When you ?nish this chapter,
you should be able to
1. Name and de?ne the ?ve
tools of the promotion mix.
2. Discuss the process and
advantages of integrated
marketing
communications.
3. Outline the steps in devel-
oping effective marketing
communications.
4. Explain the methods for
setting the promotion bud-
get and factors that affect
the design of the
promotion mix.
Integrated Marketing
Communication
Strategy
Concept Connect i ons
Developing the Marketing Mix
chapt er 13
J
im Lesinski, director of marketing communications and research
for Volvo Trucks North America, ?rst proposed putting an ad for
Volvo’s heavy-duty trucks on the Super Bowl in 1994. His bosses
at Swedish parent AB Volvo, who were not familiar with the hype and
frenzy that surrounds North American football, must have thought
he’d gone a little ditzy. “How much will it cost?” they asked. “About
$1.9 million in media costs,” replied Lesinski. “Plus another $750 000
or so to produce the ad.” “And how long and how often will the ad
run?” they asked. “Just once,” said Lesinski, “for 30 seconds.” With eye-
brows raised and mouths agape, Volvo’s top management respect-
fully rejected Lesinski’s proposal.
In fact, early on, Lesinski himself had some doubts. Did it make
sense to spend almost a third of his annual marketing budget on
a single ad? Given the narrow target market for Volvo’s huge,
$180 000 trucks, was it wise to advertise in the granddaddy of mass-
media spectacles, amidst the glitzy showcase ads run by big-
spending consumer product companies selling to the masses? Volvo
Trucks’ target market constituted a mere one percent of the total Su-
per Bowl audience. Moreover, no other heavy-duty truck manufac-
turer was advertising on television, let alone on the Super Bowl.
But the more he thought about it, the more convinced Lesinski
became. Volvo had been selling heavy trucks in North America
since 1981 under a variety of nameplates, including Volvo, Autocar,
and White/GMC. Its early trucks lacked quality, sold at relatively
low prices, and had gained a reputation as low-status “fleet
trucks.” In recent years, however, Volvo Trucks had consolidated its
nameplates under the Volvo brand and had developed a new line
of premium trucks—the VN Series. These new Volvo trucks were
superior to competing premium brands in overall quality, design,
safety, and driving comfort. Now, all that remained was to raise
Volvo Trucks’ old low-status image to match the new high-quality
reality. That task, Lesinski knew, would take something dramatic—
something like the Super Bowl. He persisted and ?nally won ap-
proval to place a single ad in the 1998 Super Bowl.
The target market for heavy-duty trucks is truck ?eet buyers
and independent owner-operators. However, truck drivers them-
selves are perhaps the most important buying in?uence. The indus-
try faces a severe driver shortage, and ?rms perceived as having
better-performing, more comfortable, higher-status trucks have a big edge in attracting and holding
good drivers. As a result, truck buyers are swayed by driver perceptions. Therefore, Lesinski’s commu-
nications goal was to improve the image of Volvo’s VN Series trucks not just among truck buyers but
also among drivers. No other event reaches this audience more completely than the Super Bowl. In
fact, nearly 70 percent of all truck drivers watch some or all of an average Super Bowl game.
Still, Jim Lesinski knew that a single Super Bowl ad, by itself, wasn’t likely to have
much lasting impact on buyer and driver perceptions. Instead—and this is the real
story—he designed a comprehensive, carefully targeted, four-month integrated pro-
motional campaign, with Super Bowl advertising as its centrepiece (see ?gure
below). Called The Best Drive in the Game Sweepstakes, the promotion offered
truck drivers a chance to win a new Volvo VN770 truck. Lesinski began promot-
ing the Best Drive sweepstakes in September 1997, using a wide range of carefully
coordinated media, including trucker magazines and radio stations. Drivers could
enter the sweepstakes by responding to print or radio ads, by visiting a Volvo Truck
dealer or participating truck stop, or by clicking onto the Volvo Trucks Web site
(a large proportion of truckers use the Internet regularly to schedule loads). To cre-
ate additional interest, Volvo Trucks sponsored a North American truck tour, con-
sisting of two caravans of three VN770s each, which visited major truck stops,
encouraging truck drivers to enter the Best Drive sweepstakes and giving them a
chance to experience a new Volvo VN770 ?rst-hand.
The campaign attracted more than 48 700 entrants. Each entrant received a
wallet-size entry card with one of 40 “Volvo Truths” printed on it—each empha-
sizing a key VN770 positioning point. If the phrase on a driver’s card matched
the winning phrase revealed in the Super Bowl commercial, the driver became a
?nalist eligible for the grand prize. To further encourage drivers to watch the com-
mercial, Volvo Trucks sponsored Super Bowl parties at 40 Flying J truck stops. It
also had Volvo VN770s at each truck stop so that drivers could see the truck that
was causing all the commotion.
Part III Developing the Marketing Mix 538
On Super Bowl Sunday 1998, Jim Lesinski found himself at a Greensboro,
North Carolina, truck stop, anxiously awaiting the fourth-quarter airing of his ad.
He sat shoulder to shoulder with a standing-room-only crowd of truckers, clus-
tered around a lounge television with their Best Drive wallet cards in hand. To
Lesinski’s dismay, a clever ad for Tabasco Sauce preceded the Volvo ad (remem-
ber the exploding mosquito?) and the crowd was still laughing as the Volvo com-
mercial began. Lesinski still remembers counting off the missed seconds (at a cost
of some $60 000 apiece!) waiting for the group to settle their attention on his ad.
The Volvo Trucks ad itself used soft humour to make the quality point. It fea-
tured an experienced and approachable professional driver named Gus, driving a
new Volvo VN770 down a desert highway. Gus talked sagely about “what 30
years on the road have taught me” and advised “always run the best truck you
can.” During the 30-second spot, the scenes shifted to show both the sleek, hand-
some exterior of the truck and its luxurious interior. “But success hasn’t spoiled
me,” Gus concluded. “I still put my pants on one leg at a time.” As Gus deliv-
ered this last line, a uniformed butler approached from the sleeper area of the
truck, presenting a small silver box on a pillow. “Your toothpick, sir,” he intoned.
The winning phrase, “Volvo—Drive Safely,” appeared on the screen as the com-
mercial ended.
To Jim’s enormous relief, the drivers at the truck stop seemed to really like
the commercial. They were pleased that it portrayed professional truck drivers and
their huge, sometimes scary trucks in a positive light. More importantly, the ad
got the drivers buzzing about the VN770 truck and the winning phrase. In the
month following the Super Bowl, the 10 ?nalists holding winning phrases received
all-expense-paid trips to the trucking industry’s premier trade show, the Mid-
America Truck Show in Louisville, Kentucky. Volvo stole the show, sponsoring a
Brooks and Dunn concert at which company of?cials held an on-stage drawing in
front of 20 000 truckers to select the grand prize winner.
In all, the Best Drive in the Game Sweepstakes cost Volvo Trucks North Amer-
ica $3.6 million—$2.7 million for the ad alone. Was it worth the cost? Lesinski
and his bosses at AB Volvo certainly think so. Later research showed that the cam-
paign had a sizeable, positive impact on both trucker and public perceptions. More
than 30 million adults recalled seeing the Super Bowl ad. Just that one ad created
a 98 percent increase in the general public’s awareness of Volvo trucks and sig-
ni?cantly improved public perceptions of Volvo drivers as intelligent, safe, suc-
cessful, and friendly.
Perhaps more importantly, the ad was viewed by 1.4 million truck drivers,
almost half the target market.
Twenty-three percent of these drivers talked about the ad with someone else,
generating more than 325 000 conversations about the commercial. After the Best
Drive campaign, substantially higher proportions of drivers and buyers perceive
the Volvo VN770 as being like a “Hilton” rather than a “Motel 6,” and as a
“sleek, aerodynamic, friendly vehicle” versus a “work truck.” The campaign cre-
ated 30 percent driver preference for Volvo trucks, higher than preferences for
competitors Freightliner (25%), Peterbilt (23%), and Kenworth (16%). By the end
of 1998, sales of Volvo trucks were up by 44.5 percent over the previous year,
and market share had risen 2.5 points to 12 percent. Based on these results, Volvo
Trucks North America sponsored a repeat promotion, The Best Drive in the Game
II, the following year, including a brand new ad in the 1999 Super Bowl.
Why did the Best Drive promotion work so well? Success resulted from much
more than just a single Super Bowl ad. “The ad was de?nitely the main attrac-
tion,” says Jim Lesinski. “But it was really just the lure that pulled drivers into
the full Best Drive promotion and got them into our trucks.” By blending Super
Bowl advertising with a full slate of other carefully targeted ads, promotions, and
events, Lesinski created a complete integrated marketing communications cam-
Chapter 13 Integrated Marketing Communication Strategy 539
Volvo Trucks
www.volvotrucks.volvo.com/
paign that had a larger and more lasting impact than any single ad could ever
have achieved.
1
Modern marketing calls for more than just developing a good product, pric-
ing it attractively, and making it available to target customers. Companies also
must communicate with their customers, and what they communicate should not
be left to chance. For most companies, the question is not whether to communi-
cate, but how much to spend and in what ways.
The Marketi ng Communi cati ons Mi x
A company’s total marketing communications mix, or promotion mix, consists of
the speci?c blend of advertising, personal selling, sales promotion, and public rela-
tions tools that the company uses to pursue its advertising and marketing objec-
tives. The ?ve major types of promotion are:
2
• Advertising: Any paid form of non-personal presentation and promotion of
ideas, goods, or services by an identi?ed sponsor.
• Personal selling: Personal presentation by the ?rm’s sales force to make sales and
build customer relationships.
• Sales promotion: Short-term incentives to encourage the purchase or sale of a
product or service.
• Public relations: Building good relations with the company’s publics by obtain-
ing favourable publicity, building up a good “corporate image,” and handling or
heading off unfavourable rumours, stories, and events.
