PLANNING THE CAMPALGN: ‘ ANALYSLS OF THE SMALL ADVERTISING AGENCY Thesis for the Degree of M. A. MlCHlGAN STATE UNIVERSiTr’ CYNTHIA A. McARA 1974 .«9s. 9-... «m... L133A§Y Mic .‘. . K —1—' 1 _,-i RETURNING MATERIALS: 1V1531_] Place in book drop to LIBRARIES remove this checkout from w your Y‘GCOY‘d. FINES will be charged if book is returned after the date stamped below. ABSTRACT PLANNING THE CAMPAIGN: ANALYSIS OF THE SMALL ADVERTISING AGENCY By Cynthia A. McAra Statement of Purpose The general purpose of this thesis was to examine campaign planning at the small advertising agency level and to identify a planning approach which could be suc- cessfully implemented by small advertising agencies. Specifically, the purpose of this thesis was to demon- strate the importance of the planning function and to show how utilization of a suitable planning approach could im— prove small advertising agencies' performance in this area. Methodology The methodology used to arrive upon an acceptible plan- ning approach began with discussions with Mr. Mark Battaglia, President, Capital Advertising Inc., Lansing Michigan. These discussions were conducted to obtain a clear picture of how campaign planning was being handled at the agency as well as an understanding of the agency's planning philosophy. Cynthia A. McAra After initial discussions were underway, a secondary literature search of advertising and marketing planning was undertaken. All available secondary sources that might yield information relevant to campaign planning were re— searched. The third stage in the methodology was the application of a planning approach to a small advertising agency's plan. A plan prepared by Capital Advertising Inc. for N.;E. Isaacson & Associates, Inc., a man-made lake developer, was used for this purpose. Results The result was identification of the Eldridge model as a planning approach which was comprehensive in scope yet sufficiently simplified to be successfully utilized by small advertising agencies. Application to Capital Advertising Inc.'s plan was included to demonstrate how the model might be used to improve both the communicative power and the quality of advertising plans prepared by small agencies for their clients. While examination of one agency's planning procedures and analysis of one of its plans are not representative of all small advertising agencies, they do indicate the type of planning techniques employed by agencies of this size and reveal broad problem areas» The implication was that imple- mentation of the Eldridge model or some other appropriate Cynthia A. McAra planning approach by small agencies would improve their ability to plan campaigns and thus, their overall per- formance. 4J/70427 PLANNING THE CAMPAIGN: ANALYSIS OF THE SMALL ADVERTISING AGENCY BY Cynthia A. McAra A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS College of Communication Arts Department of Advertising 197“ Accepted by the faculty of the Department of Advertising, College of Communication Arts, .Michigan State University, in partial fulfillment of the requirements for the Master of Arts degree. \CWMIQ m: Director of Thesis ‘7 )G’Vf ‘l I III-[l {[[[{.[Ill|1 .‘I‘lll I‘ll-ll ACKNOWLEDGEMENTS To my thesis director, Dr. Kenward L. Atkin, Chairman of the Department of Advertising, I wish to extend my grati— tude for his continuing patience, encouragement, and criti- cism. His knowledge and experience in the area of advertis- ing'planning were an invaluable aid in the completion of this thesis. - I would also like to thank Mr. Mark Battaglia, President of Capital Advertising Inc., for the many hours he was wil- ling to spend in interviews. Without Mr. Battaglia's insight and first—hand knowledge regarding the present planning situ- ation of small advertising agencies, much of this thesis would not have been possible. I Finally, I am sincerely grateful to my parents, Mr. and Mrs. Robert B. McAra, for their constant encouragement and understanding throughout my five years at Michigan State Uni- versity. Special thanks to Mom for donating her "magic fin- gers" to my final academic endeavor. TABLE OF CONTENTS INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . 1 CHAPTER I. "NY PLANNING IS IMPORTANT TO SUCCESSFUL ADVERTISING PLANNING. . . . . . . . . . . . . . Blueprint and Budget for the Coming Year~. . . . Basis for Measuring the Success of the Campaign. Organizes the Efforts of the Agency's Personnel. Minimizes Misunderstandings Between Agency-Client Aid to Planning in Subsequent Time Periods . . . summary 0 O O 0 O O O O O O O O O O O O O O O O 0 II. THE STATE OF MARKETING/ADVERTISING PLANNING. . . .11 000000 \O‘Oflmmm 3 Insufficient Allocation of Planning Time . . . . .12 The Creat1v1ty myth. O O I O O O O O O O .13 The Advertising Agency's Role in Planning. . . . .lh III. PLANNING THE CAMPAIGN. . . . . . . . . . . . . . .19 Planning Approaches. . . . . . . . . . . .19 Statement of Facts. . . . . . . . . . . . . . .22 Problems and Opportunities. . . . . . . . . . .28 Identification of Objectives. . . . . . . . . .29 Recommendations 0 O O O O O O O O O O O O O O O 31 Creative . . . . . . . . . . . . . . . . .33 media 0 O O 0' O O O 0' O O O O O O O O O 35 Merchandising. . . . . . . . . . . . . . .AO Budget 0 O O O O O O O O O O O O O O O O Oul Evaluation 0 O O O O O O O O O O O O O O Ou6 IV. APPLICATION TO A SMALL ADVERTISING PLAN. . . . . .51 Agency Background. . . . . . . . . . . . . . . . .51 Analyai’ or a Plan 0 O 0’ O O O O O O O O O O O 0 .5“ Statement of Facts. . . . . . . . . . . . . . .55 Problems and Opportunities. . . . . . . . . . .56 Identification of Objectives. . . . . . . . . .58 Recommendations . . . . . . . . . . . . . . . .59 Creative . . . . . . . . . . . .'. . . . .59 Media. A O O O O O O O O O O O O O O O .60 MerChandising: O O O O O O O O O O O O O .62 BUdget O 0 O O O O 0 O O O O O O O O O O .62 Evaluation . . . . . . . . . . . . . . . .6“ smarye O 0 O O O O 0 O O O O O I O O O O O O O .65 e e e e e e o e e e e e O'\ N v 0 DISCUSSION 0 O O O O O O O APPENDICES O 0 O O O O O O O O O O O O O O O O O O O O 71 A AGENCY-CLIENT INVOLVEMENT -- BY MARKET FUNCTION AND BY COMPANY CHARACTERISTICS. . . . . . . . .71 8 INFORMATION INVENTORY STATUS CHECKLIST . . . . . .73 C CREATIVE IDEAS PREPARED BY CAPITAL ADVERTISING, INC. FOR N. E. ISAACSON ASSOC., INC. . . . . .75 D BASIC MEDIA PLAN PREPARED BY CAPITAL ADVERTISING, INC. FOR N. E. ISAACSON ASSOC., INC. . . . . .82 BIBLIOGRAPHY O O O O O O O O O O O O O O O O O O O O O 0 9“ 11 .[II‘I‘II‘IIII‘ INTRODUCTION The marketing concept is based on the philosophy that every decision made by the firm should be made in light of A consumer needs. For the business executive, the term "mar- keting" encompasses a number of decision-making areas in- cluding not only selling and promotion, but also pricing, product development, and distribution considerations. Each of these areas is comprised of numerous and varied activities ranging from product improvement to packaging to warehousing to public relations, and taken together, they form a complex web of marketing activity. Yet at the heart of the market- ing concept lies the requirement that all these activities be integrated to achieve a unity of purpose -- satisfaction of consumers' wants and needs at a profit. And it is the task of marketing p1anning to come up with the integrated whole. The marketing planner should begin his task by taking a hard look at the firm's past and present situation. Utiliz- ing the facts which presented themselves, the marketing planner can then analyze the problems and opportunities facing the firm and arrive at marketing objectives. Finally, the marketing planner provides recommendations for execution of the marketing program that are geared to achieve the stated objectives. 2 In its entirety, the marketing plan should outline where the product is to be sold, how it is to be priced, and how it is to be promoted. In addition, the market(s) to whom the product has the strongest appeal and consumers' thoughts about the product should be considered. Also included are decisions as to how much'money it will take to reach marketing objectives. Advertising is often the predominant marketing activity carried on throughout the life of a product or service and often necessitates its own p1anning consistent with the overall marketing plan. The advertising plan delineates what part advertising will play.in the total marketing mix -- including specific advertising objectives and how they will be accomplished as well as rationale for recommended actions and their costs. Like the marketing plan, the advertising plan should take into consideration pertinent situational facts and analyze them to cite problems and Opportunities before setting objectives, and provide suggestions as to how objectives might be accomplished. The firm (client) usually assumes responsibility for the overalImarketing plan, including promotional considerations. With these general promotional considerations in mind, the agency then formulates a detailed advertising plan. Thus, the finalized advertising plan is a product of both client and agency input —- stemming from and integrated with the market- ing plan. It is the purpose of this writing to examine the advertising 3 planning activities of the "small" advertising agency. In the course of this discussion, references to both "small" and "large" agencies will be made. For purposes of clari- fication, "small" will be used to designate those advertis- ing agencies employing ten employees or less, while "large" will denote agencies with over one hundred employees. The jump from very small to relatively large agencies is made for contrast and because agencies falling between the two are more likely to exhibit some aspects of each. CHAPTER I WHY PLANNING IS IMPORTANT TO SUCCESSFUL ADVERTISING The importance of writing and implementing advertising plans has been widely recognized throughout the advertising industry. While the subject is a broad one, there seem to be a number of common denominators that hold regardless of the market 95 product or the size and scope of the communi~ cations project for which plans are written.1 (Italics mine.) Some of these common denominators are the very reasons given for the advertising plan's value as a marketing tool and seem to center around five major functions where the advertising plan: 1) provides a blueprint and a budget for the coming year. 2) serves as a basis for measuring the success of the campaign. 3) organizes the efforts of the agency or firm respon- sible for its execution. A) helps minimize misunderstandings which strain client- agency relationships. 5) contributes to planning in subsequent time periods. 1William L. Guisewite, "A Step-By-Step Approach to the Process of Writing Recommendations," A Handbook for the Advertising Agency Account Executive, Published under the auspices of the A.A.A.A. Committee of the Board on Client Services (Reading, Massachusetts: Addison-Wesley Publishing Company, 1969), p. 66. L} Blugprint and Budget for the Cominngear Perhaps the most obvious of the five, mapping out the year's activities is the basic function of the advertising plan. Robert L. Baumgardner sums it up this way: Here is the basic document on which client and agency will Operate during a given period, usually a year. Herein are the necessary facts and figures relating to the client's business, his competitor, even his industry. Herein are his sales and marketing plans and strategies and other vital data including product advantages and yes, even its disadvantages. Herein are also the thoughts and ideas of clients and agency personnel regarding the most effective means of com— municating with potential buyers of the client's pro- ducts or services. Here is not just the track to run on ... here's the whole railroad from roadbed to vehi— cle to timetable.2 Thus, the advertising plan commits to paper, the "what," "where," and "how" (the blueprint) as well as the "when" and "how much" (the budget) of the promotional activities for a given campaign over a specified period of time. Basis for Measuring the Success of the Campaign Assuming it is well-thought out, the advertising plan holds a basis for judging advertising effectiveness in terms of the objectives it sets down to be accomplished. If the objectives have been stated specifically and limited to those things which advertising can be expected to measure, they 2Robert L. Baumgardner, "A Four-Step Procedure to Ensure Well- Organized Recommendations," A Handbook for the Advertising Agency Account Executive, p. 52. 6 provide " ... a criterion by which, later, the accomplish- ments of the advertising can be measured."3 Jere Patterson follows this same line of reasoning when he states that well- defined objectives are... ...all measurable. When objectives of a marketing program have not been defined, you will find that you can't measure anything because you have nothing to measure. If the effort to measure does nothing else, it forces you to think through what your objectives, targets, clearly definable purposes should be for the effort you plan to make. A sound plan, then, not only analyzes the past and evaluates the present, but also provides a means of analyzing and evaluating the very program it proposes for the future. Organizes the Efforts of the Agency Personnel By providing a blueprint and a budget for promotional activities, the advertising plan outlines the sequence of events necessary for the successful execution of a proposed campaign. More important however, is the ability of a well-thought out plan to explain the "why" behind the various activities it outlines. This insures that all personnel 3Clarence E. Eldridge, "The Before and After Evaluation of Advertising Effectiveness," The Management of the Marketing Function (New York: AssociatiOn 0? National Advertisers, Inc. 1966) art. ix, p. 12. “Jere Patterson, "How to Establish Marketing Objectives," The Marketing Plan in Action, Ed. Elizabeth Richards and Monroe Mendelsohn, (New York: New York Chapter, Inc.,American Marketing Association), p. 31. . ./’ 7 responsible for the campaign's execution are not only headed in the same direction, but also moving in that direction for the same reasons. What happens when this organizing, ration- alizing effect of the advertising plan is missing is well- “expressed by Charles Peebler: Without a plan, there is often an appearance of free- swinging freedom, but what really happens ... is that without a plan your people are virtually imprisoned with chains forged of continuous crises and communica- tions breakdowns, with somebody looking over their shoulders trying to find out what's going on and why ... while your managegs sit waiting for someone to tell them what to do! While difficult to achieve, planning that communicates its purpose clearly to agency personnel within and across depart- ments or functions helps eliminate costly duplication of effort and keeps everyone working as a unit. , Minimizes Misunderstandings Between Agency - Client Just as the people within the agency look to the advertis~ ing plan for direction in executing the campaign, the client looks to the advertising plan to monitor its progress. If objectives are carefully derived from relevant situational facts, have been clearly and specifically stated, and are agreed upon and approved in advance, there is much less room for misunderstandings during the course of the campaign. A good plan is a constant source of guidance as an advertising program continues, and it can serve to remind 5Charles D. Peebler Jr., Where Do Corporate Strategies Come From?, Paper form the 1973 Regional Conventions of the A.A.A.A. (New York: A.A.A.A., 197“), p. 7. 