Copyrighting Notes

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Chapter 1.
Copy
INTRODUCTION
What is Copywriting?
Copywriting is essentially selling with words. Copywriting is using words to
convince readers they will benefit (come out ahead) by using a certain product
or service and then motivating them to take action (buy).
Copywriting is the words used in advertisements, TV commercials, and
brochures. Whenever a business promotes itself (through a press release, a
leaflet or a newsletter), it needs a copywriter. That’s why copywriting is
everywhere - on big posters, local newspaper ads, and every clever slogan. And
when you put a postcard in a newsagent's window, to sell your old hi-fi, you're
using copywriting again.
Copywriting is probably the most creative and demanding branch of
writing. You start with a blank sheet of paper. You may have only a couple
of days to meet the client’s deadline. And your work could be read by
millions of people.
Who needs copywriters?
The market is vast. Every business, small and large, has to promote itself. Every
company needs leaflets or direct mail letters. And every new product needs a
pack that will entice us to buy it.
These days all organizations need to communicate. That includes hospitals, local
authorities and charities. So the opportunities for the copywriter are infinite.
Because organizations constantly alter, their literature and ads need regularly
changing, too. That keeps copywriters busy!
I. Attributes of a good copywriter
1. A good copy writer has an excellent and well-rounded portfolio - Take a look at
a copywriter's past work. Is it professional? Do you see some good concepts?
Are the projects high-caliber? You don't necessarily have to see work that is
specific to your particular industry. A broad spectrum of work demonstrates a
copywriter's talent and skill as well as the ability to adapt her knowledge to just
about any market. A good portfolio will also show experience in a range of
formats, such as print, web, outdoor, direct mail, press releases and corporate
communications.

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2. has plenty of marketing and public relations savvy - Pretty words are, well,
pretty. But they don't necessarily do what you want them to do for you. Look for a
copywriter who has a rich background in marketing and public relations. That
person will have a quicker and deeper grasp of what the copy needs to do and
how to make it do it.
3. Listens to clients - When a copywriter listens to a client, wheels are turning.
He's making observations about the "who, what, when, where and why" of your
company, product or service. Questions come to his mind. He will have things he
wants to discuss and find out more about. But first, he listens carefully to what
you have to say.
4. Asks the right questions - You don't want an order taker; you want a copywriter
who knows how to find out what she needs to in order to do the best job. What is
your goal? Who do you need to sell to? Why should people care about your
product or service? What sets you apart from your competition? What does your
product or service does and how does it do it? How are you already reaching out
to your audience with marketing and public relations?
5. Doesn't always take your word for it - Sure, it's important for a copywriter to
understand the client's take on the situation. But a thorough copywriter will do a
little digging on his own to find out things like how the competition brands itself,
what's being said about your company, product or service and what is generally
important to your customers' buying decision.
6. Brings ideas to the table - You tell your copywriter you want content for your
web site, just your basic About Us, Products & Services and How to Contact Us.
A good copywriter will make suggestions, like "Have you thought about featuring
some case studies?", "Have you had a key word analysis yet?" or "How about
doing a newsletter that will let you capture email information?"
7. Can develop concepts - The copywriter's approach to a project is often
determined by the client's process. Sometimes a graphic designer has already
created a look and feel, determined what the tone should be. Other times, the
copywriter is called upon to help shape the message from the beginning. Find a
copywriter who has experience developing concepts and you'll have someone
who can make a broader contribution to the project.
8. A good copy writer is empathetic - Read something written by a good writer
and you can tell that she truly becomes the customer, brings that person right
into her head. When she writes about a new home, she imagines walking
through her dream house. When the reader will be a business person who has
been thinking seriously about going back to school for that MBA, the copywriter
feels that person's restlessness and desire to move up.

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9. Offers flexibility - You need someone who will meet your time constraints and
deadlines. Or maybe the copywriter will need to be proactive and persistent
about getting information from some very busy, hard to reach people. Whether
it's patience or persistence you require in your copywriter, she should be
someone who can deliver.
10. Is someone you enjoy working with - In the end, when you've determined that
a copywriter has what it takes--talent, skill, experience, savvy--it comes down to
whether or not she is someone you respect and enjoy working with. The work will
thrive if you're a good team.
II. PRINCIPLES OF COPYWRITING
1. Use Attention Getting Headlines
For example – print ad for DHL uses only one word as it’s headline – “URGENT”,
which is underlined in red, and is enough to attract anyone’s attention.
Star TV print ad for The Big Fight does not use words, but uses a pair of boxing
gloves as headline.
2. Expand Headline with Lead Paragraph
Follow up the headline immediately with the first paragraph. If you ask a
question, answer it. If you propose a thought, explain it. Don't leave them
hanging too long; you may end up hanging yourself.
The ad for Maruti N2N fleet solutions uses the headline “ Who says managing a
huge fleet of company cars is hard work? This is followed by the lead paragraph
which explains how Maruti N2N works
3. Draw the Reader In
Avoid page and advertising layouts that are confusing or hard to read. Reading
your message should be a pleasure to read. Keep your copy simple, clear and
concise. Talk to your reader as you would a friend or family member. Be straight
and sincere with them. Spell it out and explain points that need explaining. Don't
leave your reader second-guessing your copy.

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4. Focus on the Reader, not the Product
Of course your copy must contain information and facts about your product or
service, but that is not your focal point. You must focus the reader. Use their
needs, wants, desires, fears, weaknesses, concerns, and even fantasies to sell
your product or service.
The ad for Lakme Deep Pore Cleansing begins with the headline “There's a lot
that shows on your face”.
The body copy includes - Now, one-and-a-half minutes is all it takes to
uncover the real you. Presenting the complete Deep Pore Cleansing
Regimen from Lakme. Simply because your face says it all.
Thus, not only does the ad talk about the product, it also focuses equally
on the reader. Using words like “you” would make the reader feel good,
rather than an ad that boasts about the product but says nothing about
how to use it, how it could make your life better, etc.
5. Use the "That's Right!" Principle
Get your prospect to agree with you. Tell them something they know already. Get
them to say to themselves, "That's Right!"
The print ad for JW Marriott starts with the headline -: Your mom knows exactly
how you like your bed, your toast, and your coffee….
This headline will indeed make the target exclaim – that’s right!
6. Ask Provocative Questions:
Leading into your copy or headline with thought provoking questions will grab the
reader's interest and move them to read more for the answer.
The ad for Deccan Chronicle uses an attractive female model asking a
provocative question like – “Want to play the number Game?”. The ad actually
talks about the impressive figures of circulation of the Deccan Chronicle.
7. Move Quickly from Intro to the Pitch:
Don't waste your reader's time trying to "warm them up". If they got that far,
there's blood flowing already. People are busy creatures. If you lose their
interest, you neither sell nor profit. Get on with it!
8. Be Sincere:
What's the number one fallback for sales on the web? Fear! Fear of being
scammed or ripped-off. The more sincere you are the better your chance of
building a "selling" relationship.

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The sincerity and genuineness of Air Sahara comes across in its ad where the
body copy says – as hard as we may try at this time of the year (winter), there
are chances of flight delays due to weather conditions. Every step is taken to
help passengers get to their destinations on time. To make this process easier,
we need your help too.
9. Don't Contradict Yourself:
Double-check your copy. You would be surprised to know that many copywriters
unknowingly contradict themselves leaving the reader suspicious, thus
destroying your credibility with them.
10. Keep Your Focus Aligned
The more focused your target group, the better your chance of meeting their
needs. Don't try to sell everyone!
11. Make Your Product Irresistible
Dress it up. Your product should sound like the cream of the crop. Focus on your
selling point (price, quality, etc) and make it impossible for the reader to imagine
another in comparison.
12. Use Fear as Motivation:
Fear is both a weakness and strength, but also a powerful selling tool. Fear of
injury, death or missed opportunity. If you sell a safety product you would use this
fear to your advantage. If you're offering an opportunity, the fear of missing their
chance is a strong seller.
Many ads for financial services use fear to motivate their target.
For example in the ad for New India Assurance – Shop Owners Policy, a shop
owner imagines a riot occurring near his shop, which causes damage to his shop
I.e. the physical property. Thus fear is used to motivate shop owners to get their
shops insured under the policy offered by NIA.
13. Flattery will get you everywhere
Yes, everyone likes to hear a little flattery. Keyword here is "little". Don't overdo it!
14. Be Personable
Let them know that there is a kind, honest and real person behind the page.
People would rather deal with people, not companies, corporations or
conglomerates. Add the "Human Touch" to your copy.
Ex: the institutional ad for Eureka Forbes which shows model Aditi Gowatrikar
with her child has a human touch to it, what with the body copy saying – “…times
have changed. Yet your dreams remain the same. So open up. Say ‘yes’ to
life…”

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15. Its Guaranteed
A guarantee reassures the reader that you are reputable and will live up to your
promises.
For example, in the Vim Bar TVC, the anchor promises that if “your” detergent is
better than Vim Bar, you will get a year’s supply of your detergent free. This
guarantee lends credibility to the offering and induces the viewer to act.
16. Use "Power"ful Words:
"Power" words are words that move a buyer by enhancing and reinforcing your
presented idea. Certain words have proven to be movers and shakers in the
advertising world.
Examples of persuasive and attention-grabbing words
Easy Convenient Exclusive Indulge
Genuine Advantages Comfortable Dependable
Immediate Instant WANTED WARNING
More Biggest Oldest Original
17. Share a Secret
People want to get the inside track. If you can convince your prospect that you
have an exclusive message for them, you're one step closer to a sale.
18. Keep It Lively:
There are many ways to keep your copy lively. Telling a (brief) story is a strong
technique for getting your message across. Separating and highlighting key
information or facts is another. Using personal pronouns like "you", we and us
will add a sense of warmth to your copy.
19. Go with the Flow
Writing copy requires the ability to make a smooth transition from one point to
another. Rather than laying them out like a list, learn to use transitional words.
Transitional words are used to go from one point to another.
20. Check Your Spelling
Take the time and spell-check your work. Finding misspelled words in copy
leaves the reader wondering how competent your product or service could be, if
you cannot take the time to be sure you spelled the words in your web copy
correctly.

