Creative Certification: Evaluating Creative
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This document provides an overview of a training course on evaluating creative work for direct marketing. It introduces the two instructors, Alan Rosenspan and Carol Worthington-Levy, who have extensive experience in creative direction and award-winning work. The course will cover how to evaluate creative for print, digital, and other media, with opportunities for questions throughout. It also shares a case study on redesigning the marketing approach for a teen travel program to generate more interest and response through targeted, multi-channel creative work. The goals are to help participants get the best creative, know what to look for and avoid, and motivate their teams to do their best work.
Creative Certification: Evaluating Creative
- 1. Welcome to the DMA‘s Creative Certification Course Part One Evaluating Creative Wed., Oct. 17, 2012 ; 1:00 – 4:00 pm Presented by Alan Rosenspan & Carol Worthington-Levy
- 2. Scope of the Course • How to Evaluate Creative • How to Get Great Print Work • How to Get Great Digital Work • Questions & Answers throughout, breaks as needed 2
- 3. Alan Rosenspan Creative director in three countries, for O&M and Digitas My teams have won over 100 Awards – including 20 DMA Echo Awards for results. More importantly, a working creative director and direct marketing consultant Client list has included American Express, Ancestry.com, Bank of America, Capital One, Embrace Home Loans, Humana, HSBC, Life Line Screening, Oreck, Princess Lines, Scotts Lawn Service, Viking River Cruises, many others 3
- 4. Carol Worthington-Levy Wears three hats – Design/art director, writer and creative director/consultant A stickler for responsive design: has read it all, tested it all, and even attended a seminar in Switzerland to learn what will encourage response… or crush it! Recently sold her multichannel marketing partnership – yay! Possibly one of the only 8-time DMA Echo winner in 3 categories: Mail, Catalog and Online/digital Clients: AAA Auto Clubs, 5.11 Tactical, Adventures Cross Country teen travel, Wine of the Month Club, Jacuzzi, French Toast School Uniforms, Hewlett-Packard Printer Division, Niman Ranch premium meats, Comcast, American Isuzu, Intuit, BMW and more 4
- 5. Two points of view Carol‘s primary Alan‘s background is background is art copy Carol is from the Alan is from Boston West coast Carol has an Alan is from Boston impeccable sense of style, design, color… 5
- 6. But more importantly We are both working creative directors and direct marketing consultants We are both teachers and students of direct marketing We both believe in great creative work 6
- 7. Who are you? • You want to learn more about how to develop winning creative • You want be a better manager and motivator of your team or your agency • You want to be able to better evaluate creative before investing a lot of time and money 7
- 8. Introductions • Your name and what you do • You biggest challenge… • What makes you unique? – “I think I am the only person in this room who…” 8
- 9. Before we begin… • Judgement call • The truth about evaluating creative… • Backgrounds and introductions 9
- 10. What do you think? 10
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- 16. What do you think? • What‘s your overall reaction? • Do you think it will work? • What do you like? • What do you think might be improved, or what would you do different? 16
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- 22. The Truth about Evaluating Creative • You are an excellent judge of creative • You are intuitive and thoughtful… • …when you stop to actually think about it in a critical way 22
- 23. Case History Adventures Cross Country Teen Work Travel (ARCC) Building a multichannel creative and marketing effort 23
- 24. ARCC was founded 30 years ago by two wise educators who saw promise in taking teenagers on work/travel adventures 24
- 25. Their catalog was being used for direct mail — and it was too expensive • Even good response could not make up for bad ROI • Big catalogs make poor lead generators because they‘re too hard to get through 25
- 26. Plus the catalog was designed by a creative who made it ‗pretty‘ but too hard to read Tip: Reversing type out of a solid dark color can reduce comprehension to as little as 10% of what it could be 26
- 27. The world had changed: a new approach was needed to reach parents and teens who would be good prospects • Mail costs and printing have gone up $$$ • People are SO busy • Email and websites are better for teens • In-person presentations are ideal to answer questions of concerned but interested parents 27
