This document outlines guidelines for developing an advertising strategy, including defining the target audience, identifying the brand's positioning and key benefits, and setting communication objectives. Specifically, it discusses characterizing the target audience through demographics, psychographics, media habits, and current product usage. It also provides guidance on identifying the brand's distinctive features, articulating the main consumer benefit and how it relates to audience needs, and selecting rational and emotional arguments to support the benefit claims. The document recommends summarizing this information to articulate the brand positioning and desires responses from the audience in terms of what they should notice, believe, and feel about the brand. It also offers tips on crafting appropriate messaging through language, tone, essential elements, and other execution

1. Part I
Brand advertising strategy
A. Target audience
Characterise by following dimensions:
1. Demographics
2. Psychographics – life style
3. Reading, viewing and listening habits
4. Current behaviour within product category
B. Source of business
What shifts in current attitudes and behaviour are needed to increase sales
volume?
C. Distinctive performance features of the brand
1. Objective - What physical characteristics can be recognised by
the senses.
2. Subjective - What are the emotional attitudes attaching to the
brand?
D. Main consumer benefit
What is the main consumer benefit and how does this relate to the needs and
attitudes of the target audience?
E. Support evidence of consumer benefit
What arguments can be brought to bear:
1. On a rational level (objective)
2. On an emotional level (subjective)
to support the consumer benefit?
F. Brand positioning objective
Summarise briefly:
To whom this product is addressed
What it does for them
How it does it
How will we articulate this benefit

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G. Communication objective
What are the desired responses from the target audience?
What would we like them to NOTICE
What would we like them to BELIEVE
What would we like them to FEEL
H. Executional guidelines
1. What is the language style and tone most likely to engage the attention
and sympathy of target audience?
2. Are there any visual or copy elements essential to communication?
3. Any other constraints that should influence creative execution.

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Creative brief
A. Brand positioning objective
Summarise briefly:
To whom this product is addressed
What it does for them
How it does it
How will we articulate this benefit
B. Communication objective
What are the desired responses from the target audience?
What would we like them to NOTICE
What would we like them to BELIEVE
What would we like them to FEEL
C. Executional guidelines
1. What is the language style and tone most likely to engage the attention
and sympathy of target audience?
2. Are there any visual or copy elements essential to communication?
3. Any other constraints that should influence creative execution.

4. Part II
Advertising strategy (definitions and guidelines)
Demographics Describe target audience physically and statistically
based
on age, sex, education, income, occupation, type and size
of community in which they live.
Psychographics Describe target audience in terms of their life style –
attitudes and behaviour that are relevant to the product
category and the brand. Avoid language which is vague
and ambiguous, but use what really produces an
understanding and mental picture of the prospect.
Reading, viewing and
listening habits Describe statistically the relationship of the target
audience to the available media: press, TV, radio, cinema.
Describe the intensity / frequency of their habits and the
nature of the program or editorial content.
Current attitudes and
behaviour within
category Describe current attitudes and behaviour to leading
brands within category, in terms of awareness, use
patterns, satisfied and unsatisfied needs, both rational
and emotional.
Source of business Describe how and to what degree must current attitudes
and behaviour be changed to promote increased volume
for our brand. Show source of new business:
…… % from current users of brand
…… % from non-users of category
…… % from current users of other brands:
from brand A ….. %
from brand B ….. %
from brand C ….. %

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Distinctive performance
features of the brand
Objective Select those physical attributes of the brand which
distinguish it from other brands (form, ingredients, colour,
fragrance, packaging, delivery method, use instructions,
end results, size, price) and which will be relevant to the
advertising message and lead to a UNIQUE
PERFORMANCE FEATURE.
Subjective Describe attitudes to the brand which are different from
other brands.
Main consumer
benefit Describe what this product does that is meaningful to the
target audience. Describe how this satisfies physical and
emotional needs not satisfied by other products.
Support evidence
Rational Select those physical characteristics of the product that
make its performance claims most believable. State
objective corroborative evidence from tests that support
its claims.
Emotional Describe how the consumer perceives that an emotional
benefit has been received.
Brand positioning
objective Summarise information briefly in:
A. Target audience
B. Distinctive performance features
C. Main consumer benefit
D. Support evidence

