The document provides guidance on creating effective radio advertisements. It discusses that radio ads must convey a memorable message using only sound in a short time. The structure of radio ads can include a single voice, dialogue between voices, celebrity endorsements, sound demonstrations of a product, or music and jingles. Effective ads start with something unexpected to grab attention, clearly state the brand name repeatedly, keep the message simple, use conversational language, and get the timing right. Sound effects and music should be used discreetly to support the message without overwhelming it.

1. IMC Planning:
The IMC plan details which marketing communications and media should be used, at which
times, and to what extent.
All good plans include:
 Objectives
 Strategies
 Tactics
Strategic planning is a process of developing and maintaining a fit between the
organization’s goals and capabilities and changing market opportunities.
A corporate or business plan states a company’s financial objectives and strategies for
achieving those objectives.
A marketing plan is a set of objectives (what), strategies (how), and tactics (actions)
orchestrating marketing activities designed to help the company achieve its financial
objectives.
Three critical tasks in planning:
 Setting measurable objectives
 Deciding on strategies
 Choosing tactics
Zero-based planning determines objectives and strategies based on current brand or
marketplace conditions.
Zero-based planning means starting from the beginning to make a plan, rather than what has
always been done.
There are eight steps in this process.
 Step 1: Analyze SWOTS
A SWOT analysis is a:
Structured evaluation of internal situations (strengths and weaknesses) and external situations
(opportunities and threats).

2. Step 2:
Analyzing Targets and Relationships
 Identify the key customer and prospect segments
 Identify the brand’s relationship with each key segment.
Step 3: Determining MC Objectives
Measurable objectives determine what MC programs should accomplish.
Objectives help address and leverage key SWOT findings.
Two types of objectives:
 Communication
 Behavioral
Step 4:
Developing Strategies and Rationales
Developing strategies involves:
 Identifying the key problem to be solved
 Selecting the most relevant MC mix to help achieve objectives
 Creating of seeing the big idea
 Identifying the best media mix
Rationales explain why the strategy ideas are sound and why they are worth the resources
invested in them.
 Step 5: Budgeting
The next step in the zero-based planning process is to develop a budget and determine how it
will be divided among MC functions.
Companies use a combination of methods to determine how much MC money they will need,
such as:
 Percentage-of-sales
 Objective and task

3.  Share-of-category spending
 Return on investment (ROI)
 Step 6: Timing and Scheduling
 Timing and scheduling determine which media placements, promotional programs, and
other MC activities should happen first or last or in between.
 Coordinating the timing between marketing, production, and sales is important.
 Time and coordination go together, and are critical elements of integration.
Step 7: Test Marketing MC Mixes
Since MC causes and effects are constantly changes and are different for each category, the
only way to know whether or not something will work is to try it.
Step 8: Evaluating Effectiveness
 A campaign is evaluated based on how well it met its objectives.
 Research is done to determine is there is a change in awareness or perception.
 IMC evaluations must also include measures of relationship strengths in addition to the
usual sales, share, and awareness measures.
 IMC differs from traditional marketing communication in its emphasis on continuous
feedback.
An integrated marketing plan defines the way a company does business.
Creating a customer and stakeholder focus rather than department focus, allows a company to
build and maintain long-term relationships with its stakeholders.
In order to create customer focus, it is necessary that everyone play from the same score.
Ad Budget: After setting the IMC objectives, a company has to estimate how much it is willing
to spend on the promotional program.
Budget for a promotional program are based on several internal and external issues.

4. An integrated approach to IMC foresees the budget as a strategic as well as a long term
instrument.
• Gary Lilien has proposed to reflect on three important issues before making advertising
budget decisions.
1. Economies of scale: is there some relevant range in which increments of advertising
yeild increasing results?
2. Threshold effect: is there a minimum threshold level of exposure (jnd) that must be
exceeded for advertising to have discernible effect?
3. Interaction effects? Does advertising interact with each element of the mktg mix,
especially personal selling to produce effects that are greater than the sum of their
separate effects?
• Factors influencing Budget Setting
 Product: product type, stage in the PLC, complexity of features, brand differentiation,
etc.
 At the time of launch there usually is a much larger budget than for the reminder stage.
 Captain cook differentiated itself premium salt compared to tata salt through heavy
advertising.
 In case of large no. of competitors brand has to spend a fortune even to make a small
noise.
 The bigger the mkt share the the lesser is the risk in reduction of ad expenditure.
 Longer channels increase no. of customers and increased expenses.
 Higher the unexploited potential higher the scope for ad expenses.
• Methods to Determine Budgets
a) Predetermined Budgetary methods: based on industry traditions and judgements and
generally follow a top down approach
I. All you can afford Method: although simple, follows no logic. Problems of over or
underspending and communication objectives not getting fulfilled. Could disable long
term planning.