- 28. ARCC multichannel program • Instead of sending the catalog out first… Send self-mailer 28
- 29. Self mailer … • Quick-reading piece • Highlight the learning and mentoring aspect for parents • Show fun and adventure for the teens 29
- 30. Self mailer breaks the concept down into short, easy pieces • Plug in testimonials by impressed parents 30
- 31. Includes an intro that shows the founders, and says ‗in their own words‘ their vision for ARCC • Prominent call to action keeps the parent thinking about next steps 31
- 32. Break down the barriers one by one… using abbreviated schedules to tease • ―I don‘t know whether we‘ll have time this summer…‖ • ―They may not go places my kid wants to go…‖ • ―My son loves to swim and boat — will there be anything for him?‖ • ―It‘s important for my kid to have experience that colleges will take notice of.‖ 32
- 33. Postard campaign • Prospecting lists used for the self mailer can also be used for the cards • Send to customers from prior years, who are likely to be ―pre- sold‖ • The cards highlight locations of in- person presentations in their exact geographic area 33
- 35. We create many touchpoints: highly targeted and focused — and each with a specific goal Print catalog is sent to respond to requests Seminars are powerful Mailed brochures touchpoints! reach targeted lists to Mailed cards invite families to drive traffic to special presentations held near web, phone and their home, or online catalog request 35
- 36. The material did not exactly match the catalog… • Brand concerns: how different can we make an effort and still have it recognized as a brand? • We had response reasons to choose different fonts, different treatments, etc. • In the long run, the ‗brand look and feel‘ they had was counter-responsive… • Our approach was to do what we knew was the ‗right thing‘, and go for the response 36
- 37. What do you think? • What‘s your overall reaction? • Do you think it would work? • Why or why not? • Questions about the methodology or approach 37
- 38. Success The campaign served several purposes… • Generated interest among those who never heard of ARCC • Educated parents and kids about what‘s available • We didn‘t get deeply into the topic of the competition… why start educating the reader that there IS competition? • Cannot share numbers… but client came back for the following year‘s campaign! 38
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- 45. Our goals How to get the best creative work What to look for; what to watch out for Checklist on ―How to Evaluate Creative‖ How to motivate people to do their best work for you. 45
- 46. Section 1: How to Get The Best Creative Work 46
- 47. • How can you tell if it will work in advance? • How to give useful and welcome feedback • Timing & Budget Questions 47
- 48. First, a definition What is the best creative work? You‘re not looking for work that makes you laugh, or may win an award show You‘re looking for creative work that‘s going to generate response 48
- 49. • Does it have to be new? • Does it have to be different? • What are some signs of good creative? 49
- 50. Does it have to be new? • Not for the sake of being new • New in this category • It must be relevant to the product and the market 50
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- 52. Does it have to be different? • Not for the sake of being different • Good creative should tell you something you don‘t know… • …or make you think of something in a new or different way 52
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- 55. • But it should never, ever take away from the message • Or worse, send the wrong message 55
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- 58. 7 Key Elements to Look For 58
- 59. 1. Does a Big Idea Burst Through? 59
- 60. The first question to ask of any direct mail piece, advertisement or press release 60
- 61. ―Without a big idea, your advertising will pass like a ship in the night.‖ -David Ogilvy “In direct marketing, the ship will sink.” 61
- 62. Why are big ideas so important? A big idea cuts through the clutter A big idea can multiply your success 10 times over You only need one It costs more to do a bad idea than to do a big idea 62
- 63. What is an Idea, anyway? An idea is a change ―I have an idea; let‘s do things the way we‘ve always done them before!‖ The bigger the change, the bigger the idea 63
- 64. Letter to Ministers in Germany They were concerned about declining church attendance They wanted to ―wake up‖ ministers – and invite them to a discussion about the problems They used a very simple letter – with just one sentence! 64
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- 68. 1700 Views! 1700 Views!
