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CHAPTER 7
CREATIVE TACTICS DECISIONS
Chapter Overview
This chapter summarizes three decisions that are critical when developing creative tactics: execution
style, message structure and design elements. The chapter then presents a framework for creative
specialists and marketers to help them make the appropriate decisions for the creative tactics. The
framework uses the target audience’s attitude as the key factor when deciding upon the correct execution
style, message structure and design.
Learning Objectives
1. To identify three key decisions for creative tactics: execution style, message structure, and design
elements.
2. To analyze the various creative execution styles that advertisers can use and the advertising
situations where they are most appropriate.
3. To examine different types of message structures that can be used to develop a promotional
message.
4. To analyze various design elements involved in the creation of print advertising and TV
commercials.
5. To understand a planning model for making creative tactics decisions.
6. To consider how clients evaluate the creative work of their agencies and discuss guidelines for the
evaluation and approval process.
Chapter and Lecture Outline
I.
CREATIVE TACTICS
Advertising Execution—Creative execution style refers to the manner in which an advertising appeal
is carried out or presented. A particular advertising appeal can be executed in a variety of ways and a
particular means of execution can be applied to a variety of advertising appeals. Some of the more
commonly used execution techniques include:
1. Straight-sell or factual message—this type of execution relies on a straightforward
presentation of information about the product or service such as specific attributes or benefits.
2. Scientific/technical evidence—a variation of the straight sell where scientific or technical
evidence or information is presented in the ad to support a claim.
3. Demonstration—this type of execution is designed to illustrate the key advantages or benefits
of a product or service by showing it in actual use or in some contrived or staged situation.
4. Comparison—this type of execution involves a direct or indirect comparison of a brand
against the competition.
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5. Testimonials—many advertisers present their advertising messages in the form of a
testimonial whereby a person speak on behalf of the product or service based on his or her
personal use of and/or experiences with it.
6. Slice of life—this type of execution is often based on a problem/solution type of format. The
ad attempts to portray a real-life situation involving a problem, conflict or situation
consumers may face in their daily lives. The ad then focuses on showing how the advertiser's
product or service can resolve the problem. Slice-of-life executions are also becoming very
common in business-to-business advertising as companies use this approach to demonstrate
how their products and services can be used to solve business problems.
7. Animation—this technique used animated characters or scenes drawn by artists or on
computer. Animation is often used as an execution technique for advertising targeted at
children.
8. Personality symbol—this type of execution involves the use of a central character or
personality symbol to deliver the advertising message and with which the product or service
can be identified. The personality symbol can take the form of a person who is used as a
spokesperson, animated characters or even animals.
9. Fantasy—this type of appeal is often used for image advertising by showing an imaginary
situation or illusion involving a consumer and the product or service. Cosmetic companies
often use fantasy executions although the technique has also been used in advertising for
other products such as automobiles and beer.
10. Dramatization—this execution technique creates a suspenseful situation or scenario in the
form of a short story. Dramatizations often use the problem/solution approach as they show
how the advertised brand can help resolve a problem.
11. Humour—humour can be used as the basis for an advertising appeal. However, humour can
also be used as a way of executing the message and presenting other types of advertising
appeals.
12. Combinations—many of these execution techniques can be combined in presenting an
advertising message. For example, slice-of-life ads are often used to demonstrate a product or
make brand comparisons.
II.
MESSAGE STRUCTURE
The manner in which marketing communications are presented is very important in determining their
effectiveness. Consideration must be given not only to message content, but also to how the information
will be structured for presentation. An important consideration in the development of a promotional
message is the manner or framework used for structuring or communicating the information. An
important aspect of message strategy is knowing the best way to communicate message points or
elements. A number of message structure considerations are discussed in the text including:
1. Order of presentation—should important message points or arguments be placed at the
beginning of the message, in the middle or at the end? A primacy effect suggests that the
information placed at the beginning of the message is most effective while a recency effect
suggests that the arguments at the end are most effective.