8 both client and agency of objectives, settling differences before.they arise. It means everyone -- client and agency -- has a common understanding. According to Robert Prentice: There is no room -- in a well-written plan -- for anyone to say "but I didn't understand it that way ... I remember you said so and so" (when in fact, the intention was the opposite). A written plan that concentrates on the facts, objectives, basic directions, principles and strategy -- as well6as on details -- helps to eliminate these problems. The most successful client-agency relationships appear to result from a meeting of the minds of marketing management and agency management on objectives and strategy presented in the advertising plan in advance of the work of agency people on advertising execution. A Sound p1anning helps smooth the way for continuous two: way communication between client and agency and creates an atmosphere of mutual trust and confidence -- two major pro- blem areas cited by the Association of National Advertisers.7 This assures that both parties are working toward the same end in their combined effort, no matter who has responsibility for what, and serves to lengthen the life of the agency-client relationship. '6Robert M. Prentice, "How a Marketing Plan is Developed and Used for a Packaged-Goods Product," The Marketing Plan in Action, p. 8. 7Management and Advertising Problems, A study conductecd for the A.N.A. by Booz, Allen & Hamilton, Inc. (New York: A.N.A., Inc., 1965), p. 57. Aid to Planning in Subsequent Time Periods Compiling an advertising plan is a time-consuming task -- the first time. But once underway, it is a practice that saves, rather than consumes, time. The initial plan prepared for a client provides most of the information needed in fu- ture planning. While this information must be continually updated and changes or additions reflected, the existing‘ plan serves as a framework for the subsequent planning peri- od. Thus, the agency avoids starting each year from scratch, making it feasible to revise existing plans. The written plan not only provides for next year's adver- tising program, but also aids in formulating reasonably long- range plans.’ This reduces the likelihood of costly major revisions. It is this cyclical nature of the advertising plan which makes the initial investment well worth the effort for its usefulness supercedes the confines of any specified time period. Following a plan increases an agency's efficiency and clarifies its thinking. Summary The five functions of the advertising plan point out the major advantages that accrue to the agency, large or small, which plans. The advertising plan provides better than any other system for that continuity of effort and direction that is so important to the successful and logical working out of any marketing activity. 10 By planning, organizing, establishing priorities, and following through on a working advertising plan, the agency can see where it has been and where it is going. Asia re- sult, both agency and client benefit. It is in the adver- tising plan that the agency gives the client his reason to 8 accept the agency's recommendations. ‘In a very real sense then, an agency's ability to plan is its No. 1 product. 8Arthur W. Lavidge, A Common Sense Guide to Professional Advertisin (Blue Ridge Summit, Pennsylvania: Tab Books, 1973 a p0 59'56- CHAPTER II THE STATE OF MARKETING/ADVERTISING PLANNING In today's competitive marketplace, planning the suc- cessful marketing of_a product or service is of vital impor- tance. In the words of Clarence Eldridge, "It can be con- fidently asserted that since the very inception 93 the mar- keting concept, the marketing plan has made g significant contribution not only §3_better marketing as a_whole, but 23 better advertisinggpecifically."9 Arthur Lavidge states " ... in the battle for share of mind and share of market, "10 strategy is a prerequisite for victory. yet he poses an interesting question " ... how many people in business actu- ally map out a course of action for themselves?"11 According to Stansfield, less than 10% of all industrial companies have a formal, written marketing plan, with well— defined marketing and advertising objectives.12 He explains 9E1dridge, "The Role and Importance of the Marketing Function," The Management of the Marketing Function, art. v, p. 3. 10Lavidge, p. 51. 111b1d., p. 50. .12Richard H. Stansfield, Advertising_Manager's Handbook (Chicago: Dartnell Corp., 1959), p. 175-176. 11 12 as follows: Most industrial companies are simply not advertising and marketing-oriented. They attach such a small importance to the function that management is unwil— ling to allocate sufficient time to the planning func- tion so that advertising can contribute its full poten- tial. Vague notions and good intentions suffice, and some— how they muddle through. Others emphasize catchy slogans, cute ideas, and intriguing themes for their campaigns. And because advertising is part art, part science, with many other intangibles, occasionally one of these intuitive advertisers hits upon a real gem of an idea and makes it pay off big. Some gamblers do in Las Vegas, also -- and just about as often.1 ' Stansfield focuses on two major deterrents to the practice of planning which appear to be relatively widespread: (l) insuf— ficient allocation of time necessary to develop plans, (2) the widely held beIief that "creativity" alone is what advertising is all about. Insufficient Allocation of Planning Time- Probably the biggest deterrent to advertising planning is the fact that agency personnel responsible for writing advertising plans have very little time to prepare them. In addition, they are writing these plans to clients who have very little time to read them. One of the key features, there- fore, of an advertising plan is that it be highly selective -- economical in terms of what it says and how it says it.1L| 13Ibid., p. 176. 1“Harry L. Smith Jr., "Foundation of a Marketing Plan: Situ— ation Analysis, Problems and Opportunities, Objectives," The Marketing Plan in Action, p. 13. l3 Irrevelant facts must be discarded and excess verbiage cut away in order to provide the client with a succinct, quality plan. To achieve such quality, more time is usually required in writing plans. A It is easy to slight the planning function, particularly at the small agency, due to the stringent time demands of day- to—day client service. Agency management must have the fore- sight to see the benefits (saves time in the future, smooths agency-client relationship, etc.) that time initially invested .in campaign planning will reap in a campaign's execution. Good p1anning requires thinking, and thinking takes time. fl The Creativity Myth The second deterrent to advertising planning Stansfield mentions is the belief that creativity alone results in effec- tive advertising. This is a misconception that has slowed the progress of advertising planning and is still harbored by some in the advertising industry. According to Eldridge, even today there are marketing men who are " ... inclined to pooh-pooh the necessity for any plan. They profess to believe that all that is needed is more of what they call 'creativity' in advertising. No one will deny the need for creativity -- more genuine creativity -- in advertising. But to be effec- tive the advertising must be relevant to some problem -- some marketing objective -- and it needs to also be synchronized 1| [l [I [l |[[[[[Il’|l‘l‘ I‘ll.[l| [Ill [ll [A {EA [LI 1A with all the other elements of the marketing mix."15 Adver- tising should be creative, but this creativity must be dis- ciplined according to advertising objectives spelled out in the advertising plan. The‘Adyertising'Agency's Role in Planning The question of how much responsibility the agency should assume in planning its clients' marketing has not been satis- factorily answered. The Association of National Advertisers attempted to describe,the various degrees of agency involve- ment along key marketing functions after conducting a study in 1965 (See APPENDIX A, p.71).15 The nature of the agency role depended on the degree of agency involvement across sev-. eral major activity groupings. These included: (1) marketing planning, (2) new product planning. (3) marketing research, (A) sales promotion, and (5) advertising. The most prevalent .working relationship patterns identified between agency and client reflected the nature of the agency role falling into . one of five categories: (1) limited to advertising, (2) adver- tising plus selected services, (3) marketing counsel, (A) mar-’ keting partnership, and (5) marketing leadership. The first two of these categories (limited to advertis- ing and advertising plus selected services) are, generally 15Eldridge, art. v, p. 3. 16Management'and Advertising PrOblems, p. 57. 15 speaking, descriptive of the role of the small advertising agency, while the last three (marketing counsel, marketing partnership, and marketing leadership) are more typical of larger agencies. The nature of the agency roles were also related to company characteristics (APPENDIX A, p. 72).17 Thus, not only were agency roles related to agency size but also to company or advertiser characteristics. This suggests that one agency, regardless of its size, might very well perform two or more of these roles depending on its client list. In general, however, it seems safe to assume that small agencies handle advertisers with much less complex company characteristics than their larger counterparts. Therefore, the difference in the level of agency involvement between small and large agencies is also likely to be great. Like- wise, the degree and complexity of marketing and advertising planning provided by the agency seems to increase with agency size. However, the Eggg’fgg such p1anning crosses all cate- gories and sizes. I For the large agency working with corporate giants such as Procter & Gamble, General Motors, or General Foods, there seems to be little doubt that planning is adequately dealt with by both client and agency -- each side having the depth of personnel and sophistication of techniques (or access to them) which make marketing and advertising planning more 17Ibid., p. 58. I‘ll-IA vl": A AHIIIIIL 'Al.[f|ll [Ill [LIII -[llldrlll I‘ln [III [III A! {AA III>\(II II 16 systematic and less subject to chance. Here, both client and agency seem to recognize the importance of planning and realize that there is more to effective advertising than mere making of ads. But for the small agency working with relatively unsophisticated clients, on a much less grandiose scale, planning presents some very real hardships. Not only are all phases of advertising for a number of clients handled by a handful of people at the agency, but also they are often faced with a client who has very fgg_or g2 marketing and/or advertising personnel and little knowledge of what effective advertising entails.18 For the account executive at.a large agency, planning usually involves one or two closely related products and a wealth of expertise within the agency to draw on. For the account executive at a small agency, planning typically means responsibility for several clients plus serving as part-time copywriter, media analyst, research director, and president,of the agency. What the small agency lacks, which a large agency supplies, is supporting talent and knowledge -- in other words, depth.19 18Interviews with Mr. Mark Battaglia, President — Capital Advertising, Inc., May, 1974. 19Douglas Johnson, "Product Group Desk Book," Rough draft of an agency plans approach. September 11, 1972. (Xeroxed,) 17 In addition, a small agency's typical client lacks planning expertise and/or is unwilling to invest in agency time devoted to planning. Taken together, the agency's small staff and the client's lack of interest create a shortage of men, minutes, and money -- essential ingredients in carrying out the planning function. Consequently, even the small advertising agency who understands the value of planning is discouraged from undertaking the task for his client.20 A paradox arises due to the fact that the demand for agency market planning and support comes "... more from smaller businesses and less from larger businesses."21 While larger companies move toward self-sufficiency reducing their reliance on advertising agencies for full marketing services, smaller companies "... continue to find their agencies highly valuable 'in providing total marketing competence. Indeed, the agency is often the most vital means whereby small companies are able to compete with their larger, more self—sufficient competitors."22 In a sense then, small advertising agencies, who have less ability to plan effectively, find themselves playing the dominant role in their clients' marketing programs, 20Interviews with Mr. Mark Battaglia. ' 21Management and AdvertisingiProblems, p. 96 22Ibid., p. 97. 18 however limited those programs might be. While the level of sophistication and complexity of such plans acmes no . where near the plans utilized by their larger counterparts, the importance of and need for such planning is just as V great. CHAPTER III PLANNING THE CAMPAIGN Planning Approaches Given that planning is a valuable management tool and important to sound marketing, the next logical question is —- what is involved in the formulation of an advertising plan and how is a "good" plan developed? To understand what goes into a plan, its purpose must be considered. Eldridge describes the primary purpose of the marketing or advertising plan as making sure that all relevant facts are known from which emerge a clear picture of the problems to be overcome and the opportunities to be exploited. He goes on to say that with those problems and opportunities as a basis, a set of realistic, specific objectives must be developed, followed by the strategy and tactics necessary to achieve them.23 Thus, p1anning demands analysis of the facts and requires thinking which enables management to understand the important situational elements crucial to the develop— ment of specific objectives and the strategy and tactics necessary to accomplish them.2u 23Eldridge, art. v, p. 2. 