• Direct marketing: Direct communications with carefully targeted individual
consumers to obtain an immediate response—the use of mail, telephone, fax,
e-mail, and other non-personal tools to communicate directly with speci?c con-
sumers or to solicit a direct response.
Each type of promotion has its own tools. Advertising includes print, broad-
cast, outdoor, and other forms. Personal selling includes sales presentations, trade
shows, and incentive programs. Sales promotion includes point-of-purchase dis-
plays, premiums, discounts, coupons, specialty advertising, and demonstrations.
Direct marketing includes catalogues, telemarketing, fax transmissions, and the
Internet. Thanks to technological breakthroughs, marketers can now communicate
through traditional media (newspapers, radio, telephone, and television), as well
as its newer forms (fax machines, cellular phones, pagers, and computers). These
new technologies have encouraged more companies to move from mass commu-
nication to more targeted communication and one-on-one dialogue.
At the same time, communication goes beyond these speci?c promotion tools.
The product’s design, its price, the shape and colour of its package, and the stores
that sell it—all communicate something to buyers. Thus, although the promotion
mix is the company’s primary communication activity, the entire marketing mix—
promotion and product, price, and place—must be coordinated for greatest com-
munication impact.
In this chapter, we begin by examining the rapidly changing marketing com-
munications environment, the concept of integrated marketing communications,
and the marketing communication process. Next, we discuss the factors that mar-
keting communicators must consider in shaping an overall communication mix.
Finally, we summarize the legal, ethical, and social responsibility issues in mar-
keting communications. In Chapter 14, we look at mass-communication tools—
advertising, sales promotion, and public relations. Chapter 15 examines the sales
force as a communication and promotion tool.
Part III Developing the Marketing Mix 540
Marketing communications
mix (or promotion mix)
The speci?c mix of advertising,
personal selling, sales promotion,
and public relations a company uses
to pursue its advertising and
marketing objectives.
Advertising
Any paid form of non-personal
presentation and promotion of ideas,
goods, or services by an identi?ed
sponsor.
Personal selling
Personal presentation by the ?rm’s
sales force to make sales and build
customer relationships.
Sales promotion
Short-term incentives to encourage
purchase or sale of a product or
service.
Public relations
Building good relations with the
company’s publics by obtaining
favourable publicity, building up a
good “corporate image,” and
handling or heading off
unfavourable rumours, stories, and
events.
Direct marketing
Direct communications with carefully
targeted individuals to obtain an
immediate response.
Integrated Marketi ng Communi cati ons
Over the past few decades, companies around the world perfected the art of mass
marketing—selling highly standardized products to masses of customers. In the
process, they developed effective mass-media advertising techniques to support
their mass-marketing strategies. These companies routinely invested millions of
dollars in the mass media, reaching tens of millions of customers with a single ad.
However, as we move into the twenty-?rst century, marketing managers face some
new marketing communications realities.
The Changi ng
Communi cati ons Envi ronment
Two major factors are changing the face of today’s marketing communications.
First, as mass markets have fragmented, marketers are shifting away from mass
marketing and developing focused marketing programs, designed to build closer
relationships with customers in more narrowly de?ned micromarkets. Second, vast
improvements in information technology are speed-
ing the movement toward segmented marketing.
Today’s information technology helps marketers to
keep closer track of customer needs—more informa-
tion about consumers at the individual and house-
hold levels is available than ever before. New tech-
nologies also provide new communications avenues
for reaching smaller customer segments with more
tailored messages.
The shift from mass marketing to segmented
marketing has had a dramatic impact on marketing
communications. Just as mass marketing gave rise to
a new generation of mass-media communications, the
shift toward one-on-one marketing is spawning a
new generation of more specialized and highly tar-
geted communications efforts.
3
Given this new communications environment,
marketers must rethink the roles of various media
and promotion mix tools. Mass-media advertising
has long dominated the promotion mixes of con-
sumer product companies. However, although televi-
sion, magazines, and other mass media remain very
important, their dominance is now declining. Market
fragmentation has resulted in media fragmentation
into more focused media that better match today’s
targeting strategies. For example, in 1975, what were
the three major US TV networks (ABC, CBS, and
NBC) attracted 82 percent of the 24-hour viewing
audience. By 1995, that number had dropped to only
35 percent, as cable television and satellite broad-
casting systems offered advertisers dozens or even
hundreds of alternative channels, which reach
smaller, specialized audiences. It’s expected to drop
even further, down to 25 percent by the year 2005.
Similarly, the relatively few mass magazines of the
1940s and 1950s—Look, Life, Maclean’s, Saturday
Evening Post—have been replaced by more than
18 600 special-interest magazines, reaching more
Chapter 13 Integrated Marketing Communication Strategy 541
The relatively few mass
magazines of the mid-twentieth
century have been replaced by
thousands of special-interest
magazines. HMF alone publishes
these and more than 20 other
magazines reaching 17 different
markets and more than 47
million readers, not to mention a
wide range of online, broadcast,
outdoor, and other media.
focused audiences. Beyond these channels, advertisers are making increased use of
new, highly targeted media, ranging from video screens on supermarket shopping
carts to CD-ROM catalogues and Web sites on the Internet.
4
More generally, advertising appears to be giving way to other elements of the
promotion mix. In the glory days of mass marketing, consumer product compa-
nies spent the lion’s share of their promotion budgets on mass-media advertising.
Today, media advertising captures only about 26 percent of total promotion spend-
ing.
5
The rest goes to various sales promotion activities, which can be focused
more effectively on individual consumer and trade segments. Marketers are using
a richer variety of focused communication tools in an effort to reach their diverse
target markets. In all, companies are doing less broadcasting and more narrow-
casting.
The Need for Integrated
Marketi ng Communi cati ons
The shift from mass marketing to targeted marketing, with its corresponding use
of a richer mixture of communication channels and promotion tools, poses a prob-
lem for marketers. Consumers are being exposed to a greater variety of marketing
communications from and about the company from an array of sources. However,
customers don’t distinguish between message sources the way marketers do. In the
consumer’s mind, advertising messages from different media—such as television,
magazines, or online sources—blur into one. Messages delivered via different pro-
motional approaches—such as advertising, personal selling, sales promotion, pub-
lic relations, or direct marketing—all become part of a single message about the
company. Con?icting messages from these different sources can result in confused
company images and brand positions.
All too often, companies fail to integrate their various communications chan-
nels. The result is a hodgepodge of communications to consumers. Mass adver-
tisements say one thing, a price promotion sends a different signal, a product label
creates still another message, company sales literature says something altogether
different, and the company’s Web site seems out of sync with everything else.
The problem is that these communications often come from different company
sources. The advertising department or advertising agency plans and implements
advertising messages. Sales management develops personal selling communications.
Other functional specialists are responsible for public relations, sales promotion,
direct marketing, online sites, and other forms of marketing communications. Such
functional separation has recently become a major problem for many companies
and their Internet communications activities, which are often split off into sepa-
rate organizational units. “These new, forward-looking, high-tech functional
groups, whether they exist as part of an established organization or as a separate
new business operation, commonly are located in separate space, apart from the
traditional operation,” observes one integrated marketing communications expert.
“They generally are populated by young, enthusiastic, technologically pro?cient
people with a burning desire to ‘change the world,’ ” he adds, but “the separation
and the lack of cooperation and cohesion” can be a disintegrating force in mar-
keting communications (see Marketing Highlight 13-1).
In the past, no one person was responsible for thinking through the commu-
nication roles of the various promotion tools and coordinating the promotion mix.
Today, however, many companies are adopting the concept of integrated market-
ing communications (IMC). Under this concept, as illustrated in Figure 13-1, the
company carefully integrates and coordinates its many communications channels
to deliver a clear, consistent, and compelling message about the organization and
its products.
6
As one marketing executive puts it, “IMC builds a strong brand
identity in the marketplace by tying together and reinforcing all your images and
Part III Developing the Marketing Mix 542
Integrated marketing
communications (IMC)
The concept under which a company
carefully integrates and coordinates
its many communications channels
to deliver a clear, consistent, and
compelling message about the
organization and its products.
messages. IMC means that all your corporate messages, positioning and images,
and identity are coordinated across all [marketing communications] venues. It
means that your PR materials say the same thing as your direct mail campaign,
and your advertising has the same ‘look and feel’ as your Web site.”
7
The IMC solution calls for recognizing all contact points at which the cus-
tomer may encounter the company, its products, and its brands. Each brand con-
tact will deliver a message, whether good, bad, or indifferent. The company must
strive to deliver a consistent and positive message at all contact points.
To help implement IMC, some companies appoint a marketing communica-
tions director, or marcom manager, who has overall responsibility for the com-
pany’s communications efforts. Compaq Canada, for example, has a vice-president
of integrated marketing communications. IMC produces better communications
consistency and greater sales impact. It places the responsibility in someone’s
hands—where none existed before—to unify the company’s image as it is shaped
by thousands of company activities. It leads to a total marketing communication
strategy aimed at showing how the company and its products can help customers
solve their problems.
A Vi ew of the Communi cati on Process
IMC involves identifying the target audience and shaping a well-coordinated pro-
motional program to elicit the desired audience response. Too often, marketing
communications focus on overcoming immediate awareness, image, or preference
problems in the target market. But this approach to communication has limita-
tions: It is too short term and too costly, and most messages of this type fall on
deaf ears. Marketers are moving toward viewing communications as managing the
customer relationship over time, during the preselling, selling, consuming, and post-
consumption stages. Because customers differ, communications programs need to
be developed for speci?c segments, niches, and even individuals. Given the new
interactive communications technologies, companies must ask not only “How can
Chapter 13 Integrated Marketing Communication Strategy 543
FIGURE 13-1
Integrated marketing
communications
Part III Developing the Marketing Mix 544
The Internet, Interactivity, and All Those Nets and Dot-Coms:
Disintegrated Marketing Communications?
ma r k e t i n g h i g h l i g h t 1 3 - 1
E
ver have a day when you couldn’t
get a TV commercial out of your
head? Or do ad jingles from yester-
year sometimes stick in your cranium,
like “I’d like to buy the world a Coke,”
or “Plop, plop, ?zz, ?zz. Oh what a relief
it is”? Or do long lost words like “Two all
beef patties, special sauce, lettuce,
cheese, pickles, onions, on a sesame
seed bun” suddenly and inexplicably
burst from your mouth? If you’re like
most people, you sop up more than a
fair share of TV advertising.