5. II. Percentage of sales methods: average sales for three years and take a percentage to
allocate market communication budget. looks back rather than the front.
III. Unit sales method; a variation of the above. A fixed amount is taken as the budget per
unit of item sold.
IV. Industry standards or Competitive parity method: ensures that co. is not lagging behind.
Represents collective wisdom. Easy to apply since information is readily available
through research publication, govt. publication etc.
• Strategy based methods: based on the objectives to be achieved and the strategies tro
be followed to fulfill them. Inputs are taken from the people responsible for execution
of strategies, accompanied by calculations and documentation outlining the budget
requirement.
 Objective & task Method : i. sets down the specific communication objective.
ii. Outlines the tasks required to achieve these objectives. Iii. Price these tasks to arrive at
the overall outlay.
Advantage: very logical . Very often may tally with budget arrived at through other methods.
 Pay out planning method: refers to estimate the cost and revenues for a future period
usually for the next 2 to 3 years . Based on the expected rate of return, communication
managers can estimate how much promotional expenditure will be necessary to achieve
that rate of return. Till achievement of break even the promotional expenses will be
high and settle down as the brand gains momentum.
Advantage of the method : looks at promotion as an investment. Used for new products ,
new retail chains, etc.
Once the total marketing communication budget is arrived at ,the next task is to allocate
amongst various promotional tools, markets and time periods.
Communication objectives, company policies, total communication budget, characteristics of
the target markets, nature of the industry etc. affects as to how the budget is to be allocated.
When whisper sanitary napkins were launched, the co. used advertising through mass media to
gain instant awareness and door to door sampling to increase trial of the new product. The
budget was divided half half.

6. Similarly in case of ethical drugs advertising is not allowed. Hence sampling budgets are quite
high. Because of low product differentiation trade schemes are also used to woo the
customers.
Customer-Based Brand Equity:
“The differential effect that brand knowledge has on consumer response to the marketing of
that brand.”
Strong brands have:
I. Improved perceptions of product performance
II. Greater customer loyalty
III. Less vulnerability to competitive marketing actions and marketing crises
IV. Increased intermediary support, additional licensing and brand extension opportunities
 Marketing communications are the means by which firms attempt to inform, persuade
and remind consumers directly or indirectly the about the products and brands they sell.
 The marketing communication mix consists of eight major modes of communication; the
first four are mass media where as the last four are the personal (Bennett1995: Kotler
and Keller 2009)
I. Advertising ( paid form of non……
II. Sales promotion ( a variety of short term incentives to encourage trials…
III. Events & Experiences ( co. sponsored activities designed to create brand related
interactions)
IV. PR & Publicity ( a variety of programs designed to promote and protect co.’s image or
individual products)
V. Direct marketing (use of mail, tel, email or internet to directly with customers/prospects
VI. Interactive marketing ( on-line activities and programs designed to engage..
VII. Word of mouth ( people-to people oral or written or electronic commn.)

7. VIII. Personal selling (face to face…..)
 Marketing communication can link brands to other people, places, events,
experiences,feelings and things.
 It can create experiences and build communities and they can contribute to brand
equity by:
Establishing the brand in memory and creating an image
Driving sales and even affect stakeholders value
 Brand image: perceptions and preferences for a brand as reflected in various brand
associations held in consumers memory.
 Brand awareness: strength in the brand node or trace in memory as reflected by
consumer’s ability to recall and recognise the brand under different conditions
 Brand Awareness Advantages
 Learning advantages
 Register the brand in the minds of consumers
 Consideration advantages
 Likelihood that the brand will be a member of the consideration set
 Choice advantages
 Affect choices among brands in the consideration set
Establishing Brand Awareness:
 Increasing the familiarity of the brand through repeated exposure (for brand
recognition)
 Forging strong associations with the appropriate product category or other relevant
purchase or consumption cues (for brand recall)
 The Four Steps of Brand Building:
1. Ensure identification of the brand with customers and an association of the brand in
customers’ minds