21'Prentice, p. 8. 19 20 While this gives a general idea of what is involved in a plan's formulation, there is still the question of how a "good" plan is developed. Identifying "relevant" facts and the problems and opportunities they reveal, defining "realistic, specific" objectives, and deve10ping £22. stra- tegy and tactics "necessary" to achieve them —- all sound like extremely subjective procedures. Indeed, they are. In the words of John Hughes: "Marketing goals and problems are basically set and solved by good judgment —— judgment based on experience, tempered by expediency and contained within a fiscal framework. These judgments must be fluid and must be distinctively tuned in with the current situa— tion and the current time."25 But the utilization of a planning approach or design can help the business executive responsible for decision- making to assess all the important factors surrounding a given situation and to consider alternatiVe approaches to a given marketing problem. Planning organizes his thinking and therefore, lends more objectivity to the decision-making process. In addition, because adoption of a planning approach provides Such organization, the planning task is greatly simplified and easier to handle. As might be expected, many marketing and advertising planning approaches have been forwarded by a variety of ,25John Hughes, "New Product Marketing for Old and New Brands," The Marketing Plan in Action, p. 59. 21 authors. Michael Ray talks about the "decision sequence," 'his term for a planning approach which consolidates all mar- keting communications including sales promotion, personal selling, direct mail, advertising, product sampling, pub- licity, public relations, and packaging.26 Relating adver- tising goals to total marketing objectives, William Gillilan explains an approach used by Ketchum, MacLeod & Grove, Inc. called "opportunity focus."27' In a more academic vein, Buzzell and Slater discuss "decision theory" and the six steps to putting it into practice.28 A number of other mar- keting planning approaches are forwarded in the American Marketing Association's The Marketing Plan in Action. In essence, however, each of these planning approaches is either an imitation, elaboration, or modification of a simple formula sired by Clarence E. Eldridge -- lawyer, sales manager, vice president of one of the largest advertising agencies, and director of advertising for the largest food corporation. The four major parts of the Eldridge plan 26Michael L. Ray, "A Decision Sequence Analysis of Develop- ments in Marketing Communications," Journal of Marketing, XXXVII, No. 1 (January, 1973). p. 29-31. 27William Gillilan, "Relating Advertising Goals to Total Marketing Objectives," Torch (May, 196A), p. 11+. 28Robert D. Buzzell and Charles C. Slater, "Decision Theory and Marketing Measurement," Journal of Marketin , XXVI, No. 22 are: 1. Statement of Facts 2. Problems and Opportunities 3. Identification of Objectives A. Recommendations This model, in one form or another, appears to be used by nearly every advertising agency and manufacturer in the "country. An In-Depth Look at the Eldridge Plan While the Eldridge plan is only one of many ways of attacking the planning problem, it is unusually lucid and logical -- a helpful document that can be readily adapted by small advertising agencies and their clients. 'It must be understood, however, that while the Eldridge plan can help organize thinking throughout a campaign -- analytical ability, experience, judgment, and ideas are still require- ments for successful planning. In short, competence in execution is necessary to use the Eldridge plan to its full advantage. Statement of Facts This is in many ways the most important element of the plan since everything else depends upon a correct un- derstanding of the facts.30 All the facts that.have any 29Eldridge, art. v, p. 6. 3°Ibid. [IIII‘I' lnl‘l '- III I [ll 1' [III-all {I ! llll‘.)l|lll' ll |ll|| [1' {AAA '- 23 relevance to the marketing position should be disclosed. The reason for this full disclosure of facts was well expressed by Benjamin Franklin who claimed that decisions are hard to make chiefly because all of the reasons pro and con are not present in the mind at one time: "'When I have just got them all together on one view and the whole lies before me, I think I can judge better and I am less liable to make a rash step.'"31 The statement of facts then, allows the planner to view 'not only the general environment in which his client's product or service lives, but also how this product or service is doing in that environment. This typically includes: (1) a pertinent historical (past five years is generally sufficient) and present state summary of the client's position in the marketplace, (2) his relationship to his competition, (3) pertinent economic, legal, or demographic trends, (A) a statement of corporate and marketing objectives.32 1. A pertinent historical and present state summary of the client's position in the marketplace Historical information usually includes a sales history which reports growth, status and trend in distribution, share of market, and how much was spent in the past on promotional activities, as well as how monies were allocated. In addition, past advertising strategies and any evidence of effectiveness may also be helpful in developing new strategies 318mith, p. 13. 32Baumgardner, p. 55. .‘I‘l'l.[ nlll‘ l..l Ill '- I lll [ l'll‘ll‘ [I [ llllll..[|\illl‘ll' llll‘l‘l‘l 2A and should be included. Identifying the present market and knowing what con- sumer wants the client's product or service is designed to satisfy are vital to an understanding of the present state of the client's situation. An objective appraisal of the product or service should be made along with some attempt to get at consumers' attitudes in this regard. Other things that may be important include packaging's attractiveness or pricing of the product or service. Where dealers, salesmen, etc. are part of the client's organization, they may be an important audience to consider along with final consumers. 2. The client's relationship to his competition In today's marketplace, every product and service faces competition, even if it is limited to competition for the consumer's time or money. Once obvious competitors have been isolated, more ambiguous secondary competitors (if any exist) should be considered. Product positioning of the client and his competitors should be analyzed and competi- tive advantages and disadvantages noted. In addition the client and agency should be aware of past and present coma petitive promotional activities. Understanding the competi- tion helps the agency formulate a campaign tailored for his client and geared towards consumer's "unmet" needs rather than derived from competitive short-sightedness. 3. Pertinent economic, legal, or demographic trends Shifting variables in the environment affect different businesses at different times and should be acknowledged by 25 the agency when they pertain to the client. If some factor in the economy is affecting the client's business or the future points to such an affect, the ramifications of it may 8 need to be dealt with in the plan. Trends of an economic nature sometimes account for events mistakenly attributed to advertising. Legislation of one sort or another may also be important to the client's product or service and must be recognized as an uncontrollable given. Demographic trends in an area should also be watched. Because it is all important to know the client's audience, any relevant changes in demography should definitely be cited. A. A statement of corporate and marketing objectives This is one of the most important and least recognized elements in the statement of facts. William Guisewite states: "About the silliest thing an agency man can do is to attempt to write advertising or sales promotional recommendations without having the client's...objectives spelled out in detail for the period to be covered by them."33 It hardly makes sense to attempt to come up with advertising objectives without first knowing what the client's corporate and market- ing objectives are. Otherwise, advertising objectives may very well be inconsistent with higher priority objectives. This hierarchy of objectives simply means advertising objectives must be consistent with marketing objectives which in turn must be consistent with corporate objectives. 33Guisewite, p. 67. 26 According to Guisewite, because "... the biggest single deterrent .to the writing of sound recommendations igilggg 2: knowledge about the client's marketing/communications objectives," the agency must dig them out and concentrate on understanding them.3u The first step in preparing good recommendations is to get a complete understanding of the client's communi- cations needs and reasons for them. Obviously, this list could go on for some time, depend? ing on the client and/or product or service being discussed. The important thing is to isolate thpse facts which have a bearing on what promotional solution will best serve the client's needs. This is not a simple process and involves what Robert Wiegand calls an "appraisal of strategic factors": (1) recognizing the large number of strategic factors, (2) eval- uating the degree to which they are strategic, and (3) evaluat- ing your (the planner's) own ability to relate the facts of the situation to the consequences or risk involved.35 The second step in this process is crucial, according to Frank Knight, because "'When the number of factors taken into account in deduction becomes large, the process rapidly becomes un- manageable and errors creep in,,..'"36 Enter judgment 3"Ibid. 35Robert E. Wiegand, "How Extensive the Planning and Develop— ment Program?", Journal 9f Marketing, XXVI, No. 3 (July, 1962), P- 55. 36Ibid. 27 and experience - but even the novice planner.can handle the task when his thinking is organized, providing the given situation is not too complex. In most instances, the small advertising agency is not faced with an extremely complex marketing situation so having to deal with a multiplicity of strategic factors 37 When such a situation does arise, will probably be rare. the inexperienced planner should concentrate on major factors and leave subleties for later p1anning periods. In any event, priority must always be given to those factors which are deemed most influential in a given situation. A more common occurrence at the small advertising agency level may be a failure to include all factors relevant to a given situation. To guard against just such an occurence, a checklist for planners is used by some advertising agencies. This helps insure that no area has been overlooked which may be important to planning a campaign. An example of such a checklist is provided in Appendix B (See p. 73). A simplification of a planning approach designed by Douglas Johnson for McCann-Erickson, Inc.,38 this type of checklist outlines the important areas that should be considered in for- mulating a plan. While not all of the areas included will be applicable or important in every situation, each should be initially viewed as a possible input to the planning process. 37Interviews with Mr. Mark Battaglia. 38Johnson, p. 22-23. 28 Most of the information listed should be obtainable from the client. By implementing the checklist, the agency can record information it has already received and is made aware of areas that still need clarification. This focuses the account executive's attention to gaps in information which he can seek out at subsequent client meetings. Areas where the client has no available information may point up the need for research. If the client is un- willing to conduct or finance such research, the agency has no choice but to proceed with available information. But every effort to obtain the desired information should be made -- including a trip to the local library if relevant facts can be found there. The end result may be a statement of facts of only two or three pages -- or it may go on for several -- but all important information should be provided .there. The weight of the advertising plan is not important -- the content 13.39 Problems and Opportunities After the material in the Statement of Facts has been analyzed, there will become apparent problems which need solving and opportunities to be exploited. In essence, the Problems and Opportunities section of the plan is a summary of the most important facts -- those facts which point out the strengths and weaknesses of the client's situation.no . 39Management and Advertising Problems, p. 111. “Demith, p. 1h. 29 These should be carefully listed and thought about for "...where a problem exists, there exists an opportunity —- even if it be no more than a negative opportunity, an oppor- tunity to remove the obstacle presented by the problem.”1 Thus, "...recognition of the problem is the first step to creating an opportunity. And out of the combination of problems and opportunities comes the next part of the plan.“42 This section then, can be thought of as not only a summary of the Statement of Facts, but also a bridge to the Objectives section."3 Identification of Objectives In this section, there should be an enumeration of all the objectives toward which the plan will be directed. Eldridge points out the importance of setting objectives: The objectives constitute the core of the plan. The remainder of the plan -- as important as it is -- is a program for achieving the objectives. At this point the sequential relationship of the various steps in the plan becomes clear: the analysis of the facts discloses the problems and the opportuni- ties, and the objectives then represent merely the desired solution to the problems and the exploitation. of the opportunities. One part of a plan so structurfid , follows logically and inexorably the preceding parts. A These objectives must be consistent with both corporate and marketing objectives of the firm and be as specific and ulEldridge, art. v, p. 8. "21bid., p. 9. “33mith, p. 15. quldridge, art. v, p. 8. . 