following is the first step in the creative process?
a.
ideation
b.
brainfog
c.
incubation
d.
immersion
e.
illumination
(d; moderate; p. 375; LO4; AACSB Analytic Skills)
398
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
25.
In which step of the creative process does the problem solver read, research,
and
learn everything he or she can about the problem?
a.
ideation
b.
brainfog
c.
incubation
d.
immersion
e.
illumination
(d; moderate; p. 375; LO4)
26.
In which step of the creative process does the problem solver look at the
problem
from every angle, develop ideas, and generate as many alternatives as
possible?
a.
ideation
b.
brainfog
c.
incubation
d.
immersion
e.
illumination
(a; moderate; p. 375; LO4)
27.
In which step of the creative process does the problem solver hit a blank
wall and
want to give up?
a.
ideation
b.
brainfag
c.
incubation
d.
mental block
e.
illumination
(b; moderate; p. 375; LO4)
28.
In which stage of the creative process does the problem solver try to put his
or her
conscious mind to rest to let the subconscious take over?
a.
ideation
b.
brainfog
c.
incubation
d.
immersion
e.
illumination
(c; moderate; p. 375; LO4)
29.
Which stage of the creative process is characterized as an unexpected moment
when the idea comes, often when the mind is relaxed and doing something else?
a.
ideation
b.
brainfog
c.
incubation
d.
immersion
e.
illumination
(e; moderate; p. 375; LO4)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
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Part Four: Principles: Creativity and Breakthrough Advertising
30.
Which of the following describes the immersion step of the creative process?
a.
Read, research, and learn everything possible about the problem.
b.
Look at the problem from every angle, develop ideas, and generate as
many alternatives as possible.
c.
The mind may hit a blank wall and want to give up.
d.
Try to put the conscious mind to rest to let the subconscious take over.
e.
Does it work and is it on strategy?
(a; moderate; p. 375; LO4; AACSB Analytic Skills)
31.
Which of the following describes the ideation step of the creative process?
a.
Read, research, and learn everything possible about the problem.
b.
Look at the problem from every angle, develop ideas, and generate as
many alternatives as possible.
c.
The mind may hit a blank wall and want to give up.
d.
Try to put the conscious mind to rest to let the subconscious take over.
e.
Does it work and is it on strategy?
(b; moderate; p. 375; LO4; AACSB Analytic Skills)
32.
Which of the following describes the brainfog step of the creative process?
a.
Read, research, and learn everything possible about the problem.
b.
Look at the problem from every angle, develop ideas, and generate as
many alternatives as possible.
c.
The mind may hit a blank wall and want to give up.
d.
Try to put the conscious mind to rest to let the subconscious take over.
e.
Does it work and is it on strategy?
(c; easy; p. 375; LO4; AACSB Analytic Skills)
33.
Which of the following describes the incubation step of the creative process?
a.
Read, research, and learn everything possible about the problem.
b.
Look at the problem from every angle, develop ideas, and generate as
many alternatives as possible.
c.
The mind may hit a blank wall and want to give up.
d.
Try to put the conscious mind to rest to let the subconscious take over.
e.
Does it work and is it on strategy?
(d; moderate; p. 375; LO4; AACSB Analytic Skills)
34.
Which of the following describes the illumination step of the creative
process?
a.
Read, research, and learn everything possible about the problem.
b.
Look at the problem from every angle, develop ideas, and generate as
many alternatives as possible.
c.
The mind may hit a blank wall and want to give up.
d.
Try to put the conscious mind to rest to let the subconscious take over.
e.
That unexpected moment when the idea comes, often when the mind is
relaxed and doing something else. Consider: does it work and is it on
strategy?
(e; moderate; p. 375; LO4; AACSB Analytic Skills)
400
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
35.
Which of the following describes the final step of the creative process?
a.
Read, research, and learn everything possible about the problem.
b.
Look at the problem from every angle, develop ideas, and generate as
many alternatives as possible.
c.
The mind may hit a blank wall and want to give up.
d.
Try to put the conscious mind to rest to let the subconscious take over.
e.
Does it work and is it on strategy?
(e; moderate; p. 375; LO4)
36.
A technique in which 6 to 10 people work together to come up with ideas by
remaining positive and deferring judgment is known as ________.
a.
concept listing
b.
brainstorming
c.
divergent thinking
d.
free association
e.
brainfog
(b; moderate; p. 376; LO4; AACSB Communication)
37.
________ is what the advertisement says and ________ is how it is said.
a.
Execution; creative strategy
b.
Message strategy; media strategy
c.
Creative strategy; execution
d.
Media strategy; message strategy
e.
Cognition; affect
(c; moderate; p. 357; LO1; AACSB Communication)
38.
Which of the following is an appropriate objective to achieve the perception
facet
of advertising effectiveness?
a.
change attitudes
b.
create conviction
c.
create attention
d.
stimulate trial
e.
touch emotions
(c; moderate; p. 358; LO1)
39.
To deliver information and understanding are appropriate objectives for which
facet of advertising effectiveness?
a.
perception
b.
think/learn
c.
affective
d.
persuasion
e.
transformation
(b; moderate; p. 358; LO1; AACSB Analytic Skills)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
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Part Four: Principles: Creativity and Breakthrough Advertising
40.
Which of the following are appropriate objectives to achieve the feel facet
of
effective advertising?
a.
create attention, awareness, interest, recognition and recall
b.
deliver information and understanding
c.
touch emotions and create feelings
d.
change attitudes, create conviction and preference
e.
establish brand identity and associations
(c; moderate; p. 358; LO1; AACSB Analytic Skills)
41.