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Communication
objective
Notice List in order of priority those physical characteristics which
we want the consumer to see, hear about and remember.
Believe Describe what deductions and conclusions the consumer
should make from what se sees and hears.
Feel Describe the emotional response that the consumer
should have to her conclusions and how this contributes
to her life.
Executional guidelines Describe the vocabulary of the target audience in relation
to the product. Describe the relationship between the tone
and style of the communication and the relevant aspects
of demographics and psychographics. List those visual or
copy elements which are believed to be essential to
effective communication. List those visual and copy
elements that are a proven part of the existing brand
image and contribute positively to consumer responses.
List any other constraints of a legal or company policy
nature.

7. - 4 -
Advertising strategy (explanatory notes)
A. Target audience
Demographics – This would normally include a description of the following:
Age
Sex
Education level
Income level
Marital status
Family status – number and age of children
Social environment – type of dwelling and size of community
It is appreciated that while most demographic parameters are constant
internationally, national censuses sometimes subdivide differently in relation to
income levels, education levels and community sizes.
The UK for example, has subdivisions which it calls social-economic, thus
perpetuating the mistaken belief that there is a constant relationship between family
background, education level and income level. In such cases it would probably be as
well to explain how these subdivisions are arrived at or alternatively roughly divide
our analysis into quartiles. Education levels can usually be adequately described in
terms of Primary (to statutory level), Secondary (beyond statutory level but not
university), Higher (university and post graduate) or alternatively the age at which
formal education ceased: 14-16 years, 18-20 years, 20+ years.
Psychographics – life style – It is difficult here to list all the elements that might be
considered in describing a prospect in terms of psychographics or life style. A better
understanding of the subject for those to whom it is unfamiliar might be obtained by
viewing the S.E.E. tape (no. 6-1 “Life Style”) or by reading “Life Style and
Psychographics” by William D. Wells published by The American Marketing
Association in 1974. Suffice to say that it is a description of the behaviour and
attitudes of the target audience that are relevant to the brand. For example, it is
probably necessary in many of our brands to decide whether the prospect is modern
or traditional, houseproud or directed to satisfactions outside the home. We build a
clear understanding of character type that clearly separate the Favor prospect from
the M.S.P. prospect, or the “US” user from the “Mum” user, that is not demonstrated
by demographics alone.
Reading, viewing and listening habits – This information will not only influence media
choice and therefore the creative execution eventually but will also give further
information that expands that provided by both demographics and life style. Are the
major prospects among light or heavy TV-viewers? Do they listen to radio stations
and/or time segments that broadcast rock concerts or chamber music? Do they read
magazines about home care of about fashion? Do they go to the cinema?

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Current behaviour within the product category – Describe the target audience in
terms of their current behaviour and attitudes towards all the significant brands within
the category.
Awareness attitudes - Needs fulfilled/unfulfilled by existing brands both on a
rational and emotional level.
Patterns of use - Light or heavy users, brand loyal or brand switching.
Source of business – Knowing what is current behaviour, it is possible then to set
objectives in terms of changing current behaviour in favour of our brand. Extra
business for a brand may come either from intensifying the behaviour of current
users – by attracting non-users of the category or by switching the loyalties away
from other brands, or if it is thought that a less than single-minded objective can be
effectively pursued, a combination of all three. For example:
Our current users have bought on average 2 units in the past year. We intend to
increase volume by 50% by increasing that average to 3.
We intend to increase the penetration of our brand from x% to y%.
Of the increment: 60% will come from users of Brand A
20% will come from users of Brand B
20% will come from non-users of the category
B. Distinctive performance features of the brand
1. Objective
A brand may have several physical characteristics that make it different from other
brands. These will most frequently be found among the following list:
- Form
- Ingredients
- Colour
- Fragrance
- Packaging
- Delivery method
- Use instructions
- End result
- Size
- Price
Selection of the relevant physical characteristics should lead to the distinctive
functional attribute.
All characteristics are not necessarily to be used in the communication. Although we
would like the audience to NOTICE that US Antiperspirant has a distinctive overcap
or that Tahiti Douche is in a cubed package, they are not the distinctive features that
lead to a distinctive functional attribute. A narrowing down and refining process will
be necessary to privilege those that contribute to and substantiate a unique selling
proposition.