Now, try to remember the last ad you
saw while sur?ng the Internet. Drawing a
blank? That’s not surprising. The
Web’s ineffectiveness as a major brand-
building tool is one of today’s hottest
marketing issues, even though spending
on Internet advertising by Canadian mar-
keters grew by 126 percent between
1998 and 1999. Despite its growth, In-
ternet advertising ($55.5 million) repre-
sents only a small portion of Canadian
advertising expenditures. Television still
represents 34.1 percent of total spend-
ing at $2.36 billion, followed by daily
newspapers (25.1% at $1.7 billion), ra-
dio (13.8% at $952 million), weekly
newspapers (11.4% at $788 million),
magazines (10.8% at $747 million),
and outdoor signage (4.1% at $287 mil-
lion). Still, some ?rms are treating the
Internet as if it were the “one and only”
communication medium of the future.
The problem? According to inte-
grated marketing communication guru
Don Schultz, all the special attention
this new medium is getting may be re-
sulting in disintegrated marketing com-
munications. Says Schultz:
My mailbox has ?lled with brochures,
invitations, meetings, get-togethers, and
debates all promising to explain interac-
tivity, new media, e-commerce and elec-
tronic media. Each . . . promises to give
me the full picture of how to do the Inter-
net, the Web, extranets, intranets, and all
the other “nets” that are popping up
everywhere. Not one has even suggested
how all this new stuff might ?t with, coor-
dinate alongside, relate to, or be inte-
grated with the existing media systems.
Nothing on how to combine or bring
together existing programs and existing
customers with the brave new world of
the 21st century.
Most troubling is that many ?rms are
organizing their new e-communications
operations into separate groups or divi-
sions, isolating them from mainstream
marketing activities. “It is . . . the
apartness that concerns me,” Schultz
observes. “We seem to be creating the
same problems with new media, new
marketing, and new commerce that we
created years ago when we developed
separate sales promotion groups, sepa-
rate direct-marketing activities, separate
public relations departments, separate
events organizations, and so on. . . . In
my view, we are well on the way to disin-
tegrating our marketing and communi-
cation programs and processes all over
again.” However, whereas companies ap-
pear to be compartmentalizing the new
communications tools, customers won’t.
According to Schultz:
New media, the Internet, interactivity and
all the Nets and “dot-coms” are critical
to marketing and communication prac-
tice, but they are not the be-all-and-end-
all of marketing and marketing communi-
cation. They . . . are not going to instan-
taneously replace all our current
techniques, approaches or media sys-
tems. . . . The real issue for most [mar-
keters] and consumers is transition, from
what they do now to what they likely will
do in the future. And, the truth is, most
[consumers] won’t compartmentalize their
use of the new systems. They won’t say,
“Hey, I’m going off to do a bit of Net surf-
ing. Burn my TV, throw out all my radios,
cancel all my magazine subscriptions,
and, by the way, take out my telephone
and don’t deliver any mail anymore.” It’s
not that kind of world for consumers, and
it shouldn’t be the kind of world for mar-
keters either.
To be sure, the new Internet
promises exciting marketing communi-
cations potential. However, marketers
trying to use the Web to build brands
face many challenges. One limitation is
that the Internet doesn’t build mass
brand awareness. Instead, it’s like hav-
ing millions of private conversations.
The Web simply can’t match the impact
of the Super Bowl, where tens of mil-
lions of people see the same 30-second
Coca-Cola or Hallmark ad at the same
time. Thus, using the Internet, it’s hard
to establish the universal meanings—
like “Always Coca-Cola” or “When you
care enough to send the very best”—
that are at the heart of brand recogni-
tion and brand value. That’s why tactics
that have worked on TV have failed on
the Web. For example, Bell Atlantic de-
veloped an online soap opera that re-
we reach our customers?” but also “How can we ?nd ways to let our customers
reach us?”
Therefore, the communications process should start with an audit of all the
potential interactions that target customers may have with the product and com-
pany. For example, someone purchasing a new computer may talk with others,
see television commercials, read articles and ads in newspapers and magazines,
and try out computers in the store. Marketers must assess the in?uence that each
of these communications experiences will have at different stages of the buying
process. This understanding will help them allocate their communication dollars
more ef?ciently and effectively.
To communicate effectively, marketers need to understand how communica-
tion works. Communication involves the nine elements shown in Figure 13-2. Two
of these elements are the major parties in a communication—the sender and
receiver. Another two are the major communication tools—the message and the
media. Four more are major communication functions—encoding, decoding,
response, and feedback. The last element is noise in the system. De?nitions of these
elements are applied to an ad for Hewlett-Packard colour multifunction machines:
• Sender: The party sending the message to another party—here, Hewlett-Packard.
• Encoding: The process of putting thought into symbolic form—HP’s advertising
agency assembles words and illustrations into an advertisement that will convey
the intended message.
Chapter 13 Integrated Marketing Communication Strategy 545
volved around yuppie newlyweds Troy
and Linda. Although the site won raves
from critics and had lots of fans, Bell
Atlantic’s research showed it did little to
boost the brand.
Another Internet limitation is format
and quality constraints. Web ads are
still low in quality and impact. Procter &
Gamble and other large advertisers have
been pushing to get Internet publishers
to allow larger, more complex types of
ads with high-quality sound and full-
motion video. So far, however, ads on
the Internet are all too ignorable. Even if
advertisers could put larger, richer ads
on the Web, they would likely face a
consumer backlash. In the digital world,
consumers control ad exposure. Many
consumers who’ve grown up with the In-
ternet are sceptical of ads in general
and resentful of Web ads in particular.
Internet advertisers face an uphill battle
in getting such consumers to click onto
their ads. In fact, a recent survey found
that 21 percent of Internet users polled
said they never clicked on Internet ads
and another 51 percent said they
clicked only rarely.
Facing such realities, most marketers
opt for fuller promotion campaigns to
build their brands. Even companies that
rely primarily on e-commerce for sales
are conducting most of their branding
efforts of?ine. Business-to-business e-
commerce star Cisco Systems spends ad
money on full-page ads in the Wall
Street Journal rather than on Web ban-
ners. Dell Computer is one of the largest
ad spenders in tech trade magazines
and runs a $150-million-plus branding
campaign almost entirely on TV. Dell
hopes to conduct 50 percent of all
transactions online and contends that it
can’t generate that kind of volume with
Web advertising.
Similarly, most traditional marketers
are adding the Web as an enhancement
to their more traditional communication
media. They wed the emotional pitch
and impact of traditional brand market-
ing with real service offered online. For
example, television ads for Saturn still
offer the same old-fashioned humorous
appeal. But now they point viewers to
the company’s Web site, which offers
lots of help and very little hype. The site
helps serious car buyers select a model,
calculate payments, and ?nd a dealer
online. Even marketers that can’t really
sell their goods via the Web are using
the Internet as an effective customer
communication and relationship en-
hancer. For example, Procter & Gamble
has turned Pampers.com into the Pam-
pers Parenting Institute, addressing vari-
ous issues of concern to new and expec-
tant parents.
Thus, although the Internet offers
electrifying prospects for marketing
communication, it can rarely stand
alone as a brand-building tool. Instead,
it must be carefully integrated into the
broader marketing communications mix.
Schultz makes this plea: “My cry is to
integrate, not isolate. Yes, we need to
explore and develop the new media and
new approaches, but we need to . . .
integrate [them] with the old, melding
e-commerce and across-the-counter
commerce. There never has been a
greater need for integration than there is
today. Let’s recognize and develop the
new electronic forms on the basis of
what they are—alternatives and perhaps
enhancements for the existing ap-
proaches presently in place—and noth-
ing more. Then again, they are nothing
less, either.”
Sources: Quotes and excerpts from Don E. Schultz,
“New media, old problem: Keep marcom integrated,”
Marketing News, 29 March 1999:11. Also see “Net
leads the way in spending,” Marketing On-Line,
25 September 2000; Jeffrey O’Brien, “Web advertising
and the branding mission,” Upside, September 1998:
90–4; Saul Hansell, “Selling soap without the soap
operas, mass marketers seek ways to build brands on
the Web,” New York Times, 24 August 1998
1–2; Ellen
Neuborne, “Branding on the Net,” Business Week,
9 November 1998:76–86; and Bradley Johnson, “Boom
or bust?” Advertising Age, 1 November 1999:1,52.
The Internet can rarely stand alone as a brand-
building tool. Even companies that rely primarily
on e-commerce for sales are conducting most of
their branding efforts of?ine.
Hewlett-Packard
www.hp.com/
• Message: The set of symbols that the sender transmits—the actual HP multi-
function machine ad.
• Media: The communication channels through which the message moves from
sender to receiver—in this case, the speci?c magazines that HP selects.
• Decoding: The process by which the receiver as-
signs meaning to the symbols encoded by the
sender—a consumer reads the HP multifunction
machine ad and interprets the words and illus-
trations it contains.
• Receiver: The party receiving the message sent
by another party—the home of?ce or business
customer who reads the HP multifunction ma-
chine ad.
• Response: The reactions of the receiver after be-
ing exposed to the message—any of hundreds of
possible responses, such as the consumer is more
aware of the attributes of HP multifunction ma-
chines, actually buys an HP multifunction ma-
chine, or does nothing.
• Feedback: The part of the receiver’s response
communicated back to the sender—HP research
shows that consumers are struck by and remem-
ber the ad, or consumers write or call HP prais-
ing or criticizing the ad or HP’s products.
