Реферат: Art of adviting

It involves the seeing of old facts in new relationships.

It involves the discovery of needs and wants in people that even the people may not have discovered in themselves. (Hardly anyone knew he needed a telephone until A. G. Bell came along.)

It also involves hard work. As I said before.

When you have a creative strategy problem on your plate, you are confronted by a need to know everything you can get your hands on. About the product itself. About competitive products. About the market: its habits, its attitudes, its demographics. About the advertising history of the category.

You need to study all the research you can get your hands on.

You need to ask questions until people hate to see you.

You need, in short, to dig, dig, dig.

The dismal truth is that your chances of finding a compelling creative strategy are in direct proportion to how much information you stuff your head with.

If you are working on a new coffee, say, you will wind up knowing more about coffee than you ever thought you wanted to know.

There is a very good reason why you must do this human sponge act if you are to invent real creative strategies.

Your subconscious mind—where a very important part of the invention process goes on—needs a richly-stocked data bank to do its best work.

The job of your subconscious is to review and re-review everything you know about a subject. It searches, even during your sleep, for new relationships between people and products; searches, as I suggested earlier, for new combinations of old Ideas; searches for the new insight that can give even a very old product the right to ask for new attention in the market.

If you stint your subconscious on the input side, it will surely stint you on the output.

Creative strategy goes around in the world under several pseudonyms: basic concept, basic selling idea, product positioning, basic selling proposition.

But whatever the name, the purpose of real creative strategizing is simple and vital: the invention of a big idea.

I said earlier that this kind of creative strategy work is the highest form of creativity in advertising.

I believe it wholeheartedly. I also believe wholeheartedly in the power of brilliant execution.

What I believe in most of all is the synergism you create when you couple a big idea with brilliant words and pictures.

When you can do that regularly, you can't help getting rich and famous. Not to mention happy in your work.

Responsibility for developing objectives and strategy lies at the agency, but before execution can be initiated there must be approval from the client. The statement of objectives and strategies should be complete but concise and should show justifications for decisions that emerge from the situation analysis.

Tightly defined strategies also give freedom to copywriters because they know that their work should be judged solely against these preexisting guidelines. This direction should, therefore, be cherished. From another perspective, Norman Berry of Oglivy & Mather says "There is nothing, in my view, so stupid, or so wasteful of time, talent and money, as to produce a whole lot of work saying one thing brilliantly, when in fact one should have been saying something else in the first place."

To set accurate message objectives, a quick revue of relevant issues will be useful.

In terms of target market:

1. Describe the audience as precisely as possible in relation to demographics, geographics and psychographics

2. What the problem that the brand will solve. for consumers.

In terms of the task:

3. Describe the task in terms of the stage of the hierarchy of effects.

4. Describe the task in terms of audience involved.

5. Describe the task in terms of the brands benefits.