Kleppners Advertising Procedure 18th

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Kleppner’s Advertising Procedure, 18e Instructor Manual

Chapter 7
Media Strategy

Chapter Objectives
After reading this chapter you will be able to:

1. Understand the basic functions of the media planner

2. Describe the role of media in the total advertising function
3. characteristics of the major media categories
4. Discuss relationships between media planning and target marketing

Chapter Overview
The media function, whether executed by an advertising agency, an independent media-buying
and planning firm, an unbundled media shop, or a company’s in-house media department, is
becoming increasingly complex. The demand for efficiency, effectiveness, and creativity in the
media-planning process has never been greater. The steady increase in the number of media and
promotional options and unprecedented audience fragmentation have combined to create both
excitement and uncertainty for advertisers and media executives.

Lecture Outline
1. Organization of the Media Function
A. Media/Communication Planner. The role of the media/communication planner is to
supervise all areas of the advertising campaign as it relates to the media function.
1) They are also marketing specialists who play a pivotal role in the advertising
process.
2) They must anticipate future trends in a rapidly changing environment and must
keep agency management and clients abreast of major changes.
B. Media Research. The media research department coordinates both primary and
secondary research data and functions as a support group for media planners.
1) It must gauge future media trends.
2) In some instances, this department estimates likely audiences for new magazines
or television programs.
C. Media Buying. The media-buying department executes the overall media plan.
1) Media buyers select and negotiate specific media placements and they are
responsible for monitoring postplacement executions.

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2) There may be separate groups or departments for each of the mass media
depending on the size of a media unit.
3) Recently, some media departments established units to research and buy Internet
advertising and/or construct client websites.
D. Few areas of marketing and advertising have experienced the change demonstrated by
media planning in the last decade.
1) The media function has been driven by changes in the number of media options,
increasing media expenditures, and the great financial risk associated with media
buying mistakes.
a. In 2008, total advertising expenditures were more than $396 billion.
b. The media planner of 2020 will be dealing with media outlets that probably
don’t exist today.

2. The New Media Function

A. As the media adapt to new technology and methods of planning, there are a number of
trends that will set the tone for change and assess the future of media planning and
buying.
B. Convergence.
1) Media convergence is the blending of distribution, content, and/or hardware from
a number of media companies to create a new or significantly expanded
communication system.
a. An example would be cell phone companies offering Internet connections,
newspaper companies creating websites, or NBC and Microsoft combining to
create MSNBC.
2) Consumers will continue to see numerous examples of convergence.
3) Marketing, media content, and technological convergences are in their embryonic
stage. It is a trend of the present and even more so of the future.
C. Interactivity.
1) Technology will allow consumers to deal directly with marketers for their
entertainment, purchases, and services, bypassing traditional media and
marketing channels.
2) Because of this ability, buyers and sellers will be able to deal on a one-to-one basis
with communication and products tailored to the interests of specific households
and individuals.
3) In many instances, technological capabilities will outpace customer utilization.
D. Creativity.
1) Interactivity will also change the creative process.
2) We have entered a new era of “permission marketing” in which the consumer has
already determined his or her product demand and actively seeks an advertiser.
3) The former mass advertising, which uses attention-getting techniques is giving
way to the dynamics of relationship marketing.

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4) Media planners are being asked to think of and evaluate new and different media
options to build additional, effective exposure to consumers.
5) Attention has turned to developing and evaluating entertainment and experience
marketing opportunities.
E. Engagement.
1) With the shrinking of television audiences and the proliferation of new media,
advertisers and media planners are becoming more interested in the concept of
engagement.
a. The ability of an advertising vehicle to deliver a receptive audience to the
advertising in it.
b. It is turning on a prospect to a brand idea enhanced by the surrounding
context.

*****NOTES: Use Exhibit 7.1 about here.*****

2) The commonality in these trends is that they demonstrate that media executives
must be analytical, creative, and strategic in their approach to the media process.