• Noise: The unplanned static or distortion during
the communication process, which results in the
receiver’s getting a different message than the
one the sender sent—the consumer is distracted
while reading the magazine and misses the HP ad
or its key points.
For a message to be effective, the sender’s
encoding process must mesh with the receiver’s
decoding process. Therefore, the best messages con-
sist of words and other symbols that are familiar to
Part III Developing the Marketing Mix 546
FIGURE 13-2
Elements in the
communication
process
An understanding of the concerns
of home-business owners helps
Hewlett-Packard communicate
effectively.
the receiver. The more the sender’s ?eld of experience overlaps with that of the
receiver, the more effective the message is likely to be. Marketing communicators
may not always share their consumer’s ?eld of experience. For example, an adver-
tising copywriter from one social stratum might create ads for consumers from
another stratum—say, blue-collar workers or wealthy business owners. However,
to communicate effectively, the marketing communicator must understand the con-
sumer’s ?eld of experience.
This model points out several key factors in good communication. Senders
need to know what audiences they wish to reach and what responses they want.
They must be good at encoding messages that take into account how the target
audience decodes them. They must send messages through media that reach tar-
get audiences, and they must develop feedback channels so that they can assess
the audience’s response to the message.
Steps i n Devel opi ng Effecti ve Communi cati on
We now examine the steps in developing an effective integrated communications and
promotion program. The marketing communicator must: identify the target audi-
ence; determine the response sought; choose a message; choose the media through
which to send the message; select the message source; and collect feedback.
Identi fyi ng the Target Audi ence
A marketing communicator starts with a clear target audience in mind. The audi-
ence may be potential buyers or current users, those who make the buying deci-
sion or those who in?uence it. The audience may be individuals, groups, special
publics, or the general public. The target audience will affect the communicator’s
decisions on what will be said, how it will be said, when it will be said, where it
will be said, and who will say it.
Determi ni ng the Desi red Response
After de?ning the target audience, the marketing communicator must decide what
response is desired. In most cases, the ?nal response is purchase. But purchase is
the result of a long process of consumer decision making. The target audience may
be in any of six buyer readiness stages, the stages that consumers typically pass
through on their way to making a purchase. These stages are awareness, knowl-
edge, liking, preference, conviction, and purchase (see Figure 13-3). The market-
ing communicator needs to know where the target audience is now and to what
stage it needs to be moved.
The marketing communicator’s target market may be totally unaware of the
product, know only its name, or know little about it. The communicator must
?rst build awareness and knowledge. When Nissan introduced its In?niti auto-
mobile line, it began with an extensive “teaser” advertising campaign to create
Buyer readiness stages
The stages consumers typically pass
through on their way to purchase:
awareness, knowledge, liking,
preference, conviction, and
purchase.
Chapter 13 Integrated Marketing Communication Strategy 547
FIGURE 13-3 Buyer
readiness stages
name familiarity. Initial ads for the In?niti created curiosity and awareness by
showing the car’s name but not the car. Later ads created knowledge by inform-
ing potential buyers of the car’s high quality and many innovative features.
Assuming target consumers know the product, how do they feel about it?
Once potential buyers know about the In?niti, Nissan’s marketers want to move
them through successively stronger stages of feelings toward the car. These stages
include liking (feeling favourable about the In?niti), preference (preferring In?niti
to other car brands), and conviction (believing that In?niti is the best car for them).
In?niti marketers can use a combination of the promotion mix tools to create pos-
itive feelings and conviction. Advertising extols the In?niti’s advantages over com-
peting brands. Press releases and other public relations activities stress the car’s
innovative features and performance. Dealer salespeople tell buyers about options,
value for the price, and after-sale service.
Finally, some members of the target market might be convinced about the prod-
uct, but not quite get around to making the purchase. Potential In?niti buyers may
decide to wait for more information or for the economy to improve. The communi-
cator must lead these consumers to take the ?nal step. Actions may include offering
special promotional prices, rebates, or premiums. Salespeople may call or write to
selected customers, inviting them to visit the dealership for a special showing.
Marketing communications alone cannot create positive feelings and purchases
for In?niti. The car itself must provide superior value for the customer. In fact,
Part III Developing the Marketing Mix 548
Postpurchase behaviour
The stage of the buyer decision
process in which consumers take
further action after purchase based
on their satisfaction or dissatis-
faction.
ma r k e t e r s s p e a k o u t
Alan Quarry, President of Quarry Integrated Communications
“C
lients count on us to help build
their business, build their
brands, build their customer
relationships and build their pro?ts . . .
and we deliver,” states Alan Quarry,
“head coach” of Quarry Integrated
Communications, a ?rm based in Wa-
terloo, Ontario, with of?ces in Toronto,
Dallas, and Japan. The hand-lettered
signs posted all around Quarry’s
premises capture their essence: “Our
mission is to help our clients build their
businesses through integrated commu-
nications.” Quarry’s clients—?rms like
Nortel Networks, Hewlett-Packard,
Royal Bank, Cyanamid Crop Protection,
Clarica Life, Hoffmann-la Roche,
Elanco Animal Health, FedEx, Merck
Frosst, and Sprint Canada—all agree
that Quarry has helped them accom-
plish this objective.
It’s hard to catch up with Alan
Quarry. A person with seemingly endless
energy, he not only is the president of
Quarry Integrated Communications, but
he also ?nds time to teach marketing
communications to fourth-year honours
business students at Wilfrid Laurier Uni-
versity. When he isn’t teaching, travel-
ling, working with his clients, or sharing
a laugh with his family, he has his head
in a book. He is a strong believer that
continuous learning is the key to suc-
cess in the modern economy. “As com-
municators, we can never stop increas-
ing our knowledge about consumer
motivation and how effective communi-
cations work,” states Quarry.
Quarry Integrated focuses on build-
ing demand for considered-purchase
goods and services in the information
technology, financial services, agri-
business, and health care industries.
But, as Quarry notes, “Advertising
doesn’t work like it used to. People
have grown sceptical, info-saturated,
atomized in their interests, and now
wired to the Internet.” So how do you
reach your customers in such a jaded
marketplace? Quarry asks. We know
that advertisers can’t simply deliver a
snappy selling message and expect re-
sults. Increasingly, the challenge is to
understand the lifestyles, attitudes,
and motivations of individual cus-
tomers, and ?nd a way to reach them
with a consistent, relevant message. In
other words, you have to use integrated
communications where integration
means consistency of brand contacts.
Even more importantly, Quarry notes,
“Consistency means trust. Trust means
better relationships with your cus-
tomers.”
As you may gather from the last
statement, Quarry Integrated Communi-
cations is a values-led company. Three
core values guide its actions: integrity,
relevance, and achievement. Visit
Quarry’s Web site to understand fully the
importance of these guiding principles
for the firm (www.quarry.com/culture/
values). Integrity means that Quarry con-
ducts its business honestly and fairly
with its clients, associates, suppliers,
and the marketplace. In terms of rele-
vance, Quarry works to anticipate and
identify critical success factors for
clients and then exceed their expecta-
tions by delivering on its commitments
in a creative, timely, and cost-effective
manner. To Quarry, achievement is suc-
cessfully building the businesses of its
clients and their brands.
In addition to being values-led,
Quarry Integrated is a highly innovative
?rm, which broke the traditional adver-
Nissan Canada
www.nissancanada.com/
outstanding marketing communications can actually speed the demise of a poor
product. The more quickly potential buyers learn about the poor product, the more
quickly they become aware of its faults. Thus, good marketing communication
calls for “good deeds followed by good words.”
Desi gni ng a Message
Having de?ned the desired audience response, the communicator turns to devel-
oping an effective message. Ideally, the message should get attention, hold interest,
arouse desire, and obtain action (a framework known as the AIDA model ). In
practice, few messages take the consumer all the way from awareness to purchase,
but the AIDA framework suggests the qualities of a good message.
In putting together the message, the marketing communicator must solve three
problems: what to say (message content), how to say it logically (message struc-
ture), and how to say it symbolically (message format).
Message Content
The communicator must identify an appeal or theme that will produce the desired
response. There are three types of appeals: rational, emotional, and moral.
Rational appeals relate to the audience’s self-interest. They show that the prod-
uct will produce the desired bene?ts. Rational appeal messages may show a prod-
Chapter 13 Integrated Marketing Communication Strategy 549
Alan Quarry.
tising agency model in the early 1990s
and developed a new model for doing
business. “The structure of the tradi-
tional ad agency seemed dysfunctional
and almost anti-client to me,” states
Alan Quarry. “All the internal politics
and focus on driving mass-media spend-
ing was not the kind of organization we
wanted to be. We couldn’t be the type of
strategic ally that our clients need to be
successful in the future.
“We believe that mass media adver-
tising is communications ‘at’ the con-
sumer. Integrated marketing communi-
cations (IMC) is a conversation ‘with’
the consumer. There will be a lot less
marketing in the future and a lot more
‘customerizing’ as IMC guru Don
Schultz has pointed out. We believe that
relationship-building dialogue with the
customer strengthens and can even im-
prove products and brands.”
To help make this all happen, Quarry
Integrated is wired. No, not from three-
martini lunches, but by the ethernet
hubs, Internet routers, T-1 lines, video
conferencing, and leading edge tele-
phony and software, which they use to
improve communications between
Quarry and its clients. This “technology-
enhanced communications” approach is
another difference between Quarry and
many of its competitors. “Lots of ad
agencies seem to think of buying tech-
nology as being an ‘expense’. . . we
think of acquiring the tools we use as an
‘investment,’ ” explained Alan Quarry.
“It’s a mindset thing. We know that we
cannot be a successful, global organiza-
tion and help our clients build without
being tech-savvy.”