30 complete as possible. At this point in the plan, knowing the client's hierarchy'of objectives becomes a necessity to the establishment of reasonable advertising objectives. This depends on having put first things first —- i.e. get— ting " ... marketing to account to communications before. communications commits itself to a pre-determined impact." Even after the client's objectives are known however, A ... the real problem with setting objectives is to make them specific enough to be workable tools in planning." Certainly the classic reasons for advertising are such things as building a reputation for the client, increasing his volume, or increasing his profits, but objectives defined in these broad generalities lack specificity and consequently, lack usefulness. Stansfield talks about the problem with such general objectives: Non-objective objectives cost -- cost in wasted.time and wasted opportunity and wasted dollars. Vague and- non-specific, they offer a haven to the fuzzy thinker, who can't or doesn't want to produce. They demand that advertising handle all functions of communications, ,something it never pretended to be able to do. They espouse the viewpoint and desires of the advertisers, rather than those of the prospect. And, equally impor- tant, non-objective objectives make it impossible to measure effectiveness. 7 Thus, advertising objectives, if they are to be held account- able for contributing some part of the overall marketing “SGillilan, p. U0. “6snith, p. 15. “7Stansfield, p. 1A2. 31 effort, must_bg specifically stated. In setting advertising objectives, there should be a basic communications task (what idea is to be communicated) to be accomplished among some portion of a defined audience over a given period of time. From here stem message and media objectives consistent with these broad advertising objectives. Message objectives are useful in delineating more specifically the communications task for individual messages, while media objectives establish what reach and frequency levels will be necessary to achieve the overall advertising objectives and aid in media selection. In addition, sales promotion and/or other sales support activities should have their roles de- fined in terms of objectives at this point in the plan. .It should be kept in mind that "An objective is practical only when you have information which indicates that objectives can be attained with available facilities and available mar- - keting effort."u8 -- i.e. objectives must be realistic. Ob- jectives -- real ones -- are not easy to state but must be operationally defined so measurements can be made before and after to see what advertising has accomplished. Recommendations - The Recommendations section of the plan is composed of the strategy and tactics of the promotional program -- those activities, alone with rationale for them, which are designed to overcome the problems and exploit the opportunities and “BSnIth, p. 15-16. 32 thus, achieve advertising objectives. Strategy is "what" the agency recommends while tactics detail precisely "how" the strategy will be put into action. Often alternative strategies are considered and eval- uated and on the basis of that evaluation, one strategy selected and recommended as the one that seems most likely? to succeed. This includes spelling out what part of the promotional job will be delegated to advertising and what part to sales promotion. The rest of the section then constitutes a complete plan of action based on the selected strategy. The unifying concept which brings all parts of advertis- ing and sales promotion together, welding them into a complete unit with an assigned task in terms of the advertising ob- jectives, is the advertising campaign. The campaign usually consists of at least three elements: (1) Creative - a series of advertising messages pre- pared for various media (2) Media - a planned schedule of where these messages will appear (3) Merchandising - publication, promotions, and other selling activities unified with media messages to be implemented in the campaign Each of these elements and their subdivisions must be related to Elm; and ngngy -- how much to spend and when and how. In addition, some means of evaluating the campaign should be suggested to aid in monitoring the campaign's success or lack of it. Thus two more elements Should be 33 discussed in the Recommendations section: (A) Budget - the entire cost of the campaign includ- ing media, promotion, production, etc. costs .' (5) Evaluation - suggestions for some form of formal or informal research to be conducted as a means of measuring the campaign's progress Objectives -- advertising, message, media, merchandising ~- guide all of these elements in the "execution" stage of the plan. Creative. Creative strategy andctactics involve deci- sions about the basic theme or central concept to be com- municated to present consumers and/or potential consumers of the client's product or serVice.“9 Each advertisement or commercial should contain a single selling idea consistent with the central campaign concept which runs through and is the foundation for all the messages in each series. Arriving at the "big idea" requires a great deal of in- formation about both the product or service and prospective consumers -- much of which is provided in the Statement of Facts. Further insight is provided by the Problems and Oppor- tunities section of the plan. But it is in the Identification of Objectives section of the plan that the creative person ’has his job most clearly presented. If the communications task and the audience to be reached are sufficiently described, his problem becomes one of deciding not "what to say" to "whom" but "how to say it" —- creatively. “9John R. G. Jenkins and Jay Zehiel Zif, Planning the Adver- tising Campaign (New York: The Macmillan Co., 1971), p. 22. 34 It is the creative person's job then to arrive at this single selling concept for inclusion in the plan by transla- ting product attributes into consumer benefits based on consumers' wants and needs. The process resulting in this translation is called creativity or what Gordon White calls 50 Just what takes place in the "x factor" in advertising. this creative process remains a mystery, yet even the crea— tive person can benefit from sound planning, which in turn justifies what he or she creates. According to Eldridge, the first step in the actual creation Of advertising should be "...a decision about the primary purpose of the advertisement."51 He maintains that advertising serves three main purposes: (1) it can inform; (2) it can persuade; (3) it can remind. While he admits that most ads do not have a single purpose, he feels the agency should "...provide a clear statement on which of these three essential purposes a particular ad or campaign is intended to achieve."52 and should justify why. Once again, the creative task is clarified. Examples Of actual ads are usually provided in the plan along with reasons why the particular creative execution was chosen. Formulation of a copy platform -- a shortened version of specific information which pertains to accomplish- ment of the communications task -— is a planning tool which 5QGordon E. White, "Creativity: The X-Factor in Advertising Theory," Journal of Advertising, Vol. I, No. l (1972), p. 28. 51Eldridge, art. vii, p. 8-9. 521bid., p. 10. ./- 35 is often used to provide the necessary justification for individual advertisements or commercials. While the com- plexity of copy platforms varies, the essential elements are a statement Of the selling idea, a description of the "audience the advertisement or cOmmercial is designed to reach, the specific product or service attributes featured, and a description of the basic style and technique used in execution. Stansfield points out some of the copy platform's benefits: A carefully thought out and clearly written copy plat- form ... forceS'all who work within its framework to be precise. The written platform is the antithesis of the half—formed, poorly expressed thought, of the ill— conceived concept.... Furthermore, the written copy _ platform puts all concerned on record, for it is formal evidence of an agreement as to the purpose and scope of a campaign or individual advertisement. Finally, and perhaps the most important benefit realized from the “copy plggform, development of a campaign is infinitely easier. ’Like the advertising plan as a whole, the copy platform saves time by organizing and clarifying creative thinking. While the creative aspects of advertising will always be more art than science, planning lends a degree of discipline which yields creativity for a purpose rather than creativity for its‘own sake. Mgggg. Media strategy and tactics involve decisions regarding the achievement Of reach and frequency levels among 53Stansrie1d, p. 253—25u. 36 the target audiencc(s) as outlined by the media objectives. Simply stated by Dr. J. Bachelder: "Media strategy comes down basically to matching product audience with media audience."5u This includes weighing the relative advantages of each available medium of mass communication with special emphasis on each medium's ability to present the previously agreed—on theme with a high degree of effectiveness among the desired audience.55 In addition to message and audience guidelines, other pre-strategy considerations should be made from information provided in preceding sections of the plan before selecting the specific media vehicles to be used in a campaign's execution. One such consideration is the product or service's character or personality. For example, a product which requires an informational approach may be better suited to print, with more lengthy copy Opportunities, than television or radio where OOpy is limited to sixty seconds or less. Seasonality of a product or service will also affect both media selection and scheduling. Another product/service consideration, which may be a critical factor in media selection and/or scheduling, is availability. While sometimes unavoidable, media vehicles which advertise a product or service to a large number of peOple who do not have access to the product or service are usually undesirable selections. 5“Dr. J. Bachelder, "Problems in Industrial Media Strategy," The Marketing Plan in Action, p. 39. 55Jenkins and Ziff, p. 22. 37 The geographic location and size of the target audience may also influence media selection. For the small advertising agency, geographic location is typically restricted to a region (one, two, or three states) or individual cities. This obvi— ously excludes all national media, with the possible excep- tion of a few publications printed in regional editions. .Size Of the target audience is also influential. For instance, while the business section of the local newspaper may be well suited to a product or service's character, the nature of the message, and geographic location as well as audience character- istics, a particular target group may be sufficient small and well—defined (i.e. identifiable) so as to make direct mail a more logical media choice. Another consideration which is often important is competitors' advertising activities. If a competitor has saturated a particular medium, it is sometimes wise to select another medium. However, this is not always possible due to a medium's importance or appropriateness. If this is the case scheduling may prove to be an aid in overcoming the competitive noise level by heavying up frequency in a given medium during specific time periods (flighting). An alter- native solution might also include increased merchandising activities. If major revisions of a campaign's execution are to be avoided, it is imperative that the person(s) responsible for planning the media buy be aware of general budget 38 limitations. The most common mistake in media selection is spreading the budget too thin.56 If this is to be avoided, ball park budgetary figures must be known to do a good job of reaching the selected target audience(s). When such estimations are not provided in the Objectives section of the plan, they must be made here. The specific media characteristics which must be eval- uated include: coverage, dominance, frequency, continuity values to the overall campaign, and cost efficiency.57 Using these as criteria, media are then selected and subsequent decisions revolve around size of ads, length of commercials, positioning, color, repetition of ads, and scheduling.58 'The completed plan should include a complete media schedule for the apprOpriate time period as well as rationale for bbth selection and scheduling. In addition, cost of the various media that comprised the buy should always be included. In summary, the major function Of media planning is to place the client's advertising in front of the largest number of the best prospects. This means knowing who the right prospect is, where he is, what his media exposure habits are, and how to get to him as effectively, economi- cally, and often as possible. In the words Of Thomas Wright, 56Holton C. Rush, "Ten Points the Account Executive Needs To Know About Media Strategy and Media Selection," A Handbook for the Advertising Agency Account Egegutiyg, p. 298: 57 58Ibid., p. 192. Lavidge, p. 189. 39 good media planning results in a media mix that will: DELIVER THE RIGHT SALES MESSAGE TO A SUFFICIENT NUMBER OF THE RIGHT PROSPECTS AT THE RIGHT TIME WITH THE RIGHT AMOUNT OF FREQUENCY AT GOOD COST EFFICIENCY 59 AND IN THE RIGHT MEDIA ENVIRONMENT For the small agency, such comprehensive media planning may seem best left to the large agency whose "...media depart- ment is strongest and at its highest state Of develOpment."60 However, "This does not mean that media is a less important function at the smaller shops; rather, it is so important that agency management must become involved when large media 61 departments are unaffordable." The tendency, however, is to avoid such planning and rely on past experience and in- tuition or even a client's media preference due to time constraints. Holton Rush warns against this when he speaks about media planning: And throughout it all, you check continually to make sure you're not planning or buying by mere habit or whim. This still happens entirely too often ... because it's sometimes easy to find justifications for using whatever medium is favored by a particular company. Remember the client, unlike the legendary customer, isn't always right and be willing to stand up tactfully for what your agency decides is right. This doesn't mean resigning an account when a client disagrees with you. It does mean trying conscientiously to sell your 59Thomas A. Wright Jr., "Media Planning and the Complex U. S. Media Market Place," Papers from the 1967 Briefing Session for Guests from Over Seas, Delivered in New York, April 18, 1967, p. 35. 60A Study of the Agency Media Function, Study conducted among 365 agencies by the A.A.A.A. in the summer of 1968 (New York: A.A.A.A., February, 1969), p. 6. -5lIbid ’ NO agency convictions. Then, if the client insists on his way you have at least fulfilled your obligation. 