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21. Use Photo's to Demonstrate:
Use photos to demonstrate your product or service. If used correctly a picture
really is worth a thousand words.
Ads for cosmetics generally use photographs to demonstrate the benefits of
using the product – smooth skin, fairness, etc.
22. Use Graphics to get Attention:
Using buttons, icons and arrows can help direct the reader's attention to
important details. If organized correctly they can also help sort facts or messages
into categories.
The ad for Toyota Qualis uses arrows to draw the readers’ attention to the unique
features of the vehicle such as integrated bumper; wood finishes paneling,
captain seats, etc.
23. Offer Testimonials
Offer short, reputable testimonials. People want to hear what others have to say
about your product or service.
Diana Hayden – Miss World 1996 offers testimonial for Loreal Hair color.
24 Create a Memorable Logo
Create a simple, but memorable logo or custom graphic that your visitor can
easily relate to your product or service
Examples:
Nike swoosh
Tata
Mercedes
McDonald Golden Arches
25. Create an Unforgettable Slogan
Use a short, easy to remember slogan that a reader will walk away with on his or
her lips.
Nike – Just Do It.
Visa – Go get it
Pepsi – Yeh Dil Maange More
Asian Paints – Merawalla….
26. Get a response
There are many techniques for getting a prospect to respond. Spell it out for
them. Tell them to respond. Tell them why they should respond. Give them a
reason they should respond now. Offer a bonus or freebie if they respond.

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This can be done by using words like – order now, order today, for a short time
only, last chance, etc.
Ex:
Service – ICICI Bank – Two Wheeler Loans
“Take Home Passion (Hero Honda Passion) by just paying Rs. 3999 only
STAGES IN COPYWRITING/ THE APPROVAL PROCESS
The client company representative (product manager) gives the brief to the
client-servicing department of the ad agency. This brief is then broken down into
creative and media brief.
The creative brief is given to the creative director who passes it on to the art
director and the copywriter. These two work in conjunction to create the ad.
The (rough) ad is then shown to the account management team consisting of the
supervisor and manager. They look into legalities that might affect the ad and
Product Manager of
Client
Client Service
(Agency)
Creative Director
Art
Director
Staff
Writer
Senior
Writer
Acct.
Supervisor
Account
Manager
Account
Management Team
Legal
Legal

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whether the ad meets the client’s brief and budget. Changes, if any, are
communicated to the creative department
The (rough) ad is then shown to the client servicing dept. The dept. might also
suggest changes. The ad is finally shown to the client for his approval. Once the
approval is received, the creative department goes ahead with the actual
production of the ad.

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Chapter 2.
Creative Strategy: Planning and Development
I. Developing an Advertising Plan: An advertising plan is a document
created with the goal of matching the most effective message to your
audience
Definition: An outline of what goals an advertising campaign should achieve,
how to accomplish those goals, and how to determine whether or not the
campaign was successful in obtaining those goals.
Advertising Plan in Context
Ad Plan
Specifies thinking and tasks needed to conceive
and implement an effective advertising effort
Marketing Plan
Developing an Advertising Plan
An advertising plan is a document created with the goal of matching the most
effective message to your audience. An Advertising Plan Matches the Right
Audience to the Right Message and Presents It in the Right Medium to Reach
That Audience
Advertising Plan
Definition: An outline of what goals an advertising campaign should achieve,
how to accomplish those goals, and how to determine whether or not the
campaign was successful in obtaining those goals.

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Typical Advertising or Campaign
Plan Outline (Tab.1)
I. Introduction
• Executive Summary or Overview is provided.
II. Situation Analysis
• Advertising Problems
• Advertising Opportunities
III. Key Strategy Decisions
• Advertising Objectives
• Target Audience
• Competitive Product Advantage
• Product Image and Personality
• Product Position
IV. The Creative Plan
V. The Media Plan
VI. The Communication Plan
• Sales promotion
• Public relations
• Direct marketing
• Personal selling
• Sponsorships, merchandising, packaging, etc.
VII. Implementation and Evaluation
VIII. Budget

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II. Advertising Creativity: The five stages of creativity,
Creative Thought Process,
What Is Creativity?
Creativity is a mental process involving the generation of new ideas or concepts,
or new associations of the creative mind between existing ideas or concepts
More than 60 different definitions of creativity can be found in the psychological
literature
Definitions of creativity are typically descriptive of activity that results:
1. In producing or bringing about something partly or wholly new
2. In investing an existing object with new properties or characteristics
3. In imagining new possibilities that were not conceived of before
4. In seeing or performing something in a manner different from what was
thought possible or normal previously.
Distinguishing between creativity and innovation
Creativity is typically used to refer to the act of producing new ideas, approaches
or actions, while innovation is the process of both generating and applying such
creative ideas in some specific context.
Advertising Creativity involves two processes:
1. Thinking,
2. Producing.
Getting Raw Material, Data,
Immersing One's Self in the Problem
to Get the Background.
ImmersionImmersion
Ruminating on the Data Acquired,
Turning It This Way and That in the
Mind.
Mind.
DigestionDigestion
Ceasing Analysis and Putting the
Problem Out of Conscious Mind for
a Time.
a Time.
IncubationIncubation
A Sudden Inspiration or Intuitive
Revelation About a Potential Solution.
Revelation About a Potential Solution.IlluminationIllumination
Studying the Idea, Evaluating It, and
Developing It for Practical Usefulness.
Studying the Idea, Evaluating It, and
Developing It for Practical Usefulness.VerificationVerification
ImmersionImmersion
Mind.
Mind.
DigestionDigestion
a Time.
a Time.
IncubationIncubation
Revelation About a Potential Solution.
Revelation About a Potential Solution.IlluminationIllumination
Young's Creative Process

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III. Components of the Creative Strategy:
“ The Ultimate
Driving
Machine”
“ The Ultimate
Driving
Machine”
BMWBMW
“ Taste of
India”
“ Taste of
India”
Miller
Lite
Miller
Lite
“Like a Rock”“Like a Rock”
Chevy
Trucks
Chevy
TrucksBMWBMWAMULAMUL
1. Advertising Campaign Themes
The central message that will be
communicated
in all of the various IMC activities
The central message that will be
communicated
in all of the various IMC activities
Successful Long-Running Campaigns
Nike Just do it
Thumps up Taste the thunder
Hallmark cards When you care enough to send
the very best
Fevicol Yeh Fevicol ka jod hain tutega nahin
Intel Intel inside
Airtel Express yourself
LUX soap Beauty soap for film star?
DOVE 1/4th Moisturizing cream
Vicks Vicks ki Goli lo Khich Kickh door karo
Company or BrandCompany or Brand Campaign ThemeCampaign Theme

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Positioning the
Brand
Positioning the
Brand
Use a Unique
Selling Position
Use a Unique
Selling Position
Create the Brand
Image
Create the Brand
ImagePositioningPositioning Find the Inherent
Drama
Find the Inherent
Drama
Create a Brand
Image
Create a Brand
Image
Use a Unique
Selling Position
Use a Unique
Selling Position
2. Major Selling Ideas
Seeking the
Major Idea
Seeking the
Major Idea
Buy this
produce and
you'll benefit
this way or
enjoy this
reward
Buy this
produce and
you'll benefit
this way or
enjoy this
reward
Must be unique
to this brand or
claim; something
rivals can't or
don't offer
Must be unique
to this brand or
claim; something
rivals can't or
don't offer
UniqueUniqueBenefitBenefit UniqueUniqueBenefitBenefit
Approaches to the Major Selling Idea: USP
Unique Selling
Proposition
Unique Selling
Proposition
The promise
must be strong
enough or
attractive
enough to move
people
The promise
must be strong
enough or
attractive
enough to move
people
PotentPotent

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Brand image or
personality is particularly
important when brands
are similar
Brand image or
are similar
“Every ad must contribute
to the complex symbol
that is the brand image.”
“Every ad must contribute
to the complex symbol
that is the brand image.”
Brand image or
are similar
Brand image or
are similar
Perspectives of Great Ad Men on the Major Selling Idea
David OgilvyDavid Ogilvy
Find the inherent drama or
characteristic of the
product that makes
consumers buy it
Find the inherent drama or
characteristic of the
product that makes
consumers buy it
“(Inherent drama) is often
hard to find but it is always
there, and once found it is
the most interesting and
believable of all
advertising appeals.”
“(Inherent drama) is often
hard to find but it is always
there, and once found it is
the most interesting and
believable of all
advertising appeals.”
Leo BurnettLeo Burnett
Often used for products such as soft
drinks, perfume, liquor, clothing, airlines
Often used for products such as soft
drinks, perfume, liquor, clothing, airlines
The creativity sales strategy is based on a
strong, memorable brand identity through
image advertising
image advertisingimage advertising
Used when competing brands are so
similar it is difficult to find or create a
unique attribute
unique attribute
image advertising
image advertisingimage advertising
unique attribute
unique attribute
3. Creating a Brand Image