2. Conclusion drawing—should a message draw an explicit conclusion for the audience or allow
them to form their own conclusions? Research has shown that, in general, messages with
explicit conclusions are more easily understood and effective. However, some studies show
that the effectiveness of conclusion drawing may depend on the target audience, the type of
issue or topic and nature of the situation.
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3. Message sidedness—should a marketing communication use a one-sided message whereby
only positive attributes or benefits of a product or service are mentioned or a two-sided
message where both strong and weak points or attributes are presented.
4. Verbal versus visual messages—both the verbal and nonverbal or visual portions of an
advertisement influence the way an advertising message is processed. Verbal or copy aspects
of the message are important in conveying rational or factual messages while nonverbal or
visual elements of an ad are important for developing emotional and image based
associations.
III.
DESIGN ELEMENTS FOR IMC TOOLS
Once the creative approach, type of appeal, and execution style has been determined, attention turns to
creating the actual advertisement. The design and production of an advertising message involves a
number of activities such as writing copy, developing illustrations and other visual elements of the ad and
bringing all of the pieces together in a finished product.
A.
Creative tactics for print advertising—there are three basic components of a print ad including the
headline, body copy, and the visual elements or illustrations. These elements are brought together
through a layout.
1. Headlines—the headline refers to the words in the leading position of the advertisement—
those that are likely to be read first or are positioned to draw the most attention. The most
important function of a headline is to attract the readers’ attention and make them interested
in the remainder of the advertising message. There are various types of headlines including:
 Direct headlines – straightforward and informative in terms of the message presented
 Indirect headlines—provoke curiosity and intrigue by using questions, challenges,
provocations, and other methods
2. Subheads—many ads also contain a main headline and one or more secondary headlines or
subheads. These subheads usually appear in a smaller type size than the main headline and
are generally larger the type size used for the body copy. They are used to break-up or section
off large amount of body copy and highlight key sales points in the ad.
3. Body copy—the main text portion of a print ad is referred to as the body copy. Body copy
content depends on the type of advertising appeal and/or execution style being used.
4. Visual elements—another major component of a print ad is the visual elements or
illustrations. Visual components often dominate print advertising and play a very important
role in determining effectiveness.
5. Layout—a layout refers to the physical arrangement of the various parts of the ad including
the headline, subheads, illustrations, body copy and any identifying marks.
B.
Creative Tactics for Television—As with print ads, television commercials have several
components which must work together to create the right impact and communicate the
advertiser's message.
1. Video—the video or visual elements are what is seen on the television screen. Decisions have
to be made regarding the main focus of the visual such as the product, the presenter, action
sequences, lighting graphics, color and other factors.
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2. Audio—the audio portion of a commercial includes several elements such as voice, music
and sound effects. Voices may be heard in several ways such as through the direct
presentation of a spokesperson or as a dialogue or conversation among people in the
commercial. A common method for presenting the audio portion of a commercial is through a
voice-over whereby the message is delivered or action on the screen is narrated by the voice
of an announcer who is not visible. A trend among major advertisers is to hire celebrities with
distinctive voices to do the voiceovers for their commercials.
3. Music—a very important part of many television commercials is music which plays various
roles and functions such as providing a pleasant background or helping create the appropriate
mood or setting. Another important musical element in both television and radio commercials
is jingles, which are catchy songs about a product or service that usually carry the advertising
theme and a simple message.
4. Planning and production of television commercials—the various elements of a television
commercial are brought together in a document known as a script which is a written version
of a commercial that provides a detail description of its video and audio content. The script
indicates the various audio components of the commercial such as the copy to be spoken by
voices, music and sound effects. The video portion of the script provides the visual plan of
the commercial. Once the basic script has been conceived, the writer and art director get
together to produce a storyboard or a series of drawings used to present the visual plan or
layout of a proposed commercial. Once the client approves the storyboard, the commercial is
ready to move to the production phase. The production process for a commercial actually
involves three phases:
 Preproduction – all the work and activities that occur before the actual filming of a
commercial.
 Production – the period during which the commercial is filmed or videotaped and
recorded.