62 Proper execution of the media function then, requires prOper planning. Merchandising. Merchandising activities typically in- clude sales promotion and public relations, and are used to 63 facilitate the buying and selling transaction. As more Land more advertisers appear in media, merchandising Often becomes an important aspect of the client's promotional pro- gram. The performance of this function is particularly important for the small agency, for while large corporations usually handle their own sales promotion, small clients are likely to depend on their agencies for all of their promotional needs. Sales promotion covers a wide range Of activities from point-of-purchase to cents-off couponing, contests, give-aways, all the way to matchbooks. Dinners and other special "staged" events may also fall into this category. In implementing any Of these, two things to remember are (l) the activity should be consistent with the overall campaign theme and (2) the acti- vity should be pertinent to the given promotional needs of the client. Responsibility for public relations may also fall to the small advertising agency. This function primarily involves 62Rush, p. 298. 63Dr. Milton J. Margolis, "Sales PromOtion Planning," The Mar- keting Plan in Action, p. 29. ' 91 writing public relations releases and mailing them out to local media. However, it is relatively difficult to get such releases printed unless they are particularly news- worthy.6u Other public relations considerations may include suggestions for client involvement. While public relations should be covered in most plans, it cannot be heavily relied upon in the execution of a campaign due to its tenuous nature. Budget. Advertising budget-setting is not an exact science, and there is no sure magic formula for deciding on just the right amount to spend.65 Yet somewhere along the line, the advertiser must decide how much to spend on adver- tising. "For the advertiser there is a constant and rea- sonable concern with the way the advertising function is carried out, since many dollars are spent which he cannot directly control. It requires that the agency be concerned fully with client Objectives and interests, as much or more than its own."66 According to Eldridge, marketing budgets receive far too little attention with the result that the amount of the budget is " ... determined more by guesswork and instinct than by 6“Interviews with Mr. Mark Battaglia. 65David Harwood, "How Companies Set Advertising Budgets," How Much to Spend for Advertising? Ed. Malcolm A. McNiven, (New York: A.N.A., Inc., 1969), p. 11. 66Management and Advertisinngroblems, p. 89. A2 application Of scientific or even thoughtful analysis."67 He describes how most advertisers arrive at the total alloca- tion figure as the "sales-costs-profits formula." Using this formula, advertisers start out with gross profit (based on a trend projection of sales volume) and subtract desired pro- fits (enough to satisfy owners, stockholders, etc.) and other- than-marketing expenditures (e.g. general administrative ex— penses, taxes, etc.) to arrive at the maximum amount to be appropriated or budgeted for marketing.68 Eldridge explains the difficulty with such an approach: It is too inflexible, too mechanical, too impervious to the factors and intangibles which keep the art of marketing from graduating into the exactness and pre- dictability of a science. On the other hand, there is this to be said for it: the method is easy to apply. All that is needed is the ability to add, subtract, multipgy and divide. It isn't necessary to be able to think. Eldridge calls this "how not to arrive at the total allocation 'figure." Wedding and Lessler discuss a number of advertising budgeting methods which follow this same line of reasoning which they describe as existing in the "arbitary allocation environment." These include percentage~of~sales or profits, competitive parity (meeting the competition), and unit of sales (so much per unit of sales, per wholesale or retail 67Eldridge, "The Marketing Budget and.Its Allocation," art. viii, p. 1. .68181d., p. 3. 69Ihid., p. u. A3 outlet, etc.). These methods are well-established, and Wedding and Lessler cite four reasons for the relatively wide-spread, haphazard, marketing thinking these methods represent: (l)percentage-Of-sales published with no ex- planatory information, (2) setting a limit that seems con- servative, (3) the cyclical timing of advertising expendi— tures (advertising which follows rather than leads sales is limiting), and (A) arbitrary allocation is the easiest thinking procedure to follow.70 They conclude, "...the envi— ronment of arbitrary allocation is more financially oriented, less marketing-minded, less flexible, and dominated by habit."71 The reason these methods have been so widely discounted is that they attempted to isolate the basis of budget deter— mination to one financial factor —- such as sales or the cost of one unit of a product/service or how much the competi— tion is spending -- when in reality, several interdependent factors should be taken into accOunt in arriving at the final budget.72’73 These include the promotional problems 'that are faced, the climate in which the advertising will be working, the strength of the product story, and the competitive situation. While consideration of facts alone will not provide foolproof answers, full advantage should 7ONugent Wedding and Richard s. Lessler, Advertising Manage- ment (New York: The Ronald Press 00., 1962), p. 312. 7llhid., p. 316. 72Eldridge, art. viii, p. 16. 73HarwoOd, p. 11. 1m be taken of all the facts available to reduce the likelihood of costly mistakes.7q The budgeting approach that does just that is known as the "task" method and is generally accepted as the best way of arriving at marketing and/or advertising appropriations.75 Stansfield states: The task method is the only logical, sensible method of establishing an appropriation because it is based firmly on the premise that enough money must be appro— priated to achieve desired objectives.76Inherent in the task method is stating objectives. Therefore, successful implementation of the "task" method in determining the advertising budget depends upon the for- mulation of specific advertising Objectives based on the Statement of Facts. Questions dealing'with the environment which the agency should attempt to answer before arriving at the final figure include: (1) What is it that advertising has been asked to do?; (2) What is the primary purpose of the advertising? (e.g. immediate sales versus building the firm's image); (3) How different is the product or service?; (A) What is the anti- cipated frequency of purchase and margins?; (5) What is the product or service's usage pattern?; (6) What is the margin in pricing policy of the product or service?; (7) What effect would greater volume have on production costs?; (8) What stage 7A Eldridge, art. viii, p. 16. 75Richard J. Kelley, The Advertising Budget: Prgpgration Administration and Control (New York: A.N.A., Inc., 1967), p. 13. 6 7 Stansfield, p. 1A38-1A39. us of the product life cycle is the product or service in?; (9) What is the state of competitive activity?.77 Keeping in mind these environmental factors, the amount of money deemed necessary to achieve the established adver- tising objectives over a given period of time becomes the recommended advertising apprOpriation- "How to budget is created from the apprOpriation and how the money is used to achieve objectives is where past experience and seasoned professional judgment come into play."78 One helpful aid to sound budgeting is making sure all necessary money is assigned to each objective by priority. To guard against coming up short during the year due to unex- pected events, a contingency fund should always be included (usually approximately two and one-half percent of the total budget). "One thing you can predict with assurance is the unexpected. It always happens."79 In addition, a finan- cial review is often used as a check after objectives are defined, tasks outlined, and costs estimated".u. but only after the fundamental marketing thinking has been done."80 While the "task" approach is preferred, some clients insist on arriving on the advertising budget through percent- age-Of-sales or some other similar method. Stansfield regards 77Wedding and Lessler, p. 317-318. 78Stansfield, p. 1u39. 79Ihid., p. 1AA6. 80Wedding and Lessler, p. 318. A6 these as baCKward managements. He explains that... They don't understand advertising, but you can bet your sweet life they claim they do. They don't want to understand advertising, so don't bother them with facts; their little minds are already made up. They haven't the slightest inkling of what advertising could contribute to their company, but then, everybody knows advertising doesn't produce anything -- it's just a cost item. Trying to plant an idea in such minds is not'sowing in fertile soil. 1 The small advertising agency may be faced with more than its share of such clients, given the lower level of SOphistication of many regional or local firms. "Where the client prefers to work within the framework of a set budget (Often based on percentage Of sales) it is your [the agency's] responsibility to see that the client's objectives are con- sistent with that budget."82 The agency must force the client to be realistic or suffer the consequences of unfulfilled promises. While the agency may still have to learn to live with set budgeting procedures, an educational program will have been established which may improve the situation in time.83 Evaluation. Suggestions for evaluating the campaign should also be included in the Recommendations section to provide a means of measuring advertising effectiveness. Dalbey, Gross, and Wind define advertising effectiveness, admittedly broadly, as a "...term used to denote the degree to which advertising can change peOple's external or internal 81Stansfield, p. 1A36. 82Guisewite, p. 68. 83Stansfield, p. 1A36. A7 .behavior with respect to an item -- product, service, or idea -— advertised, and in the direction desired by the advertiser."8u The question that inevitably arises in measuring advertis- ing effectiveness is just what advertising can be held account— able for -- particularly in terms of sales. Ultimately the objective of advertising is to "... raise the level of pre- ference for a product and, hOpefully, to reap a benefit in terms of increased sales, but it does not necessarily follow ”Athat sales figures constitute a measure of advertising."85 Unfortunately, many advertisers still fail to recognize that advertising is just one of many market forces which contri- I butes to but never insures the sale.86 According to Britton, "It is impossible to count the number of good advertising campaigns that have been wrecked on the rocks of measurement by sales results, or the number Of mediocre ad campaigns that have looked great because the client hired a new sales manager or brought out a better product. Sales are just not a reliable measurement of advertising effectiveness."87 8“Homer M. Dalbey, Irwin Gross, and Yoram Wind, Advertising Measurement and Decision Making, Ed. Patrick J. Robinson (Boston: Allyn and Bacon, Inc., 1968), p. 6. 85Gail Smith and Dr. K: Raymond, Measuring the Effectiveness of Advertising - Two Approaches, Paper presented at the Spring meeting of the A.N.A. (New York: A.N.A., 1965), p. 1-2. 86Ibid., p. 5. 87Robert E. Britton, "Measuring Advertising Effectiveness by Communications Criteria or Sales Results," Lecture presented to advertising class, Michigan State University, June 3, 1966 (Xeroxed.). A8 What advertising can measure is the degree to which advertising objectives have been accomplished. By restrict- ing advertising objectives to those communications tasks which advertising can influence -— increased awareness, registration Of the sales message, more favorable predis- position toward a product, service, or firm —— it is pos- sible to judge the effectiveness of the campaign.88 The Objectives section of the plan establishes the standards which effectiveness measures should be compared to. Vari- ances between these standards and actual measurements are then reported to the client and provide input into subse— quent planning periods by informing the agency planner of the results Obtained from the execution of his plan. A wide variety of measurement techniques are available within four broad areas of advertising research: (1) bench- mark research - conducted in the intial Stages of campaign planning to fill gaps in information; (2) concept testing - which precedes message and media planning; (3) pre-testing creative alternatives - carried out before the campaign is .under way and/or before specific ads appear; (A) post-test— ing - done after execution of either individual adsom'the 88Norman Heller, "Marketing Planning and Control at Pepsi- 'Cola," The Marketing Plan in Action, p. 71. 89Leon Winer, ”Are You Really Planning Your Marketing?, " Journal of Marketing, XXIX (January,l 1965), p. 7. . u9 entire campaign.90 These four types Of research*form‘ a research cycle which feeds into future planning periods and aids future research efforts. For the small advertising agency, however, whose research capacity and time are severely limited, such extensive research activity is rare.91 Besides this shortage of internal resources, many clients at this level . lack interest in and/or financial ability to conduct adver— tising research. Still, some sort Of evaluation should be made during the course of the campaign which indicates ‘how things are going. This may consist of a built-in response mechanism such as newspaper couponing or inquiry cards sent alOng with a direct mail piece. Sometimes the client's own com- munication link with consumers offers a means of collect- ing useful information. A bank, for example, might send out a brief questionnaire along with their periodic bank statements. Or a firm which publishes a monthly newsletter might elicit some sort of response from stockholders or salesmen. If nothing, else, the agency should suggest a quarterly Or semi-annual review, where both client and agency sit down and examine the campaign's progress. 90John L. Palshaw, Practical Methods of Measuring Advertising Effectiveness (London: Industrial & Commercial Techniques Ltd., November, 1971), p. A. * 91Interviews with Mr. Mark Battaglia. 