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Approaches to the Major Selling
Idea: Inherent Drama
Inherent
Drama
Inherent
Drama
Messages generally presented
in a warm, emotional way
Hallmark, Maytag, Kellog
Focus on consumer benefits
with an emphasis on the
dramatic element in
expressing them
Focus on consumer benefits
with an emphasis on the
dramatic element in
expressing them
4. Appeals and Execution Style
4. A. Advertising appeals
Appeals are broadly classified as rational, emotional and moral appeals:

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Rational appeals are those directed at the thinking process of the audience.
They involve some sort of a deliberate reasoning process, which a person
believes would be acceptable to other members of his social group. They attempt
to show that the product would yield the expected functional benefit. Rationality
has come to be equated with substance.
Rational appeals:
A rational ad becomes believable and effective. Although there may be some
disagreement regarding which motives are rational and which are emotional, the
following are some buying motives, which are normally, considered rational
under ordinary circumstances:
(i) High Quality: People buy television, stereophonic music systems, furniture,
refrigerators, electric gadgets; kitchenware and a host of consumer durables for
their high quality. Many consumer goods, too, are bought for their quality, such
as clothing, beverages, food items, etc., and not merely because of their taste or
fashion, or style.
(ii) Low Price: Many people buy low-priced locally made air conditioners for their
homes because they believe that these products will show a product
performance similar to, or slightly inferior to, that of nationally reputed brands at
higher price. Whether this is true or not, a person, as long he believes this to be
true, thinks his reason will be accepted as a "good" one by his social group. In
this case, he is exhibiting a rational motive.
(iii) Long Life, as of a car tyre that will give 30,000 kms, before its utility has
been exhausted.
(iv) Performance, as of a ballpoint pen that won't release excessive ink or skip
under any circumstances.
(v) Ease of use, as of a screwdriver with a magnetized tip which clings to the
metal head of the screw, or a timer in the kitchen mixer which switches off
automatically after a pre-determined time period.
(vi) Re-sale Value, as of a two-wheeler scooter. "Bajaj" has a better re-sale
value than any other make.
(vii) Economy, in the operating expenses of some brands of refrigerator is
greater because they consume less electricity. Many two-wheeler vehicles claim
a better mileage per litre consumption of fuel than similar other vehicles.
We should, however, point out that some of the best ads are totally irrational.
Porsche car ads listed such irrational benefits. Volkswagen built itself on the
proposition it's ugly but it works. Nine per cent of the human psyche is irrational.
But, what is irrational can be made to seem rational. Gary Goldsmith is not
content with just a rational benefit but expects the benefit offered to be such,
which a rational person can understand.
Industrial buyers are most responsive to rational appeals. They make purchase
decisions in line with the technical specification of the product, product quality,
etc. Most industrial buyers are knowledgeable about the product class, trained to

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recognize value and are responsible to others about their choice. Often, industrial
buying decisions are made after a thorough comparison of various offers and
after evaluating the various benefits of different makes.
Consumer durables of high value 'are also often bought on the basis of rational
appeals. People are ready and willing to give rational motives if asked why they
have made a particular [purchase. Those who buy Playboy or Debonair are likely
to say they buy them for the articles. Even when decisions are made on
emotional grounds, people like to rationalize their decision~ to show that they are
based on sound rational grounds. Strong emotional propositions need rational
underpinnings. Most of us want others to regard us as rational human beings.
That is why we like to give socially acceptable reasons for our buying decisions.
We feel that rational motives will raise our status in the eyes of our associates
and colleagues.
Emotional appeals:
Emotional appeals are those appeals, which are not preceded by careful
analysis of the pros and cons of making a buying. Emotions are those mental
agitations or excited states of feeling which prompt us to make a purchase.
Emotional motives may be below the level of consciousness, and may not be
recognized by a person; or even if he is fully aware that such a motive is
operating, he is unwilling to admit it to others because he feels that it would be
unacceptable as a "proper" reason for buying among his associates and
colleagues.
Emotional appeals are designed to stir up some negative or positive emotions
that will motivate product interest or purchase. Different emotional appeals, which
are particularly important from the advertising point of view, are listed below.
Following several motivation research studies, it has been found that negative
emotional appeals are more effective than positive ones. We shall also,
therefore, name the negative appeals first.
All brands have rational and emotional credentials. Levi's is youthful,
rebellious and sexy. But it offers rational benefits like strength too. One has to
balance between rational and emotional arguments. Singapore Airlines
presents the Singapore girl, an emotional icon. But it also emphasizes in-flight
service that other airlines talk about, which is a rational proposition.
Negative Emotional Appeals: An advertiser may try to induce a particular
behavioral change by emphasizing either positive or negative appeals, or a
combination of both. For example, an advertising campaign to get the target
audience to buy fire insurance may stress the positive aspect -low cost relative to
other investment, the services the insurance company provides, early settlement
of claims, and so on; or it may stress the negative aspect of not getting insurance
- the danger of losing one's possessions or the ravages of fire. Positive appeals
use the strategy of "reducing" a person's anxiety about "buying and using" a

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product, while negative appeals use the strategy of "increasing" a person's
anxiety about "not using" a product or service. In general, a positive appeal
stresses the positive gains to a person from complying with the persuasive
message; the negative appeal stresses his loss if he fails to comply.
Emotions are those mental agitations or excited states of feeling which prompt us
to make a purchase. Emotional motives may be below the level of
consciousness, and may not be recognized by a person; or even if he is fully
aware that such a motive is operating, he is unwilling to admit it to others
because he feels that it would be unacceptable as a "proper" reason for buying
among his associates and colleagues.
Emotional appeals are designed to stir up some negative or positive emotions
that will motivate product interest or purchase. Different emotional appeals, which
are particularly important from the advertising point of view, are listed below.
Following several motivation research studies, it has been found that negative
emotional appeals are more effective than positive ones. We shall also,
therefore, name the negative appeals first.
All brands have rational and emotional credentials. Levi's is youthful,
rebellious and sexy. But it offers rational benefits like strength too. One has to
balance between rational and emotional arguments. Singapore Airlines
presents the Singapore girl, an emotional icon. But it also emphasizes in-flight
service that other airlines talk about, which is a rational proposition.
Negative Emotional Appeals: An advertiser may try to induce a particular
behavioral change by emphasizing either positive or negative appeals, or a
combination of both. For example, an advertising campaign to get the target
audience to buy fire insurance may stress the positive aspect -low cost relative to
other investment, the services the insurance company provides, early settlement
of claims, and so on; or it may stress the negative aspect of not getting insurance
- the danger of losing one's possessions or the ravages of fire. Positive appeals
use the strategy of "reducing" a person's anxiety about "buying and using" a
product, while negative appeals use the strategy of "increasing" a person's
anxiety about "not using" a product or service. In general, a positive appeal
stresses the positive gains to a person from complying with the persuasive
message; the negative appeal stresses his loss if he fails to comply.
Precautions while using the Emotional Route:
1. The advertising should have relevance. If the product needs attribute-based
rational advertising, emotional appeals should be avoided.
2. There should be a natural flow of feelings.
3. Execution should not be exaggerated. The level of emotionality should not
exceed that experienced by the consumer.

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4. There is a difference between a consumer's emotions associated with the
product / brand and a consumer's emotional reaction to the ad copy itself.
Preferably, these two should be compatible.
Fear Appeals: The fear appeal is most important among emotional appeals, and
also the most effective. It is said that the message's effectiveness increases with
the level of fear it generates. The use of fear appeal in getting people to start
doing things they should is very common.
Many ad messages of toothpaste employ this appeal. They present the fear of
tooth decay or unhealthy gums or bad breath, and then suggest the use of a
specific brand of toothpaste to get rid of such fears. A recent ad of "Promise"
shows a boy weeping because of severe toothache, and then suggests the use
of "Promise" to avoid a recurrence of toothache.
A fear appeal of this kind is used in a wide variety of product categories. When
products are designed to protect an individual from some loss of health (medical
or life insurance), the fear appeal of the type illustrated above can be effectively
employed. Then there are products designed to protect an individual from loss of
property (automobile or home), which successfully employ fear appeals to induce
a particular buying behavior.
Fear appeals are at times used in ad messages in connection with getting people
to stop doing the things they shouldn't do. The advertisements relating to
prohibition, prevention of losses and conservation of energy fall in this category.
The warning on the cigarette packet that smoking is injurious to health is a typical
example, even though this is a statutory warning and advertisers themselves
would not like to include it is the ad on their own.
Then there are many products that are, directly or indirectly, involved in the
avoidance of a fearful situation. A large number of advertisements employ the
fear appeal in their ad messages of products, which relate to more subtle social
and psychological motivations, such as loss of status, friendship, job,
position, and so forth. Personal-care products (soaps, cosmetics,
deodorants, shave lotions, mouthwash, etc.) fall in this category. Fear is the
higher level of tension; but anxiety has been used to promote the sale of a large
number of instant foods, other food products and home appliances. Think of ads
wherein the housewife's anxieties are fully exploited to get the message across
to the target audience.
The more carefully fear is built, the greater is the tension resulting in a greater
drive from within to reduce the tension. Research studies have proved that
extremely great fear appeals ate less effective than moderate ones in motivating
people to adopt the product and eliminate fear. However, very weak fear appeals