3. Media Unbundling and Independent Media Buying Firms

A. In a media environment characterized by convergence and creativity, one of the
common approaches to the media function is known as unbundling.
1) The concept refers to the establishment of agency media departments as
independent units apart from their traditional role as departments in full-service
agencies.
2) This idea began in the 1960s when media experts believed that they could obtain
better commercial rates (television) than full-service agencies, which often
concentrated on creative services.
B. Major advertising agencies took issue with the above premise. Two major areas of
disagreement are noted:
1) Where media planning (as contrasted with media buying) should take place.
a. Some argue that by divorcing planning strategy from buying tactics you lose
many of the efficiencies promised by the new emphasis on media.
2) Degree of coordination between creative and media strategy.
a. With the media selection being the driver in some cases of the creative
strategy, it is difficult to imagine that the creative department can be far-
removed from the media planning experts.
C. The concept of a totally unbundled media department is a core issue for many agencies.
1) Historically, advertising agencies promoted themselves on the basis of their being
able to offer a complete menu of advertising services.
2) Media departments (and the few independent media-buying firms that existed)
were generally regarded as ancillary functions to the creative departments.

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D. Factors that led to an era of unbundling were:

1) Integrated marketing.
a. As clients began to view advertising as only one element in a complex
marketing communication program, they began to see that advertising
agencies were not the only source of communication expertise.
b. Specialists were hired in addition to the agencies.
c. Clients became comfortable dealing with several communication agencies
and began to look to specialization within the advertising function.
2) Cost factors.
a. Media buying became more important as costs escalated.
b. Clients demanded more efficiencies, better identification of target markets,
and accountability.
c. The desire for low costs ran contrary to the use of specialized media.
d. Fragmented media are being used more to reach homogeneous audiences
and this has increased the cost per person reached.
3) Globalization.
a. Expansion into global markets increased demands exponentially on media
departments.
b. Strategic media planning became essential to gain worldwide recognition.
4) Complexity of the media function.
a. The media function is now diversified in many more areas than just the mass
circulation media.
b. Companies are demanding that advertising be monitored and coordinated
with event marketing, sales promotion, and public relations.
c. This type of expertise requires a much greater level of knowledge and
specialization than can be provided by a traditional media department.
5) Profitability.
a. Media planning has now become a profit center.
b. Some agencies get the media planning business while others get the creative
business.

*****NOTES: Use Exhibit 7.2 about here.*****

E. Unbundling has given media executives a greater role in the overall planning of
advertising strategy.
F. Five areas of expertise for media/communication professionals:
1) Market analysts who can identify business and marketing growth opportunities,
2) Strategic insight planners who can develop consumer insights,
3) Communication/media planners who understand all forms of consumer
communication,
4) ROI analysts who a can set measurable objectives, evaluate results and make
recommendation to improve ROI, and

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5) Media buyers/optimizers who are skilled at negotiating media opportunities for

clients.

4. Basic Media Strategy

A. Traditionally, media planners have used a building block strategy to develop a media
schedule.
1) Start with the medium that reaches the largest audience and work down to the
one that reaches the smallest.
2) In the past, determining the first two or three “blocks” was easy.
3) However, today, media options are growing each year.
a. The introduction of vehicles such as the Internet, video games, in-store
media, guerrilla marketing and interactive television have brought major
changes to the job of the media planner.
4) These options also have created new ways to view the media function and media
buying.
a. Media planners must consider factors such as additional weight against
prime prospects, ability to deliver a communication message in a unique
manner, and the prestige of a medium that may outweigh low audience
delivery
B. Historically, the advertising process began with the development of broad marketing and
advertising strategies, moved to creative execution, and finally to media placement.
1) Media were viewed as little more than channels for creative messages.
C. Changes in this notion include:
1) Qualitative factors of media.
a. Media planners are increasingly working with account planners and/or the
creative team to understand the qualitative core attributes of each medium
to their target audience.
2) Fading distinctions among media.
a. Technology is changing the fundamental relationships among media,
audiences, and advertisers, creating an environment of unclear distinctions.
b. Media planners must be more creative in utilizing media vehicles today and
look less at the distribution system and more at the audiences and
communication effectiveness.
3) Media accountability.
a. There is pressure on media planners to become more knowledgeable in areas
not formerly part of their responsibility.
b. Research shows that networks have distinctive brand identities that appeal to
certain demographic and buyer categories.
c. Advertising accountability means that businesses want to link their
advertising to specific sales of their brands; made even more important by
the influence of technology on the media.
4) Value-added opportunities.