50 For larger clients, who are occasionally interested in doing some advertising research and have the necessary funds available, more comprehensive suggestions should be forwarded in the plan and provided for in the budget. While the small advertising agency may be limited in terms of the types of research it can conduct alone, the planner should be aware of research firms in the vicinity who can perform all or part of recommended research activities. This involves understanding what research techniques are available and having some means of evaluating their appro- priateness to a given situation. In summary, the evaluation portion of the advertising plan provides a means of measuring the rate of progress of the campaign toward accomplishing pre-determined objectives. This in turn allows for adjustments in the plan when reme- dial action is deemed necessary and lends a flexibility to the entire planning process which would otherwise be missing. In the words.of Roy Campbell: "We know how to plan, even though we may resist its drudgery. We know how to adjust, if we know what adjustments are needed. Thus, the crucial element in attaining managerial control of advertising is the measurement Of advertising results."92 92Roy H. Campbell, "A Managerial Approach to Advertising Measurement," Journal of Marketing, XXIX (October, 1965), p. 6. CHAPTER IV APPLICATION TO A SMALL AGENCY In the following pages, the Eldridge planning model will be used to analyze an advertising plan developed by a small advertising agency. The plan will be examined to .see how each of the four steps outlined by the Eldridge approach were handled and how better implementation Of the model might have aided the planning process. Before get- ting into the various sections of the Eldridge model, a brief background Of the agency will be presented. Agency Background , Once a two—man direct mail service, Capital Advertising Inc., Lansing, Michigan, first opened its doors as an adver— tising agency in 1953. Only one other agency was in exist- ence in Lansing at that time. Today, these two have been joined by a third agency which is attempting to reach full— service status. A Housed in its own facilities, Capital employs six per- sons plus the services of two self—employed men —- one in art, the other in public relations. The two owner—officers 51 52 double as account executives, creative directors, media analysts, and general overseers of agency operations as well as new business. 'Other personnel include a media buyer, a copywriter, an office manager, and a combination receptionist-layout trainee. The agency depends on a number of local and regional clients in a variety of fields. These include: agricul- ture, finance, insurance, utilities, transportation, real estate, machinery, and home furnishings. Clients range in annual sales volume from around eight to thirty mil- lion dollars. Most are stable, small companies which are not in extensive growth situations. Only the very largest have any marketing/advertising personnel, usually limited to an advertising manager. Advertising spending for these clients runs anywhere from a quarter million dollars on down, with most ranging from twenty to one-hundred thousand dollars annually. Budgets for advertising are typically determined by the industry average although some clients use percentage-of- sales. The agency is compensated through a cOmbination of media commissions, collateral, and fees. Only fifty percent of the agency's income is derived from media commissions due to the fact that few local media offer them. According to the agency's president, the advantages of servicing small clients are (1) dealing with top management from the client's organization and (2) having many accounts of relatively comparable size, so losing one is not crucial. 53 problems cited include: (1) clients who are not finan- cially able to have their own advertising departments usually do not have much money for the agency either, (2) many small clients do not realize that the agency cannot do an entire marketing plan for fifteen to twenty thousand dollars, (3) a few small advertisers think all you have to do is adver- tise and the world will beat a path to your door, and (A) with so many small clients (who tend to merge, sell out, or go out of business) there is less growth potential for the firm and thus, the agency.93 Like most small advertising agencies, the range Of ser- vices offered by Capital is limited. All production, ex- cluding only the simplest newspaper layouts, is farmed out to local typesetting photography, and printing houses. While public relations used to hold a prominent position on Capital's list Of services, such activities have virtually disappeared in recent years. The agency now handles creative, media, and sales promotional activities for their clients as well as supplying limited research services. Planning activities on both the client and the agency side is minimal. Like most firms, clients' major market- ing objective is sales -- but this is rarely stated in specific terms. If the client has any sort of a marketing plan, the agency never sees it. Agency planning activities are equally infrequent. While new clients Often make 93Interviews with Mr. Mark Battaglia. 5A it difficult to get at information necessary in formulating a viable advertising plan, there is little evidence to indi- cate that the agency takes full advantage of such information when it is available. Agency presentations to established clients may be anywhere from two to five years apart, and writ- ten plans typically consist of a media breakdown and budget. Analysis of a Plan The plan under examination was part of a new client pres- entation‘ made by Capital Advertising Inc. in 1971. The pros- pective client, N. E. Isaacson & Associates, Inc., is a lake developing corporation which constructs man-made lakes, devel- ops the surrounding land, and sells individual lake lots to final consumers. At that time firmly established and success- ful in Wisconsin, the firm was completing a lake development near Gladwin, Michigan and was looking for an advertising agency to handle its promotional activities. Utilizing the framework provided by the Eldridge model, a discussion of the advertising plan proposed to Isaacson & Associates by Capital follows. *Ordinarily extensive planning for new business presentations is not undertaken by the agency due to the high cost of plan- ning for a firm which is not among the agency's paying clien- tele. However, according to Capital's president, this partic- ular plan represents a much more comprehensive planning effort than the agency typically expends for established clients. ,In addition, past plans for the agency's present clientele were either non-existent (the agency rarely prepares written plans) 'or unavailable (the agency saves only job tickets as a matter of record). In analysis, therefore, the plan prepared by Capital for N. E. Isaacson & Associates will be treated as any other plan. 55 Statement Of Facts f In the plan prepared for Isaacson & Associates, there is no statement of facts. Instead, Capital profiled agency Officers, listed billings for the last ten years, listed all the organizations they belong or subscribe to, and ex- plained the agency's philosophy. While this information is interesting and may be important to the client, at this point in the presentation Of the campaign it was probably best left unsaid. Most clients are not interested in agency particulars as much as what the agency can do for them. This means either saving such information for the end of the plan or presenting it in a separate booklet for the client to read at his leisure (a format which Capital has since adopted). . In its place, a Statement Of Facts, however brief, might have been set forth the important situational factors to be recognized and dealt with. Seasonality in regards to pur- chase behavior, what the competition was doing, and any corporate and/or marketing Objectives already established by Isaacson A Associates should have been noted. In addition, such things as what sort Of consumers the facility is geared for and what sort of consumers have purchased in the past (demographics and attitudes if available) should have been included. Since Isaacson & Associates are not strangers to this type of project, much of this information should have been accessible. 56 Other ideas might have emerged as this sort Of thinking' process progressed and could have been aided through use of an information checklist (See APPENDIX B, p. 73-7”). Where client information was hazy or unavailable, logic and intui- tive judgment should have been substituted to form assumptions about the situation. Such assumptions may not always be com— pletely accurate, but without them there is no basis for mak- ing later campaign decisions. Problems and Opportunities Without pertinent information provided in a Statement of Facts, identifying problems and Opportunities was undoubtedly _difficult. Understandably, none are cited in the plan, but Capital's president provided insight into some of the problems facing Isaacson & Associates in this initial Michigan venture. Two major problems were Isaacson & Associates determination to (l) begin advertising the Gladwin project in August -- after the end of the traditional purchasing period for recreational property and (2) continue a promotional dinner offer that had worked in Wisconsin, but which Capital felt was wrong for the Michigan market. The first problem was never addressed in the plan; the second was mentioned briefly at the end but never -resolved. Capital could have cited these problems in the plan along with the opportunities the agency felt they presented for Isaacson. .For example, the fact that the advertising was fol— lowing rather than preceding the peak selling season might 57 have presented an opportunity to tie lake lot advertising and promotion in with enjoying Michigan's colorful autumns or Gladwin's close proximity to winter ski resorts. Or Capital might have flatly stated that heavy promotional expenditures should be held off until spring. These or similar decisions would have been dependent upon the tar- get market(s) Isaacson wished to reach and their corporate and/or marketing objectives. In the case of the dinner offers, Capital should have stood firm, explaining why they felt promotion Of this type would be ineffective in Michigan and offering ideas for a different promotional approach. Once again, a Statement of Facts containing information about consumers might have proved extremely useful in supporting the agency's position. Other opportunities might have included indentifying a special age or income group likely to purchase, a certain area of the state where potential prospects are more likely to reside, a firmly held consumer belief which could be worked to the client's advantage, etc. Backed by facts and sound reasoning, identification of such Opportunities would have shown Isaacson & Associates that Capital had their best interests in mind and was willing and able to be specific about just what sort of advertising program would best minimize their problems and exploit their opportunities. 58 Identification Of Objectives Little attention is paid to objectives in Capital's plan. Three.communication tasks, which Capital calls "tar- gets," are cited however, apparently in order Of priority: ' GETTING THE ISAACSON REPUTATION KNOWN ' GETTING THE RESORT NAME KNOWN ' GETTING THE CONSUMER TO SHOW INTEREST & RESPOND GETTING THE SALE9" These are fine as far as they go, but this sort Of non-specific -language communicates very little and requires clarification if it is to be used effectively. It should also be cautioned that because advertising does not "get the sale" alone, such suggestions should not be made in the plan. Instead, specific advertising Objectives, which followed logically from clearly defined problems and opportunities, could have been developed. Depending on what was provided in preceding sections of the plan, one advertising objective might have been stated as follows: Within two months, make 301 of those in the target audience (married adults between the ages Of 35 and A5, income -- $12,000+, who live in Detroit,.Bay City, Saginaw, and Flint) that Isaacson lake lots are now available for purchase in Gladwin. From here would have stemmed the media and message objectives necessary to accomplish this advertising objective. For example: Within two months, reach 30% of the target audience (defined above) at least three times. 9“Mark A. Battaglia, "C.A.I. Media Method," Part Of a campaign plan for N. E. Isaacson A Associates, Inc. 1971. (Xeroxed.), p. 10. 59 Within two months, make 30% of the target audience (de- fined above) aware that Isaacson has brought a new con- cept of lakeshore living to Michigan and that lake lots are now available. While these are just hypothetical Objectives, this is the type Of specificity required in sound planning which Capital's Objectives lacked. Without it, the advertising plan makes little sense to anyone other than the actual planner. Setting Objectives demands this special attention, be- cause objectives represent the crux Of the plan.. They are what the Statement of Facts and the Problems and Opportunities sections lead to and what the Recommendations section is de- signed tO achieve. And by providing direction for the re- commendations that follow them, objectives result in advertis— ing which can be held accountable for some degree Of effective- ness . Recommendations Creative. From profiling the agency, Capital moved dlrectly to creative execution. With no logical train of thought flowing through the plan and none Of the guidance prOvided by well-stated Objectives, the creative approach selected seems to have come from mid-air. Tentatively, the agency titled the project "Camelot of Michigan," a name Isaacson & Associates had used previously. Capital modified the chi English motif the firm had employed _to lend a touch of modern to the logo (See APPENDIX C, p.75 ). Capital did not commit itself to the Camelot theme 60 however, "... since there may well be reasons for going in one direction or another that we [Capital] are not aware of at this time1"95 The remainder of this creative section goes on to describe the various advertisements to be used in the campaign (See APPENDIX C, p. 76-81 ), paying particular at— tention to tactics -- i.e. layout and production details as well as specific cost considerations. All of this information is useful and should be included in the plan, but tactics must be preceded by a discussion of why this particular strategy was selected. Because Capital did not define message Objectives (target audiences and communi- cation tasks) and strategy, it becomes difficult to determine just what the purpose of this particular creative approach, is.’ This leaves the agency wide Open for client disapproval based on personal, subjective criteria. While the agency planner may have had such things as target audiences and com- cunication tasks in mind when the plan was written, by not providing a brief rationalization for the client's benefit, he is entirely dependent upon the client's subjective inter— flpretation being favorable. Mggig. Like creative, the media section Of the plan begins with tactics listing newspapers and their circulations as well as a map Of the areas they cover. This is followed by a schedule and budget from August through September (See APPENDIX D, p. 82 ). 95Battaglia, "Creative Ideas," Part Of a campaign plan for N. E. Isaacson & Associates, p. 1. j 61 Here tOO, the strategy behind these tactical decisions is not provided. With no rationale for selection, scheduling, or budgeting delineated in the plan a host of questions come to mind: Why were newspapers selected as a good medium to use? Why were these particular newspapers selected? How were the number of ads to be run and their size determined? How was the amount of the budget allocation to newspapers arrived upon, (and why was it allocated by month with varying emphasis? The agency could undoubtedly answer all of these questions, but by not forwarding some explanation in the plan, Capital gives the appearance Of planning by rote rather than tailoring a campaign to meet Isaacson A Associates individual promotional needs. Other media utilized in the campaign are presented in this same fashion -- television, radio, magazines, outdoor -- even direct mail -- with no mention of why these media were selected, who they are aimed to reach or how Often. (See APPENDIX D, p. 85 - 92 ). Capital's recommendations could very well represent a well-thought out media program, but to expect a client to accept a $256,210 budget which has not been adequately justified in terms of reach and frequency levels set tO achieve specific campaign objectives, seems unrealistic. Once again, the problem initially stems from ill-defined, or in this case undefined, objectives. With them, reach and frequency can be set and justified and a media buy made which achieves the Objectives already established for particular target audiences. The result is "task" budgeting rather 62 than haphazard media spending. Merchandising. Merchandising recommended by Capital for Isaacson & Associates consists of public relations and sales promotion. Public relations activities are well-spelled out in the plan and are accompanied, in most cases, by support- ing rationale. Sales promotion activities, on the other hand, lack clarity. Basically, the agency has simply listed a number of activities that could be undertaken without directly discussing which ones are best suited to Isaacson & Associates 'total promotional program. This indicates that either Capital placed little importance on sales promotion or that insuffi- cient time was devoted to sales promotion planning. If sales promotion is considered by Capital to be im- portant to the overall success of the campaign, something to that effect should have been stated in the plan. This means addressing sales promotional activities specifically in the plan -- from setting sales promotion Objectives tO scheduling such activities over the length Of the campaign. Budget. The budget provided in the plan consists Of ~ media and production costs (See APPENDIX D, p. 93). Public relations and sales promotion have not been included in the budget. While public relations expenses are typically handled by the client, sales promotion for small firms is Often in- A cluded in the advertising budget and is the agency's respon- sibility. Thus, if sales promotional activities suggested were to be carried out by the agency, they should have been budgeted for in the plan. 63 In addition, Capital provided no money for evaluation of the campaign or a contingency fund. Unless the client had specifically stated that they had no interest in conducting advertising research, any evaluative activities the agency felt would be necessary to monitor the campaign's progress should have been included in the budget. In any event, a contingency fund should have been provided for tO cover un- expected increases in production and/or media costs and to allow the agency a certain amount Of flexibility in executing the campaign should revisions be required. Justification for the amount of money allocated to indie vidual campaign activities as well as the total budgetary figure is also missing in Capital's plan. Such justification is difficult to provide in the absence Of well-defined objec- tives. Capital may have arrived on the final figure independ— ently, but the budget appears to have been based on some pre- determined amount set by the client. While ball-park estimates provided by the client are helpful in developing a realistic promotional program, the ultimate budget should still be based on adVertising Objec- tives and how much money it will take to achieve them. In light of the amount the client has already allocated to adver- tising, attainable objectives should be set and a promotional program developed to achieve them. If it is apparent to the agency that client expectations exceed the confines of the promotional dollars they are willing 6A to allocate, both agency and client should sit down and review advertising Objectives and corresponding costs of obtaining them to resolve the conflict before the campaign gets under- way. By thus implementing the "task" method of budgeting, the agency will avoid countless misunderstandings and be pro-' vided with rationale for the advertising budget it proposes. Evaluation. Recommendations for evaluation Of the cam— paign are not included in Capital's plan. This may have been justifiable if the client had specifically stated that he had no interest in investing in any advertising research. How- ever, even if’this were the case, some sort Of built-in moni- toring device might have been suggested, if not for the client's benefit directly, to aid in agency planning and control. Response cards on location requesting information about how visitors first heard about Camelot, return postcards request- ing additional information about Camelot sent along with di- rect mailings, etc. would have been useful, yet inexpensive, feedback tools. More extensive research suggestions might also have been included which the client could then have accepted or rejected. Often such activities are scheduled at some midway point in the campaign as well as at its conclusion to either confirm the campaign's success or to help point up trouble areas which require revisions. This insures that the campaign does not go Off track for an extended period Of time and provides fresh input for subsequent p1anning periods. 55 Summagy In essence, the plan prepared for N. E. Isaacson & Associates by Capital Advertising Inc. is a statement of campaign recommendations. The quality of these recommen- dations is probably very good, given the experience of the agency planners at Capital and their thorough knowledge _Of the Michigan market. Yet nowhere in the plan is there concrete evidence to support this assumption. The preced- ing discussion was not meant to directly question the recom- mendations forwarded in the plan, but rather to point up (weaknesses in their presentation and to suggest that more disciplined planning procedures might improve their quality. The need for clarification in campaign planning is by no means unique to Capital -- or to just small agencies. Many agencies, large and small, could stand improvement in this area. But small agencies seem to be particularly sus- ceptible to negligence in planning due to their shortage of resources and in many cases, lack Of a comprehensive planning approach to follow. While the Eldridge model is not the only planning approach applicable to the small agency's situation, it provides the structure needed by small agency planners without forfeiting the planning flexibility and sim- plicity they require. ~ In writing advertising plans, the small agency planner should remember that he is writing for two audiences -- the client (who must accept the plan) and agency personnel (who 66 must put the plan in action). Both audiences must obtain a clear understanding Of what the campaign is aimed to do, how and why. Utilization Of the Eldridge approach provides a planning tool which can help in this regard, as demonstrated in its application to Capital's plan. CHAPTER V DISCUSSION In light Of marketing planning's growing importance, it is agency management's function and purpose to insti- btute specific advertising plans for their clients. Plans complete with Objectives, strategies, and control measures carefully outlined. Through such advertising planning, competent account executives can seriously strive for their clients' success in the marketplace by blending elements of management with the art of marketing. I The advertising plan provides in one place a basis for all professional account activities. By defining objec- tives based On the facts, the plan gives the client an Oppor- tunity to test logically and with constructive criticism the soundness of the plan. At the same time, the advertising plan puts together all of the individual advertising func- tions -- creative, media, merchandising, and research -- so that the total effect of the recommendations can be evalu- ated and their relationships clearly seen. Thus, once ac- cepted, the plan represents a working agreement between the client and the agency. 67 68 In addition, the plan serves as a script for the action to take place in the market. This not only helps the client monitor the campaign's progress, but also aids agency person- nel responsible for the campaign's execution. Evaluation of the campaign is also directed by the plan for the advertising objectives serve as standards of measurement. Finally, the plan provides the major share of the input for next year's plan. Yet despite all the advantages Of planning, many small advertising agencies and their clients devote little atten- tion tO the task. Some believe that creativity is sufficient. Others refuse to allocate the time required to develop good plans. Many give lip-service to the importance of advertis- ing planning, few develop actual plans. This deficiency in advertising planning at the small agency level may be partially due to the absence of a prac- tical planning approach to implement. The Eldridge planning approach has been suggested as one which could easily be adapted to meet small agency needs. It provides a flexible framework which is broadly outlined so the planner does not become bogged down in the intricacies of more complex models which may prove to be too cumbersome and/or useless in ser- - vicing the needs Of small clients. while it should be pointed out that the stages in plan- ning cannot always be separated as sharply in practice as they are in theory, the planning function should not be slighted 69 or ignored. Working within the capacities Of the small agency organization, suitable plans can be formulated that illuminate both the facts and, through analysis, alterna- tives to various client promotional problems. The final program then mediates between the advertising objectives and the capacity Of the agency. The advertising plan is 'the means of reaching Objectives while making the most effective use Of agency resources. A common excuse for sidestepping the planning func- tion at the small agency level is management's contention that theirs is a local (or regional) market which they know well. Planning, some say, is unnecessary at this level, because there are fewer factors to be considered. In addition, they hold that all important factors are considered automatically in the execution Of an advertising campaign, due to their familiarity with the market. While there can be no arguement thatsmall agencies, particularly long-established ones, typically know their market(s) well, negligence in planning may result in mis- sing an important factOr, pertinent to only one or two cli- ents, or leaving an alternative promotional approach, better suited to the client's needs, undiscovered. This sort of status quo behavior on the part of the agency does not recog— nize the individuality Of different clients and represents a complacent attitude which benefits no one. This does not mean, however, that the small agency's planning activities should mirror those Of larger agencies. 7° It is true that there are usually less factors involved at the local or regional level than at the national level along with less comprehensive programs to be executed by the agency. ‘ Thus, the plan may be brief - indeed, should be mggg brief —- as brief as possible and still do the job. Yet brevity should not be achieved at the expense Of completeness and understandability. The plan is meant to answer questions not raise them. A true campaign is a connected series of events or oper— ations tying together a variety Of marketing factors which are closely related and carefully conceived. It is designed to bring about the completion Of desired Objectives. If it appears difficult to integrate all Of the factors and activ- ities Of the campaign, subjecting them to set objectives when conditions are.changing -- if it is hard to discern faulty Objectives from the facts, assumptions, or poor imple- mentation -- so be it.° That is what management is all about, and to avOid the planning function is to shirk management responsibility. Planning is a very important part of the advertising business, and an especially fascinating one for the small agency where the practitioner wears many hats. It is the 'unifying force that gives advertising a purpose and justi- fies the agency's product to the client. For the small advertising agency, planning presents both a responsibility and a challenge to management where the rewards are better advertising, satisfied clients and less agency headaches. APPENDICES APPENDIX A AGENCY-CLIENT INVOLVEMENT -- BY MARKET FUNCTION & BY COMPANY CHARACTERISTICS 71 . AGENCY INVOLVEMENT NATURE OP N0 OCCASIONAL _— ROLE SERVICES COUNSEL PARTNERSHIP LEADERSHIP TOTALAGENCY ROLE MARKETING PLANNING NEW PRODUCT PLANNING . LIMITED TO MARKETING RESEARCH ADVERTISING SALES PROMOTION ADVERTISING T 7 MARKETING PLANNING NEW PRIODUCT PLANNING ADVERTISING /' PLUS KETING RESEARCH SELECTED SA ‘ s PROMOTIcN 23.311929. ADVERTISING MARKE'fiN ~P :LNG w RODUCT PLANNING i ‘ MARKETING MARKET G SEARCH - COUNSEL SALE oM/ION VERTISING MARKE _ING PLANNgG ' 1 NEW'PRDDUC LANNING \ /, MARKETING MRKEEING’RESQABCH PARTNERSHIP SAIJES PROMOTI ON * AIDVERTISING l I ‘ MARKETING PLANNING NEW PFODUCT PLA NIN MARKETING MARKETING RESEgRCR m—flADERSHIP SALES ”PROMOTLO I l ADVERTISING 72 . COMPARISON OF PATTERNS: SPECTRUM OF ROLES FOR AGENCIES AND CHARACTERISTICS OF COMPANIES MARKETING LEADERSHIP MARKETING PARTNERSHIP MARKETING COUNSEL ’/,/’ SELECTED MARKETING SERVICES 1 - I /I ADVERTIS INC 1 l COMPANY CHARACTERISTICS: | IMPORTANCE OF ADVERTISING Limited Limited Important Critical Critical Importance importance SELF-SUFFICIENCY IN KEY MARKETING CAPABILITIES Developed Variable Fully Fully UndeveIOPed Developed Developed COMPANY NEEDS / AGENCY CAPABILITIES Marketing heavily Company uses Needs and capa- Needs and capa- Needs and capa- dependent on fac- relevant Agency bilities overlap; ibilities closely bilities closely tors outside Agency skills on a Company uses correlated; Com- correlated; Com- capabilities limited basis — Agency for coun- pany personnel pany uses the a' make or buy rel on many share respond. full complement decision aspects of Market- bility with Agen- of skills of ing effort cy personnel of Agency personnel parallel skills in to lead Market- total Marketing ing effort ; effort ORGANIZATION STRUCTURE / EFFECT ON WORKING RELATIONS Simple Simple Complex Complex Simple (with Advertising (with decentral- (With centralized Management as ized Marketing Marketing Man- the focal P031") Management as agement as the the focal point) focal point) LIMITED SELECTED MARKETING MARKETING MARKETING TO MARKETING COUNSEL , PARTNERSHIP LEADERSHIP ADVERTISING SERVICES APPENDIX B INFORMATION INVENTORY STATUS CHECKLIST Facts About The Market 1. 