How picking your moment can make big campaigns more impactful.
By Stuart Butler, Planning Director
After a lot of thinking and perhaps even some ‘field research’, you’ve finally found THE ONE!
They’re perfect for you in every detail, age 25-45, ABC1, in market, and with a typical millennial love of new experiences.
To win their heart, you plan your big public declaration, broadcasting your love to the world, hoping for a response, that something will click or at least get a like.
Great communication isn’t just based on what you say it, but how you convey it.
And in that, there is often one important overlooked factor: picking your moment.
Or rather, theirs.
People still love ads; TV still outperforms most channels in terms of effectiveness, and the single-minded proposition remains key; whilst contextual references can enhance advertising’s power, this is in addition to (not a replacement for) the overriding consumer truth.
But really good advertising also has the muscle to flex. Delivering the consistent ‘golden thread’ with coherence.
It’s not just about the well covered relevance of what the message is or where its placed but how the message is delivered by weaving the audience’s situation and emotions into our work.
A famous proposition such as ‘I’m loving it’ is only enhanced by thinking about whether the audience is happy or sad, whether is raining or sunny, whether it’s a Monday morning or Friday night.
Doing so creates that all important ‘value exchange’ modern audiences need and studies show that engagement with advertising rises as a result of the ads being more personally relevant and long-term memory encoding of details in the advertising increases (Radio Centre research, for example, suggests by 23% and 22% respectively).
In a world where digital technology and addressability are the norm, it’s not about a necessity for efficient micro targeting, but rather the opportunity to be more playful, more creative and to give a great ad campaign extra life, making it bigger, more meaningful and more impactful.