In an industry characterized by dis-
turbingly high staff turnover rates, Quarry
Integrated has had one of Canada’s best
track records for continuity. Many think
that Quarry’s high retention rate has a lot
to do with the environment created at the
workplace. It’s an environment without
corner of?ces. (In fact, Alan Quarry, the
president, does not have an assigned of-
?ce at all. Instead he pushes his mobile
work surface around and answers to the
nickname ‘Virtu-Al.’) It has idea rooms
named the Eureka Room and the Ka-
boom Room. There’s a 1950s-style diner,
called Al’s Diner (in honour of Albert Ein-
stein), where the Quarry team and guests
meet, work, and have access to a free
supply of fruit, veggies, and other brain
food. It’s an environment that offers at
least one view of the outside world no
matter where you stand. The workplace
motto—“Think like the customer, Always
anticipate, And have fun!”—is posted all
around.
Quarry Integrated Communications
has been incredibly successful in an in-
dustry where many believe starting new
communication agencies, let alone inde-
pendent Canadian-owned agencies, is
next to impossible. However, Quarry con-
tinues to grow. Not content to rest on its
laurels, Quarry Integrated Communica-
tions has a remarkable growth objective:
To be the best integrated communica-
tions organization in the galaxy! Seeing
the incredible commitment and energy in
this ?rm can convince anyone that it is
well on its way to accomplishing this aim.
Sources: Information provided to Peggy Cunningham by
Alan Quarry. Also see www.quarry.com.
Rational appeals
Message appeals that relate to the
audience’s self-interest and show
that the product will produce the
claimed bene?ts; for example,
product quality, economy, value, or
performance.
uct’s quality, economy, value, or performance. In its ads, Mercedes offers cars that
are “engineered like no other car in the world,” stressing engineering design, per-
formance, and safety. Buckley’s Mixture took its most recognizable quality, the
bad taste of its cough syrup, and turned it into an award-winning campaign linked
by the tag line, “It tastes awful. And it works.”
Emotional appeals attempt to stir up either negative or positive emotions that
can motivate purchase. Communicators can use such positive emotional appeals
as love, pride, joy, and humour. Advocates for humorous messages claim that they
attract more attention and create more liking and belief in the sponsor. Cliff Free-
man, the advertiser responsible for Little Caesars’ humorous “Pizza, Pizza” ads,
contends that: “Humour is a great way to bound out of the starting gate. When
you make people laugh, and they feel good after seeing the commercial, they like
the association with the product.” But others maintain that humour can detract
from comprehension, wear out its welcome fast, and overshadow the product.
8
Consider some recent ads from Telus:
9
For the Christmas 2000 shopping season, Telus Corporation, one of Canada’s leading telecom-
munications companies, launched a new series of 12 ads for Telus Store products using humour
to draw attention to its products. In one ad, a woman overhears Christmas carolers approaching
Part III Developing the Marketing Mix 550
Emotional appeals
Message appeals that attempt to
stir up negative or positive
emotions—for example, fear, guilt,
shame, love, humour, pride, and
joy—to motivate purchase.
To move consumers toward
purchase of the In?niti, Nissan
created a multi-phase promotion
campaign. The ?rst teaser ads,
which did not even show the car,
built awareness. Later ads
created liking, preference, and
conviction by comparing In?niti’s
features with those of
competitors.
her home on a snowy festive night. She cheerfully opens the door,
only to ?nd the group singing loudly but totally unintelligibly
through the muf?ers wrapped up to their eyeballs. The ad then
cuts to the headline, “Communicating clearly is important,” and
then quickly features some key products. As the “Creative Eye”
section of Marketing Magazine notes, “Great work—fresh and
memorable. Fun and well produced, [in fact] the second Telus
campaign is brilliant. It’s a fresh way to convey otherwise dry
product bene?ts. It also creates a very smart, approachable
brand character.” Humour helped the ads break through the clut-
ter of competitors’ Christmas campaigns and accomplished their
purpose of getting people to think of the variety of gifts they
can buy at the Telus Store when doing their Christmas shopping
expeditions. Palmer Jarvis DDB, of Vancouver created the
campaign.
Communicators can also use negative emotional
appeals such as fear, guilt, and shame, which get peo-
ple to do things they should (brush their teeth, buy
new tires), or to stop doing things they shouldn’t
(smoke, drink too much, eat fatty foods). One Crest
ad invokes mild fear of cavities when it claims: “There
are some things you just can’t afford to gamble with.”
Etonic ads ask: “What would you do if you couldn’t
run?” and go on to note that Etonic athletic shoes are
designed to avoid injuries—they’re “built so you can
last.” A Michelin tire ad features cute babies and sug-
gests, “Because so much is riding on your tires.”
Moral appeals are directed to the audience’s sense
of what is “right” and “proper.” They often are used
to urge people to support such social causes as a
cleaner environment and aid to the needy, or combat
such social problems as drug abuse, discrimination, sexual harassment, and spousal
abuse. An example of a moral appeal is the March of Dimes appeal: “God made
you whole. Give to help those He didn’t.”
Message Structure
The communicator must decide which of three ways to use to structure the mes-
sage. The ?rst is whether to draw a conclusion or leave it to the audience. Early
research showed that drawing a conclusion was usually more effective; however,
more recent research suggests that the advertiser is often better off asking questions
and letting buyers draw their own conclusions. The second structure issue is whether
to present a one-sided argument—mentioning only the product’s strengths—or a
two-sided argument—touting the product’s strengths while also admitting its short-
comings. Buckley’s Mixture built its entire business around this technique:
10
Buckley’s Mixture was ?rst developed in 1919 by pharmacist William Knapp Buckley in his
Toronto drug store. W.K. was a pioneer, not only in terms of developing a highly effective prod-
uct, but also because he was one of the ?rst to recognize the power of catchy copy. He used
both print and radio at a time when advertising, especially radio advertising, was a relatively
new and a poorly understood phenomena. Advertising made the product a hit, despite its taste.
It wasn’t long before W.K. extended his success overseas. By the late ’30s, Buckley’s had intro-
duced itself to cold sufferers in the United States and Caribbean, and to New Zealand, Aus-
tralia, and Holland by the ’40s. The company roared along until the 1960s. Suddenly, phar-
macies started to be bought up by chains and other cough medicines started to advertise. The
creative advertising strategies that had made Buckley’s so successful and unique among the rest
of the category were now being used by everyone, and sales began sliding. It wasn’t until the
1980s that the company hit on its ‘the back to basics’ strategy. Buckley’s Mixture possessed
two strong characteristics: lousy taste and tremendous ef?cacy. Using these two points of dif-
ference, Buckley’s produced an award-winning advertising campaign that made Buckley’s Mix-
Chapter 13 Integrated Marketing Communication Strategy 551
Moral appeals
Advertising messages directed to the
audience’s sense of what is “right”
or “proper.”
Telus Corporation successfully
used humour as a way to convey
otherwise dry product bene?ts
and to generate traf?c in its
stores.
March of Dimes
www.modimes.org/
ture and Frank Buckley (W.K.’s son) household names in Canada. The company’s simple, hon-
est, and humorous approach to advertising and its famous tag line, “It tastes awful, and it
works,” attracted attention, praise, and advertising awards. More importantly it brought in new
users. Today, Buckley’s Mixture is the top-selling cough syrup in Canada by volume, command-
ing a 10 percent share of the market. The ‘bad taste’ campaign also solidi?ed its position in
the Caribbean, Australia, New Zealand, and the US. If, like other Canadians, you regard Buck-
ley’s as part of your Canadian heritage, you can join other fans and view Buckley’s current and
historical advertising at www.buckleys.com/Cdn/Cdn%20Frames/cdn_main_page.htm.
Usually, a one-sided argument is more effective in sales presentations—except
when audiences are highly educated, negatively disposed, or likely to hear opposing
claims. In these cases, two-sided messages can enhance the advertiser’s credibility
and make buyers more resistant to competitor attacks. The third message structure
issue is whether to present the strongest arguments ?rst or last. Presenting them ?rst
gets strong attention, but may lead to an anti-climactic ending.
11
Message Format
The marketing communicator needs a strong format for the message. In a print
ad, the communicator has to decide on the headline, copy, illustration, and colour.
To attract attention, advertisers can use novelty and contrast; eye-catching pictures
and headlines; distinctive formats; message size and position; and colour, shape,
and movement. If the message will be carried over the radio, the communicator
must choose words, sounds, and voices. The “sound” of an announcer promot-
ing banking services, for example, should be different from one promoting qual-
ity furniture.
If the message is to be carried on television or in person, then all these ele-
ments plus body language have to be planned. Presenters plan their facial expres-
sions, gestures, dress, posture, and hair style. If the message is carried on the prod-
uct or its package, the communicator has to watch texture, scent, colour, size, and
Buckley’s Mixture has won world
renown by using simple and
humorous two-sided
advertising—“It tastes awful,
and it works.”
Part III Developing the Marketing Mix 552
shape. Colour plays a major communication role in food preferences. When con-
sumers sampled four cups of coffee that had been placed next to brown, blue, red,
and yellow containers (all the coffee was identical, but the consumers did not know
this), 75 percent felt that the coffee next to the brown container tasted too strong;
nearly 85 percent judged the coffee next to the red container to be the richest;
nearly everyone felt that the coffee next to the blue container was mild; and the
coffee next to the yellow container was seen as weak. Therefore, if a coffee com-
pany wants to communicate that its coffee is rich, it should probably use a red
container along with label copy boasting the coffee’s rich taste.
12
Choosi ng Medi a
The communicator now must select channels of communication. There are two
broad types of communication channels—personal and non-personal.
Personal Communi cati on Channel s
In personal communication channels, two or more people communicate directly
with each other. They can communicate face to face, over the telephone, or even
through the mail or e-mail. Personal communication channels are effective because
they allow for personal addressing and feedback.
The company controls some personal communication channels directly; com-
pany salespeople, for example, contact buyers in the target market. But other per-
sonal communications about the product may reach buyers through channels not
directly controlled by the company. These may be independent experts—consumer
advocates, consumer buying guides, and others—making statements to target buy-
ers. Or they may be neighbours, friends, family members, and associates talking
to target buyers. This last channel, known as word-of-mouth in?uence, has con-
siderable effect in many product areas.