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a. These are incentives offered by the media to advertisers to entice them to

purchase more advertising space in their media vehicles.
b. Can be anything from product placements, event sponsorships, or mixed-
media promotions to tickets to sporting events or remote broadcasts.
D. Need to find ways to better link advertising and product sales even more important as
technology continues to change the nature of both mass media and advertising.
1) In the near future we will not be dealing with distinct media vehicles, but there
will be a convergence of media.
2) Consumers will have greater control over communication outlets, selecting only
those entertainment, information, and advertising messages they want.
3) Organizations we view as media today will be information sources, and the
carriers of this information will be limited.
E. Media Characteristics.
1) It is necessary to have a basic working knowledge of the major media
characteristics and functions, both editorial and advertising.
2) Media planners must keep an open mind, finding the best fit for the marketing
and promotional goals of clients.
3) There will be hard budget choices due to the growing number of media choices.

5. Putting It All Together: The Media Plan

A. Media planners must be able to use the distinctive attributes of each medium as part of
a sophisticated analysis that leads to a complete media plan for an advertising
campaign.
B. Elements of a typical media plan.*
C. Despite differences among media plans, the following elements are found in virtually
every plan.
D. Target Audience.
1) No area in a media plan is more critical to the success of the advertising campaign
than the proper identification of the prime target market(s) for a brand.
2) Rather than demographically-oriented, this identification is more likely focused on
identifying consumer needs, and the product benefits that meet these needs.

*****NOTES: Use Exhibit 7.3 about here.*****

3) Buyers and planners must keep their focus on the consumer, product, and benefit
rather than just reaching the greatest target audience at the lowest cost.

*
See the five-part media plan in this section for specific details and lists of the plan; specific units of the
plan are addressed in the following sections of this outline.

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a. Media planners are looking at cost efficiencies in more sophisticated ways

than in previous years.
b. At a minimum, this broader approach to cost efficiency requires that media
plans maximize delivery of prospects as opposed to people or households.
4) Until recently, media planners tended to concentrate on overall audience delivery
by various media and the most common way of measuring efficiency was cost per
thousand (CPM):
a. CPM = (ad cost 1,000)  circulation
5) However, no medium provides an audience in which every member is of equal
benefit to a specific advertiser, and there tends to be several readers per copy of
every issue of a magazine.

6) A variation of the weighted or demographic CPM takes this into account.
a. weighted CPM = (ad cost 1,000)  targeted readers
b. Any demographic lifestyle, product user or psychographic data could be used.
c. CPM figures are important only as comparisons with those of other media.
7) Now some measure of communication impact and audience awareness can be

added to the CPM mix.
a. Other considerations that need to be taken into account include:
b. Creative predispositions of the audience.
c. Qualitative environment for the message.
d. The synergistic effect between different media.
e. The creative approach.
8) CPM adjustments that might be necessary to take into account communication
factors:
a. Probability of exposure to a medium.
b. Advertising exposure weights to equalize the probability of an ad being seen.
c. Communication weights to equalize the probability of an advertising message
communicating.
d. Frequency of exposure weights in the same medium.
9) Research has shown that high levels of audience involvement with a medium are
positively related to advertising response.
a. Methods of audience communication weighting attempt to address this
relationship in the media-planning process as well as to give accurate
estimates to the value of the audiences of various media.
E. Claritas’ Potential Rating Index by Zip Market (PRIZM).
1) A shortcoming of many audience analysis methods is that they consider only a
single variable.
a. Media planners realize that a multivariable approach is often needed to
correctly identify a particular target segment.
2) An innovation for segmenting markets on a multiple-variable basis is the Potential
Rating Index by Zip Market (PRIZM) developed by Claritas Inc.

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a. PRIZM NE divides the population into 14 social groups and further subdivides
these large segments into 66 subcategories.
(1) The primary variables for determining these social groups are lifestyle
and income.

*****NOTES: Use Exhibit 7.4 a & b about here.*****

b. The value of these PRIZM groups is that these general categories can then be
matched with those products and media that members of that particular
group are most likely to use.