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2. Subjective
Certain emotional attitudes may attach to a brand that make it distinct from others.
The possibilities are legion, so a check list is not indicated. Examples may help to
illustrate the tings to look for:
(i) In blind tests in-France there is little difference between S.C.J. No Scrub
and Woolite No-Scrub. In labelled tests Woolite wins significantly. Woolite
through its heritage is shorthand for mild, sage, efficient cleaning of
precious and sensitive fabrics, therefore must be best for carpets.
(ii) US Antiperspirant has no performance characteristics superior to other
leading brands but because it has always addressed itself to young, active
people in “torture test” situation, it is believed to be more effective.
C. Main consumer benefit
A product performance feature to be a desirable benefit to a target consumer needs
to be translated into terms that not only impinge upon the senses but also engage the
emotions and contribute to the life style. If we can think of it as three levels that move
from the distinctive feature (level 1) through distinctive performance feature (level 2)
to the emotional involvement of the target audience (level 3) then the following
examples may be illustrating.
The statement of the first level often presents a single choice but the consequence
and effect on the consumer often present multiple choice.

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Product Level 1
Distinctive feature
Level 2
Distinctive performance
Level 3
Main consumer
benefit (involvement
of target audience)
Car 3000 cc engine a) Faster acceleration You are regarded as
potent and virile.
Women are attracted
to you.
b) Smoother, quieter
running
You are seen to be
discerning and
sophisticated. You
will be admired by
discerning and
sophisticated people.
c) Faster overtaking –
safety
You can be confident
you are protecting
yourself and your
family. They
appreciate your care.
d) Longer lasting –
economy
You will save money
by keeping the car
longer and so have
more money to spend
on more important
priorities than cars.

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Product Level 1
Distinctive feature
Level 2
Distinctive performance
Level 3
Main consumer
benefit (involvement
of target audience)
Toothpaste Contains fluoride a) Protects children’s
teeth – fewer cavities
Children are happier
because of reduced
need for dental
treatment
OR
Mothers need not be
constantly worrying
about this aspect of
their children’s health.
Keeps teeth protected
longer from the acidity
of food.
Busy people who
cannot brush after
every meal have
protection from tooth
decay, thus allowing
them to concentrate
on other priorities in
their daily lives, with
more confidence.

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Product Level 1
Distinctive feature
Level 2
Distinctive performance
Level 3
Main consumer
benefit (involvement
of target audience)
Aerosol
furniture
polish
Contains
beeswax
Brings to furniture care
the highest qualities of
traditional methods in a
modern form.
Your family and
friends will notice that
your precious
furniture is cared for
by a traditional and
tried method without
knowing your secret
of how easy it now is.
You will be admired.
Your home will be a
welcoming and warm
place which invites
happy social
relationships.
The care of your
furniture will create
continuity of family life
because you will pass
on to your children
the things and ideas
that your mother
passed on to you.