Personal in?uence carries great weight for products that are expensive, risky,
or highly visible. For example, buyers of automobiles, home decor, and fashion
often go beyond mass-media sources to seek the opinions of knowledgeable
people.
Companies can take several steps to put personal communication channels to
work for them. They can devote extra effort to selling their products to well-
known people or companies, who may, in turn, in?uence others to buy. They can
create opinion leaders—people whose opinions are sought by others—by supply-
ing certain people with the product on attractive terms. For example, companies
can work through community members such as local radio personalities, class pres-
idents, and heads of local organizations. And they can use in?uential people in
their advertisements or develop advertising that has high “conversation value.”
Non-Personal Communi cati on Channel s
Non-personal communication channels are media that carry messages without per-
sonal contact or feedback. They include major media, atmospheres, and events.
Major media include print media (newspapers, magazines, direct mail); broadcast
media (radio, television); and display media (billboards, signs, posters).
Atmospheres are designed environments that create or reinforce the buyer’s leanings
toward buying a product. Thus, lawyers’ of?ces and banks are designed to commu-
nicate con?dence and other qualities that might be valued by their clients. Events
are staged occurrences that communicate messages to target audiences, such as
press conferences, grand openings, shows and exhibits, public tours, and other
events arranged by public relations departments. Many Canadian companies spon-
sor sporting events that draw audiences that match the ?rm’s target market. The
Personal communication
channels
Channels through which two or more
people communicate directly with
each other, including face to face,
person to audience, over the
telephone, or through the mail or
e-mail.
Word-of-mouth influence
Personal communication about a
product between target buyers and
neighbours, friends, family members,
and associates.
Non-personal communi-
cation channels
Media that carry messages without
personal contact or feedback,
including major media, atmospheres,
and events.
Chapter 13 Integrated Marketing Communication Strategy 553
Bank of Montreal, for example, is the lead sponsor for equestrian events held at
Spruce Meadows in Calgary and at the Royal Winter Fair in Toronto. Molson
Breweries holds two annual Indy races: one in Vancouver, the other in Toronto.
Non-personal communication affects buyers directly. It also often affects them
indirectly by causing more personal communication. Communications ?rst ?ow
from television, magazines, and other mass media to opinion leaders and then from
these opinion leaders to others. Thus, opinion leaders step between the mass media
and their audiences and carry messages to people who are less exposed to media.
This suggests that mass communicators should aim their messages directly at opin-
ion leaders, letting them carry the message to others.
Sel ecti ng the Message Source
In either personal or non-personal communication, the message’s impact on the tar-
get audience is affected by how the audience views the communicator. Messages
delivered by highly credible sources are more persuasive. Therefore, marketers hire
celebrity endorsers—well-known athletes, actors, and even cartoon characters—to
deliver their messages (see Marketing Highlight 13-2).
Many food companies promote to doctors, dentists, and other health care
providers to motivate these professionals to recommend their products to patients.
Part III Developing the Marketing Mix 554
Molson Indy
www.molsonindy.com
Labatt used non-personal
communication channels for its
award-winning “Know When to
Draw the Line” campaign.
Chapter 13 Integrated Marketing Communication Strategy 555
Celebrity Endorsers
ma r k e t i n g h i g h l i g h t 1 3 - 2
“K
id, you’ve got the talent, but
you’ve got a problem,” barks
Bill Laimbeer, one of basket-
ball’s all-time dirtiest players, at young
superstar Grant Hill during a commer-
cial for Fila. “You’re too nice.” A series
of drills follows in which Laimbeer tries
to teach Hill elbowing, tripping, referee
abuse, cameraman pushing, nose
piercing—all the skills needed for to-
day’s modern athletes to make big
money off the court and playing ?eld.
But the joke is on Laimbeer. A follow-
up spot shows Hill calling his mom,
asking her to rescue him. The next
commercial in the series depicts Hill ?-
nally breaking free of Laimbeer’s hold,
despite 52 days of brainwashing at
“Camp Tough Guy.” “I’ve got to play
with decency, honesty,” he says as a ray
of light dawns upon him. “I’ve got to
play clean.” Clean is now cool. Clean is
also lucrative. For endorsing Fila’s run-
ning shoes, Hill received about $36
million over ?ve years.
Teams, as well as individual athletes,
are attracting sponsorship dollars. In a
landmark deal, TD Waterhouse Investor
Services, the Toronto-based discount
brokerage, signed on as title sponsor for
the next three Toronto Maple Leafs and
Toronto Raptors seasons, 2001–2004.
Choosing the wrong salesperson can
result in embarrassment and a tarnished
image. Hertz discovered this when it en-
trusted its good name to the care of O.J.
Simpson. Kellogg Canada Inc. is still
feeling the agony over its sponsorship of
sprinter Ben Johnson, who was stripped
of his gold medal after the 1988
Olympics for taking an illegal substance.
Manufacturers and advertisers seek
an endorser’s “halo effect”—the positive
association that bathes the product in
good vibes after a popular sports
celebrity has pitched it. The trend toward
nice is very good news for brand names
that are marketed globally. Tennis star
Michael Chang has emerged as the most
popular athlete in Asia by far. Reebok is
basing its entire Asian strategy around
him, as is Procter & Gamble’s Rejoice
(Pert Plus) shampoo line. What makes
Asia so crazy about Chang? It’s not just
his heritage. It’s also his persona. On a
continent where family is considered
paramount, Chang is coached by his
brother, and they travel frequently with
their parents. He’s properly humble and
soft-spoken as well. “We’ve always been
a very close-knit family, and I think that’s
pretty characteristic of Asian families,
period,” says Chang.
Professional athletes aren’t the only
ones drawing sponsorship dollars. Ama-
teur athletes, especially those training
for the Olympics, are receiving increased
attention. Olympic sponsorship is a sig-
ni?cant marketing vehicle, whether it is
of the Games themselves, the teams that
compete in them, or individual athletes.
People aren’t as jaded in their views of
Olympic athletes as they are about their
professional counterparts. Although
Olympic athletes may not be household
names, people believe that these ath-
letes compete for the love of the sport.
Thus, the goodwill that adheres to a
company that supports Olympic athletes
is greater than that associated with sup-
port of a professional sports celebrity.
Since the Olympics draw both interna-
tional and national audiences, they pro-
vide sponsoring companies with the op-
portunity to speak to the world.
The power of the Games led Kellogg
to re-enter the sponsorship game. Run-
ner Donovan Bailey graced the front of
the Corn Flakes box. Swimmer Joanne
Malar, who projects an image of ?tness
and health-consciousness, was chosen
as the perfect ?t for Special K. Divers
Anne Montminy and Annie Pelletier also
receive Kellogg’s support.
Kellogg certainly isn’t alone in its
sponsorship of Canadian Olympic ath-
letes. Home Depot Canada has a
unique program in which it provides
jobs for 10 Olympians in training.
Panasonic runs breakthrough advertis-
ing showing the women’s rowing team
tearing up the pavement of Canadian
cities. Nike Canada supports the snow-
boarding and hockey teams. Roots
Canada was one of Canada’s official
clothing providers for the Games, and
also sponsors individual athletes such
as skater Elvis Stojko. Tim Hortons sup-
ports the Canadian Cycling Association,
while Procter & Gamble supports the
Spirit of Sport Foundation.
Olympic sponsorship is not without
risks, however. When ?rms endorse an
individual athlete, they run the risk that
the person might not perform as well as
hoped. They may say something unfor-
tunate in their excitement over victory.
They may even bring disrepute, as when
Canadian snowboarder Ross Rebagliati
was temporarily stripped of his win after
testing positive for marijuana. Many
sponsors are now making their spon-
sored athletes sign codes of conduct
and morality.
Rather than sponsoring individual
competitors, many firms are now en-
dorsing teams. Ken McGovern, a Van-
couver researcher who specializes in
sponsorship, says, “When you’re en-
dorsing a team, what you’re really do-
ing is endorsing the spirit of the
Games, the excitement of competition
and the national pride that comes with
that.” Corporations that help make all
this happen reap a tremendous harvest
of goodwill.
Although the sponsorship arena has
long been dominated by male athletes,
not only men’s teams are drawing spon-
sorship dollars. In 1998, women’s
hockey was an Olympic event for the
?rst time, and the Canadian team at-
tracted a number of sponsors including
Imperial Oil.
While some corporations focus their
sponsorship efforts on just the athletes,
other ?rms, such as McDonald’s of
Canada, take a more integrated ap-
proach. Around the 2000 Olympics sea-
son, the company began by sponsoring
the CBC, the of?cial broadcaster of the
games. Each of its hundreds of Cana-
dian restaurants was designated an “of-
?cial headquarters.” All of McDonald’s
in-restaurant materials featured Olympic
themes—from tray liners to sandwich
wraps to a special magazine touting
Olympic values. Olympic watches were
offered as the featured premium, and
the company sent coupon booklets bear-
ing Olympic logos to every Canadian
household. Sales of the watches alone
raised $1 million for the Canadian
Olympic team. So that people watching
the television coverage of the Games
didn’t get bored with watching a single
ad aired again and again, McDonald’s
created 11 commercials. McDonald’s
believed that it was better to be associ-
ated with the spirit of the Games than to
sponsor an individual athlete.
Part III Developing the Marketing Mix 556
son, “Tiger!” Fortune, 12 May 1997:73–84; John Heinzl,
“Logos an Olympic event,” Globe and Mail, 20 October
1997:B1,B4; Lara Mills, “Women get in the Game,”
Marketing, 7 April 1997:10–1; James Walker, “Ben
Sources: Portions adapted from Lane Randall, “Nice
guys ?nish ?rst,” Forbes, 16 December 1996:236–42.