 Postproduction – activities and work that occur after the commercial has been filmed and
recorded.
IV.
FRAMEWORKS FOR CREATIVE TACTI CS
Two models are presented that guide the decision for selecting the most appropriate creative tactics.
1. FCB Planning Model—Richard Vaughn of Foote Cone & Belding advertising agency developed
an advertising planning model known as the FCB grid. The grid delineates four primary
advertising planning strategies – informative, affective, habit formation, and satisfaction – along
with the most appropriate variant of the alternative response hierarchies (Figure 7-3).
2. The R&P Planning Model—The R&P perspective was discussed in Chapter 5. Another part of
their framework concerns recommendations for creative tactics which are as follows:
A. Brand Awareness Tactics—The first consideration is that the R&P model argues that
brand awareness is a necessary precursor to brand attitude.
B. Brand Attitude Grid Tactics—The R&P view of consumer attitudes is also framed as a
matrix with the dimensions of involvement and motivation. The creative tactics
recommendations for the four brand attitude cells are as follows:
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1. Law Involvement—Informational Creative Tactics—In this cell, ads should have a very
obvious benefit claim with an unusual execution style.
2. Law Involvement—Transformational Creative Tactics—Three emotional portrayal
guidelines are critical for this type of attitude.
3. High Involvement—Informational Creative Tactics—This side of the model illustrates
the importance of information as high involvement implies the requirement of
considerable and accurate benefit claims.
4. High Involvement—Transformational Creative Tactics—Persuasion through this type of
attitude formation requires strong emphasis of the emotion.
V. CLIENT EVALUATION AND APPROVAL OF CREATIVE WORK
While the creative specialists determine the advertising appeal and execution style that will be used in the
campaign, the client must evaluate and approve the creative approach before any ads are actually
produced. A number of different people on the client side may be involved in evaluating and approving
the creative work of the agency. The amount and influence of these individuals will depend on the
company's organization and policies, the importance of the product to the company, the role of
advertising in the marketing program, and the nature of the advertising approach being recommended.
There are two basic stages in the development of advertising—creation and production. Once the creative
approach has been determined and approved, the attention turns to the production process, which involves
a variety of functions needed to produce the ad or commercial and put it into a finished form suitable for
use by the media. The client will have the opportunity to review the final version of the advertisement
after the production stage. However, it is important that a careful evaluation be made before the ad
actually enters production as this stage requires a substantial investment of time and money.
A.
Guidelines for Evaluation—There are a number of guidelines that personnel on the client side
might use to evaluate the creative approaches suggested by the agency. Some of the most
important and basic criteria or guidelines that might be used in evaluating creative approaches are
discussed in the text and include the following:
 Is the creative approach consistent with the brand's marketing and advertising objectives?
 Is the creative approach consistent with the communication objectives?
 Is the creative approach appropriate for the target audience?
 Does the creative approach communicate a clear and convincing message to the customer?
 Does the creative approach keep from overwhelming the message?
 Is the creative approach appropriate for the media environment in which it is likely to be
seen?
 Is the ad truthful and tasteful?
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Teaching Suggestions
Nearly every student has an opinion about the quality and effectiveness of various ads and those that they
feel are particularly good or bad. Students should enjoy reading this chapter and learning about the
various execution styles that can be used by advertisers. An interesting way of beginning the lecture on
creative strategy is to ask the students to name the TV commercial or print ad they would rate as the
"most outstanding" one they have seen lately. You might then ask them how they think their list of top
commercials would compare against that of ad critics. Publications such as Marketing magazine pick the
best ads each year and feature them in special editions. A very interesting website that you may want to
visit and direct your students to is www.adcritic.com. This site provides a list of the most popular
commercials currently running and makes them available for review.