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D. Support evidence of consumer benefit
A well constructed and well thought trough consumer benefit in “C” should almost be
self evident on a rational as well as an emotional level. In the example of the car, it
can be seen flashing by other motorists and the admiring glances of lady bystanders
is a self evident emotional benefit. Nevertheless, effective communication may be
enhanced by explaining that the 3000cc engine develops 120 B.H.P. at 4000 rvs. per
minute on the rational level as evidence of its power to the technically minded.
Evidence of the driver’s success with women is unlikely to be argued or practically
demonstrated within the normal bounds of good taste or what is acceptable to the
media, beyond a glimpse of those admiring glances!
In the case of the toothpaste, the fact that its claim is endorsed by the Dental
Association who can provide statistical evidence that children using the product have
30% less cavities, is a strong rational support for the benefit. On the emotional level,
it is probably not difficult to obtain the agreement of the mother that a child that finds
visits to the dentist a pleasure is likely to be contributing more to her own happiness
and peace of mind than one who kicks and screams.
The furniture polish with beeswax may be rationally demonstrated by showing its
thick waxy consistence or pointing out its honey fragrance. On the emotional level,
the proposition that a woman who cares for her home and makes it warm and
welcoming is likely to attract more like-minded friends than the woman with an
uncared for home, is not difficult to demonstrate. Here the questions of lifestyle
become even more important in the choice of argument since conversely the woman
with the uncared for home is likely to be repelled by such an emotional benefit as a
male chauvinist device for the enslavement of women and she can never form part of
the target audience for such a product.
E. Brand positioning objective
The brand positioning objective is explored in A, B, C and D. The reason for
summarising it in E is twofold:
1) It is an expression with which most of our Managers already feel comfortable.
2) On those occasions when we are working with a creative brief instead of the
detailed brand advertising strategy, a succinct statement of the brand’s
positioning will be valuable.
It is important however, to keep before us that the essence of brand positioning is not
that area on a positioning axis or any other graphic representation of the market
which the brand occupies but where it is positioned in and what share it has of the
consumer’s mind which leads us naturally to the image communication objective.
F. Communication objective
The setting of these objectives in terms of desired responses is to distance us from
the shallow manufacturers based claim “We would like to convince the target
audience that …..” and to bring us closer to the emotional relationship which we
would like the target audience to have with the product. Level 3 versus level 1 only.

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It has another advantage in that in measuring the effectiveness of our advertising it is
more fruitful to measure responses against desired objectives than to measure the
amount of information passed.
What we would like them to NOTICE are those physical elements of the consumer
benefit that can be taken in by the senses. The 3000cc engine, the fluoride in the
toothpaste, the beeswax in the furniture polish.
What we would like them to BELIEVE is what the rational mind can be led to
understand are the consequences of such a characteristic, faster motoring, fewer
cavities, more beautiful furniture. What we would like them to FEEL is how such a
consequence is relevant to their life. It attracts more girl friends, it makes children
happier and more agreeable, it expands one’s circle of like minded friends.
G. Executional guidelines
1. Language style and tone – An understanding of the psychographic life
style and emotional needs will be an important factor influencing choice in
this area. Demographics will also play their part not the least through
education levels. A highly technical explanation of the engineering and
mechanical features of the car is unlikely to influence the buyer who is
motivated by colour and chrome. A discourse on the chemical properties of
beeswax may undermine its status as a natural and traditional ingredient.
2. Essential visual and copy elements – If experience has taught that it is
difficult to obtain adequate responses to furniture polish without showing a
demonstration on a rich wood dining table, then this element should be
written into the strategy.
Similarly, if visual and copy elements such as animation for Raid. “Klear
never yellows”, “You’re O.K. with US” have become part of the brand
personality, then they should be abandoned or omitted consciously and
not, as sometimes happens, by default, so it would be as well to consider
this question at this time.
3. Any other constraints is something of a final “catch all” and can cover legal
constraints – no comperative advertising or any general company policy
requirements – sign-off from Johnson Wax.
It is sometimes said that placing constraints on creative effort renders it
less productive. This may be so, but since this creative strategy is the joint
product of agency and company people, it is probably more productive to
flush out disagreements and form decisive action standards at this stage
than have misunderstanding drag on throughout the creative development.

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Summary
The objectives of the advertising strategy format seek to follow a logical sequence in
the development of our thinking. It starts out by defining the current status of the
market and the target consumer – “Where are we?”- “Why are we there?” -, it draws
out a statement of “Where would we like to be?”. It then goes on to examine the best
fit between our product and the goals and satisfactions that the consumer is seeking,
which answers the question “How could we get there?”. The final step which returns
us to “Where are we?” in the planning circle is “Are we getting there?”, which is not
part of the Advertising Strategy but of the evaluation of the advertising in its ability to
product the desired responses.
Another way of looking at the model is:
1. What are the current attitudes and behaviour of target audience?
2. What do we have as a selling proposition that can change those attitudes
and behaviour?
3. What responses do we want from the target audience after exposure to our
advertising?
4. How are we going to encourage those responses?
This brings us to a final word on research. The questions posed by the creative
strategy are rich in opportunity for speculation and imagination. When developing
answers, it would be as well to subject every statement to the question “How do we
know this?” to direct our investigations always back to a thoroughly researched
knowledge of the consumer.