8. 2. Establish the totality of brand meaning in the minds of consumers
3. Elicit the proper customer responses to the brand identification and brand meaning
4. Convert brand response to create an intense, active loyalty relationship between
customers and the brand
Brand salience : how easily a customer think of the brand under varied purchase consumption
situations.
Brand Performances: how well the product or service meets customer’s functional needs
Brand imagery: extrinsic properties of the product or service which attempts to meet
customer’s psychological or social needs
Brand judgements: focus on customer’s own personal opinions and evaluations
Brand feelings: customer’s emotional responses and reactions with respect to a brand .
Brand Resonance refers to the nature of relationship customer has with the brand and “in
sync” with the brand.
THE PLANNING PROCESS OF IMC:
1. Review of marketing plan (examine overall marketing planand objectives, competitor
analysis, role of advertising and promotion)
2. Analysis of promotional program situation (External and Internal analysis)
3. Analysis of communication process (Analysis receiver’s response process, source,
message, channel factors, establish communication goals and objectives.
4. Budget determination (set tentative marketing communication budget, allocate budget)
5. Develop Integrated Marketing Communication Process (Advertising, Direct
marketing,Internet marketing, Sales promotion, Public Relations/Publicity, Personal
selling).
6. Integrate and implement marketing communication strategy (create and produce
ads,purchase media time, space, design and implement promotional mix programs.
7. Monitor, Evaluate and Control Integrated Marketing Communication Programs (take
measures to control and adjust promotional strategies).

9. CREATIVE EXECUTION ON RADIO:
• A unique medium where people listen to it in their private space, be it in their car, home
or work place.
• Listners are loyal and dedicated bunch to their favourite program.
• It also develops intimacy because of the interaction between RJ and the audience..
• Radio ads have to be extra creative simply because they have to deliver a memorable
message only through sound and that to in a short period of time.
• Radio is a background medium that people listen when they are driving, cooking
exercising or even when grazing cattle.
• Radio is about imaginative use of sound.
• High or low pitches, varying intonations and emotions dripping through voices, more
sound to the script entertains the listener
• Imagery Transfer: Voice, Sound and Music can evoke pictures and create scenes that can
transport people to wherever the script writer wants them to go.
• RADIO IS CALLED THE THEATER OF MIND.
• In the process of thinking sounds and not images are processed. Consequently one sees
what he hears.
• Imagery transfer is the process by which visual elements of TV commercials are
transmitted into the listener’s mind by using similar audiotrack or script in it’s radio
equivalent.
• Scriptwriting for Radio : A blur print comprising of dialogues, sounds, music and tone of
voice instructions for commercial.
• It guides the artists, directors, and others involved in the recording of the commercial.
• On the top left corner of the script, the length and name of the commercials are
specified. Underneath the marks describes the the type of audioi.e. music, sound effects
or voices
• The one on right has a description of the actual sound effects, music pieces, lines that
are spoken by voicesand description of tones in which dialogues have to be rendered.

10. • A script should be such that these are enough production prompts for the producer and
the directions for the voices.
• STRUCTURE :
i. ONE VOICE: THE ENTIRE COMMERCIAL IS A MONOLOGUE. The announcer could speak
to the listener or to herself making it seem like the listeners are listening to her private
thoughts. Choose a commanding , befitting and interesting voice. Make the script
powerful
ii. Dialogue: A dialogue comprises of two people talking. The key is to make the dialogue
real and not like the advertiser’s speech.
iii. Multivoice : when more than two voices are used. Make sure that each voice is clearly
distinguished.
iv. Celebrity: the identifiable voice of a famous personality is used to endorse a product
v. Continuing character: a singularly distinctive character is used for all ads in a certain
campaign
vi. Audio Demonstration: this format calls for demonstrating a product –in-use with the
help of voice and sounds alone. Ex: Castrol CRB Plus- a hoarse voice for ordinary e. oil
and smooth for Castrol crb+.
vii. Sounds and music : Commercials can revolve around clutter breaking sounds or catchy
music or jingles. “ when you have nothing else to say , sing it. “ David Ogilvy.
Interview : in this format interviewer interviews an individual or group of people.
ix. Vignette: a series of short situations, accounts or episodes that lead to the same point
and are linked by piece of music.
1. Start with a bang : Begin with something unexpected to quickly gain audience’s
attention. There are no visual boundaries or break points between two commercials.
It is important to use production techniques, sounds, voices, dramatic opening lines etc. to
grab the attention.
towards the end of the spot, the key points to be summarised just as creatively.