This chapter does not go into a great amount of detail regarding the process of creating and producing the
advertisement. If more detail is desired on areas such as art and layout, copywriting or print and broadcast
production students might be referred to a more traditional advertising principles book such as
Contemporary Advertising by William F. Arens. There are also numerous books available on the creative
process such as Creative Strategy in Advertising by A. Jerome Jeweler and Bonnie L. Drewniany and
Creative Advertising: Theory and Practice by Sandra E. Moriarty. Students interested in specific areas of
the creative process such as copywriting or layout can be referred to some of the books in these areas such
as The Design of Advertising by Roy Paul Nelson, Advertising Copywriting by Philip Ward Burton and
Fundamentals of Copy & Layout by Albert C. Book and C. Dennis Schick.
Answers To Discussion Questions
1. Discuss the difference between an advertising appeal and a creative execution style. Why is it
important to make this distinction?
An advertising appeal refers to the basis or approach used in the advertisement to elicit some
consumer response or influence feelings toward the product, service, or cause. The creative execution
style refers to the way in which a particular appeal is turned into an advertising message and
presented to the consumer. A particular appeal can be executed in a variety of ways and a particular
means of execution can be applied to a variety of advertising appeals. For example a rational appeal
that focuses on a product's features or advantages can be executed through a straight-sell or factual
message, a demonstration or a comparison. A particular execution technique such as animation could
be used for a rational appeal or for an emotional appeal. Students should be encouraged to analyze the
particular appeals and execution styles used in selected ads.
2. Explain how the dramatization advertising execution technique could be used for the following
products: beer, cell phones, furniture, airlines.
Dramatization is somewhat akin to slice-of-life execution in that it often relies on the
problem/solution approach, but it uses more excitement and suspense in telling the story. The purpose
of using drama is to draw the viewer into the action it portrays.
Ask students to recall ads for beer, cell phones, furniture, and airlines that used the dramatization
advertising execution. If the students have difficulty, have them create their own ads with this
technique.
3. Why do advertisers such as Procter & Gamble and other package-goods marketers use slice of life
executions? Can this advertising technique be used for business-to-business products as well?
The slice-of-life execution format is very popular among packaged-goods companies such as Procter
& Gamble because it is an effective way of connecting with consumers by showing common
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situations or problems they encounter in their everyday lives. The slice-of-life format relies on a
problem-solution approach that is often presented with a little drama. These spots usually begin by
showing consumers facing or talking about a problem such as bad breath, dingy laundry, dandruff,
headaches, or dry skin. The short drama always ends with the problem being resolved by the
advertiser’s product. Many advertisers feel that the slice-of-life format is a more interesting and
effective way to present their message than just making performance or efficacy claims. Consumers
purchase products to solve problems and marketers feel the slice-of-life execution format is an
effective way of registering a product feature or benefits and showing how it can resolve common
problems we encounter in our daily lives.
Slice-of-life executions can indeed be used to advertise business-to-business products and services
and are increasingly being used to do so. Many business-to business marketers use this advertising
execution technique to demonstrate how their products and services can be used to solve their
customers’ business problems. Some business marketers use a variation of the technique that is
sometimes referred to as slice-of-death advertising whereby the execution style is used in conjunction
with a fear appeal. In these ads the focus is on the negative consequences that can result when
businesspeople make the wrong decision in choosing a supplier or service provider.
4. Identify the various motives that can be used as the basis of rational advertising appeals and
emotional advertising appeals. Are there any motives that can be addressed with both rational and
emotional advertising appeals?
Rational appeals focus on the consumer’s practical, functional, or utilitarian needs or motives for
purchasing a product or service and emphasize specific features and/or benefits or reasons for owning
or using a particular brand. Informational/rational appeals are most appropriate for highly involving
or complex consumer products such as appliances, electronic products, pharmaceuticals, automobiles,
or financial products and services as well for many industrial or business-to-business products and
services. These types of appeals are commonly used when consumers have a high need for
information and are likely to engage in evaluation and comparison of alternative brands. Specific
motives that can be used as the basis for rational appeal include quality, performance, efficacy,
durability, reliability, dependability and efficiency.
Emotional appeals relate to the customers’ so0cial and/or psychological needs for purchasing a
product or service. Motives such as love, excitement, fear, security, pride, and approval are designed
to influence consumers on an emotional level.