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- 74. How do you know if it‘s a big idea? Is it a new idea? Or new in this category? Is it relevant to the product? Does it make you think? Not ―what are they talking about?‖ but about your relationships, your job, your life, your future… 74
- 75. How do you know if it‘s a big idea? Does it make you feel? Emotion is stronger than logic Is it credible? Do you believe it? Does it stand out from others in it‘s category? 75
- 76. 2. Does a single-minded message come through? 76
- 77. People have a hard time ―getting‖ even one thing It‘s not because they‘re dumb; they‘re just busy Make sure your message breaks through the clutter – by focusing on one message 77
- 78. The ―Bed of Nails‖ Approach 78
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- 81. 3. Is the Creative Focused on People? 81
- 82. One of the great secrets... Most companies focus on their products...or worse, themselves The best companies focus on their prospects and customers 82
- 83. Ancestry.com The world‘s largest genealogy company Has access to over 3 billion records, and will help you search Their most successful direct mail and e-mail 83
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- 87. But make them look good Don’t show your prospects as ―dumb‖ Don’t make fun of them… Make them into heroes – like Kodak 87
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- 94. 4. Does it have an arresting Visual? 94
- 95. The Power of Visual Thinking People remember less than 10% of what they‘re told (and it‘s always the wrong 10%) ―Follow my directions carefully‖ People remember more than 50% of what they see They even make it up - to fill in the gaps 95
- 96. Show and tell Show me what you‘ve got Show me what you‘re made of “Show me the money‖ 96
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- 102. Imagine a Harley Davidson Motorcycle parked inside a great cathedral 102
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- 106. 5. Does it have a compelling headline? 106
- 107. Headlines are Critical They should have your key benefit in them 80% of people read that – and nothing else Subject line in e-mail even more important Johnson box serves the same purpose 107
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- 110. WFNX – 101.7 • Alternative Rock Station in Boston • How can they capture the tone of their station in a billboard? 110
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- 113. 6. Is it involving? 113
- 114. What Barnes & Nobles knows 114
- 115. 3 Proven Ways to Involve People in your Advertising Ask questions or quiz them Use an involvement device Use the word ―you‖ – a lot 115
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- 126. 6. Is it ―campaignable?‖ 126
- 127. ―Campaignable?‖ Is it just a one-shot, or can you build a long term campaign around it? Does it easily lend itself to other media? A big idea can last for years… 127
- 128. Antwerp Zoo in Belgium was looking to boost attendance Their elephant got pregnant Send out a birth announcement? …or create a campaign? 128
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- 131. Congratulations, it‘s an elephant! Multi-media campaign started right after conception Turned all of Belgium into proud parents Millions of people followed her 22 month development from inception to birth – including her first ultrasound photograph! 131
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- 133. Kai-Mook became the first elephant born on the internet on May 17, 2009 – weighing a healthy 100 kilograms. Zoo attendance more than doubled – over 300,000 new visitors 133
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- 135. Absolut Best Campaign First ad appeared in 1980; still going strong 1500+ ads later Created by Geoff Hayes of TBWA Ads have become collector‘s items; thousands of people write in requesting their favorite Rolled out ―In an Absolute World‖ in 2007 135
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- 145. Judge for yourself: Do these upcoming examples meet that list of criteria?... • Big idea • Single-minded message • Focused on people • Arresting visual • Compelling headline • Involving • Campaignable 145
- 146. • Target market: Web programmers and webmasters for medium to large sized businesses • They hate getting junk mail • We‘re going to ―sell‖ them a web portal for a new research site • Client doesn‘t believe that mail works 146
- 147. • Big idea: make your website charismatic, lik e Elvis! 147
- 148. • Letter 148
- 149. • Brochure: Only Elvis can draw as many people to your site… 149
- 150. • Reply with Offer: a limited edition Elvis collection that everyone wants, even programming geeks 150
- 151. Comcast … see if this mailer meets the criteria • Single-minded message • Focused on people • Arresting visual • Compelling headline • Involving • Campaignable 151
- 152. Home entertainment: Comcast • VIP invitation gets attention • They flip it over… 152
- 153. Home entertainment: Comcast • Concept: you can have your own private film festival in your home — how??... 153
- 154. • Challenge: Comcast high speed internet might at first not seem like entertainment as much as for email and website access. But Comcast wanted to position it as a way to download movies 154
- 155. • This positions the reader as a VIP when they get Comcast high speed internet 155