Also see Susan Chandler, “Michael Jordan’s full corpo-
rate press,” Business Week, 7 April 1997; Roy S. John-
Johnson on their minds,” Financial Post, 13 July 1996;
Patti Summer?eld, “TD Waterhouse makes landmark
sports deal,” Strategy, 23 October 2000:4; and www.
kelloggs.com/index_nite.html.
This has been an important strategy for Lipton’s Becel margarine, since research
showed that health professionals were important in?uencers on their patients’
dietary choices. In addition to award-winning advertising that helped the brand
grow throughout the 1990s, Becel developed its Becel Heart Health Information
Bureau. This “educational arm” of the brand provides health care professionals
and the public with current information on nutrition and the scienti?c issues affect-
ing heart health. While maintaining its objectivity, the bureau strives to dissemi-
nate both key scienti?c facts about heart health and key brand messages, primar-
ily on the Becel Canada Web page.
13
Col l ecti ng Feedback
After sending the message, the communicator must research its effect on the tar-
get audience. This involves asking the target audience members whether they
remember the message, how many times they saw it, what points they recall, how
they felt about the message, and their past and present attitudes toward the prod-
uct and company. The communicator also wants to measure behaviour resulting
from the message—how many people bought a product, talked to others about it,
or visited the store.
Feedback on marketing communications may suggest changes in the promotion
program or in the product offer itself. For example, when the new Boston Market
restaurant chain enters new market areas, it uses television advertising and coupons
in newspaper inserts to inform area consumers about the restaurant and to lure them
in. Suppose feedback research shows that 80 percent of all consumers in an area recall
seeing Boston Market ads and are aware of what the restaurant offers. Sixty percent
of those who are aware of it have eaten at the restaurant, but only 20 percent of
those who tried it were satis?ed. These results suggest that although the promotion
program is creating awareness, the restaurant isn’t giving consumers the satisfaction
they expect. Therefore, Boston Market needs to improve its food or service while stay-
ing with the successful communication program. In contrast, suppose the feedback
research shows that only 40 percent of area consumers are aware of the restaurant,
that only 30 percent of those aware of it have tried it, but 80 percent of those who
have tried it return. In this case, Boston Market needs to strengthen its promotion
program to take advantage of the restaurant’s power to create customer satisfaction.
Setti ng the Total Promoti on Budget and Mi x
We have examined the steps in planning and sending communications to a target
audience. But how does the company decide on the total promotion budget and
its division among the major promotional tools to create the promotion mix? We
now look at these questions.
Setti ng the Total Promoti on Budget
One of the hardest marketing decisions facing a company is how much to spend
on promotion. John Wanamaker, the department-store magnate, once said: “I know
Becel Canada
www.becelcanada.com/
that half of my advertising is wasted, but I don’t know which half. I spent $2 mil-
lion for advertising, and I don’t know if that is half enough or twice too much.”
Therefore, it is not surprising that industries and companies vary widely in how
much they spend on promotion. Promotion spending may be 20 to 30 percent of
sales in the cosmetics industry and only two or three percent in the industrial
machinery industry. Within any industry, both low and high spenders can be found.
How does a company decide on its promotion budget? We look at four com-
mon methods used to set the total budget for advertising: the affordable method,
the percentage-of-sales method, the competitive-parity method, and the objective-
and-task method.
14
Affordabl e Method
Some companies use the affordable method: They set the promotion budget at the
level they think the company can afford. Small businesses often use this method,
reasoning that the company cannot spend more on advertising than it has. They
start with total revenues, deduct operating expenses and capital outlays, and then
devote some portion of the remaining funds to advertising.
Unfortunately, this method of setting budgets completely ignores the effects of
promotion on sales. It tends to place advertising last among spending priorities,
even in situations in which advertising is critical to the ?rm’s success. It leads to
an uncertain annual promotion budget, which makes long-range market planning
dif?cult. Although the affordable method can result in overspending on advertis-
ing, it more often results in underspending.
Percentage-of-Sal es Method
Other companies use the percentage-of-sales method, setting their promotion bud-
get at a certain percentage of current or forecasted sales. Or they budget a per-
centage of the unit sales price. The percentage-of-sales method has a number of
advantages. First, using this method means that promotion spending is likely to
vary with what the company can “afford.” It also helps management think about
the relationship between promotion spending, selling price, and pro?t per unit.
Finally, it supposedly creates competitive stability because competing ?rms tend to
spend about the same percentage of their sales on promotion.
Despite these claimed advantages, however, the percentage-of-sales method has
little to justify it. It wrongly views sales as the cause of promotion rather than as
the result. “A study in this area found good correlation between investments in
advertising and the strength of the brands concerned—but it turned out to be effect
and cause, not cause and effect. . . . The strongest brands had the highest sales
and could afford the biggest investments in advertising!”
15
The budget is based
on availability of funds rather than on opportunities. It may prevent the increased
spending sometimes needed to turn around falling sales. Because the budget varies
with year-to-year sales, long-range planning is dif?cult. Finally, the method does
not provide any basis for choosing a speci?c percentage, except what has been
done in the past or what competitors are doing.
Competi tive-Pari ty Method
Still other companies use the competitive-parity method, setting their promotion
budgets to match competitors’ outlays. They monitor competitors’ advertising or
get industry promotion spending estimates from publications or trade associations,
and then set their budgets based on the industry average.
Two arguments support this method. First, competitors’ budgets represent the
collective wisdom of the industry. Second, spending what competitors spend helps
prevent promotion wars. Unfortunately, neither argument is valid. There are no
grounds for believing that the competition has a better idea of what a company
should be spending on promotion than does the company itself. Companies differ
Affordable method
Setting the promotion budget at the
level management thinks the
company can afford.
Chapter 13 Integrated Marketing Communication Strategy 557
Percentage-of-sales
method
Setting the promotion budget at a
certain percentage of current or
forecasted sales or as a percentage
of the sales price.
Competitive-parity method
Setting the promotion budget to
match competitors’ outlays.
greatly, and each has its own special promotion needs. Finally, there is no evidence
that budgets based on competitive parity prevent promotion wars.
Obj ective-and-Task Method
The most logical budget setting method is the objective-and-task method, whereby
the company sets its promotion budget based on what it wants to accomplish with
promotion. This budgeting method entails de?ning speci?c promotion objectives;
determining the tasks needed to achieve these objectives; and estimating the costs of
performing these tasks. The sum of these costs is the proposed promotion budget.
The objective-and-task method forces management to spell out its assumptions
about the relationship between dollars spent and promotion results. But it is also
the most dif?cult method to use. It is often hard to determine which speci?c tasks
will achieve speci?c objectives. For example, suppose Sony wants 95 percent
awareness for its latest camcorder model during the six-month introductory period.
What speci?c advertising messages and media schedules should Sony use to attain
this objective? How much would these messages and media schedules cost? Sony
management must consider such questions, even though they are hard to answer.
Setti ng the Overal l Promoti on Mi x
The company now must divide the total promotion budget among the major pro-
motion tools—advertising, personal selling, sales promotion, and public relations.
It must blend the promotion tools carefully into a coordinated promotion mix.
Companies within the same industry differ greatly in the design of their promo-
tion mixes. For example, Avon spends most of its promotion funds on personal
selling and direct marketing, whereas Revlon spends heavily on consumer adver-
tising, and Toronto-based M
.
A
.
C (Make-up Art Cosmetics) has rocketed onto the
world stage with almost no traditional advertising. We now look at the many fac-
tors that in?uence the marketer’s choice of promotion tools.
The Nature of Each Promoti on Tool
Each promotion tool—advertising, personal selling, sales promotion, public rela-
tions, and direct marketing—has unique characteristics and costs. Marketers must
understand these characteristics in selecting their tools.
Adverti si ng. Advertising can reach masses of geographically dispersed buyers
at a low cost per exposure and enables the seller to repeat a message many times.
Television advertising, for example, reaches huge audiences. On an average day,
77 percent of Canadians view television at least once. This viewership may be split
between Canadian national networks (19.5%), French networks (17.7%), Cana-
dian Global and independents (17.6%), and US conventional and superstations
(17.4%). More than 127 million North Americans tune in to the Super Bowl, and
about 78 million people watched at least part of the past Academy Awards broad-
cast. “If you want to get to the mass audience,” says a media services executive,
“Broadcast TV is where you have to be.” He adds, “For anybody introducing any-
thing who has to lasso an audience in a hurry—a new product, a new campaign,
a new movie—the networks are still the biggest show in town.”
16
Beyond its reach, large-scale advertising says something positive about the
seller’s size, popularity, and success. Because of advertising’s public nature, con-
sumers tend to view advertised products as more legitimate.
Advertising is also very expressive. It allows the company to dramatize its
products through the artful use of visuals, print, sound, and colour. On the one
hand, advertising can be used to build a long-term image for a product (such as
Coca-Cola ads). On the other hand, advertising can trigger quick sales (such as
Sears’ weekend sale ads).
Part III Developing the Marketing Mix 558
Objective-and-task method
Developing the promotion budget by
de?ning speci?c objectives; deter-
mining the tasks that must be
performed to achieve these objec-
tives; and estimating the costs of
performing these tasks. The sum of
these costs is the proposed
promotion budget.
MAC Cosmetics
www.maccosmetics.com/
Advertising also has shortcomings. Although it reaches
many people quickly, advertising is impersonal and cannot be
as persuasive as company salespeople. For the most part,
advertising can carry on only a one-way communication with
the audience, and the audience does not feel that it must pay
attention or respond. In addition, advertising can be very
costly. Although some advertising forms, such as newspaper
and radio advertising, can be done on small budgets, other
forms, such as network TV advertising, require very large
budgets.
Personal Sel l i ng. Personal selling is the most effective
tool at certain stages of the buying process, particularly in
building up buyers’ preferences, convictions, and actions.
Compared to advertising, personal selling has several unique
qualities. It involves personal interaction between two or
more people, so each person can observe the other’s needs
and characteristics and make quick adjustments. Personal
selling also allows all kinds of relationships to develop, rang-
ing from a matter-of-fact selling relationship to a deep per-
sonal friendship. The effective salesperson keeps the cus-
tomer’s interests at heart to build a long-term relationship.