Which of the following are appropriate objectives to achieve the connect
facet of
effective advertising?
a.
create attention, awareness, interest, recognition and recall
b.
deliver information and understanding
c.
touch emotions and create feelings
d.
change attitudes, create conviction and preference
e.
establish brand identity and associations
(e; moderate; p. 358; LO1; AACSB Analytic Skills)
42.
In the Facets Model, the cognitive and persuasion objectives generally speak
to
the ________, and the affective and transformational objectives are more
likely to
speak to the ________.
a.
facts; feelings
b.
feelings; facts
c.
attributes; benefits
d.
head; heart
e.
heart; head
(d; difficult; p. 358; LO1; AACSB Analytic Skills)
43.
An informational message that is designed to touch the mind and create a
response based on logic is known as a ________.
a.
factual sell
b.
heart sell
c.
hard sell
d.
soft sell
e.
cognitive sell
(c; moderate; p. 362; LO2; AACSB Analytic Skills)
44.
Which message strategy approach emphasizes tangible product features and
benefits?
a.
factual sell
b.
heart sell
c.
hard sell
d.
soft sell
e.
cognitive sell
(c; moderate; p. 362; LO2; AACSB Communication)
402
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
45.
Which approach uses emotional appeals or images to create a response based on
attitudes, moods, dreams, and feelings?
a.
factual sell
b.
head sell
c.
hard sell
d.
soft sell
e.
affective sell
(d; moderate; p. 362; LO2; AACSB Communication)
In which advertising message does a speaker, often referred to as “a talking
head,” present evidence and use a technique such as an argument to persuade
the
audience?
a.
soft sell
b.
lecture
c.
teaser
d.
appeal
e.
drama
(b; moderate; p. 363; LO2; AACSB Communication)
46.
47.
Which type of advertising message tells a story about the products, and the
characters speak to each other, not to the audience?
a.
soft sell
b.
lecture
c.
teaser
d.
appeal
e.
drama
(e; moderate; p. 364; LO2; AACSB Communication)
48.
In Taylor's Six-segment strategy wheel the transmission view is equivalent to
the
________ strategy.
a.
head
b.
heart
c.
feeling
d.
talking head
e.
thoughtful
(a; moderate; p. 363; LO2; AACSB Analytic Skills)
49.
What is the function of originality?
a.
keep attention
b.
increase share of mind
c.
create pulling power
d.
capture attention
e.
create sticking power
(d; moderate; p. 367; LO2; AACSB Communication)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
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Part Four: Principles: Creativity and Breakthrough Advertising
50.
Which of the following can create stopping power?
a.
originality
b.
unexpected media
c.
intrusive and intense
d.
contrast
e.
all of the above
(e; easy; p. 367; LO2; AACSB Communication)
51.
Getting attention is the ________ power of an advertisement; keeping
attention is
the ________ power of an ad.
a.
stopping; sticking
b.
pulling; stopping
c.
stopping; pulling
d.
pulling; sticking
e.
sticking; pulling
(c; moderate; p. 367; LO2; AACSB Communication)
52.
Keeping attention through an interesting thought creates ________.
a.
stopping power
b.
pulling power
c.
sticking power
d.
attention
e.
awareness
(b; moderate; p. 367; LO2)
53.
In which type of campaign does the message unfold over time?
a.
drama
b.
lecture
c.
split and book-end
d.
teaser
e.
anonymous
(d; moderate; p. 367; LO2; AACSB Communication)
54.
When an ad amplifies the emotional impact of a message by engaging a personal
connection with a brand the ad _______.
a.
repeats
b.
speaks
c.
sings
d.
is believable
e.
resonates
(e; moderate; p. 367; LO2; AACSB Communication)
404
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
55.
What is typically used at the end of an ad to summarize the point of the ad’s
message in a highly memorable way?
a.
subhead
b.
tagline
c.
teaser
d.
point of differentiation
e.
signature
(b; moderate; pp. 367-368; LO2)
56.
When a tagline is used consistently on all marketing messages, it becomes a
________.
a.
slogan
b.
logo
c.
signature
d.
claim
e.
key visual
(a; moderate; p. 367; LO2)
57.
A vivid image that the advertiser hopes will linger in the viewer’s mind is
communicated through a ________.
a.
tagline
b.
slogan
c.
signature
d.
key visual
e.
super
(d; moderate; p. 368; LO2; Communication)
58.
Ads that demonstrate how something works or how to solve a problem are
messages that ________.
a.
reach emotions
b.
get attention
c.
teach
d.
preach
e.
resonate
(c; moderate; p. 369; LO2; AACSB Communication)
59.
Messages that ________ are designed to affect attitudes and create beliefs.
a.
reach emotions
b.
teach
c.
preach
d.
persuade
e.
resonate
(d; moderate; p. 369; LO2; AACSB Communication)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
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Part Four: Principles: Creativity and Breakthrough Advertising
60.
A(n) ________ connects with some emotion that makes the product particularly
attractive or interesting, such as security, esteem, fear, sex, and sensory
pleasure.
a.
claim
b.
appeal
c.
feature
d.
point of differentiation
e.
argument
(b; moderate; p. 364)
61.
A(n) ________ states the logic behind the sales offer.
a.
claim
b.
appeal
c.
feature
d.
point of differentiation
e.
selling premise
(e; moderate; p. 364; LO2)
62.
Which of the following is NOT a rational customer-focused selling premise?
a.
benefit
b.
promise
c.
reason why
d.
unique selling proposition (USP)
e.
resonate
(e; moderate; p. 365; LO2)
63.