21
are not effective either in evoking the desired response. Therefore, a selection of
the appropriate fear level is important; it should be strong enough to heighten the
drive of the people to buy a particular product.
But if an excessively strong fear is pictured, it is possible that people would
exhibit a defensive behavior, and tries to avoid the ad, and may not be prepared
to accept the threat. They may even take the view that the solution
recommended in the ad may be inadequate to deal with so great a fear.
However, some researchers have found cases where strong fear appeals have
worked beautifully. They feel that buyers have different tolerances for fear and
that therefore, different levels of the fear message should be set for the various
segments of the audience. However, the underlying concept that every message
should promise to relieve, in a believable way, the fear it arouses should be the
ultimate guide in the selection of the levels of fear appeals. A general principle of
"not too much and not too little" is most relevant in the selection of appropriate
fear appeals.
CARE (an American conducted a methodical study in rural north India (mainly
UP) ad agency) to discover which of the two appeals - positive or negative-would
work better in getting a nutritive food accepted. The positive appeal was love of
children and the negative one was fear of the consequences of malnutrition. The
"love" campaign featured a proud mother rearing her thriving child on the
prescribed food. The "fear" approach created a frightening devil (rakshas),
symbolizing the disease and misfortune arising from wrong food habits. These
campaigns were run for a full year in two different areas.
The evaluation of these campaigns clearly showed that the fear appeal created
a great deal more awareness of the value of the nutritive food. The negative
proposition aroused immediate reaction because of the fact that an unpleasant
bang is more likely to make one sit up than the melodious strains of soothing
music. Some authors and experts in the field of advertising, however, may
disagree with this view. But fear appeals are seldom composed entirely of
negatives. The warnings generally pave the way for positive advice and
exhortation, and in this form the negative appeals appear to be just as effective
on the average as positive appeals.
Take, for example, the recent advertisement of Khaitan Kitchen fans employing a
negative appeal. The headline states: "Are you cooking or being cooked?" It
goes on: "Every housewife knows how miserable she feels when she cooks. It
makes her irritable and saps her energy. Khaitan presents a simple, efficient and
inexpensive answer. ‘The Khaitan Fresh Air Fan.’ It drives out smoke, smells and
heat, and brings in fresh air. Not only that; thanks to the continuous inflow of
fresh air, the chances of dampness are eliminated. And this prevents
cockroaches and other insects from breeding in your kitchen."

22
The headline and the initial part of the body of the copy effectively create fear;
but the latter part of the copy presents the solution and the positive appeal of the
product. Such is the most common form of the advertising message - first
building up fear and then offering a solution with other positive appeals of the
product advertised. On the level of fear, Aaker and Myer, in their book,
Advertising Management, rightly state that fear or anxiety has two kinds of
possible effects on message reception and yielding. As a stimulus, its effect
tends to be negative; and as a drive, it tends to be positive.
Furthermore, too little anxiety tends to provide an insufficient drive, and too much
anxiety tends to make the stimulus aspect predominant. The net result of these
two factors is to make the relationship between anxiety level and message
effectiveness non-monotonic, with maximum effectiveness occurring at the
intermediate levels of anxiety.
And, lastly, so far as appeals to fear are concerned, this approach is useful for
products that are of little interest to consumers when rational appeals are
employed. Even in cases where the product fulfils a generally recognized need,
fear appeals are effective. Take the case of life insurance. Fear appeals are still
required to sell policies. However, fear appeals fail in the case of the cancer
hazard of cigarette smoking, which is often rejected by most smokers.
Fear Appeal and Market Segmentation: We have just now stated that, in some
cases, big doses of fear are recommended, whereas, in others, the use of low
levels of fear is the logical strategy. We have also given examples of an ad about
dental health, where the degree of associated fear is high, and an ad about
smoking and cancer, where the level of fear is low. Furthermore, apart from the
differences in product categories, the age and personality differences in the
target audience vary the effectiveness of each level of fear appeal. That is why it
has been recommended that both the market segment and product category
groupings should be taken into consideration before designing appropriate fear
appeals.
Let us take an in-depth look at the use of fear appeals and their relationship
with the market segment, for this will provide a valuable insight to advertisers. It
is important to note that although people generally prefer positive arguments, a
fear appeal can make an advertisement stand out from others. For individuals
whose aroused fear or anxiety about the product is low, and those who would not
normally search for information about the product, the fear appeal can be
particularly effective if these individuals have been previously exposed to positive
arguments.
It has been found that it is better to put fear first in the order of presentation, to
threaten someone close to the prospect rather than the prospect himself. While
advertising a helmet for scooter-riders, the fear of injury to the head is the most
appealing to the wife and to someone close to the rider. The rider himself may

23
not accept the idea promptly because of self-esteem and of ego consciousness.
The appeal of intense fear might be best for people who tend to be of low-anxiety
and high self-esteem people, who exhibit a copying behavior, and who find the
product to be of low relevance.
There are many who have a low vulnerability to fear and anxiety. For example,
life insurance companies find that fear appeals work beautifully with those who
feel that they do not need coverage for their lives. Fear appeals are appropriate
for breaking into new market segments. In fact, the susceptibility to fear appeals
is one more approach to the market segmentation process.
A careful analysis of those potential fear appeals, designed to arouse emotion in
a group or audience, should be made a part of advertising strategy, wherein all
ads addressed to this audience will incorporate such fear appeals. Thus, if
appropriate fear appeals are defined, they become a useful tool in market
segmentation.
Positive Emotional Appeals: Positive appeals highlight product benefits and
attributes capable of influencing consumer behavior. They are love, humor, pride,
prestige and joy. Most baby food products have a mother's love appeal. Love for
family is perfectly employed in an ad of Dettol soap that has been called "The
Love & Care Soap." In the closing sentence, the ad appeals by saying: "Give
your family the Loving Care of Dettol Soap." Mother's love for the baby has
been appealed to in ad of Johnson's baby soap. It says: "Gentle as a kiss on
your baby's tender skin." It further, goes on to say: ''Johnson's Baby Soap.
Because Johnson & Johnson care for your baby almost as I much as you
do." Is this positive appeal not effective, when the advertiser shows as much
care for a child as its mother does?
Advertisers have also successfully used messages communicating the joy and
thrill (all, those soft drink, ads) associated with using the product. A humorous
message attracts more attention and creates more liking and belief in the source,
though it reduces comprehension. David Ogilvy, a well-known personality in the
advertising profession, believes that humour has been over-used: "People are
amused by clowns - they don't buy from them…So many people in
advertising are compulsive entertainers who seek applause rather than
sales."
Other positive emotional appeals involving price, prestige or exclusiveness are
often used in ads of suitings. Advertisements of suitings by Raymonds, Digjam,
Dinesh etc., employ emotional motives, "Suitings for the Connoisseur," a Digjam
ad campaign, is an example of appealing to those individuals who are experts in
matters of taste and choice of clothing. Other emotional motives are illustrated in
the following list:
(i) Desire to be different, as illustrated by people who build an ultra modem
home in an area of traditional homes.

24
(ii) Desire to confirm, as in the case of teenage boy and girls who want to be "in
jeans" because all their friends wear jeans.
(iii) Desire to attract the opposite sex, as shown by a teenage girl who buys a
new cosmetic in order to make her skin more beautiful.
(iv) Desire for prestige, as shown by a person who buys the most expensive
automobile (Mercedes, Toyota, etc.) he can afford in order to impress his friends.
In making purchases, many combine both rational and emotional motives. In fact,
a blend of buying motives usually is the basis of a purchase: An engineer may
take up a management course at any of the prestigious schools because he feels
it will make him look important in the eyes of his associates and help him in
securing a better job in the industry and business. A woman may want to buy a
new home in posh locality because it will improve her family's social status and
because it is within walking distance of a good school for her children.
Moral appeals are those appeals to the audience that appeal to their sense of
right and wrong. These are often used in messages to arouse a favorable
response to social causes, such as prohibition, adult literacy, social forestry, anti-
smuggling and hoarding, consumer protection, equal rights for women, social
responsibility projects of corporations, rural development, siding weaker sections
of society, employment generation, and so on. There are messages that appeal
for generous donations for flood victims and for famine relief operations - these
are often based on moral appeal. Many commercial advertisements are criticized
on moral grounds. The most controversial ad campaigns are by multinational
companies marketing baby food products. Many WHO experts are critical of
these corporations that promote bottle-feeding against breast- feeding.
Sex Appeals in Advertising: Sex appeal is being increasingly used in Indian
advertising to overcome the culture in the print as well as broadcast media and to
grab attention. Sex appeals in contraceptive ads have become explicit, and are
more visual than verbal. Does sex really sell? Or is it a negative influence on
consumer? The answer is not either affirmative or negative for these questions,
and depends upon a number of factors.
Effectiveness of ads is measured in terms of the objectives - creating awareness
may be the objective, and then brand recall is a measure of effectiveness. The
advertising objective may be to make the consumer buy - here buying intention is
a measure of effectiveness.
The following summarizes the research studies in this context.
Research shows that non-sexual illustrations are more effective than sexual ones
while undergoing brand recall. Men remember the sexy illustration and neglect
the brand. Favorably disposed people to the use of sex had a higher brand recall
of brand names that used sex appeals in their ads.
Negatively inclined people to sex had a lower brand recall. .