11. 2. Make one point: 30 or 60 seconds on a radio spot are enough to promote just one idea
about one product. Raffling up more may not settle in the mind of the listener.
3. Identify the brand: clearly, early and often. One does not get to see the product on
radio. Hence it is imperative to mention the brand name repeatedly. Rule of Thumb:
3ice in a 30 second spot : 5times in a 60 second spot.
Amul cheese weaves “ Amul Cheese” 8 times in a 30 second jingle.
Brand name should not get lost in melodious music or or dramatic scenes.
4. Simplicity counts: irrespective of the medium simplicity in message is always more
effective. “ Time is money and words are the currency”.
5. Keep away from numbers: no body is ever ready with a pen and paper. Hence say
Infosys square rather than F/4, Chandka I.E., Patia , Bhubaneswar 752…..etc. etc.
6. Make it personal: Radio speaks not to a community in general but to an individual in
particular.
Steve Martin, on-air editor BBC, once said “ if you describe a house on radio, the listener is
more likely to see it as his own house. As opposed to it , if you show it on TV, he sees it as
someone else’s house.
Listeners develop personal bonding with RJs, who can help promote products.
Because of intimacy, commercials should speak in the vernacular. Stay away from tall
claims or laced scripts and work on building listener’s trust.
7. Use sound effects and music discretely.
8. Choose the spot length wisely. If the message can be delivered in 30 seconds do not
beat around the bush for another 30 seconds. However if a 60 second spot works better
to set up a scene, deliver dialogues with emotions and intonations, use varied sound
effects etc.
9. Many studies reveal that in general 45 seconds spots are more effective.
10. Be Conversational: radio commercials should not sound like the copy of a print ad or the
script of a TV commercial.
11. Spoken language and not written should be the norm.
12.

12. 13. Get the timings right: read out loud and time the script. Add time for sound effects and
musical bridges. General rule is 2to 3 words per second.
14. Upper limits are 135 words for a 60 second commercial and 75 for a 30 second. Add
time for pauses and nuances that add colour and coherence to the dialogue. Be
prepared for cuts and changes during productions. Add time for pauses and nuances
that adds colour and coherence to the dialogues.
15. Ask for action : Be very clear about what you want people to do. If they are in a car do
you want them to to stop by your restaurant to pack an evening meal?
16. Unify the radio campaign: use identifiable stringof thoughts that will link all your radio
commercials to create a consistent campaign.
a) Voice: AB for Polio Nirvan
b) Format: dialogue format, jingle, dramatisation
c) A proposition: make the same offer at the end of each commercial
d) A piece of music : close up nasal singer
e) A point of view: be it direct, radical or ahead of time.
13. Use humour prudently.
Scene 1 : Sardarjee calls to his pet dog “Tommy, Tommy.”
Tommy refuses to heed to his Master’s call. Growls instead.
Vioce over : Tan ki durgandh ho to Tummy kyon ayega? Life bouy use kijiye.
Scene 2 : Sardarjee has taken a bath with a bar of life bouy. Tommy frolicking in his
masters arms.
The spot had listeners in splits because of the actors voice modulation
14. Be daring: “ Kya aap Close Up karte hein?”
15. Refresh the spots: fatigue factor is very high in case of Radio. Ciopy variation can off set
the fatigue.
16. Customise: Radio ads are more localised. Timings pre-determined.
17. Present the ideas to the client.