Which rational customer-focused selling premise is a benefit statement that
is
both unique to the product and important to the user?
a.
benefit
b.
promise
c.
reason why
d.
unique selling proposition (USP)
e.
unique claim
(d; moderate; p. 365; LO2; AACSB Analytic Skills)
64.
________ advertising is used to create a representation of the brand in a
consumer’s mind.
a.
Unique selling proposition (USP)
b.
Image
c.
Conviction
d.
Selling premise
e.
Action
(b; moderate; p. 370; LO2; AACSB Communication)
406
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
65.
Which type of message strategy delivers information symbolically by
connecting
a brand with a certain type of person, lifestyle, or other characteristic?
a.
unique selling proposition (USP)
b.
emotion
c.
reminder
d.
association
e.
call to action
(d; moderate; p. 370; LO2; AACSB Communication)
66.
Which of the following is NOT considered a common message format?
a.
straightforward
b.
spokesperson
c.
resonance
d.
comparison
e.
problem solution/problem avoidance
(c; difficult; p. 365-366; LO2; AACSB Communication)
67.
Which message format is an elaborate version of a problem solution staged in
the
form of a drama in which “typical people” talk about a common problem and
resolve it?
a.
demonstration
b.
slice-of-life
c.
teaser
d.
shockvertising
e.
spokesperson
(b; moderate; p. 366; LO2)
68.
Which type of message format is designed to arouse curiosity, are mystery ads
that don't deliver enough information to make sense?
a.
teasers
b.
slice-of-life
c.
spokesperson
d.
shockvertising
e.
shockwave
(a; moderate; p. 367; LO2)
69.
The creative strategy and key execution details are spelled out in a document
called a(n) ________.
a.
creative brief
b.
positioning statement
c.
execution plan
d.
media plan
e.
message plan
(a; moderate; p. 357; LO2)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
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Part Four: Principles: Creativity and Breakthrough Advertising
70.
A particular problem that Big Ideas face is that the message is sometimes so
creative that the ad is remembered but not the product. This is known as
________.
a.
marketing imperialism
b.
carryover effect
c.
overpowering creativity
d.
cannibalistic creativity
e.
vampire creativity
(e; moderate; p. 380; LO3; AACSB Communication)
GENERAL CONTENT: TRUE/FALSE QUESTIONS
71.
Effective advertising is a product of both science and art.
(True; easy; p. 371)
72.
An effective ad is relevant, original, and has impact, which is referred to
as ROI.
(True; easy; p. 371; LO3; AACSB Analytic Skills)
73.
In getting the great idea, the visual comes first.
(False; moderate; p. 372; LO3; AACSB Analytic Skills)
74.
Vampire advertising is using an idea that someone else has originated.
(False; moderate; p. 371; LO3; AACSB Analytic Skills)
75.
No matter how hard a creative team tries, there is no way to come up with a
creative Big Idea for boring, mundane products (e.g. toilet paper).
(False; moderate; p. 372; LO3; AACSB Analytic Skills)
76.
To get a creative idea, you must leap beyond the mundane language of the
strategy statement and see the problem in a novel and unexpected way.
(True; easy; p. 372; LO3; AACSB Analytic Skills)
77.
Divergent thinking creates the juxtaposition of two seemingly unrelated
thoughts,
and it is done by thinking of a word and then describing everything that
comes
into your mind when you imagine that word.
(False; moderate; p. 372; LO3)
78.
Left-brain thinking is intuitive, nonverbal, and emotion-based thinking.
(False; moderate; p. 372; LO3; AACSB Analytic Skills)
79.
Copywriters and art directors are the only creative roles in advertising
agencies.
(False; moderate; p, 354; LO3; AACSB Analytic Skills)
408
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
80.
Creative problems solvers are risk takers with a high tolerance for
ambiguity.
(True; moderate; p. 375; LO3; AACSB Analytic Skills)
81.
One basic principle in creative thinking for advertising is to emphasize
executions
and worry about concepts later.
(False; moderate; p, 375; LO3)
82.
For advertising professionals, creative thinking is more important than
strategic
thinking.
(False; moderate; p. 375; LO3; AACSB Reflective Thinking)
83.
The first step in the creative process is to read, research, and learn
everything you
can about the problem.
(True; moderate; p. 375; LO3)
84.
Illumination is a technique where a group of 6 to 10 people work together to
come
up with ideas, and the secret to success is to remain positive and defer
judgment.
(False; moderate; p. 376; LO3; AACSB Communication)
85.
Creative strategy is what the advertisement says and execution is how it is
said.
(True; easy; p. 357; LO1; AACSB Communication)
86.
An objective to achieve the transformation facet of effectiveness is to touch
emotions and create feelings.
(False; difficult; p. 358; LO1; AACSB Analytic Skills)
87.
A hard sell is an informational message that is designed to touch the mind
and
create a response based on logic.
(True; easy; p. 362; LO2; AACSB Communication)
88.
Lecture as a basic strategy relies on the viewer to make inferences.
(False; moderate; p. 364; LO2; AACSB Communication)
89.
To get attention, an ad has to have pulling power.
(False; moderate; p. 367; LO2; AACSB Communication)
90.
The function of originality is to capture attention.
(True; moderate; p. 367; LO2; AACSB Communication)
91.
Keeping attention is the pulling power of an ad.
(True; moderate; p. 367; LO2; AACSB Communication)
92.
The key visual in a print, interactive, or television ad is a vivid image
that the
advertiser hopes will linger in the viewer’s mind.
(True; moderate; p. 368; LO2; AACSB Communication)
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93.
A product’s point of differentiation relative to the competition reflects its
position.
(True; moderate; p. 358; LO1)
94.
Style, quality, prestige, package, and color are all considered to be
intangible
characteristics of the product.