25
Research also shows that nude illustrations of female are least appealing, are
associated with lowest quality product and least reputable company. Recently
Seven's research shows that explicit sex appeals do not interfere with the ability
to recall brand names.
It has also been observed that visual which is highly sexual interferes with the
cognitive processing of the message since readers tend to spend more time on
the ad as a whole. Information transmission is definitely adversely affected by
sex appeal. Functional sex appeals have highest recall and so also symbolism.
Inappropriate sex appeals have lowest recall. Fantasies are also used as sex
appeals. Appeal that are consistent with the product, lead to a higher recall.
There might be gender-related responses to sex appeal. Females may find the
sexual ad offensive and so its use for a female-targeted product runs a risk. A
lipstick ad showing a female model that is seductive may grab the attention of the
male-audience rather than the targeted female audience.
Connotative sexual appeals like symbolism are more acceptable than
explicit appeals.
The sexual appeals are justified in case of products like personal products,
panties, bras, undergarments, and swimsuits. They may not go well with
industrial products. The relevance of the appeal to the product is very important.
The manner of sex portrayal, the sex of the models and the target segment also
affect the effectiveness of the ad. Blatant references to sex are suddenly the in-
thing in American advertising. Marketers promoting perfumes, jeans, alcohols,
gloves, watches and cars are resorting to this route. Media clutter may be one
reason that leads to the explosion of sexual imagery in advertising. Ads of
perfumes have traditionally focused on the sensuous. For Calvin Klein, sex has
always been a favorite selling point.
The late Justice Hidayatullah had ruled "where obscenity and art are mixed, art
must be so prepondering as to throw the obscenity into the shadow." We tend to
agree with him. There is a thin line between nudity and crudity. Even an act of
kissing has both sexual and non-sexual content. "Of no use to one, yet it is
absolute bliss to two. The small boy gets it for nothing, the young man has to
steal it and the old man has to buy it. The baby's right, the lover's privilege, the
hypocrite's mask. To a young girl, faith; to a married woman, hope and to an old
maid; charity."
Sex appeals are interpreted differently from time to time, region to region, person
to person, country to country, and society to society. Even the same person
reacts to them differently at different stages of his life cycle.

26
Humour
Humour has always been a great way to sell, especially if used tastefully. one
has traditionally seen humour being used to sell either FMCG or durables.
Conventional wisdom had it that you don't use humour to sell serious products
like insurance or products where the technology and value proposition seemed to
be the hero.
And of course the Government thought that the entire populace was a morose
mass of morons who did not have a sense of humour. As they say, "you can
think like only you can".
That's why Centre Shock and Alpenliebe successfully used humour and other
`serious' service industries didn't. Well, these days, the joke is on those who did
not dare to use humour. For one, humour is light, elevating, rejuvenating and has
great repeat value.
On a more practical level, humour is a great differentiator, more so, when others
don't have the guts to use it. Remember any advertising for batteries? Odds on,
you have forgotten all the serious stuff about technical specs and the like. The
Standard Furukawa advertising where the campaign used humour in small-sized
print advertising (Why is a Standard battery like a mother-in-law? Because it
goes "on and on and on".)
The fantastic animation and humour packaged tightly with superb art direction for
Amaron Batteries. From the `sing-song' narrative to the `ting-tong' sign off, the
advertisement is a winner all the way. Hutch and Nokia have discovered the joys
of entertaining customers not just with their products but also with their
advertising. A recent TV commercial has an animated family that is `shrunk' to
watch movies on their handsets.
One would of course, wish that recognised songs are not directly lifted and used.
Nokia, in fact, had another memorable commercial where an army of clowns
scrambles to put a smile on a dreary customer's face. That's entertainment for
you. Dominos and Reliance Infocomm have been using the amazing width of
expression that Paresh Rawal can bring to any role he graces to keep their
audiences smiling. Paresh really brings the RIM commercial to life with his
persona.
For many years (yes, private insurers have been advertising for about four years
now) insurance companies thought that since they dealt with `morbid' subjects
like death and injury, they should put on a black hat, hold a sickle in their hands
and act as if the grim reaper had come to collect the insurance premium from the
hapless customers.

27
Fortunately, they seem to be breaking out of that mindset now. ICICI Prudential
deserves to be congratulated for leading the charge in the right direction. The
fact that its `Chintamani' advertisement in its TV and print versions is doing an
encore this year proves that there is no `chinta', only money for ICICI and Lowe
in persisting with this lighter approach.
Tata AIG has also decided that a smile is a good policy and has created its
second TVC in the `smile genre.' All in all, the message seems to be clear. Make
the customer smile and you can laugh all the way to the bank.
Pros and Cons of Using Humor
Advantages
• Aids attention and
awareness
• May aid retention of the
message
• Creates a positive mood
and enhances persuasion
• May aid name and simple
copy registration
• May serve as a distracter
and reduce the level of
counterarguing
Disadvantages
• Does not aid persuasion
in general
• May harm recall and
comprehension
• May harm complex copy
registration
• Does not aid source
credibility
• Is not effective in
bringing about sales
• May wear out faster

28
UNFAVORABLE TOWARD
HUMOR
• Research directors
• Direct mail, newspapers
• Corporate advertising
• Industrial products
• Goods or services of a sensitive
nature
• Audiences that are:
– Older
– Less educated
– Down-scale
– Female
– Semi- or Unskilled
FAVORABLE TOWARD
HUMOR
• Creative personnel
• Radio and television
• Consumer non-durables
• Business services
• Products related to the
humorous ploy
• Audiences that are:
– Younger
– Better educated
– Up-scale
– Male
– Professional
Use of Humor
All brands have rational and emotional credentials.
Levi's is youthful, rebellious and sexy. But it offers rational benefits like strength
too. One has to balance between rational and emotional arguments. Singapore
Airlines presents the Singapore girl, an emotional icon. But it also emphasizes in-
flight service that other airlines talk about, which is a rational proposition.
4. B. Advertising Execution Techniques
Execution style – the way the particular appeal is turned into an advertising
message presented to the consumer

29
Personality SymbolPersonality Symbol8. Personality
Symbol
8. Personality
Symbol
Straight sellStraight sell
ScientificScientific
DemonstrationDemonstration
ComparisonComparison
TestimonialTestimonial HumorHumor
Slice of lifeSlice of life
ImageryImagery
AnimationAnimation
DramatizationDramatization10. Dramatization10. Dramatization
5. Testimonial5. Testimonial
4. Comparison4. Comparison
7. Animation7. Animation
3. Demonstration3. Demonstration 9. Imagery or
Light Fantasy
9. Imagery or
Light Fantasy
2. Scientific2. Scientific
6. Slice of life6. Slice of life
1. Straight sell1. Straight sell
Ad Execution Techniques
11. Reason why
copy:
11. Reason why
copy:
12. Combinations12. Combinations
1. Straight-Sell Copy: A type of body copy in which the text immediately
explains or develops the headline and visual in a straightforward attempt
to sell the product. The technique consists of a straightforward and clear
presentation of the product and its benefits. The advertisement clearly
explains the features of the product such as its USP and features,
differentiating it from other products.
1. Scientific / technical: the presentation focus on the scientific and
technological aspect of the product. Example while promoting digital
cameras the focus is on picture quality and the mega pixel.
2. Demonstration: Demonstration advertising is designed to illustrate the
key advantages of the product/ service by showing it in actual use or in
some staged situation. Demonstration executions can be very effective in
convincing consumers of a products utility or quality and of the benefits of
owning or using the brand. TV is particularly well suited for demonstration
executions, since the benefits a little less dramatic than TV demonstration
ads can also work in print.
3. Comparative copy: Comparative advertising, as a special form of
advertising, is a sales promotion device that compares the products or
services of one undertaking with those of another, or with those of other
competitors. All comparative advertising is designed to highlight the
advantages of the goods or services offered by the advertiser as
compared to those of a competitor. In order to achieve this objective, the
message of the advertisement must necessarily underline the differences
between the goods or services compared by describing their main

30
characteristics. The comparison made by the advertiser will necessarily
flow from such a description.
Function of comparative advertising
Comparative advertising should enable advertisers to objectively demonstrate
the merits of their products. Comparative advertising improves the quality of
information available to consumers enabling them to make well-founded and
more informed decisions relating to the choice between competing
products/services by demonstrating the merits of various comparable products.
Based on this information, consumers may make informed and therefore efficient
choices. (These statements are true only if the comparative advertising is
objective.)
Comparative advertising which aims to objectively and truthfully inform the
consumer promotes the transparency of the market. Market transparency is also
deemed to benefit the public interest as the functioning of competition is
improved resulting in keeping down prices and improving products. Comparative
advertising can stimulate competition between suppliers of goods and services to
the consumer's advantage.
4. Testimonials: Many advertisers prefer to have their messages presented
by ways of testimonials, where a person praises the product or service on
the basis of his or her personal experience with it. Testimonial executions
can have ordinary satisfied customers discuss their own experiences with
the brand and the benefits of using it.
This approach can be very effective where the person delivering the
testimonial is someone with whom the target audience can identify or who
has an interesting story to tell. The testimonial must be based on actual use
of the product or service to avoid legal problems and the spokesperson must
be credible.Apple Computer made effective use of testimonials as part of its
“Switch” campaign, which features computer users from various walks of life
discusing why they switch from Windows-based machines to Macintoshes.
The people giving the testimonials in the ads are from various walks of
life.Switch was an advertising campaign launched by Apple Computer on
June 10, 2002. It featured what the company referred to as "real people" who
had "switched" from the Microsoft Windows platform to the Mac. An
international television and print ad campaign directed users to a website
where various myths about the Mac platform were dispelled. The television
commercials were directed by Errol Morris.
5. Slice of Life: Advertising-copy technique where a real-life problem is
presented in a dramatic situation and the item being advertised becomes
the solution to the problem.