13. 18. Try going live.
DAGMAR
• Defining Advertising Goals for Measured Advertising Results is a model devised by
Russel H. Colley in 1961.
• Objectives can be set in a way that results of ad campaign can be measured and
quantitatively monitored.
• Colley proposed that all commercial communication aimed at the ultimate objectives of
sales should move through four levels of understanding.
1. Awareness: the prospect must be aware of the brand or the company.
2. Comprehension: the prospect must understand what the product is and what it is going
to do for him.
3. Conviction: He must develop a mental disposition to buy the product.
4. Action: he (prospect) must stir himself into action
• Colley proposed that the above should be in a heirarchy and advertising should be
judged based on the extent to which it moves the consumer upward on the heirarchy
rather than just result in sales.
• He also developed a check list of 52 specific ad tasks which can be used in goal setting as
well as the ultimate objective of generating sales.
• He set standards for what can be stated as good objectives.
CONCURRENT TESTING TOOLS AND TECHNIQUES
• Takes place while the campaign is on
• coincidental surveys and Attitude tests are useful in determining communication effect
• Tracking studies are used for measuring behavioural results.
• Coincidental surveys: a system of audience measurement primarily for the broadcast
media. C.E. Hooper popularised the system.
• Random calls are made to people to ask three basic questions.

14. • Attitude Tests: measures consumer attitude towards the ad / advertised brand.
 Can be conducted concurrently as well as post the campaign
 Researchers ask various questions like message, tone, comprehension, spokesperson,
wording etc of an ad and the results are indicated in positive or negative attitude.
 Tools like direct questions, rating scale, semantics differential, checklists, partially
structured interviews are used to measure attitudes.
 If attitudes are highly negative, then the campaign should be pulled off.
 Measuring the attitude is important bcoz it depicts the audiences favourable or
unfavourable disposition towards the object though need not be conclusive always.
 The methods used by them are as below.
i. Wave analysis: impact is measured over time through multiple measures and a series of
interviews which gives a wave like pattern when plotted on a graph
ii. Personal , Telephone, mail, internet and intercept interviews are used to track campaign
performance. Ex: in a personal interview respondent may be shown stills from a TVC or
Print ad and asked to recognise the sponsor and the main message.
iii. The various answers in each interview phase determine how communication impacts
various measurement parameters such as recall, preference, sales etc.
iv. The process is repeated and the same questions are asked again to compare the latest
wave with the previous one.
v. Consumer diaries: a panel of consumers is asked to maintain a diary in which they
record their media usage, purchase pattern, brand usage, brand switches, exposure to
competitive promotions etc. while the campaign is in progress.
vi. Pantry Checks: (Usually during new product introduction) a researcher visits homes of
consumers and inquires regarding a product used or pyrchased. Alternatively , he may
do a physical count of the inventory of various brands stocked by the consumers.
Sometimes the consumers are requested to retain the empty packs to be tallied by the
researchers.
vii. Single source tracking; refers to the collection of data ranging from communication
exposure to product purchase regarding a single family or group of consumers. Through
this method data can be collected regarding media habits, purchase behaviours etc., by

15. monitoring exposure to promotion effects and audience’s decision making and purchase
behaviour can be tracked through entirre communication-to –purchase cycle using
sophisticated research methods and devices.
viii. Can also be used for pre as well as post testing.
• REGULARATORY ADVERTISING
“ advertising is a non moral force like electricity which not only illuminates but also
electrocutes. It’s worth to civilisation depends upon how it is used.”
• Advertising role in shaping or mirroring society
• The shape vs mirror effect: why do women use cosmetics? Are they satisfying a deep
cultural need for beauty or they are manipulated by advertising? Or have their family
and friends socialised them to believe they look better with cosmetics than without?
• SELF REGUL;ATIONS : rather than wait for laws to regulate action, responsible
advertisers take initiatives to establish ethical standards. Basically three types as below.
 Self Discipline :agency develops , uses and enforces norms within it’s own practise.
 Industry self regulation: the industry develops, uses and enforces norms.
 With outside help: ad industry involves non industry professionals to freeze application
and enforcement norms.
 Advertising Ethics : ethics is a set of moral principles that guide actions and creates a
sense of responsible behaviour.
 The ad professionals are the torch bearers of the same since law and regulations can
only regulate ethical practices.
1. Ads must be truthful and honest. All objective information, claims, comparisions must
be capable of substantiation.
2. If claims are based on research, the source and date should be indicated in the ad.
3. Ads can’t make references to person, firms, or Institutions without party’s permission, if
such reference gives an undue advantage to the product or ridicules or disreputes to the
party.
4. Ad can’t mislead consumer by implications, omissions, ambiguity or exaggeration.