(False; moderate; p. 368 [Figure 12.4]; LO2)
95.
An appeal connects with some emotion that makes the product particularly
attractive or interesting.
(True; moderate; p. 364; LO2; AACSB Communication)
96.
An appeal states the logic behind the sales offer.
(False; difficult; p. 364; LO2)
97.
The unique selling proposition (USP) is a benefit statement that looks to the
future and predicts that something good will happen if you use the product.
(False; moderate; p. 365; LO2; AACSB Communication)
98.
The end result of persuasion is purchase.
(False; difficult; pp. 369-370; LO2; AACSB Communication)
99.
An association message strategy delivers information symbolically by
connecting
a brand with a certain type of person, lifestyle, or other characteristic.
(True; easy; p. 370; LO2; AACSB Communication)
100.
Advertising that tries to grab attention and generate buzz by using
outlandish
creative ideas or provocative visuals is referred to as vampire creativity.
(False; moderate; p. 380; LO3; AACSB Communication)
101.
The message plan is the document prepared by the account planner to summarize
the basic marketing and advertising strategy and gives direction to the
creative
team as they search for the creative concept.
(False; moderate; p. 357; LO1; AACSB Analytic Skills)
102. A strategy is the form in which the ad’s message is presented.
(False; difficult; p. 357; LO1; AACSB Communication)
103.
In the case where the core targeting and positioning strategies remain the
same in
different markets, execution needs to be the same.
(False; moderate; p. 378)
104.
Vampire creativity is when the message is so creative that the ad is
remembered
but not the product.
(True; moderate; p. 380; LO3; AACSB Communication)
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Chapter Twelve: The Creative Side and Message Strategy
105.
A formal method of evaluating the effectiveness of an ad, either in draft
form or
after it has been used, is called copy-testing.
(True; easy; p. 380; LO3; AACSB Analytic Skills)
GENERAL CONTENT: ESSAY QUESTIONS
106.
Name and describe the most common techniques that creative thinkers use to
stimulate new ideas.
Answer:
The most common techniques that creative thinkers use to stimulate new ideas
are:
(1)
Free Association—Creates the juxtaposition of two seemingly unrelated
thoughts. In this technique you think of a word and then describe
everything that comes into your mind when you imagine that word.
(2)
Divergent Thinking—Differs from the rational, linear thinking that we use
to arrive at the “right” conclusion. It is at the heart of creative thinking,
using exploration (playfulness) to search for all possible alternatives.
(3)
Analogies and Metaphors—Used to see new patterns or relationships.
(4)
Right-brain Thinking—Intuitive, nonverbal, and emotion-based thinking.
A right brain–dominant person tends to deal in expressive images,
emotions, intuition, and complex, interrelated ideas that must be
understood as a whole rather than as pieces.
Another approach is called creative aerobics, a thought-starter process that
works
well in advertising because it uses both the head and the heart, which we
refer to
in strategy development as rational and emotional appeals. It is a four-step,
ideageneration process:
(1)
Facts—The first exercise is left-brain and asks you to come up with a list
of facts about the product.
(2)
New Names—Create new names for the product.
(3)
Similarities—Look for similarities between dissimilar objects.
(4)
New Definitions—Create new definitions for product-related nouns.
(difficult; pp. 376-377; LO4; AACSB Reflective Thinking)
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107.
Describe the creative person.
Answer:
Creative advertising people may be zany, weird, off-the-wall, and
unconventional,
but they can’t be eccentric. They still must be very centered on creating
effective
advertising. Research indicates that creative people tend to be independent,
assertive, self-sufficient, persistent, and self-disciplined, with a high
tolerance for
ambiguity. They are also risk takers with powerful egos that are internally
driven.
They don’t care much about group standards and opinions and typically have
inborn skepticism and strong curiosity. Here are a few of the key
characteristics of
creative people who do well in advertising:
(1)
Problem Solving—Creative problem solvers are alert, watchful, and
observant, and reach conclusions through intuition rather than through
logic. They also tend to have a mental playfulness that allows them to
make novel associations.
(2)
Ability to Visualize—Most of the information we accumulate comes
through sight, so the ability to manipulate visual images is crucial for good
copywriters, as well as good designers.
(3)
Openness to New Experiences—Presents many adventures from which to
draw.
(4)
Conceptual Thinking—People open to experience might develop
innovative advertisements and commercials because they are more
imaginative.
(moderate; p. 375; LO4; AACSB Reflective Thinking)
108.
Name and describe the six steps in the creative process.
Answer:
(1)
Immersion—Read, research, and learn everything you can about the
problem.
(2)
Ideation—Look at the problem from every angle; develop ideas; generate
as many alternatives as possible.
(3)
Brainfog—The mind may hit a blank wall and want to give up.
(4)
Incubation—Try to put the conscious mind to rest to let the subconscious
take over.
(5)
Illumination—That unexpected moment when the idea comes, often when
the mind is relaxed and doing something else.
(6)
Evaluation—Does it work? Is it on strategy?
(moderate; p. 375; LO4; AACSB Reflective Thinking)
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Chapter Twelve: The Creative Side and Message Strategy
109.
Name and describe the rational customer-focused selling premises.
Answer:
(1)
Benefit—Emphasizes what the product can do for the user by translating
the product feature or attribute into something that benefits the consumer.
(2)
Promise—A benefit statement that looks to the future and predicts that
something good will happen if you use the product.
(3)
Reason Why—A type of benefit statement that gives you the reason why
you should buy something, although the reason sometimes is implied or
assumed. The word because is the key to a reason-why statement.