73 ADVERTISING PLAN Information Inventory Status Checklist a” Background Of market & its development NEED SOURCE CLIENT LIBRARX RESEARCH a. types of products/services available b. major changes 8 product improvements in last 5_yrs. C. factors affecting avail- ability Trends in market a. trend in market volume - in total and byuproduct‘ b. seasonality of products/ services ' c. number of outlets d. projected market volume (5 to 10 yrs.) - total market and by product Competition a. names of leading competitio b. share of marketing cpppromotional activities Client's objectives a. corporate b. marketing c. communications Facts About The Consumer Interest in purchase of product Who movitates the purchase Frequency of use/purchase Consumer demographics UIbUJNi-J Product characteristics liked/ not liked by consumer 0‘ Consumer preferences (Client VT. eompetition) Facts About The Client Product/Ser- vice l. Usagelacceptanceicomposition 2. Strong vs. weak points 3. Client Quality vs. competition 7‘4 ADVERTISING PLAN Information Inventory Status Checklist (con't.) SOURCE , HAVE NEED CLIENT LIBRARY RESEARCH Facts About The Client Product/ Service (con't.) 4. Pricing 5. Product development Facts About Manufacturing Product 1. Methods of production 2. Quality standards 3. Cost of manufacturing; APPENDIX C CREATIVE IDEAS PREPARED BY CAPITAL ADVERTISING; INC. FOR N. E. ISAACSON & ASSOCIATES, INC. 75 OF Ml IICH GAN ; Co Mel. t a. .. ‘ a I l neisaanson is coming to michiqan's enthanlnd nurthland withanw- (Editing 3118863011 all - fiindeveinpmmtt (Mm AWNC "‘ Mace-1 (AM i .— -.— --..— _— ___ ___—. —_ _ — _—-—— — .—-——. ‘—' _— - _— — e ———_ .‘ .— - . ....- .- — — .- ‘ W--..------.----.---1 u . ' -- - L- - -------.------ Imam; 31139650111; allfunlahedevelopmenfai - Gladwm” itiscalled M ———.- —-—— .’ t“ OF MIC H lG AN ll, HM“ .! 'l' h . I._ 4:); N; . at (L I I . a... f . rim _Ymix .. lee a ,I L. .APFI a: a .. I . rhui 1.... n: r ' wand lrI'SiI clam Inhes idiit‘lfllld IIIIIIDIE'X M IF. m m m pm Lani In» H .1! m rm m W, m U IuiI'iIiaIan‘s Imstaliurim b, OF MICHIGAN lulclilomime 1110MB leisure. lauuhIPr and the good hie _ "i “t ...l . ' 7‘ '/ _‘(OG 5““. " ‘Qmelot n '4 p ‘ .. \ ' . ~ 0. A - a " I ' ’ . " , \ e I ‘ ~7"' '° t ' ‘ f- -. .. ' g , r g . \ , ‘ . l e A. - ‘ ...: \~ 0 I ‘ ,a' ' ’-' .' \O a 3” ’ . C n E R . n" n H n l E u no It B m R u u n I 5 m . E- H H ...m H m m n A t B B n E n 80 ‘r‘r‘.-b $.ll. 1‘s": 3" T'~ Ii -._'..~ ._.-.y.f;'-"-.' 4‘ . .- ' D S i LA [LU RI N E . ¥ . ~ " vhf-‘3‘: 1.1,; w “I" \fl‘u‘ f o; M C HIGAN . .C a... _. 3 WT. \ekfisu - W~M\n~ unh‘uuuh.u~=~ .... _ .. :z .... .. . ... 5 i a. . ' .v‘.-'f‘. 1'- . "“I'.‘P.' . -..’,..' .. s. > “ T's-r! -' “'5'" 2: ...s..- x. mm: In” a a. f w i cm. “3:5 mm Tm _ .... 53M . a- .. L .e .E: OF MiCHlfiAN Ina-nub. “at. alum-Mb: - I. but u \len V.- _ 52.. a. _ 5.. TIM—m. mm. a: ma for V as: _— a _ A w m w Private Disposal System! Best Solul 3...; E I. as “Er Eam— ME m5 .. m ”a “a Il'...I|J I!" 1"! III-I'll I, AIIIII'III' APPENDIX D BASIC MEDIA PLAN PREPARED BY CAPITAL ADVERTISING, INC. FOR N. E. ISAACSON & ASSOCIATES, INC. 82 NEWSPAPERS EEEZ. Circulation Ann Arbor 37,“?8 Battle Creek 39,3"6 Detroit News 639,703 Detroit Free Press 593,359 Flint 113,56" Jackson 38,806 Lansing 78,482 Pontiac 75,535 Saginaw 60,698 (All h-color & Spectra) 1,677,997 Bay City 113,“14 Midland 15,395 (All 2-color & Spectra) 1,736,826 Mt. Clemens (2-color & Roll Fed) 52,936 Royal Oak (2-color - Negotiate) 58,386 1,8h8,1h8 13 papers 643% NEWSPAPERS a” i (HARM. ammo ANTRIH WW g “E KAUUUKA cmwr 'o 69‘” mm mm HAN”. WIXFORD [ISM/Hf mm mm A was warm cum: NIWAYOO NECQSM ISADflM MIDLAND MOI-(W MN?" ION/A ALLIGAN' DARRY {NON pom»: [LN/MIST” KAUU‘M CALHWN JACKSGV WAflfTINAW . t 51./awn 22mm muswut LINAWEF MONROE 8h mqsammom mmmoz ..poo HHmh Hmsm I mucosa vaonpoo coma ccmm 1:0: :H uaooxm .nwwz ovampzb vacuumso uaonuoa nuaa spoa puma capo: as .ume .mwsz .mwaz .conom .conom no noaoowpomam oaonuon uaonuma ufionpoa Hana Hash no poaoo Hash sum as» com cum new woman Hash n mc< nonsmoon nonEo>oz homepoo nonsmuqom umsm=< ahma hoqsamzoz 85 oom.~m oom.w=H co~.:ma oom.:~m oo~.=am ocm.mmm.a mmmmm1mm om~.m« mam.flmm o” .no nomxoan oo~.mmH oo~.=am . n .no madness om:.mma com.mm= m .20 casaufizusuflo ammuzacfimmm oo~.m~m oom.~oH.H mu .no nude sumusunamamupcaam oo~.m~m oom.~oa.a NH .ao span samuzacamamnucaam ooo.m~a.fl oom.m=~.s on .no paonpon mmmmm coeuaasqom don< owdno>oo sans: onmH>mame LEE‘W ow" (HARM. ANTRIH TELEVISION UUIGO IIGIVTHGQ, .313! 2‘ ' I’l . (hi-3 "'5“. . '-I - \’ \ . 7:. ‘ A ""19 1" n i A . .’ .W‘ ,‘ f. ‘ \L‘ \ .‘V'fi " Ill:- fl OR'D IRAV LAW CRAWF 'D 05601:!!! HANU. Wt’X/‘ORD mat/m; -. ' f3 \ “I” h. .“r‘ WON 1M6 ' NflVAYOO )3.- .*'f‘.. q: ’3 'fo V.d‘ .‘ ' ", ‘3‘... ’f9 ' W fiatsso-sI.‘m‘~“ -" “I‘D" '9 ‘-:"v :"J\ -: ”DA/WU: gnu: ““‘I'IV “.3 r . I ' a: . ~ - .. . aw 2 ‘~.. ~ ; ' 'l'.‘ 5; h , ~ ;. '.' WEAR." ' ~- Iuwr I ~ 'e 3 3‘ I}. a. =3 ‘ ‘~ ,5 ..r‘i‘a . : 3‘ . i ‘. ‘7‘ .44.,- fir?“ :y i J .c &}J~oulv _ [j 3 .V'_’:3 3. ~\..: . ”VL‘V‘I; ‘5 I :~ P, : ~ ’gur"fr. a.‘~.-u“- 1‘0"“ ... . ‘ I31 - . (‘ ‘(fl r, I £3.33 CUNTQU “:0 s'.» ‘0 _ :Ii-r' .- _: . ' {I .I' ' ~ .' :..:- u: .. O I": .3 ,‘ ' -: . .'. ‘ ':. '4 v "" ._-'_ "- )3 'A "I ...-“I . .': '- I ' ( l ‘h'h ' V " ‘.' '1"? f / 5"...1’ fl... ‘.. 81 . .. a. q .31.;- aa m-r'uA . , ‘ _ . q , \ A ALLta/w MI...» Enron wa ya. ,. . . "vhf; ,' ‘ 37'3“», '. ‘3' _ ‘,‘;/‘ ';‘jq';.g..:" ' "gu 5"}; .‘f ‘25-“: :v £3 . .‘, 3'}: : ,4. TEES-‘91 : I 1,1;h- fim-Lm» MIAMI "9.6.63 3 ”wow i::“.12‘h£'.‘&11 . . .t'-. I; 3:) “I... > “'3‘,in '.~". 5' , 9.1‘ ’31.? I - o v, 8 :1. $: “'1' "i J. 3' A L 51./CHIP? IZI’TIC'CII I 783 55.115 (.5 NZ": ‘ J . . o. J” 3.. 3 l: :- .0 . 87 omn.m» ass.mns 0:5.MH» ooo.~ms somosm oanm nmoz no usanm cowuwwuowoz and . .Hnm>< o» soonnzm scum scam comm muoqm .oomuow macaw 0H upoqm mm macaw mm acoupsum m nonsmoon * nonso>oz nonouoo nonsopnom pmsms< couma>oams mqaammom zonmn>mqmw 88 RADIO Detroit WJR 50 T.A.P. $5,750 Lansing WJIM Lansing WILS Lansing WITL Flint WKMF Flint WFDF Ann Arbor WPAG Approximately 150 spots each during Bay City WBCM August, September, and early October. Dearborn WKNR Rates are negotiable. Jackson WKHM Budget $2h,OOO Lapeer WTHM Mt. Clemens WBRB Monroe WQTE Owosso WOAP Pontiac WPON Pt. Huron WPHM Royal Oak WEXL Saginaw WKNX L (MW 5. ammo “ELM . 0931! 0RD mu MW CRAWI" 'D ’ MAME wexroao [mum mm mm LAKE escrow cum 1;»- *. '0 Z A . flfls Vt. I" '0 ”(\C mwayao mcasm ISABI‘IIA Mama MONICALH manor JAGINAW ‘ . H “W «mu “m” IomA' €11va 5mm. 0 0 st CLAIR J\ i- Wfl AND ILQCQH ALLIW MRRY , EATON . ”"IAH luvwasm J) I AN BUREN mum amowv Macsov wmmw-I WAvm. 45g CASS 511mm mm: lH/uswu: LINAWI'E Home; A 7L .90 MAGAZINES Motor News - Sept. - Oct. Back Cover - Full Color $3,310 CiPCo 589,300 Micnigan-Out-of Doors - Aug. - Sept. - Oct. Page - Full Color $3,150 Circ. 120,605 91 OUTDOOR 6 Permanent Paint Boards Contract 3 Years Budget for 1971 $7,000 92 DIRECT MAIL 50,000 Letters, Cards, Envelopes $3,000 Postage e 80 'u,000 $8,000 93 TOTAL BUDGET Newspaper $1h2,000 Television 32,000 Radio 29,750 Magazines 7,960 Outdoor 7,000 Direct Mail I 8,000 *Production 30,000 $256,210 “Production would be higher with Specta- color, but newspaper budget would be less as it would revert to black-and- white rates rather than fl-color. It should even out. BIBLIOGRAPHY BIBLIOGRAPHY Books Alderson, Wroe. Marketin Behavior and Executive Action. Homewood, Illinois: Richard D. Irwin, Inc., 1957. Barton, Roger. Advertising Agency Operations and Manage- ment. New York: McGraw-Hill Book Co., nc., 1955. Bogart, Leo. Strategy in Advertising. New York: Harcourt, Brace & World, Inc., 19 7. Buell, Victor P. Changing Practices in Advertising Decision- Making and Control. New York: Association of National Advertisers, 1973. Considerations in Adapting a Formalizedjgrocedure for the Evaluation of Advertising Agency Performance. (Published under the auspices of the A.N.A. Advertising Management Committee.) New York: A.N.A., Inc., April, 1970. Dalbey, Homer M., Irwin Gross and Yoram Wind. Advertising Measurement and Decision Making. Edited by Patrick J. Robinson. Boston: Allyn & Bacon, Inc., 1968. Eldridge, Clarence E. The Management of the Marketing Func- tion. (A series of 12 pamphlets.) New York: A.N.A., Inc., 1966. A Handbook for the AdvertisinggAgency Account Executive. (Published under the auspices of the A.A.A.A. ommittee of the Board on Client Services.) Reading, Massachusetts: Addison-Wesley Publishing Co., 1969. Jenkins, John R. G. and Jay Zehiel Zif. Planning the_Adver- tising Campaign. New York: The Macmillan Co., 1971. Kelley, Richard J. The Advertising Budget: Preparation, Administration a Control. New York: A.N.A., Inc., 1967. Lavidge, Arthur W.’ A_QommoniSense Guide to Professional Advertising. Blue Ridge Summit, Pennsylvania: Tab Books, 9“ 95 Management 5 Advertising Problems. .(A.study conducted for -the A.N.A..by.Booz, Allen a Hamilton, Inc.) New York: A.N.A., Inc., 1965. ‘ McNiven, Malcolm A. (od.) How Much to Spend for Advertising? New York: A.N.A., Inc., 1969. Palshaw John L. PracticathethOds”of Measuring Advertising Effectiveness. London: IndustriaI I CommerciaI"Techniques Ltd., November, 1971. Richards, Elizabeth and Monroe Mendelsohn (ed.) The Market- ing Plan in Action. New York: New York Chapter Inc., A.M;A. Stansfield, Richard H. Advertising Manager's Handbook. Chi- cago: Dartnell COrp., 1969. Wedding, Nugent and Richard S. Lessler. Advertising Manage- ment. New York: The Ronald Press Co., 195?. Journals and Periodicals "Acute Need for More Efficient Marketing Sparks Ways of Evaluating 'Great Ideas'," Marketing News, VII, No. 19 (April 1, 197“), p. l. Banks,.Seymour. "Trends Affecting.the Implementation of Advertising and Promotion," Journal of Marketing, XXXVII, No. 1 (January, 1973), p. 19-58. Buzzell, Robert D. and Charles C. Slater. "Decision Theory and Marketing Management," Journal_9f Marketing, XXVI, No. 3 (July, 1962), p. 7-16. Campbell, Roy H. "A Managerial Approach to Advertising Mea- surement," Journal of Marketing, XXIX, No. A (October, 1965), “p. 1-60 Evans, Gano L. "A Comparative Organizational Analysis of Agencies: The Effect of Size on Their Management Style," Journal of Advertising, II, No. 1 (1973), p. 26-31. Gillilan, William. "Relating Advertising Goals to Total Marketing Objectives," Torch, (May, 196“), p. 11+. "How to Select and Work with Your Advertising Agency," Indus- trial Marketing, (April, 1966), Section 2. / 96 Xuehn, Alfred A. "How Advertising PerformanceDepends on Other Marketing Factors,u 'Journal of Advertising, 11, No. 1 (March, 1962), Reprint- "Media Strategy and the Marketing Concept at K a a," wee... scope, (May, 1960), p. A5-h8. .Ray, Michael L. "A Decision Sequence Analysis of Develop- ments in Marketing Communications," Journal of Market- ing, XXXVII, No. 1 (January, 1973), p. 29-31. Weigand, Robert E. "How Extensive the Planning and Develop- ment Program?," Journal of Marketing, XXVI, No. 3 (July, 1962) , p0 55.57. White, Gordon E. "Creativity: The X-Factor in Advertising Theory," Journal of Advertising, 1, No. l (1972), p. 28-32. Winer, Leon. "Are You Really Planning Your Marketing," Jour- nal of Marketing, XXIX, No. 1 (January, 1965), p. 1-8. Papers, Monographs and Reports American Association of Advertising Agencies. A Stud of the Agency Media Function. Study conducted among 355 agencies by the A.A.A.A. in the summer of 1968. New York: A.A.A.A., February, 1969. Association of National Advertisers. Advertising Agency Com- pensation. Preliminary report prepare un er e aus of Efie A.N.A.'s Advertising Management and Advertising _ Administrative Control Committees. New York: A.N.A., April, 1966. . Christian, Richard C.~ S9 e Thin s We-Think We‘veLearned ' About the Management Of an Advertising Agency. Paper from the 1973 Regional Conventions of the A.A.A.A. New York: ~A.A.A.A., 197A. Peebler, Charles D., Jr. Where Do Co orate Strategies Come From? Paper from the 1973 Regional onventions of the A.A.A.A. New York: A.A.A.A., 197M. Smith, Gail and Dr. Charles K. Raymond. ‘Measuring the Effec- tiveness of Advertising -- Two Approaches. Paper presented at the Spring meeting of the A.N.A. New York: A.N.A., Inc., 1965. 97 Wilson, Thomas A. Jr. "Media Planning and the Complex 0.8. Market Place,"~ Papers from the 1967 Briefing Session for Guests from_0verseas. Delivered in New York, April 18, 1967. New York: A.N.A.,‘Inc., 1967. Unpublished Material Battaglia, Mark A. Campaign plan for N. E. Isaacson & Associ- ates, Inc. 1971. (Xeroxed.) "Who Is C.A.I.?" Agency profile. 197“. (Xeroxed.) Britton, Robert E. "Measuring Advertising Effectiveness by Communication Criteria or Sales Results." Lecture pre- sented to an advertising class, Michigan State University, June 3, 1966. (Xeroxed.) Daniels, Jack V. "Ad/Venture, Inc. -- Case History of a House Agency." Unpublished Master's thesis, Department of Adver- tising, Michigan State University, 1969. Johnson, Douglas. "Product Group Desk Book." Rough draft of agency plans approach. September 11, 1972. (Xeroxed.) Ross, Lindell M. "Boone, Shepard & Sutton." Paper submitted in partial requirement for credit in an advertising gradu- ate course, Michigan State University. 1961. (Mimeographed.) Scissors, Jack 2. and E. Reynold Petray. "Advertising and Media Planning." c. October, 1971. Other Sources Capital Advertising Inc, Personal interviews with Mark A. Battaglia, President. March -;May, 197A. "ifizfififiu 171/ MHLIIILIIIJEHTEIIQH; 111' @‘fi WI“