6. Communication Requirements and Creative Elements

A. Media planners are interested increasingly in the differential value of various media and
the value they add or subtract to specific advertising messages, that is, the
engagement these media provide.
1) Another dimension of this process is the manner in which art directors,
copywriters, and media planners have begun to engage in the process at the
strategic level rather than simply seeing their role as executing someone else’s
advertising plan.
a. There is growing recognition by both account supervisors and clients that the
earlier in the process that media and creative functions are brought on
board, the greater the opportunity for creative input into unique ways to
position and advertise a brand.
B. Particularly now that value-added opportunities are usually an important part of the
media buying and planning process, it is necessary for both the creative and media
teams to know what opportunities are most desirable for a brand to pursue.
1) There is a wide gap between advertising exposure and advertising
communication.
2) The greater the input from the account team to both media and creative, the
better the communication and coordination.
3) In the past, a major criticism of advertising execution was that media and creative
functions did not have enough knowledge of what each area was doing within the
campaign strategy.
4) The result, according to critics, was advertising that did not fully utilize the
communicative strengths of the various media vehicles.

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C. In part, this cooperation has been necessitated by the convergence of media outlets,
new media technology, and greater opportunities for interactive approaches to
audiences.

7. Geography—Where Is the Product Distributed?

A. Geographical considerations are among the oldest factors in buying media.
1) Long before advertisers were knowledgeable about the importance of
demographics and target markets, they knew the areas in which their products
were distributed and bought and those promotional vehicles that best reached
those regions.
B. Today, geographic media-planning boundaries are often much smaller than in previous
years.
1) Instead of states or regions, the planner may be dealing in ZIP Codes and block
units or even individuals, especially in direct mail and Internet advertising.
2) Geographical considerations are more important as advertisers find that
consumers in different parts of the country demonstrate different attitudes and
opinions concerning various product categories.
C. Adding to the complexity of the media planner’s job is the fact that media distribution
demonstrates some of the same unpredictable distribution patterns as those of
products.
1) Regional differences in product usage require many firms to develop a secondary,
localized media plan to supplement their national media schedule.
2) Localization can supplement a national campaign effectively.

8. Media Tactics: Reach, Frequency, Continuity, and Budget

A. The media planner deals with four primary elements in developing the final media
schedule:
1) Reach (also called coverage).
a. The number of different people exposed to a single medium or, in the case
of a multimedia campaign, the entire media schedule.
b. It may be expressed as the number of prospects or as a percentage of your
target audience.
c. It represents a nonduplicated audience, and is typically expressed as a
percentage.
d. reach = target audience exposed  total target audience
2) Frequency.
a. The number of times on average each person in the audience is exposed to
your media schedule.

b. frequency = total impressions target audience
3) Continuity.
a. The length of time over which a campaign will run or the length of time over
which reach and frequency will be measured.

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4) Budget.
a. How much can be spent.
b. It is the major constraint of any advertising plan and the core consideration in
all media planning.
B. The value of each media vehicle should be measured according to three criteria:
1) The cost of the vehicle.
2) The number of target market members or the weighted target market quality of
the audience reached by the vehicle.
3) The effectiveness of the advertising exposures the vehicles deliver.
C. From a practical standpoint, the media planner has control over reach and frequency.
1) Reach, frequency, and continuity must be balanced against the demands of a fixed
budget.
2) The budget is a strategic decision largely determined by the client.
3) The media planner must also consider the balance between the least-expensive
media (efficiency) and those most able to communicate the core message and
reach the best prospects (effectiveness).

*****NOTES: Use Exhibit 7.5 about here.*****

D. Reach Tactics.
1) Prime time television.
a. Reaches mass audiences, but may quickly exhaust budget.
2) Daily newspapers.
a. Cover approximately 50 million homes and reach 30 to 50 percent of most
markets.
3) Large circulation magazines.
a. A similar function as television, but reach smaller overall audiences.
E. Frequency Tactics.
1) Cable television.
a. Can be purchased at relatively low cost.
b. Tend to build frequency by reaching the same core viewers over a long
period.
2) Special-interest magazines.
a. Reach same audiences over several issues.
3) Radio.
a. Listeners tend to have one or two favorite stations and listen up to several
hours daily.

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F. The overriding motive of media planners is to achieve cost efficiency with media dollars,
although communicating effectively to the target audiences.
G. Planners must take care to precisely measure the value of a particular prospect,
medium, or message to the overall measure of advertising effectiveness.