(4)
Unique Selling Proposition (USP)—A benefit statement that is both
unique to the product and important to the user. The USP is a promise that
consumers will get this unique benefit by using this product only.
(moderate; p. 365; LO2; AACSB Communication)
110.
Name and describe any five of the common message approaches.
Answer:
Students can discuss any five of the following:
(1)
Straightforward—A straightforward factual or informational message
conveys information without any gimmicks, emotions, or special effects.
(2)
Demonstration—Focuses on how to use the product or what it can do for
you.
(3)
Comparison—Contrasts two or more products finding the advertiser’s
brand superior. The comparison can be direct, with competitors
mentioned, or indirect, with just a reference to “other leading brands.”
(4)
Problem Solution/Problem Avoidance—In problem solution (a.k.a.
product-as-hero) the message begins with a problem and the product is the
solution. A variation is the problem-avoidance message format, in which
the product helps avoid a problem.
(5)
Humor—It gets attention; advertisers hope that people will transfer the
warm feelings they have as they are being entertained to the product. To
be effective, the selling premise must reinforce the point of the humor.
(6)
Slice of Life—An elaborate version of a problem solution staged in the
form of a drama in which “typical people” talk about a common problem
and resolve it.
(7)
Spokesperson (or Endorser Format)—Ad uses celebrities we admire,
created characters, experts we respect, or someone “just like us” whose
advice we might seek out to speak on behalf of the product to build
credibility.
(8)
Teasers—Mystery ads that don’t identify the product or don’t deliver
enough information to make sense, but they are designed to arouse
curiosity. The ads run for a while without the product identification and
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then when curiosity is sufficiently aroused, a concluding ad runs with the
product identification.
(moderate; pp. 365-367; LO2; AACSB Communication)
APPLICATION QUESTIONS: MULTIPLE-CHOICE QUESTIONS
111.
As described in the chapter’s opening vignette, what was the challenge facing
the
Grey Worldwide the agency for Frontier Airlines?
a.
create an ad campaign that was serious and on strategy
b.
advertise Frontier's service to Mexico in a fun and exciting way
c.
tell the target market about the route to New York
d.
convincing consumers that Frontier was a safe airline
e.
explaining to consumers what Frontier exactly was
(b; moderate; p. 351)
112.
What spokespersons were used in the campaign for Frontier in the chapter's
opening vignette?
a.
spokesanimals from the Frontier airplane tails
b.
Dallas Cowboys
c.
a group of very funny NBA players
d.
animated robots
e.
very believable regular people
(a; easy; p. 351)
113.
An advertising agency has a meeting with its client to present the Big Idea
for
their advertising campaign. What exactly does “Big Idea” mean?
a.
It’s the art part of advertising.
b.
It’s the science part of advertising.
c.
It’s the creative concept that implements the advertising strategy so that
the message is both attention getting and memorable.
d.
It’s the verbal part of advertising that presents the selling premise.
e.
It’s the visual part of advertising that catches and holds attention.
(c; moderate; p. 381; LO3; AACSB Communication)
114.
When Budweiser beer started using the Budweiser frogs in their commercials,
people raved at how creative the advertising was. However, someone who has
worked in the advertising industry for many years pointed out that he used
that
creative idea several years before. What type of advertising is it that uses
an idea
that someone else has originated?
a.
duplicate advertising
b.
revised advertising
c.
copycat advertising
d.
recycled advertising
e.
reused advertising
(c; easy; p. 377; LO4; AACSB Communication)
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Chapter Twelve: The Creative Side and Message Strategy
115.
Which of the following is a tip for creating original ideas?
a.
use an unexpected twist
b.
use an unexpected association
c.
catchy phrasing
d.
play on words
e.
all of the above
(e; easy; p. 377; LO4; AACSB Reflective Thinking)
According to the “Practical Tips” given in the chapter, which of the
following
should be avoided to prevent unoriginal ideas?
a.
clichés
b.
live big
c.
have a clear strategy
d.
play
e.
have fun
(a; moderate; p. 355; LO4; AACSB Reflective Thinking)
116.
Carly saw a billboard for a local church that said, “CH_ _ CH—What’s
missing?”
Based on the techniques for creating original ideas given in the chapter,
which
technique of creating original and unexpected ideas is this an example of?
a.
clichés
b.
an unexpected association
c.
metaphors
d.
play on words
e.
analogies
(d; moderate; p. 377; LO4; AACSB Communication)
117.
118.
John had been working on the creative concept for one of his clients when he
finally jumped from the strategy statement to an original idea that conveys
the
strategy in an interesting way. What did John just do?
a.
took the creative leap
b.
took the creative plunge
c.
switched from right- to left-brain thinking
d.
completed a creative aerobics session
e.
switched from facts to fantasy
(a; difficult; p. 372; LO3; AACSB Reflective Thinking)
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119.
Patrick and his colleagues have been working on the creative concept for a
client
when they all seemed to have hit a blank wall. To help overcome this, they
decided to go play a game of basketball. In the second half of the game,
Patrick
came up with a great idea, and they all went back to work. What step of the
creative process were Patrick and his colleagues implementing when they went
to
play basketball?
a.
immersion
b.
ideation
c.
incubation
d.
evaluation
e.
creative leap
(c; moderate; p. 375; LO4; AACSB Reflective Thinking
As described in “The Inside Story,” where did the idea for the SORPA ad come
from?
a.
studying the African American market
b.
a special exhibit in an art museum
c.
the murderer disposing of body parts in the film Fargo
d.
from a surprising incident in a supermarket
e.
a trip through Elephant Rock State Park
(c; moderate; p. 374)
120.
121.