31
Detergent manufacturers rely upon this advertising format heavily. These
types of advertisements connect with consumers on a personal level. The ads
usually portray a family scene occurring (a "slice of life") during a typical day.
These advertisements create a positive feeling about specific products in the
minds of consumers because they can relate to these everyday situations
which they too face.
Widely used in print advertising formats, this execution shows a real life
problem and what the person in the ad does to overcome it. This execution is
a combination of the demonstration and the testimonial executions. Ads for
consumer products use this method effectively. An example is a housewife
who is having trouble cleaning her kitchen floor, with a product offered which
can solve this problem.
6. Animation: This technique used animated characters or scenes drawn by
artists or on computer. Animation is extremely effective when marketing a
product aimed at children. They relate well to cartoon-like imagery
therefore commercials that utilise animation grab their attention easily. A
good example is the Kellogg’s Coco Pops adverts. They depict an
imaginary island inhabited by eccentric animals. Generations of children
have found this to be extremely appealing.
Animation is an inherently creative medium. The human mind goes through a
thought process of depicting meaning from an animated aesthetic. It instigates
thought in the way that advertisers can use to their advantage by inspiring
thoughts of desire. When harnessed well, animation is one of the most
multipurpose tools for increasing sales of any product or business or simply
getting a message across.
When dealing with concepts that can not be expressed in words or with
illustrations can be extremely frustrating for advertisers and marketers - This is
where animation steps in. The fact that these concepts can be portrayed
successfully and can make it easy for the consumer to grasp your idea or
concept without any kind of explanations is unparallel tool in the advertising
industry.
7. 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.
8. Imagery / 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

32
fantasy executions although the technique has also been used in
advertising for other products such as automobiles and beer.’
9. 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.
10."Reason Why" was the answer of Kennedy to what makes people
purchase a particular good. "True 'Reason-Why' copy is logic plus
persuasion plus conviction, all woven into a certain simplicity of thought-
pre-digested for the average mind, so that it is easier to understand than
to misunderstand it.In addition, the growing importance of national
advertising of branded products produced a perfect condition for growth of
"reason-why" adverting. The need to stimulate interest and desire seemed
to be fully satisfied by "Reason-Why" ads, which aimed to present the
consumer with convincing arguments to purchase the advertised brand.
Ads had the task of pointing out the distinctive characteristics of a brand
and explaining its superiority. In this sense, "reason-why" advertising was
the appropriate method of implementing a strategy of product
differentiation.
11.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.
12.Feel good Ads: "Feel good" ads are those ads which do not have a
specific call for a response: to buy something, to do something, to take
action, or to vote. As this term is used here, "feel good ads" can describe
the many different ads and sponsorships which generate good will, or
create a feeling of warmth and pleasantness, so that we know and like the
product or the company.In advertising, any individual "feel good" ad must
be put into a wider context, as a small part of a larger ad campaign. For
example, most ads targeted at kids not only seek an immediate response
(kids or their parents buy something, now), but also to build long-term
good will for "later" because kids will grow up to be adults. Note how often
kids will say "When I grow up, I'm going to get a ...."People buy from
people they know, and like.
13.Fund raising copy:The fund raising copy is all about inspiring potential
donors to believe in a cause. The copy says unexpected things in elegant
ways, which moves readers and stirred thier emotions, which angered
them or made them proud, a copy which they want to read from beginning
to end. But fine words alone don’t make for good fundraising copy, as
Smith knows. It’s how you use them that count. Remember the old Roman
aphorism, ‘When Cauis spoke in the Senate the people said, “That was a

33
remarkably fine speech”, but when Marcellus spoke they shouted, “Let us
now march on Byzantium!”.’
For Marcellus’ powerfully put words had moved his listeners not to sympathy but
to action. You need to know to write more clearly, more convincingly and more
accessibly with clarity and precision.
IV. Combining Creativity and Strategy:
In advertising, different creative strategies are used in order to obtain consumer
attention and provoke shoppers to purchase or use a specific product.
Advertisers use different ways of thinking to create catchy slogans that capture
consumer attention. Creative strategies promote publicity, public relations,
personal selling and sales promotion.
These ways of thinking are divided into three basic descriptions: Weak
strategies, mid-strength strategies and strong strategies. The strategies labeled
"strong, mid-strength, and weak are generic phrases used in the text books
referenced below to help students understand the intensity of each different type
of advertising strategy. Advertisements, weak, mid-strength, and strong can be
found in television, radio, and magazines/print.
Since the beginning of advertising, strategies have been created, starting with
the simplest (weak) strategies in the 1940s.
V. Organizing the Creative Task
Strategy and Creativity?
Strategy: What is an advertising strategy? Basically, it is the formulation of a
message that communicates to the market the benefits or problem solution
characteristics of the product or service. What you are trying to convey through
your advertising and state in your strategy is what your product offers to meet the
consumer's need; how your product has more beneficial characteristics than the
competition's; and what the beneficial characteristics are.
The advertising strategy is a direct result of the market strategy. The market
strategy focuses on the improvement of operations and the positioning of the
storefront, while the advertising strategy concentrates on reaching out to the
marketplace and conveying what the market strategy has accomplished
internally.
The first step in formulating an advertising strategy is to determine the product or
service you have to offer to the marketplace and the objective of the campaign.
Creativity:
Creativity is simply the ability of a person to create. To understand creativity one
can simply refer to a person with unique ideas and willing to bring new things into

34
the life. Usually creativity is considered as the natural ability of a person.
However, the creativity can also be developed in a person.
Weak strategies
Generic and Pre-emptive strategies describe the two weakest forms of
advertising that were most popular through the 1940s.
• A generic strategy gives a product attribution. An example of this would be
how the Milk industry chose to advertise their product. With their slogan,
“Milk, it's good for health, have it with dinner,” consumers aren't learning
anything new about the product.
• The Milk slogan simply states milk as a dinner item. It enhances the
product in no other way.
A pre-emptive strategy is a form of advertising that makes a generic claim
stronger. An example of a pre-emptive strategy can be found in Folgers Coffee.
As many of us know, most all coffee is grown in the mountains. Folgers took that
fact and claimed it as their own with their slogan, “Folgers: Mountain Grown
Coffee.”
Middle-strength strategies
Secondly, are the mid-strength strategies: 1.
1. Unique positioning strategy
2. Brand image and
3. Positioning?
1. A unique positioning strategy is proving that something about your product
is truly unique. This is commonly found when producers take an average product
and add a new, unique element to it. An example of Unique Positioning Strategy
would be in Dove soap. Dove added the unique feature of moisturizing cream in
their product to differentiate it from other brands of soaps.
A downfall in Unique positioning strategy advertising is that if a unique feature
increases sales on one product, many other brands are likely to adopt the
“unique” feature, making the end product not so unique.
2. Brand Image is another very common way companies choose to advertise. In
brand image, an advertiser is not trying to create rational thinking. This type of
advertising strives to create emotion and give a brand a personality. A common
way of doing this is by using a celebrity as a spokesperson.

35
A great example of brand image is found in Proactive Acne Solutions. In each of
their commercials they have celebrities sharing their Proactive experiences,
giving the brand a face people want to be.
3. Positioning is one of the most common forms of advertising. It was developed
in the 1970s and is still widely used today. In positioning one brand will take its
product and “position” it against a competing product.
An example of positioning can be found in the rental car company “Avis'” store
slogan. With “Hertz” car company being the leader in rental car services, Avis
took their number two position and used it to their advantage by creating the
slogan, “When you're number two, you try harder.”
Positioning
Positioning is another basic concept in strategy design. Position is defined as the
perception that the targeted consumers have of a firm's products or services
relative to competitive products or services. Positioning is based on product or
service attributes or characteristics that are potentially relevant to the audience.
One methodology suggests that positioning strategy may be approached via one
of six positioning trait sets, shown in Table 2. We'll look briefly at each of these.
Positioning Trait Sets
1. By Attributes
2. By Price and Quality
3. By Use or Application
4. By Product User
5. By Product Class
6. By Competitor
Positioning by Attribute
Positioning by attribute is probably the most often used positioning approach. An
attribute is a characteristic feature or benefit of the product or service. To use this
method, you begin by defining a relevant set of attributes, usually in pairs. These
attributes can be anything as long as the consumer of the products or services
perceives the attribute as an important characteristic of the product or service.

36
Positioning by Price/Quality
This may be thought of as a set of attributes, but they are of such importance to
all consumers that they probably should be considered their own category for
positioning purposes. The price/quality set reflects a perception in consumers'
minds that brands which offer more features, and/or better service performance,
are often priced higher. Higher prices tend to signal a higher quality of product or
service. The relationship of the price/quality judgment made by consumers about
products creates the positioning on these specialized attributes.
Positioning by Application
In this process, positioning is established by attributes or characteristics of the
product's use. For example, Gatorade, a fruit-based drink, positioned itself as "for
use during strenuous workouts" when it was introduced. It became established in
the market for this use and is still primarily seen as a workout thirst quencher and
bodily fluid replenisher.
The downside to this application-specific type of positioning is that later attempts
to reposition the product or service to another application may fail because of
deeply entrenched consumer positioning. For example, Seven-up, a soft drink
product, was positioned at its introduction as a mixer for alcoholic cocktails.
Attempts to position it as a soft drink were not successful. It was only with its
repositioning as an alternative to cola drinks that Seven-up was able to shake its
position as a mixer.
Positioning by Product User
This is product positioning by a specific type of user or class of users. Some
kinds of cosmetics for women associate themselves with well-known models and
are positioned in the minds of consumers as appropriate for women who want to
be associated with that type of beauty.
Or, what about the Thai potato chip company who depicted Hitler eating their
chips, then becoming transformed into a good person? Some ideas are just bad.
Positioning by Product Class
This is a rare and potentially dangerous product positioning technique. Here the
product is positioned against competing products in other associated classes.
For example, a brand of margarine called "I can't believe it's not butter" positions
itself against butter, rather than against other brands of margarines.