9. The Media Schedule

A. One of the final steps in the media planning process is the development of a detailed
media schedule.
1) The media schedule is a detailed blueprint or calendar for the media portion of
the campaign.
a. It is also a guide for media buyers to execute the media strategy developed
by the planner.
b. This schedule details what media will be bought, when it will be purchased,
and how much time or space will be used for each advertisement or
commercial.
2) The advertising schedule for a national brand may entail dozens or even hundreds
of similar decisions; time availability is also a concern.
B. Flighting is one of the most used advertising scheduling techniques.
1) It consists of relatively short bursts of advertising followed by periods of total or
relative inactivity.
2) The idea is to build audience perception for the product so that brand awareness
carries over those periods of inactivity.
3) Done correctly, the advertiser achieves the same brand awareness at a greatly
reduced cost compared to a steady advertising schedule.
a. The problem is that available research on flighting cannot predict precisely
the awareness levels needed to achieve any particular flighting strategy.
4) Advertisers must also guard against significant erosion of brand awareness
between flights.

*****NOTES: Use Exhibit 7.6 about here.*****

5) In a steady schedule, awareness peaks fairly quickly (after about 20 weeks) and
afterward shows little if any increase.
a. The flighting schedule grows much more slowly, but because of budget
savings it is able to reach more prospects and, therefore, actually achieve
higher levels of brand awareness in the long term.
6) Regardless of the flighting schedule used, the following factors should be
considered before using the strategy.
a. Competitive spending.
b. Timing of flights.

*****NOTES: Use Exhibit 7.8 about here.*****

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c. Advertising decay.
d. Secondary media.
7) Pulsing is a less extreme form of flighting.
a. It uses advertising more or less continuously but with peaks during certain
periods.
C. The Pressure of Competition.
1) Advertisers must constantly be aware of what the competition is doing in
advertising strategy, product development, pricing tactics, and other marketing
and promotional maneuvers.
2) The media planner must develop a campaign that distinguishes his or her
product/brand from the competition.
3) Rather than operating from a defensive mentality, advertisers should take
practical stance in determining what their marketing and advertising plans can
reasonably accomplish and how they meet the inroads of competing brands.
4) Advertising agencies bring an objective voice to the table—a key to success.
a. Companies sometimes unrealistically judge the value and quality of their
products.
5) Advertisers must undertake a thorough and candid appraisal of all aspects of the
competitive situation.
a. They may have to recognize that some market segments cannot be captured
regardless of the quality of the advertising.
b. A competitive analysis must also consider various media alternatives and
how they might be used to accomplish specific marketing goals.
D. The Budget.
1) If there is any advertising axiom, it is that no budget is ever large enough to
accomplish the task.
a. Because the allocation of dollars to media is by far the largest portion of the
advertising budget, it is the media planner who is expected to gain the
greatest cost efficiencies.
2) Advertisers and their agencies have reacted to the cost squeeze by instituting
more stringent cost controls on media costs and accountability for their
advertising dollars.
a. As media continues to fragment, advertisers will continue to look for
alternative, nontraditional methods of promotion to hold costs down.
b. As media continue to fragment, we will see advertisers experiment with
nontraditional media vehicles, some that did not exist only a few years ago.
3) In response to increases in advertising costs, advertisers are more precisely
defining their prospect to cut down on waste circulation and are negotiating more
aggressively with media for time and space.
4) The media schedule is normally summarized in a flowchart that presents the
overall media schedule as well as their audience estimates and costs.

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Review Questions

1. How has the fragmentation of media audiences affected media planning?

The fragmentation of media audiences has made it possible for companies to better
target specific market segments aligned with product benefits and attributes sought by
those consumers. Fragmentation, however, has also resulted in marketers having to seek
alternative media vehicles most appropriate to reach those target markets. This means
steering away from a few former mass media choices and employing a wider variety of
media outlets, some traditional and some non-traditional. This has increased the cost of
marketing communication and forced hard choices; when advertising budgets are
already viewed as inadequate. Fragmentation has resulted in advertisers demanding
more accountability of results of media choices.