A recent television commercial for Tylenol brand pain reliever shows just the
head of a woman talking about her arthritis pain and how she used to think
that
prescription medication was the answer. She then goes on to say that with all
the
problems that are being discovered about prescription pain medications, she
has
reconsidered over-the-counter Tylenol, which provides just as good of pain
relief
without all the risks. What type of advertising message is this?
a.
drama
b.
lecture
c.
slice-of-life
d.
teaser
e.
shockvertising
(b; easy; p. 364; LO2; Communication)
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Chapter Twelve: The Creative Side and Message Strategy
122.
Laurie saw a television commercial that depicted a mother stressed out from
working and taking care of children. The scenes shown included hassles at
work,
kids crying, dogs barking, and the phone ringing. Then the commercial showed
the mother relaxing in a bubble bath with the voice-over saying, “Calgon,
take me
away!” When Laurie saw that ad, she exclaimed, “Yes, that’s exactly how I
feel!”
What message approach was this ad using?
a.
straightforward
b.
demonstration
c.
comparison
d.
slice-of-life
e.
humor
(d; moderate; p. 366; LO2; Communication)
123.
As described in the Road Crew creative brief given in the chapter, what was
the
main promise to communicate?
a.
Repairing a car on the side of the highway is an emergency.
b.
Take a road trip and have a great time.
c.
It's more fun when you don't have to worry about driving.
d.
Follow the road to success.
e.
College students who take to the road have fun.
(c; difficult; p. 357)
124.
What was the objective of the Road Crew social marketing campaign?
a.
To get young men in Wisconsin small towns who drink and drive to use a
ride service.
b.
To encourage drivers to slow down when driving in work zones.
c.
To get parents to make sure their children wear seatbelts.
d.
To change the attitudes of drivers toward road construction.
e.
To reduce road rage.
(a; moderate; p. 356)
125.
What purpose do brand icons like the Burger King's Burger King and Geico's
Gecko fulfill?
a.
When humor is used, it is relevant, with a clear product purpose.
b.
Brand rewards/benefits are highly visible through demonstration,
dramatization, lifestyle, feelings, or analogy.
c.
The brand is the major player in the experience.
d.
Lend personality, emotion and stories to their brands.
e.
represent out-of-date concepts
(d; difficult; p. 359; LO1; Communication)
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To what advertising campaign, described in the “Hands-On” case at the end of
the
chapter, does McCann-Erickson attribute its return to the top of the
advertising
industry?
a.
MSN’s “butterfly” campaign
b.
MasterCard’s “priceless” campaign
c.
Coca-Cola’s “Always” campaign
d.
Visa’s “Everywhere you want to be” campaign
e.
McDonald’s “lovin’-it” campaign
(b; moderate; p. 384)
126.
APPLICATION QUESTIONS: MINI-CASE MULTIPLE-CHOICE
For years, Energizer batteries used the Energizer Bunny in its television
commercials.
The bunny was cute, always beating a drum with the tagline, “The Energizer
Bunny
keeps going and going and going.” Several of the ads were humorous and people
could
remember the battery ad with the bunny, but for a long time, people could not
name the
brand of battery. As a result, Energizer started putting the bunny on the
packaging and
using it in point-of-purchase displays in stores, even going so far as to let
consumers
enter a drawing to take the bunny that was on top of the battery display
home. The
creative team that worked on this campaign spent considerable time
researching
consumers’ usage of batteries as well as the problems they had with them. The
team
learned that people didn’t like batteries that don’t last long, and because
Energizer
batteries lasted much longer than competitors’ brands, they decided to
feature that in the
execution
of
the ads.
127.
Mini-Case Question. In which step of the creative process did the creative
team
read, research, and learn everything they could about Energizer batteries and
their
competitors?
a.
immersion
b.
ideation
c.
incubation
d.
illumination
e.
evaluation
(a; moderate; p. 375; LO4; AACSB Reflective Thinking)
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Chapter Twelve: The Creative Side and Message Strategy
128.Mini-Case Question. One commercial was particularly effective because
viewers
watched the entire commercial to see the bunny do something funny at the end
of
the commercial. The ability of this commercial to keep the viewer through the
end
of the message is known as ________.
a.
stopping power
b.
pulling power
c.
sticking power
d.
teaser
e.
point of differentiation
(b; moderate; p. 367; LO2; AACSB Communication)
129.
Mini-Case Question. While being humorous, the ads did stress that Energizer
batteries last three times longer than competing brands. What is this known
as?
a.
intangible characteristics
b.
vampire creativity
c.
association message strategy
d.
point of differentiation
e.
attitude
(d; moderate; p. 358)
130.
Mini-Case Question. The initial problem that the commercials had where people
could remember the ads but not the brand is known as ________.
a.
vampire creativity
b.
marketing imperialism
c.
structural fault
d.
copycat advertising
e.
unexpected association
(a; moderate; p. 380; LO3; AACSB Communication)
APPLICATION QUESTIONS: SHORT-ANSWER
131.
As described in the chapter’s opening vignette, what was the challenge facing
the
Grey Worldwide the agency for Frontier Airlines?
Answer:
Grey Worldwide faced the challenge of advertising Frontier's service to
Mexico in
a fun and attention-getting way.
(moderate; p. 351)
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Part Four: Principles: Creativity and Breakthrough Advertising
132.
Briefly describe the advertising campaign Grey Worldwide created for Frontier
Airlines in the chapter's opening vignette.
Answer:
The Frontier campaign brought the animals that were on the tails of the
Frontier
aircraft to life through the spokesanimals carrying on debates on the tarmac
griping about going to cold Chicago rather than warm, sunny Mexico.
(moderate; p. 351)
133.