16. 5. Ad shall not abuse the trust of consumers and exploit their lack of experience or
knowledge
a) Product shall not be described as “free” where there is no direct cost other than actual
cost of any delivery, freight or postage. If such costs are payble , must be mentioned in
the ad.
If a product is provided free on purchase of a specific product , the price of the product should
not be more than the prevailing price.
c) Claims like “ Upto five years guarantee” “ price from as low as B y “ are not acceptable.
d) Special care and restraint to be exercised in advertisements addressed to those
suffering from weakness any real or perceived inadequancy of any physical attributes
(such as height, baldness, obesity, impotence, infertility etc. does not exceed limits
generally accepted stands. Of medical practice.
e) Ads inviting public yo invest money shall not contain any misleading statements in
respect of security offered
f) Ads inviting public to take part in lotteries or prize competitives have to carry all
conditions to give the consumer a true and fair view of their prospects in such activities.
6. Obvious untruths or exaggerations intended to amuse or to catch the eye of the
consumer are permissible provided they are clearly to be seen as humorous or
hyperbolic and not likely to be understood as making literal or misleading claims for the
advertised product.
7. An occasional ,unintentional lapse in the fulfilment of an advertisement promise or
claim may not invalidate the ad in terms of this code.
SURROGATE ADVERTISING:
MEANS SUBSTITUTING THE BRAND IMAGE AND ADVERTISING OF ONE PRODUCT TO PROMOTE
ANOTHER PRODUCT OF THE SAME BRAND.
a) The story board or visual of the ad must depict only the product being advertised and
not the prohibited product in any manner.
b) The ad must not make any direct or indirect reference to the prohibited products
c) Must not contain any nuances or phrases promoting prohibited products.

17. d) Must not use particular colours and lay out or presentations associated with prohibited
products.
Puffery is defined as advertising or other sales representations, vaguely or generally stating no
specific facts.
• Ads should contain nothing indecent , vulgar or repulsive which is likely to cause grave
or widespred offence in the light of generally prevailing standards of decency or
proprity.
No ad shall be permitted
a) which promotes crime, violence, intolerence or disorder
b) Divides any race, caste, colour, creed or nationality
c) Presents criminality as desirable to incite minds.
d) Adversely affects friendly relation with a foreign state.
Ads directed to minors should not cause their physical, mental or moral harm or exploit their
vulnerability.
• POST TESTING TOOLS & TECHNIQUES
• while post testing can’t improve the campaign, it evaluates, it can provide a basis for
future planning.
• Some methods for pre and concurrent testing (as discussed) are also used for post
testing. Some more methods are as below.
i. Recognition (Readership Test) : developed by Dr. Daniel Starch and hence known as the
Starch Test.
ii. Starch custom research services are available in India through Gfk Group, a market
research organisation serving 90 countries.
iii. Starch test: A minimum of 200 men and women to thumb through various publication
they normally read, looking at the ads as they go along. And provide specific responses.
iv. Interviewers ask participants to indicate the ads they read and may question regarding
the components they saw, such as headlines, visuals, logo, body copy etc.
v. For high quality results no single respondent is asked to view more than 100 ads.