- 156. Did it fit these criteria? Do you think it worked? • Single-minded message • Focused on people • Arresting visual • Compelling headline • Involving • Campaignable 156
- 157. Isuzu B2B mailing: does this meet the criteria too? • This Isuzu truck is a huge seller • It’s especially well sized for two industries: light construction, and the food industry • Challenges: how to get companies with fleets to consider buying several instead of just one • Budget $90,000 157
- 158. • Targeted two Isuzu Fleet campaign markets ONLY • Created a mailer for each, that is very specific to that industry • This one is light construction: This truck can carry ―6000 pounds of cement‖ 158
- 159. Isuzu Fleet campaign • This truck can carry about 6,000 lbs of cement – sized specifically for typical construction load • Of course it‘s absurd – the box is 12 in. wide 159
- 160. Isuzu Fleet campaign • A dimensional package needs all the hardworking elements that traditional flat mail does! 160
- 161. “500 gallons of Tomato Paste enclosed” • This one is for the food service industry • Typical load for this industry would be 500 gallons of tomato paste 161
- 162. Sent out 3000 boxes per targeted market • Campaign cost $90,000 • We sold 140 trucks • Bottom line - $4.2 million in sales • New leads generated for future contact • Huge ROI 162
- 163. Isuzu B2B fleet mailing: does it meet our criteria? • Single-minded message • Focused on people • Arresting visual • Compelling headline • Involving • Campaignable 163
- 164. One last example: The Wayfarers Walking Tours Does it have… • Single-minded message • Focused on people • Arresting visual • Compelling headline • Involving • Campaignable 164
- 165. Wayfarers had a very expensive catalog they were mailing • Too expensive for prospecting: beautiful production values, heavy paper, etc • Response not high enough when going to cold prospects 165
- 166. Mail is great for lead generation to travelers • Costs a fraction of a catalog • You can actually get to the point much faster, generate more action 166
- 167. The big idea: A walking tour is different — and this difference gives you a more wonderful vacation 167
- 168. Roll fold self mailer releases information gradually 168
- 169. Targeted a high end audience who loves travel • Emphasized great meals • Showed people becoming friendly • Emphasized that the most memorable adventures are best experienced close up • The journey is as important as the destination • Response: 5% to cold mailing lists • Strong respondents converted in high numbers 169
- 170. The Wayfarer’s mailing: does it meet our criteria? • Single-minded message • Focused on people • Arresting visual • Compelling headline • Involving • Campaignable 170
- 171. How Mick Jagger briefed Andy Warhol for “Sticky Fingers” album cover 171
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- 173. The Secret to Getting Great Creative Creative people always have choices. They can‘t always decide what they will work on; but they can always decide how much of their effort and heart they will put into their work. Your goal is to make them want to go that extra step for your projects, your product , your company – and of course, for you. 173
- 174. Where the Best Creative Work Begins 174
- 175. Briefly speaking • Successful creative starts with a well thought- out brief or Creative Strategy Form • It doesn‘t end there – but it starts there • The more time and effort you put into your brief – the more likely you are to get effective work 175
- 176. The Briefing Meeting • A brief should never simply be handed-out or e-mailed. • It should be an interactive process; with the final brief emerging from the meeting • You need to encourage comments and questions – and get the answers as soon as possible 176
- 177. Your Role in Briefing Creative To initiate the project and provide the information necessary to complete it To be an ―expert‖ on your business; or to get the answers they need before the work is completed To be open to new ideas and solutions To give constructive and specific feedback to help improve the work (when necessary) 177
- 178. Not Your Role To dictate the work To withhold information or fail to provide it on a timely basis To not have the answers To create false deadlines or emergencies To abuse creatives in any way, shape or form 178
- 179. The Role of Creatives To represent the consumer‘s point-of-view To be an ―expert‖ on their business – advertising and direct marketing …and to become an ―expert‖ on the clients business To come up with big ideas 179
- 180. Not the Role of Creatives To give the client only what they asked for… To postpone the work and do a last-minute scramble To give up, or do less than their best To think that that account people, or clients, aren‘t smart or good at their jobs 180
- 181. The Death of an Agency 181
- 182. The Creative Strategy Form 182
- 183. The Creative Strategy Form Every company has a different format It is a blueprint of the job -- and a contract It should be developed, agreed on and signed by everyone involved in the project - particularly the most senior person It can be used to evaluate work It has to be simple, understandable – not just filled with jargon 183