37
Positioning by Competitor
An established image of a competitor can serve as the basis for positioning. As
an example, Avis Rent-A-Car was made famous for its advertising campaign
based on the positioning against a well-established competitor, Hertz. The now-
famous "We're number two so we try harder" advertising slogan established Avis
in the minds of consumers as second largest firm, but one from whom the
consumer could expect better service. The some notion is now used in the "not
exactly..." commercials by Hertz.
Strong strategies
The third and strongest form of creative strategy includes affective advertising
and resonance advertising.
Making people feel really good about a product is called affective advertising.
This is difficult to do, but often humor and an honest character can make
affective advertising possible.
A great example of affective advertising is found in the “Vodaphone”
commercials. By creating a friendly, honest, funny Zoozoo as a spokesperson,
consumers tend to trust what the Zoozoo is saying and find humor in his actions.
This creates a good feeling about the actual service “Vodaphone” offers.
Lastly, resonance advertising is a way of identifying with consumers. If an
advertiser can create a campaign that certain target markets identify with, then
resonance advertising has been achieved.
An example of resonance advertising is in “Tide” detergent ads. Many times
mothers are busy doing laundry in between sports practices and driving their
children around in mini vans. Their recognition with soccer moms makes “Tide” a
favorite pick among women with children who are very involved in activities.
VI. CREATIVE PROCESS
Writing the Creative brief or Copy platform
In developing the message strategy, the copywriter needs to create a copy
platform, a document that serves as the creative team’s guide for writing and
producing the ad. The copy platform is the written strategy statement of the most
important issues to be considered in the ad or campaign – the who, why, what,
where, when and how of the ad:

38
1. Who is the most likely prospect for the product?
The copy platform must define the prospect in terms of geographic,
demographic, psychographic, and/or behavioristic qualities.
2. Why? Does the consumer have specific wants or needs that the ad
should appeal to?
Advertisers use two broad categories of appeals. Rational appeals are directed
at the consumer’s practical, functional need for the product or service; emotional
appeals are directed at the consumer’s psychological, social, or symbolic needs.
3. What product features satisfy the consumers’ needs?
What factors support the product claim? What is the product’s position? What
personality or image – of the product or the company – can be or has been
created? What perceived strengths or weaknesses need to be dealt with?
4. When and where will the messages be communicated? What medium?
What time of the year? What area of the country?
5. How should this be communicated?
What style, approach or tone will the campaign use? And generally what will the
copy say?
The answers to these questions help make up the copy platform. After writing the
first ad, the copywriter should review the copy platform to see if the ad measures
up. If it doesn’t, the writer must start again.
Who is a creative person?
Creative Strategy: Components of the Creative Strategy, Putting the Strategy in
writing:

39
CREATIVE BRIEF (Copy Platform) FORMAT
6. Supporting Information and Requirements6. Supporting Information and Requirements
5. Creative Strategy Statement5. Creative Strategy Statement
4. Selling Idea or Key Benefits to Communicate4. Selling Idea or Key Benefits to Communicate
3. Specify Target Audience3. Specify Target Audience
2. Advertising and Communications Objectives2. Advertising and Communications Objectives
1. Basic Problem Advertising Must Address1. Basic Problem Advertising Must Address
5. Creative Strategy Statement5. Creative Strategy Statement
4. Selling Idea or Key Benefits to Communicate4. Selling Idea or Key Benefits to Communicate
3. Specify Target Audience3. Specify Target Audience
2. Advertising and Communications Objectives2. Advertising and Communications Objectives
1. Basic Problem Advertising Must Address1. Basic Problem Advertising Must Address
Building a Copy Platform Outline

40
Chapter: 3
Phases of campaign creation:
Understanding Campaigns

41
Three Phases of Campaign Creation
There are three phases involved in the creation of any campaign.
(i) Strategy Development Phase,
(ii) The Briefing Phase and
(iii) The Creative
(i) Strategy Development Phase
This phase decides the objectives and contents of communication. It analyses
the research data and decides positioning of a brand. The strategy formulation is
in modern day's agencies a team effort. The creative persons form a part of this
team not as creative persons but as a mind. There are brain- storming sessions.
The team throws up the ideas.
These ideas ultimately make up the strategy. The brilliant in the team pick up one
or two ideas from the total ideas generated and develop them. Our strategy
should give us a competitive edge.
AI Ries and Jack Trout started focusing on the strategy side of advertising
business in the late 60s when they first started writing about positioning.
Everybody else was talking about creativity, whereas they decided to talk about
strategy. They found that clients did not want to buy strategy from an ad agency.
It is essential that advertising professional should appreciate the importance of
strategy development phase. If the strategy is wrong, no amount of creativity will
help. If the strategy is right, despite the poor creative work, one can sell due to
right strategy. However, right strategy and creative campaign is a winning
combination.
Mere creativity and no strategy never work. To agency should tell what they are
trying to achieve in their communication. The strategist is the left-brain oriented,
very linear in thinking, very logical in deduction. The strategy formulation leads to
an advertising brief.
If you want to catch fish, you have to think like a fish. If you want to catch a
consumer, you have to think like a consumer. That's the first principle. What most
companies do is they think like themselves. They spend all their time with
themselves' (AI Ries and Jack Trout).
Bob Isherwood, creative director, Saatchi & Saatchi, Australia emphasizes that a
good effective ad has to be married to the right strategy, if it has to sell. He is
also a strong believer of the theory that a creative director is as important a
member of the strategizing team as the account director is especially if it involves
a product launch.

42
II. Advertising Brief to the Creative
As a matter of fact, the client has to brief the agency about the strategy.
However, most of the time this does not happen. The agency is supposed to brief
itself. The strategy formulated is communicated to the creative people. They are
briefed about how to create the advertising the product needs. The strategy
should be communicated with clarity. The strategist should be a good motivator
for the creative team.
Proper briefing is going halfway as far as creativity is concerned. Bad brief to the
creative team results into bad work. Good brief ensures good work. Within the
creative team, the copywriter and visualiser work together and it is difficult to
attribute the final product to either of them. Yes, when they are working, there are
sparks of creativity. Please appreciate that briefing completes half the job.
Creative campaigns are creative due to a good brief.
It is critically very important to question the brief. Very often, a brief is a set of
clichés. We have to get the real situation. Creative brief of strategy contains a
key consumer insight. If the brief acquaints you with the consumer, and how
his mind works, it has the seeds of creativity in it. It gives stimulus to creative
team.
Success or failure of the advertisement is largely dictated by the brief. It is the job
of a client to tell the agency what he wants to say and it is the agency's job to
decide how to say it. Great briefs inspire great work. Briefs should have clarity
and single-minded objective. They should aim at a target person. The idea is to
have the desired response. All briefs must suggest a benefit or a product plus.
III. The Creative Phase
Here the lateral thinkers come on the scene. They leap from a single
unidirectional idea of the strategist to an advertising idea that will add value to the
product/brand. The creative persons are supposed to be right-brained - lateral
thinkers, irrational thinkers as against the accounts director who is left brained,
i.e., logical. They make connections that had not existed before. They rearrange
the order of things.
They create abruptions in the consumer mind. There should be a beautiful
marriage between the strategy and the lateral thinking by the creative people.
The creative director's post has become a more responsible one. He does not
remain content with a clever copy or stimulating visuals. He is required to
understand the product and its market completely.
He is now an overall ad man, an all-rounder. He participates in research and has
active role in positioning. He does not follow a policy of art for the sake of art any
more. He sits at briefings alongside the client servicing people. Creative are
involved in the whole campaign - right from the concept to the commissioning
stage.

43
Spink of the Lowe group says "Strong creatives are probably the cheapest
competitive advantage that a company can have." The best creatives are derived
from a complete understanding of the product and the benefits it offers. But a
thorough understanding of the target audience provides an edge. Norman Berry
of O & M says, "It is the sensitive understanding of the audience that takes one's
creative from logic to magic."
I. Understanding the psychographics of target audience
Psychographics are a way to measure consumers’ beliefs, opinions, and buying
habits. Rather than demographics which use age, income, gender and other
quantitative data, psychographics provide a way to understand more qualitative
data. Psychographics can be extremely helpful to predict differences in buying
patterns and stimulating ideas for communicating with the target group.