18. • Starch Ad Readership Reports generally provides three measures for each
advertisement in a publication.
 It Notes the % that remembers having previously seen the ad in the issue being studied.
 Seen associated: % that saw any part of the ad that identifies the product, brand and
advertiser.
 Read most: % that read at least half of the copy material in the ad.
• Recognition depends on various factors such as audience involvementwith the product
class, size, colour, position, copy and other elements of the ad.
1. Inquiry Test : are behavioral post tests to check how much an ad campaign has
succeeded in in developing purchase intentions.
• How many enquiries are generated? People are encouraged to reply through business
reply cards, toll free no.s, sms and web sites.
• Sometimes they are rewarded for replying. The additional cost may be added to the
total community cost.
• Inquiry tests can be used to evaluate alternative communication strategies. Ex: a split
run of 2 different versions of ad may be given different editions and it can be checked as
to which one creates maximum response.
2. Sales Tests: these are behavioural post tests to check how much of an ad campaign has
succeeded in generating actual sales
3. Compare pre and post sales with current ones. Inventory checks and scanner data can
be used.
4. Can also be done wherein different versions of the ad can be run in different test
markets to check which one generates maximum sales.
• Increasing the Effectiveness of Tests
 In order to get the most out of testing, researchers have to adhere to many dos and
don’ts of measurement
 Good research depends on sound objectives and hence the objectives should be clearly
defined in terms of communication or behavioural impact.

19.  It should be emphasized to to use both pre teasts and post tests to get complete idea of
audience feedback and performance of the campaign.
 Pre test lays out the opportunity cost of a campaign, post test determines the actual
performance.
 Further a number of methods should be used simultaneously to determine the full
effects of the ad.
 Most tests focus on recognition, recall or sales the impact of advertising can extend
beyond these measures.
 Also the general principles of appropriate sample size, ample no. of exposures and
controlling extraneous factors etc. should be practised for best results.
Media Planning is essentially a function that helps determine most effective manner of
spending advertiser’s money across the media so as to generate the best ROI for the brand.
 Steps in Media Planning:
1. Client’s Marketing brief: Product details, functions, advantage vis-à-vis competitor’s
offering, prices of various brands in it’s portfolio, comparision with other brands,
distribution strategy, high and low selling areas, swot, media buying used currently and
the spends, targeted segments and their profiles- usually prepared by Brand Manager or
Mktg. services Manager
2. Agencies Advertising brief: client’s brief serves as the spring board for shifting
information and to arrive at an advertising brief. Required becoz clients often do not
distinguish between mktg. objectives, sales and advertising objectives.
Agency’s Media Brief: Media Planner has to create the media brief which will help arrive at the
media plan. This helps deciding media vehicles, frequency and at what point of time. Also
depends on the creative strategy, since many a times, the type of media employed depends on
the kinds of creative planned.
 Media Planning:
i. Who ( the target audience selection)
ii. Where (market priorities)
iii. How much (Media weight)
iv. When (timing/scheduling)

20. v. Who ( many a time consumer is one , influencer is one and buyer is still another.)
vi. How much? Determine the media budget- maximum reach, maximum frequency or
both
vii. When?? The best time for the prospect when he will be succeptible to your message.
viii. Media buying: goes hand in hand with Media Planning. Infact media buy determines
media plan.
ix. Greater the volume you can buy , bigger is the profit. Media Scheduling: essentially the
process of determining when to advertise during given plan period ( normally a year).
Three methods as below:
x. Continuity: continuously during the year in a uniform way. Budget spread evenly during
the course of the year. Works well in case of reminder advertising.
xi. Flighting: advertising takes place in busts during predetermined periods in the year.
Normally used for seasonal products.
xii. Ex: grocery items can be advertised during last week of previous and first week of
next month.
xiii. Pulsing: a combination of both. Carried out through out the year. Pulsed in the form of
high and low bursts during the course of the year.
xiv. Plan implementation: once the media plan is prepared , the media operation dept. takes
over for the implementation. Release orders for each media (be it press, TV, Radio or
Outdoor) are issued.
xv. Post evaluation: How much of what has actually happened in the right way as per the
plan. Involves evaluation of wheteher campaign has met the media objectives in terms
of reach and frequency.
• Reason for Brand failures
1. Changing fashions : about 15 years ago polyester used to be the product of choice. But
today it the 100% cotton by colour plus. People are willing to pay a price for the product
that is in vogue.