2. In what significant ways has the responsibility of media planners changed during the
last decade?

The media planner’s role in mapping advertising strategy has turned to one of
coordination and involvement of a “creative team” approach in strategic planning. The
planner must seek input from a variety of sources to insure an objective look at planning
and to provide more creativity in the final campaign. Some of this input will come from
an agency’s staff of writers, artists, etc. But companies are not limited to full-service
agencies and may seek advice and counsel from specialists in areas such as Internet
promotion and Web site design, or internationalization of marketing approaches; an
approach referred to as unbundling of services.

3. Briefly define reach, frequency, and continuity.

Reach is the number of different people exposed to a single medium or, in the case of a
multimedia campaign, the entire media schedule. Frequency is the number of times that
an individual or household audience is exposed to the media schedule. Continuity is the
length of time over which a campaign will run or the length of time that reach and
frequency will be measured.

4. Discuss the applications of the brand development index.

This is a method of allocating advertising budgets to those geographic areas that have
the greatest sales potential. Research has shown how marketers know where prospects
are located and how those consumers in different areas rate in terms of current and
future sales potential. It is evident in the marketers’ use of systems such as PRIZM,

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which divides the population into social groups, related to lifestyle and income. Zip
codes can be used to actually target campaigns geographically by city or by subdivisions
of municipalities.

5. Discuss the role of value-added options in advertising planning.

Historically, the advertising process began with development of broad marketing and
advertising strategies, moved to creative execution, and finally to media placement,
which was often viewed as nothing more than a channel for creative messages. Today,
that notion is changing and one of the ways it’s changing is value-added opportunities,
or incentives offered by the media to advertisers to try to entice them to purchase more
advertising time or space in their media vehicles. Added value is a way to encourage
advertisers to spend more money while providing them with things that have worth to
the advertiser. The value-added opportunities can be anything from product placements,
event sponsorships, or mixed-media promotions to tickets to sporting events or remote
broadcasts. For the advertiser, value added opportunities provide them an extra benefit
for purchasing more time or space. For the media, it’s a way to increase their sales. Now
that value-added opportunities are an important part of the media buying and planning
process, it is necessary for both the creative and media teams to know what
opportunities are most desirable for a brand to pursue.

6. What effect has unbundling of media departments had on the media planning
process?

In the past, media departments were generally regarded as ancillary functions to the
creative departments. With the trend to unbundling, there is a new focus on the media
function. Unbundling has given media executives a greater role in the overall planning of
advertising strategy. It also has highlighted the importance of media as part of the
advertising mix. It is obvious that, in a world or fragmented audiences and niche media,
media decisions will continue to occupy a primary position in advertising planning.
Advertisers increasingly realize the wasted effort and money in delivering even the most
creative messages to the wrong audience.

7. Discuss why media planning is becoming more creative.

As the media adapt to new technology and methods of planning, there are a number of
trends that set the tone for these changes and provide an assessment of the future of
media planning and buying. One of these is creativity. Clients are demanding more
creativity from their media planners. Media planners are being asked to think of and
evaluate new and different media options to build additional exposure to consumers in
effective and efficient ways. The reason for this is because the fragmentation of
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audiences and of media, the rise of advertising clutter and increased consumer control
over media content have created new challenges for the advertising industry with two
main issues at stake – access to consumers and creating engagement. To do this, media
planners needs to not only make creative use of media but also use innovative media to
present the message.

Class Projects and Exercises

1. (*) Select one product or service and discuss which mass media alternatives would be most
effective. Briefly describe your media choice and cite reasons for your choice. Then select one
product or service, which would best be served by targeted media exposure. Briefly describe
your media choice and cite reasons for your choice.

2. (*) One of the primary trends of the next five years will be media convergence. Find current
examples of convergence. How do these examples benefit consumers? How do they benefit
advertisers? Are there any disadvantages? What are they?

3. (**) Ask a media planner to come to class to discuss the day-to-day operations within an
agency media department, or within the marketing department of a local profit or not-for-profit
company. Ask him or her to comment on how their operations have changed during recent
years.