44
Psychographics of various audiences and writing Copy for them
1. Copy for Youth
Youth Marketing is a term used in the marketing and advertising industry to
describe activities to communicate with young people, typically in the age range
of 12 to 34. More specifically, there is the Tween Marketing, targeting people in
the 8 to 12 year-old range, Teen Marketing, targeting people age 13 to 19,
College Marketing, targeting college-age consumers, typically ages 18 to 21,
Young Adult Marketing, targeting young professionals, typically ages 22 and
above.
The youth market is critical because of the demographic's buying power and its
members' influence on the spending of family members. In addition, teens and
young adults often set trends that are adopted by other demographic groups.
The youth market is viewed as a difficult group to connect with and sell to, based
on the fragmented media landscape and young people's keen ability to identify
and reject marketing messages that lack credibility. Nonetheless, many brands
market to youth by offering relevant products and services while communicating
a brand message in an appropriate voice and tone. Successful brands marketing
to youth have a foundation in or association with key interests and drivers among
youth: music, sports, fashion, video gaming and technology, among others.
Youth marketing strategies commonly include television advertising, magazine
advertising and online marketing. Today young people expect to be able to learn
about, interact and be entertained by with brands or services targeting them
online. Other common youth marketing tactics include entertainment marketing,
music marketing, sports marketing, event marketing, viral marketing, school and
college programs, product sampling and influencer marketing.
Essentials for writing copy for youth:
1. The key to tapping into this coveted market is to understand why young
consumers choose one product over another in the first place.
2. the most important factor is the never-ending desire to be accepted, to belong.
For many members of Generation Y (now aged around 12–20 years), this is by
far one of the most pressing issues confronting them in daily life.
3. In essence, it is a fear of not belonging that drives the youth market to adopt
the consumer patterns that are unique to their demographic group. Marketers
should be aware of the impact these desires have on this demographic’s decision

45
to purchase a product or service. The flow-on effects of having a sense of
belonging and control are the feelings of empowerment, confidence and
independence—emotions highly sought by young people.
4. Marketers must emphasize the elements within their product that evoke these
emotions when communicating to this market.
5. So how can one use these factors to drive sales?
Take mobile phones as an example. Among the youth market, mobile phones
are an absolute necessity. They are tools that give the user control,
independence and important information.
Those companies that understand this inherent desire for acceptance have in
their back pocket one of the keys to success within the youth market. As well as
promoting the emotional aspect of a product or brand that gives the user the
desired feelings, it is also important for marketers to analyze their product
placement when pitching to this demographic.
6. In the youth marketplace more so than any other, being seen on the cutting
edge has a major impact on the attention that a brand, product or service
receives. The use of SMS and the Internet as media of cutting edge
communication are avenues that the youth market is very comfortable with.
7. Marketing to the younger members of the consumer world is based around the
age-old concepts of wants and needs. Empower your market, give them the
confidence to take control, provide them with a sense of belonging and don’t
forget to stand on the cutting edge.
2. Copy for women- Homemakers, modern women
It's no secret that men and women have different communication and decision
making styles as well as different priorities and preferences.
Your communications need to be sensitive to them. Your services need to
reassure a woman that you will be around in a predictable way when she needs
help. If she needs her washing machine repaired, assure her that the mechanic
would not just be courteous, but that he would come home at her convenience
with tools and cleaning cloth. Assure her that he would leave only after he clears
the mess. This is a basic expectation. Women simply care more for these things
than men do. If she tries your spices and the dish doesn’t taste quite the way she
expected, she will be relieved if she can talk to someone. She might forgive you
for some mistakes, if only she can speak what is on her mind and be understood.
Women have different needs as compared to men. They take extra-ordinary
efforts to satisfy their needs. A woman will travel to another end of town to buy

46
something like rice, dry fruits, or vegetables if they believe that they are getting
something special. Few
men will take such efforts on their own.
What do women need?
At a fundamental level a woman yearns to be understood. The way a woman
narrates happenings in a day with the finest of details to anyone close to her
holds a significant lesson to those connected with marketing. A woman needs
attention. She needs to be listened to. She will be happy to be waited on, to be
fussed over.
Small things matter to women. These could be matching of colors, co-
ordination of accessories, a texture, or a pretty hairclip. Take care of those small
things, and they will shower you with their favors.
A woman has an uncanny ability to spot what she wants amidst clutter and
chaos. Look at the way women go through the hustle and bustle of shopping
areas. A woman will take whatever it takes to get such small things. She does all
this to feel herself.
Women have very strong need to enter into relationships; even if they are of
-I love you, I hate you -kind.
Factors to keep in mind while writing copy for women
1. “Brand Lite” isn’t the answer:
Many companies make the mistake of thinking they need to create a separate
brand to reach women, one that is softer and more accessible. And let’s be
honest, they’re also afraid that feminizing the core brand will alienate the guys.
The reality is that marketing to women is just smarter marketing strategy,
grounded in meeting and exceeding high standards and consistently delivering
on your brand promise.
One of the best examples of a great company that gets it right with women is
Apple. Terrific design, easy-to-use technology, and a passionate lifestyle brand
message hold strong appeal for women and for consumers overall. No need to
invest money in making and marketing her Pod when iPod is pretty damn great
the way it is.
2. Communicate product value instead of listing features:
Sounds simple, but many organizations develop and market products without
ever asking their female customers what features they think are most important
and why. Volvo has made gaining women’s input a key part of its development
process since the late 1980s, leading to such improvements as color coding of
fluid lids under the hood, easier-to-fold-away rear seats and easier-to-load
trunks. But rather than make its marketing message an endless list of “look at all
our cool stuff,” the “Volvo for Life” slogan conveys the two umbrella messages

47
that are especially important to women: safety and dependability. Online
research and a visit to the dealership reveal all the terrific features Volvo has
developed to back their message up.
3. Understand that she’s always watching: Women are great at detecting
inconsistencies. If your marketing message doesn’t match up with your product
performance and your retail experience, you’ve lost her trust and she’ll go
somewhere else.
4. Respect her
In Fara Warner’s new book, The Power of the Purse, she chronicles the
substantial shift McDonald’s began making following a 2002 sales slump, when
the company was forced to realize that it was still talking to women as if it was
1955. Up until that point, the company had viewed women mainly as a conduit to
kids. This “mom marketing” no longer fit with modern women and they were
taking their kids and their dollars elsewhere. McDonald’s quest to “find the
woman inside the mom” led them to the highly successful launch of Premium
Salads, healthier Happy Meal options and a revamping of Play Places to include
comfortable seating and wireless internet access. A willingness to solicit and
listen to women’s input and understand that women didn’t see themselves only
through the “mom” lens allowed McDonald’s to redefine its relationship with its
most important consumer, ultimately winning her business back.
5. Embrace high standards
Women are suckers for quality and, more importantly, when they find it they’re
willing to pay for it. Consider Whole Foods, which has enjoyed a 1,552 percent
increase in its stock price over the last decade. Affectionately nicknamed “Whole
Paycheck” by some, Whole Foods is able to charge higher prices in a notoriously
low margin industry because they have created a lifestyle brand that delivers on
its promise. With high quality, hard-to-find products, a pleasant atmosphere,
knowledgeable, courteous sales people, and even chair massage in some
locations, Whole Foods has transformed something uninspiring and mundane
into a premium experience.
6. Be willing to commit
There it is, the dreaded “c” word. The reason? It goes both ways. This isn’t a
market you can just dip your toes into. Wyndham Hotels recently celebrated the
ten-year anniversary of its award-winning Women On Their Way initiative,
launched in 1995 to better serve the needs of women business travelers with
improved services and amenities, such as healthier menu options and a courtesy
call announcing room service. When the program began women accounted for
19 percent of Wyndham’s business travelers. Today that number has increased
to over 35 percent. When you consider that, according to the Center for Women’s
Business Research, 86 percent of women entrepreneurs say they use the same
products and services at home as they do in their business it’s clearly no

48
accident that women also now make up 50 percent of Wyndham’s customer base
overall.
7. They wish to be themselves: Women crave to look good. They wish to be
independent and mobile. They wish they could do without help from men. They
wish to be themselves. Few manufacturers care.
A Kinetic Honda came around with electric start and gearless driving. It looked
feminine.
Kinetic Honda was a huge success. An Activa rode in with nicer looks, good
power, better brakes, and decent fuel efficiency. Activa became a runaway
success without so much of bragging and boasting by Honda. These were mere
happy coincidences on a long road littered with products born to insensitive
design and brought to customers by arrogant marketing.
There are many more examples –a ketchup bottle with a crown cap which needs
a man to open, a tin with tough metal seal that requires a hacksaw for cutting, a
sachet of shampoo that requires a pair of scissors, a coconut oil bottle that drips
with oil despite all the fancy packaging, a cell phone requiring complex menu
navigating abilities and that comes with complicated telephone bills, cars with too
low roofs requiring crawling to get inside, and movie theaters where women can
not walk between two rows without feeling embarrassed.
Women no doubt can manage all above creations by men. They do it with
minimum fuss. But you would earn their gratitude and loyalty if you free them
from such men-made mess. They will enthusiastically recommend your products
to many other equally enthusiastic women. Women constitute about half of the
market. If their influence in buying decisions is considered women control much
more than half the market.
8. Needs of women –bonding, sharing, looking and feeling beautiful, and
dreaming about all this
3. Writing copy for children
Marketers pay special attention to children, who are considered as the most
vulnerable audiences because they enjoy advertisement to the maximum extent.
Children initially take advertisement as entertainment and having soft heart; force
their parents for product purchase. This is called as a ‘Nag Factor’.
Industry spending on advertising to children has exploded in the past decade.
Parents today are willing to buy more for their kids because trends such as
smaller family size, dual incomes and postponing children until later in life mean
that families have more disposable income. As well, guilt can play a role in
spending decisions as time-stressed parents substitute material goods for time
spent with their kids.

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