A print ad for the American Cancer Society pictured an attractive young woman
in a bikini bathing suit from the torso up with her face turned toward the
sun and
her arms folded behind her head. The headline read, “Fry now, pay later.” The
copy went on to give factual information on skin cancer and how to avoid it,
as
well as information on how sun exposure can cause wrinkles later. In terms of
DDB Needham agency’s “ROI” evaluate this ad.
Answer:
According to DDB Needham agency, an effective ad is relevant, original, and
has
impact—which is referred to as ROI. This ad is relevant to the target
audience, in
this case young women, especially those who like to tan themselves. An
advertising idea is considered creative when it is novel, fresh, unexpected,
and
unusual. Original means one of a kind. Although this might not be one of a
kind,
the headline does play on words and delivers the message effectively. That
is, do
this to your skin now, and you will pay later. To be effective, the ideas
must have
impact, which means it breaks through the clutter, gets attention, and sticks
in
memory. The ad catches attention because of the beautiful woman and the
message sticks in memory through the catchy headline.
(moderate; p. 371; LO3; AACSB Communication)
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Chapter Twelve: The Creative Side and Message Strategy
134.
One of your assignments in an advertising class is to give a brief
presentation on
tips for coming up with original ideas. There were ten tips given in the
“Practical
Tips” box in the chapter, and you decide to use those for your presentation.
List
what you would include in your presentation.
Answer:
Tips for creating original ideas:
(1)
Live big
(2)
The right answer is the wrong answer
(3)
What do you want to say
(4)
Do not use a computer to create
(5)
Use the power of play
(6)
Play what-if
(7)
Don't play scared
(8)
Use associations
(9)
Set-up & punch line
(10) Have fun
(moderate; pp. 355-356; LO1; AACSB Reflective Thinking)
135.
Marcy is a creative consultant who will go to a business or organization and
conduct “creative aerobic” sessions. Explain what she does and discuss the
fourstep, idea-generating process that she assists businesses in
implementing.
Answer:
Creative aerobics is a thought-starter process that uses both the head and
the heart.
The four-step approach is:
(1)
Facts—The first exercise is left-brain and asks you to come up with a list
of facts about the product.
(2)
New Names—Create new “names” for the product.
(3)
Similarities—Look for similarities between dissimilar objects.
(4)
New Definitions—Create new definitions for product-related nouns.
(moderate; p. 376; LO3; AACSB Reflective Thinking)
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136.
You have been asked by your supervisor to participate in a brainstorming
session
to come up with ideas for your company’s advertising campaign. Explain what
brainstorming is, why it is used, and how to make it successful.
Answer:
Brainstorming is where a group of 6 to 10 people work together to come up
with
ideas. One person’s idea stimulates someone else’s, and the combined power of
the group associations stimulates far more ideas than any one person could
think
of alone. The secret to brainstorming is to remain positive and defer
judgment.
Negative thinking during a brainstorming session can destroy the playful
atmosphere necessary to achieve a novel idea.
(moderate; p. 376; LO4; AACSB Reflective Thinking)
137.
Compare and contrast the terms creative strategy and creative execution.
Answer:
Creative strategy (a.k.a., message strategy) is what the advertisement says
and
execution is how it is said. Advertising creativity is about coming up with
an idea
that solves a communication problem in an original way, which incorporates
both
creative strategy and creative execution.
(easy; p. 357; LO1; AACSB Communication)
138.
Two basic approaches are sometimes referred to as head and heart strategies.
Explain what this means and apply the Facets Model to each.
Answer:
The three types of effects (discussed in chapter 4) are how think (cognitive)
and
feel (affective) drive the do, or action, decision. The think and feel
dimensions are
sometimes referred to as rational and emotional, or what this chapter is
calling the
head and heart factors. In the Facets Model, the cognitive and persuasion
objectives generally speak to the head, and the affective and
transformational
objectives are more likely to speak to the heart. The decision to use a head
or
heart strategy is also affected by the product situation, particularly by the
involvement factor.
(moderate; p. 358; LO1; AACSB Communication)
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Chapter Twelve: The Creative Side and Message Strategy
139. To get attention, an ad has to have stopping power. Describe how ads can
accomplish this.
Answer:
Ads that stop the scanning and break through the clutter are usually high in
originality. The function of originality is to capture attention. People will
notice
something that is new, novel, or surprising. Creative advertising breaks
through
the old patterns of seeing and saying things; the unexpectedness of the new
idea
creates stopping power. Unexpected media is also good at breaking through the
clutter, which is why guerilla marketing and the use of alternative media
have
become so popular. Many clutter-busting ads are intrusive and use loud, bold
effects to attract viewer attention. Contrast can attract attention too.
(moderate; p. 367; LO2; AACSB Reflective Thinking)
140. At one time, Michael Jordan was the highest paid celebrity endorser for
several
products. Why do advertisers use celebrity endorsers, such as Michael Jordan?
Answer:
Celebrity endorsements are used to intensify conviction in the target
audience, as
well as get attention, cue the brand personality, and stick in memory. The
idea is
that celebrities draw attention, but they also carry a strong message of
conviction
when they speak with passion about something they believe in. Celebrities,
product placements (i.e., brands used by stars in a movie or television
program),
and other credibility techniques are used to give the consumer permission to
believe a claim or selling premise.
(moderate; p. 364; LO2; AACSB Communication)
141.Explain the key visual and how it was used effectively by Absolut Vodka.
Answer:
The key visual is a vivid image that the advertiser hopes will linger in the
viewer's
mind. Shape is a memory cur. The Absolut Vodka campaign used a thousand
different visual images to reinforce the shape of the product's bottle to the
point
that the bottle shape is recognizable even without a label.