The purchase of a car is an example where rational and emotional appeals are used. Gas economy is
an example of a rational appeal whereas the status that results from driving the car is an emotional
appeal.
5. What emotions did “The Rant” commercial evoke from Canadian consumers? Hoe did these
emotional responses result in greater sales for Molson Canadian?
The rant commercial, or “Joe, I am Canadian” commercial appealed to patriotism motives. A very
strong emotional bond was produced between Molson’s Canadian and peoples’ feelings. Molson
Canadian had top-of-mind awareness because of the memorable campaign which probably helped in
increasing sales for Molson Canadian.
6. What is meant by a one-sided versus two-sided message? Discuss some of the reasons marketers may
or may not want to use a two-sided message.
A one-sided message mentions only positive attributes or benefits associated with a product or service or
a particular issues whereas a two-sided message presents both favourable and unfavourable
information or arguments. The advantages of using a two-sided versus one-sided advertising message
is that it may enhance perceptions of an advertiser’s credibility. Consumers often know that there are
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opposing arguments or viewpoints on an issue and an advertiser may be perceived as less biased and
more objective if a two-sided message is used. One-sided messages are most often used since a
company may only want to mention positive attributes, benefits or features or present only favorable
arguments about its product or service. Many marketers feel it is too risky to say anything negative
about their own company or brands. One-sided messages are most effective when the target audience
already holds a favorable position toward the topic and will not hear opposing arguments. They may
also work better with less educated audiences. For those individuals with an opposing viewpoint or a
better-educated audience, a two-sided message may be seen as less biased and more credible and thus
more effective.
7. Discuss the role of headlines and subheads in print advertisements. Would you say that headlines are
more important for processing (i.e. gaining attention) or establishing a communication effect (i.e.
awareness)?
The most important function or role of the headline is to attract the readers' attention and make them
interested in the remainder of the message. Headlines can also perform a segmentation function by
engaging the attention and interest of consumers who may be most likely to buy a particular product
or service. Some ads use little or no body copy so the headline must work with the illustration or
visual portion of the ad to communicate the entire advertising message. Subheads are secondary
headlines that are usually smaller than the main headline but larger than the body copy. Subheads are
often used to enhance the readability of the message by breaking up large amounts of body copy and
highlighting key sales points. Their content often reinforces the headline and advertising slogan or
theme.
Headlines must first gain the attention of the reader. Research has shown that the headline is generally
the first thing people look at in a print ad, followed by the illustration. Once the headline gets the
consumer’s attention and is read, the communication effect kicks in.
8. Discuss the role music plays in advertising. Why might companies such as Microsoft and Nortel
Networks pay large sums of money for the rights to use popular songs in their commercials.
Music can play a variety of roles and functions in commercials. In many spots, the role of music is
primarily to provide a pleasant background or to help create the appropriate mood or setting for the
commercial. In some ads the role of music is much more central to the delivery of the advertising
message. It can be used to break through clutter, help establish an image or position, or add emotion
or feeling. Music can work through a classical conditioning process whereby it creates positive
feelings or affect that become associated with the product or service being advertised. Music can also
create a positive mood state that can make the consumer more receptive toward the advertising
message.
Companies such as Microsoft and Nortel pay large sums of money for the rights to use these songs
such as because they feel the music is central to the feeling or image they want to create in the
commercial. For example, Nortel has made “Come Together” the theme for its global advertising
campaign. The goal of the campaign is to position Nortel as the company that is helping to build the
new, high performance Internet and string together various areas including telephony, video, voice
and data. Thus, the Beatle’s classic song “Come Together” works very well as the music for the
company’s commercials.
9. What are the similarities and differences of creative tactics across the four cells of the planning
matrix?