4. (**) Find a library that subscribes to the print edition of the trade journal Mediaweek. Look
through the four most recent issues. Make a list of all the advertisements for media (these are
placed by companies who are trying to persuade media planners to buy time or space). Place
each advertised media vehicle in a categorization scheme that you develop (such as network
television, cable television, magazine, etc.) and that adequately captures the range. For each
category and based on the advertising, summarize the argument in favor and the key benefits of
that medium.

5. (**) An emerging and increasingly important media purchase is branded search, in which
sponsored links to products related to the search appear on a page of Internet search results.
Research the pros and cons of branded search as a media purchase. What would its key
strengths be in a media plan? What kinds of strategic goals would it be best suited for? Is it best
regarded as a reach tactic or frequency tactic? Present your findings in a research paper and in a
presentation to the class.

6. (***) Browse the Mediaweek website at http://www.mediaweek.com/. Read several articles

and identify a current issue in media planning. Research this issue and write a paper that
describes the issue and discusses the trends, opportunities, and challenges surrounding it.

Chpt. 7 15

©2011 Pearson Education, Inc. publishing as Prentice Hall

Kleppner’s Advertising Procedure, 18e Instructor Manual

Internet Exercises
1. (*) Go to the Nielsen Wire blog at http://blog.nielsen.com/nielsenwire/. Pick an entry that
focuses on concerns of media planning. Write a three to five-page summary; present to the
class.

2. (**) Go to the website for MPG (www.mpgsite.com). MPG, a network within the media arm of
Havas (a worldwide communications company), offers a wide range of media services such as
media planning, buying, consulting, execution, and strategy. Explore the MPG website, making
note of the client section that includes case studies and examples of MPG’s work. Based on what
you see on the MPG website, write a paper that discusses the role of the media agency. Be sure
to include comments on the increasing importance of creativity and how media planning is now
part of the advertising mix. Use examples from MPG’s client work to support your paper.

Term Projects for the Semester or Quarter

1. (*) Consider products that you commonly purchase in the following categories: athletic shoes,
sodas, ice cream, music, and restaurant food. For each of these products, evaluate:

• Who is the target audience? Define the target audience with as much specificity as
possible.

• Based on their current advertising, what creative and communication considerations are
reflected in their media plan? (For example, is there need for product demonstration?
Are there daypart and/or seasonal requirements?)

• What traditional media would you select, based on finding the target audience,
leveraging the appropriate qualitative factors of the media, and considering the
appropriate characteristics and functions of the media? Why?

• What nontraditional media would you select and why?

• How would you schedule the advertising, considering the purchase cycle of the product?

2. (**) Conduct a survey in your class regarding its media use. Ask each student to list her or his
three most-used media choices in a) network television program, b) cable television channel, c)
magazines, d) newspapers, e) radio stations, f) online destinations, g) cell phone networks. Ask
them as well to estimate how much time per week they spend with each of their choices. Collect
and tally the responses, rank specific choices in each category by how many students report it,
and average the reported time spent on each. Report the results to the class. Research media
cost of one exposure for the top three specific media in each category.

Chpt. 7 16

©2011 Pearson Education, Inc. publishing as Prentice Hall

Kleppner’s Advertising Procedure, 18e Instructor Manual

3. (***) At the beginning of the semester, each student selects a local profit or not-for-profit
organization. The student also contacts the individual responsible for media planning and
scheduling within that organization. After obtaining permission, students organize and conduct
four to five interviews (by appointment) with this marketing contact person during the course of
the semester. In the first interview(s) the student will investigate the nature of the business and
the products/services offered, its target market(s), its marketing objectives, and promotional
strategy; and make note of the degree of work done in-house with ad agencies, and/or
supplemented with work by specialty firms. The student will submit to the instructor a brief
summary (2–3 pages) of his or her findings for review to determine the project’s suitability and
to add comments. The remaining interviews will be used over the semester to determine the
actual business practices regarding the planning, selection, and scheduling of media; applying
the media strategy concepts discussed in this chapter. A second paper will be written (5–10
pages), which summarizes the student’s findings. Combined with the first paper, this project will
be turned in to the instructor for grading, and a copy given to the marketing contact person of
the participating organization. Grades will be assigned by both the instructor and the contact
person. The final grade will be averaged and weighted as the instructor feels appropriate.

Chpt. 7 17

©2011 Pearson Education, Inc. publishing as Prentice Hall

Another random document with
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