(difficult; p. 368; LO2; Reflective Thinking)
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142.
Explain what the Big Idea is. Describe the Big Idea of the Road Crew
campaign.
Answer:
The Big Idea becomes a point of focus for communicating the message strategy-a theme or central concept or creative concept.
The name of the Road Crew project was the defining element of that campaign's
Big Idea. The slogan --- "Beats Driving" ---- conveyed the benefit of the
program
in the language of the target audience. The logo was in the style of the
Harley
Davidson logo. The idea reflected the lifestyle of the target audience in
language
and tone and could motivate behavior and change attitudes toward driving
after
drinking.
(moderate; p. 371; LO3; AACSB Ethical Reasoning)
143.
Explain the process of brainstorming and the part it played in developing the
Road Crew concept.
Answer:
Brainstorming is a thinking technique where a group of 6-10 people work
together
to come up with ideas. One person's idea stimulates someone else's and the
combined power of the group associations stimulates far more ideas than any
one
person could think of alone. The group becomes an idea factory.
The Road Crew concept developed during many brainstorming sessions with the
project leaders and the people in the communities where the team was working
with local leaders to build coalitions to sponsor the effort. A list of names
was
compiled and guys in bars who fit the target audience profile voted on the
winner,
which turned out to be Road Crew. The slogan Beats Driving was developed
using the same process.
(difficult; p. 376; LO4; AACSB Ethical Reasoning)
424
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
144.
List any 5 of the 10 tips given in the “Practical Tips” box in the chapter.
Answer:
Students can list any five of the following:
(1)
Live big
(2)
The right answer is the wrong answer
(3)
What do you want to say
(4)
Do not use a computer to create
(5)
Use the power of play
(6)
Play what-if
(7)
Don't play scared
(8)
Use associations
(9)
Set-up & punch line
(10) Have fun
(moderate; pp. 355-356; LO1; AACSB Reflective Thinking)
145.
What were the results of Frontier Airline's advertising campaign that was
described in the chapter’s opening and closing vignettes?
Answer:
The results of the campaign were:
(1)
Bookings rose 56%
(2)
Unaided awareness rose from 40% to 78%
(3)
Chosen Denver's favorite airline
(4)
Campaign recognized with more than 80 awards
(difficult; p. 381)
146.
Describe the MasterCard campaign that was discussed in the “Hands-On” case at
the end of the chapter.
Answer:
MasterCard wanted something fresh that could help it regain lost ground
against
top-competitor Visa. They considered it a travesty that you could use your
MasterCard where you could use your Visa, but Visa was it and MasterCard was
just another card. So the creative team thought they should avoid a benefits
focus
and shoot for ads that would strike an emotional chord, and they came up with
the
famous “Priceless” campaign. The tagline used was, “There are some things in
life money can’t buy. For everything else, there’s MasterCard.”
(moderate; p. 384)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
425
Part Four: Principles: Creativity and Breakthrough Advertising
APPLICATION QUESTIONS: MINI-CASE SHORT ANSWER
For several years, the Cotton Growers of America, a trade group representing
U.S. cotton
farmers, used an advertising campaign that depicted people in everyday
scenarios and
said that cotton was the “fabric of our lives.” Although cotton has several
advantages
over other types of fabric, none of this information was conveyed in this
advertising
campaign.
147.
Mini-Case Question. Did this campaign use a hard-sell or soft-sell strategy?
Explain your answer by comparing and contrasting the two strategies.
Answer:
This is an example of a soft-sell strategy because it uses emotional appeals
or
images to create a response based on attitudes, moods, dreams, and feelings.
The
assumption with soft-sell strategies is that the target audience has little
interest in
an information search and will respond more favorably to a message that
touches
their emotions or presents an attractive brand (in this case, product) image.
A
hard-sell strategy is an informational message that is designed to touch the
mind
and creates a response based on logic. The assumption is that the target
audience
wants information and will make a rational product decision.
(moderate; p. 362; LO2; AACSB Communication)
148.
Mini-Case Question. Although there were several executions of television
commercials, they each included the words, “Cotton. The fabric of our lives.”
What are these words known as?
Answer:
This is a tagline, which is used at the end of an ad to summarize the point
of the
ad’s message in a highly memorable way. When a tagline is used consistently
on
all marketing messages, which is how it appears in this campaign, it becomes
a
slogan.
(easy; p. 367; LO2; AACSB Communication)
149.
Mini-Case Question. Name and describe the message format approach you think
best describes the television commercial execution for this campaign.
Answer:
The message format approach that best describes these commercials is slice of
life. Even though the chapter says that this approach is an elaborate version
of a
problem solution staged in the form of a drama in which “typical people” talk
about a common problem and resolve it, the approach is really the only one
that
depicts people in an everyday vignette that viewers can identify with.
(moderate; p. 366; LO2; AACSB Communication)
426
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
Chapter Twelve: The Creative Side and Message Strategy
150.
Mini-Case Question. The creative strategy and key execution details for this
campaign were spelled out in a document called a creative brief. Explain what
this
is and list the elements that are commonly included in one.
Answer:
The creative brief is a document prepared by the account planner to summarize
the basic marketing and advertising strategy. Although the format varies
among
agencies (see Table 12.2), most combine the following basic advertising
strategy
decisions:
(1)
Problem to be solved
(2)
Objectives
(3)
Target market
(4)
Positioning strategy
(5)
Type of creative strategy
(6)
Selling premise
(7)
Suggestions about the ad’s execution, such as tone of voice
(difficult; p. 357; LO1; AACSB Analytic Skills)
Copyright © 2009 Pearson Education, Inc. Publishing as Prentice Hall
427
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