The similarities of the creative tactics across the four cells of the R&P framework concern three
factors. The first is that all four routes to persuastion have a common structure regarding the
emotional portrayal of the motive and the benefit of the brand message. Secondly, within the low
involvement quadrants, we see that a couple of the recommendations are quite similar (i.e. number of
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benefit claims, extra benefit claims). This is also true for the two high involvement cells with respect
to the intensity of the benefit claim and the emotional authenticity. Within the informational
quadrants, we see that it is not necessary for consumers to like the ad for it to be effective and that
unusual creative executions are feasible. Finally, we see the importance of the emotional authenticity
as being important within the transformational quadrants.
Once the similarities are noted, some of the differences become apparent. While a given cell shares
some similarities with another, each has its own specific recommendations for persuading the brand
attitude of the target audience. For example, moving from LI/IN to LI/TR we see how the emotional
portrayal of the motive becomes more critical. Moving from LI/IN to HI/IN we see how important
greater amounts of information are required to persuade the target audience. The best way to illustrate
these similarities and differences is to have four ads that each represent one of the four cells.
10. Why do many advertisers pay large sums of money to celebrities to do the voiceovers for their
commercials? Do you think consumers recognize the voices of the celebrities doing the commercials?
Is it necessary that they recognize them for the commercials to be effective?
Advertisers will often pay as much as $500,000 to celebrities just to have them do the voiceovers for
their commercials. Some celebrities prefer this more subtle form of product endorsement as they do
not have to appear in the ads and thus can avoid the potential negative image of being perceived as
“selling out” and pitching products. Advertisers and agencies that pay these large sums of money for
celebrity voiceovers argue that a voice consumers have heard before is reassuring and makes the
message more effective. They also argue that some celebrities have very distinctive and engaging
voices that communicate very effectively.
It is difficult to say whether consumers recognize the celebrities doing the voiceovers in many
commercials. Actors who have very distinctive voices may be recognized such as Donald Sutherland
(Volvo), Richard Dreyfus (Honda) and Jeff Goldblum (Apple Computer). However most consumers
probably do not recognize the celebrities doing the voiceover in many commercials. It is not
necessary that consumers recognize the celebrity’s voice for the commercial to be effective.
Distinctive voices are often part of the talent offered by actors and actresses as they may be help them
be perceived a certain way (honest, humble, sincere, funny and the like). The voice characteristics
that help make them popular entertainers may also be effective for television commercial voiceovers.
16. Find an example of an advertisement that you feel uses an inappropriate appeal and/or execution
style. What type of appeal or creative execution do you feel would be more appropriate?
This question requires the student to choose an advertisement that they feel uses an inappropriate
appeal and/or execution style and to suggest one that they feel would be more appropriate. The
students should be asked to provide some rationale as to why they feel the appeal or execution style
of the ad they choose is inappropriate and why the approach they suggest would be better.
IMC Exercise
The last section of the chapter discusses criteria or guidelines that can be used for evaluating the
output from the creative process of advertising. Some of these concern factors that are not directly
accessible and thus more difficult to evaluate, such as consistency with marketing and advertising
objectives. However, answers to many of these questions are judgmental in nature and can be
evaluated such as appropriateness for the target audience, communication of a clear and convincing
message, whether the creative overwhelms the message, appropriateness for the media environment,
and whether the ads are truthful and tasteful. Choose a particular campaign, conduct some research on
it in the business press or trade publications, and then evaluate the creative approach as well as some
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of the individual ads against these guidelines. Excellent sources of information that can be helpful to
students in this assignment are the ad reviews that appear in publications such as Marketing
magazine.
IMC Comprehensive Project
Students should continue to develop the advertising part of their IMC project using the information in this
chapter to help them. The specific assignment is as follows:
IMC Project Assignment for Chapter 7
In the previous assignment you were asked to develop a creative platform that specified your campaign
theme and the big idea. Your assignment for this chapter is to specify the advertising appeal and
execution style that will be used to implement your ad campaign. Specify whether you plan on using a
rational or emotional appeal or a combination of the two. What specific type of advertising execution
technique will be used to present your appeal? Provide some rationale for the creative appeal and
execution approach you plan to use. What specific tactical elements will be important in developing your
print and broadcast messages? Will your creative approach satisfy the guidelines discussed at the end of
Chapter 7?
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