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- 185. The Creative Strategy Form 1. Project Description What are we doing? Why? 2. Objective What are we trying to achieve? What do we want people to do? Be as specific and realistic as possible 3. Target Audiences The more specific, the better 185
- 186. The Creative Strategy Form 4. Main message and proof What is the single most important reason that someone will buy our product or respond to our mailing? Why should anyone believe you…? 186
- 187. The Creative Strategy Form 5. Offer What do they get? What do they have to do to get it? 6. Key points What other benefits do we need to communicate? 7. Ways to Respond Did we make it easy? Did we give them a choice? 8. Tone and Manner Consistent with the product? 187
- 188. The Creative Strategy Form 9. Mandatories Legal, logo, etc. 10. Budget How much do we have? Let the value of the customer drive the budget 11. Schedule How much time is left?!!!! 188
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- 190. Put time on your side… You want to give creative people time to do their best… ..but you also want your project to stay top-of- mind Plus you don‘t want them to forget anything, or worse, do it at the last-minute 190
- 191. Think in stages Ideally, you want them to come back with rough ideas within 5-7 days This keeps your project fresh in their minds and motivates them to get started right away After this first meeting, you can give them more time to refine, make changes, add to the mix 191
- 192. Two questions you must answer 12. What is the target market currently using/doing? Understand their mindset Are they using a competitive product? Making do without? Why should they switch to yours? 13. “You know you need it when…” When does someone know they need your product? Puts you in their shoes Identifies points of pain You‘re looking for agreement... 192
- 193. Reviewing the Work 193
- 194. Best Practices Allow them to finish their presentation, before you jump in Start by acknowledging how much work has been done, and what you like Review the brief to make sure that everything important has been addressed 194
- 195. Be constructive See the big picture first – don‘t nitpick Never get personal. Not ―I don‘t like that headline‖ but ―Does this headline have the main benefit?‖ Go through the Checklist with them 195
- 196. Moving ahead Take the time to provide thoughtful, useful feedback This is your first exposure to the work; they have been at it for days Resist the urge to change for change‘s sake 196
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- 198. Never say ―The client will never buy this…‖ Don‘t try to anticipate what others will say or think; give your own opinion Remember you are all on the same side 198
- 199. How do you know if it will work before it goes out? 199
- 200. ―You cannot judge direct marketing. It judges you.‖ - Denny Hatch 200
- 201. Besides… ―Creative‖ packages don‘t usually work The ―ugly‖ stuff almost always seems to win Even the best work seems to produce a disappointingly low response 201
- 202. How do you know…? The only guarantee in direct marketing is a moneyback guarantee It can be very surprising what works and what doesn‘t However, if you use the following checklist, you will maximize the probability of success 202
- 203. Checklist 12 questions to ask about any creative execution 203
- 204. 1. Is it on strategy? 2. Is it appropriate to the product and the positioning? 3. Is there a big idea? Does it come through? 4. Does it have a striking visual or graphic? 204
- 205. 5. Do the offer and main benefits come through quickly and clearly? 6. Does the offer stand out? 7. Is it believable? Are claims supported with facts or testimonials? Is there a guarantee? 8. Does it include a strong call to action in every element? 205
- 206. 9. Does it make you think or make you feel 10. Will it stand out from others in this category? 11. Are all the elements working as hard as they can for you? 12. The big question: would you respond? 206
- 207. These are all the ways to evaluate creative for regular advertising. But direct marketing has to work even harder 207
- 208. We have to get people to act Go to our website Call a toll-free number Send in an application or response form Bring something into a store 208
- 209. 1. It must be 100% absolutely clear • Above all, it must be clear and easy- to-understand • If people don‘t ―get it‖ – you lose • You need to be direct in direct marketing 209
- 210. 2. It must have a compelling offer • ―If you want to dramatically improve your response, you must improve your offer‖ – Axel Anderson • They must know exactly what you want them to do, and how • They must have an urgent reason to act now 210
- 211. 3. Credibility is king • We need to prove what we claim • We must use numbers, specifics, facts, lists • Testimonials are critical • One false note can kill response 211
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- 213. The rest of the Scott‘s LawnService case-history 213
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- 227. What do you think? • What‘s your overall reaction? • Which package did you like best? • Which do you think worked best? • Why? 227
- 228. We told you that you’re an excellent judge of creative! 228
- 229. Thank you! Alan Rosenspan & Carol Worthington-Levy See you tomorrow at Part 2: Creative Rules that Work for Print Thursday Oct 18, 2012 — 8:30am - 12:00pm 229