21. 2. Price: today you have to give defined value for money. Ghadi detergent bar, Moov pain
rub are local brands giving a run for it’s money to MNC brands.
3. Cut throat competition:
4. Inadequate market analysis
5. Product defects.
6. High cost of production
7. Inadequate marketing effort
8. Poor timing
9. Distribution limitations
10. Government regulations: govt. rulings regarding smoking in public places
11. .Inadequate market research:
12. Faulty brand extensions: liril has extended itself beyond the scope of the brand. Liril
talcom powder, icy blue and now orange. Lux was extended to International and did
not take off. Cinthol soap lead to talcum powder and deodrant platfoems. Suddenly
introduced a lime variant and robs the brand of it’s core value instaed of extending the
same.
13. Old age: Dalda, Weston, Kelvonator, Murphy, Campa cola are no longer visible where as
three decades ago shops could not do without them.
14. New and improved technology: Sunlight vs. Surf ultramatic frontload
15. Me-too products: Far too many “me too “ products theses days to nullify the first
mover advantage. Liril lime was launched in1983 with fragrance on the freshness
platform.
Tips to overcome brand failures
1. Adequate and sufficient market appraisal
2. Sufficient and effective marketing support
3. Right timing of introducing a new product
4. Tracking down the raqpidly changing market environment
5. Constant product planning and development in the light of changed competition

22. 6. Accurate forecast of market demand
7. Proper identification of the target market- consumers, their needs, tastes and
preferences etc.
8. Good marketing net work for the smooth distribution of products
Brand Resilience:
Protecting brand from saboteurs in a high-speed world.
• Four areas may be particularly problematic when it comes to managing brand and
reputational risk:
Product safety and sustainability across extended supply chains, particularly involving
outsourced components and third-party suppliers.
2. Disclosure of confidential customer information.
3. Inappropriate employee behavior, on the part of senior executives as well as front-line
employees.
4. Disclosure of highly confidential information (as seen in the 2010 WikiLeaks revelations.
• Building a great and resilient brand now requires playing aggressive defense , as well as
offense. Building the capabilities to detect, respond to and recover from incidents of
brand sabotage will increasingly be key.
• DON’T ASSUME THAT VALUABLE BRANDS ARE INVULNERABLE
Brand resilience framework
• Step 1. Begin to understand the potential threats faced by your brand, including their
source and potential impact
• Step 2. Ensure that your employees and executives are actively engaged in detecting,
preventing and mitigating brand risks.
• Step 3. Build your capabilities and systems to detect assaults on your brand early in the
planning, preparation and execution cycle.
• Step 4. Actively respond to actual assaults in the appropriate timeframe and at the
appropriate level.

23. • Step 5. Learn from each assault, and adapt your behavior and tactics.
• Step 6. Measure and track your performance in managing brand risk and building brand
resilience
• Step 7. Broaden your internal and external bases of support, including your “volunteer
army.”
BRAND REJUVENATION
• Brand rejuvenation involves adding value to an existing brand by improving product
attributes and enhancing its overall appeal
• It is intended to re-focus the attention of consumers on an existing brand. Brand
rejuvenation helps overcome the consumer’s boredom in seeing the same product on
the shelves year after year. A consumer’s psychological desire for changing is one key
factor behind brand rejuvenation
Quite often, we see ongoing brands appearing as; ’new’, ‘super’, ‘special’ ‘premium,’ deluxe,
‘extra strong’ and ‘fresh’,. They appear in new shapes, new pack sizes, new containers, new
colors and flavors. Basically what happens here is an updating of brands.
• The main objectives of rejuvenation are:
• 1. Rejuvenation aims at revival of brand. The intention is to breathe some new life into a
brand that may be showing signs of decline.
2. Even healthy, successful brands may need occasional rejuvenation. Because of
competition, some re-formulation and refinement become necessary from time to time.
The brand has to be updated. It ensures the steady success of the going brand.
3. It helps keep the brand live and in focus.
• Commonly, when brands suffer, three key factors are to blame. They are especially
lethal when combined
1. Declining emotional benefits: Customers seek meaning in their choices. They need their
brands to enable them to ‘sleep better at night' and to ‘broadcast something favourable'
about themselves. When emotional benefits are lacking, customers are forced to
expand their consideration set.

24. 2. Reduced functional benefits: Customers seek relevancy in their choices. They need their
brands to solve a problem and/or to satisfy an immediate need. When the functional
benefits are missing, customers are forced to expand their consideration set.
3. Aggressive competition: Customers are relentlessly introduced to - and tempted by -
"new and improved" brands. When a new brand repositions or replaces an existing
brand, customers are forced to expand their consideration set.