Finally, with personal selling, the buyer usually feels a greater
need to listen and respond, even if the response is a polite
“no thank you.”
These qualities come at a cost, however. A sales force
requires a longer-term commitment than does advertising: A
company can turn on and off its advertising, but it is hard
to change the size of a sales force. Personal selling is also
the company’s most expensive promotion tool, costing
industrial companies an average of over $275 per sales
call.
17
North American ?rms spend up to three times as much on personal selling
as they do on advertising.
Sal es Promoti on. Sales promotion includes a wide assortment of tools, includ-
ing coupons, contests, cents-off deals, and premiums such as “buy 10 products,
and get one free.” These attract consumer attention and provide information that
may lead to a purchase. They offer strong incentives to purchase by providing
inducements or contributions that give additional value to consumers. And sales
promotions invite and reward quick response. Where advertising says, “Buy our
product,” sales promotion says, “Buy it now.”
Companies use sales promotion tools to create a stronger and quicker
response. Sales promotion can be used to dramatize product offers and to boost
sagging sales. Sales promotion effects are usually short lived, however, and are not
effective in building long-run brand preference.
Publ i c Rel ati ons. Public relations offers several bene?ts. It is very believable:
news stories, features, and events seem more real and believable to readers than
ads do. Public relations also can reach many prospects who avoid salespeople and
advertisements—the message gets to the buyers as “news” rather than as a sales-
directed communication. And, like advertising, public relations can dramatize a
company or product. Marketers tend to underuse public relations or to use it as
an afterthought. Yet a well-planned public relations campaign used with other pro-
motion mix elements can be very effective and economical.
Di rect Marketi ng. The many forms of direct marketing—direct mail, telemar-
keting, electronic marketing, online marketing, and others—share four distinctive
Chapter 13 Integrated Marketing Communication Strategy 559
Advertising is an important part
of Volkswagen’s promotion mix.
This award-winning, distinctive,
eye-catching ad helped
Volkswagen grab consumers’
attention.
characteristics. Direct marketing is non-public: The message is normally addressed
to a speci?c person. Direct marketing is also immediate and customized: Messages
can be prepared very quickly and can be tailored to appeal to speci?c consumers.
Finally, direct marketing is interactive: It allows a dialogue between the marketer
and consumer, and messages can be altered depending on the consumer’s response.
Therefore, direct marketing is well suited to highly targeted marketing efforts and
to building one-on-one customer relationships.
Promoti on Mi x Strategi es
Marketers can choose from two basic promotion mix strategies—push promotion
or pull promotion. Figure 13-4 contrasts the two strategies. A push strategy
involves “pushing” the product through distribution channels to ?nal consumers.
The producer directs its marketing activities (primarily personal selling and trade
promotion) toward channel members to induce them to carry the product and to
promote it to ?nal consumers. Using a pull strategy, the producer directs its mar-
keting activities (primarily advertising and consumer promotion) toward ?nal con-
sumers to induce them to buy the product. If the pull strategy is effective, con-
sumers then will demand the product from channel members, who will in turn
demand it from producers. Thus, under a pull strategy, consumer demand “pulls”
the product through the channels.
Some small industrial goods companies use only push strategies; some direct-
marketing companies use only pull. Most large companies use some combination
of both. For example, Frito-Lay uses mass-media advertising to pull its products,
and a large sales force and trade promotions to push its products through the
channels. In recent years, consumer goods companies have been decreasing the pull
portions of their promotion mixes in favour of more push.
Companies consider many factors when developing their promotion mix strate-
gies, including type of product-market and the product life cycle stage. For exam-
ple, the importance of different promotion tools varies between consumer and busi-
With personal selling, the
customer feels a greater need to
listen and respond, even if the
response is a polite “no thank
you.”
Part III Developing the Marketing Mix 560
Push strategy
A promotion strategy that calls for
using the sales force and trade
promotion to push the product
through channels. The producer
promotes the product to wholesalers,
the wholesalers promote to retailers,
and the retailers promote to
consumers.
Pull strategy
A promotion strategy that calls for
spending a lot on advertising and
consumer promotion to build up
consumer demand. If the strategy is
successful, consumers will ask their
retailers for the product, the
retailers will ask the wholesalers,
and the wholesalers will ask the
producers.
ness markets. Consumer goods companies usually “pull” more, putting more of
their funds into advertising, followed by sales promotion, personal selling, and then
public relations. In contrast, business-to-business marketers tend to “push” more,
putting more of their funds into personal selling, followed by sales promotion,
advertising, and public relations. In general, personal selling is used more heavily
with expensive and risky goods and in markets with fewer and larger sellers.
The effects of different promotion tools also vary with stages of the product
life cycle. In the introduction stage, advertising and public relations are good for
producing high awareness, sales promotion is useful in promoting early trial, and
personal selling must be used to get the trade to carry the product. In the growth
stage, advertising and public relations continue to be powerful in?uences, whereas
sales promotion can be reduced because fewer incentives are needed. In the mature
stage, sales promotion again becomes important relative to advertising: Buyers
know the brands, and advertising is needed only to remind them of the product.
In the decline stage, advertising is kept at a reminder level, public relations is
dropped, and salespeople give the product only a little attention; however, sales
promotion might continue to be strong.
Integrati ng the Promoti on Mi x
Having set the promotion budget and mix, the company must take steps to see
that all of the promotion mix elements are smoothly integrated. This is a check-
list for integrating the ?rm’s marketing communications.
18
• Analyze trends—internal and external—that can affect your company’s ability
to do business: Look for areas where communications can help the most. Deter-
mine the strengths and weaknesses of each communications function. Develop a
combination of promotional tactics based on these strengths and weaknesses.
• Audit the pockets of communications spending throughout the organization:
Itemize the communications budgets and tasks and consolidate these into a sin-
gle budgeting process. Reassess all communications expenditures by product,
promotional tool, stage of the life cycle, and observed effect.
Chapter 13 Integrated Marketing Communication Strategy 561
FIGURE 13-4 Push
versus pull
promotion strategy
• Identify all contact points for the company and its brands: Work to ensure that
communications at each point are consistent with your overall communications
strategy and that your communications efforts are occurring when, where, and
how your customers want them.
• Team up in communications planning: Engage all communications functions in
joint planning. Include customers, suppliers, and other stakeholders at every
stage of communications planning.
• Create compatible themes, tones, and quality across all communications media:
Make sure each element carries your unique primary messages and selling
points. This consistency achieves greater impact and prevents the unnecessary
duplication of work across functions.
• Create performance measures that are shared by all communications elements:
Develop systems to evaluate the combined impact of all communications
activities.
• Appoint a director responsible for the company’s persuasive communications ef-
forts: This move encourages ef?ciency by centralizing planning and creating
shared performance measures.
Soci al ly Responsi bl e Marketi ng Communi cati on
People at all levels of the organization must be aware of the growing body of legal
and ethical issues surrounding marketing communications. Most marketers work
hard to communicate openly and honestly with consumers and resellers. Still,
abuses do occur, and public policy makers have developed a substantial body of
laws and regulations to govern advertising, personal selling, and direct marketing
activities. In this chapter, we discuss issues regarding advertising and personal sell-
ing. Issues relating to direct marketing are addressed in Chapter 16.
Adverti si ng and Sal es Promoti on
The advertising industry in Canada is controlled both by the Canadian Radio-
television and Telecommunications Commission (CRTC) and by voluntary indus-
try codes administered by Advertising Standards Canada. The CRTC, which inde-
pendently governs broadcast licensing, is itself governed by the Broadcasting Act
of 1991 and the Telecommunications Act of 1993. The primary objective of the
Broadcasting Act is to ensure that all Canadians have access to a wide variety of
high-quality Canadian programming. The main objective of the Telecom-
munications Act is to ensure that Canadians have access to reliable telephone and
other telecommunications services at affordable prices. The CRTC also has the
mandate to ensure that programming in the Canadian broadcasting system re?ects
Canadian social values, creativity, and talent, the country’s linguistic duality, its
multicultural diversity, and the special place of aboriginal people within Canadian
society. The CRTC regulates over 5900 broadcasters, including telelvision, cable
distribution, AM and FM radio, pay and specialty television, direct-to-home satel-
lite systems, multipoint distribution systems, subscription television, and pay audio,
as well as 61 telecommunications carriers including major Canadian telephone
companies. The CRTC also administers several codes that have a particular impact
on certain categories of advertising. For example, the Code for Broadcast Adver-
tising of Alcoholic Beverages governs advertising of alcoholic beverages with over
seven percent alcohol.
Advertising Standards Canada (ASC), established as the Canadian Advertising
Foundation in 1963, is a national industry association committed to assuring the
integrity and viability of advertising through industry self-regulation. Its members
Part III Developing the Marketing Mix 562
Canadian Radio-
television and Communi-
cations Commission
www.crtc.gc.ca/
Advertising Standards
Canada
www.adstandards.com/
include advertisers, agencies, media organizations, and suppli-
ers to the advertising sector. ASC receives, reviews, adjudicates,
and reports on complaints about advertising. Industry codes
and guidelines administered by ASC include the Canadian Code
of Advertising Standards, the Gender Portrayal Guidelines,
Broadcast Code for Advertising to Children, the Guide to Food
Labelling and Advertising, Advertising Code of Standards for
Cosmetics, Toiletries & Fragrances, Guidelines for the Use of
Comparative Advertising in Food Commercials, Tobacco Vol-
untary Packaging, and the Advertising Industry Code. Details
of these codes can be found on the ASC Web site.
A company’s trade promotion activities are also closely
regulated. Under the Competition Act, sellers cannot favour
certain customers through their use of trade promotions. They
must make promotional allowances and services available to
all resellers on proportionately equal terms.
Beyond simply avoiding legal pitfalls, such as deceptive or
bait-and-switch advertising, companies can use advertising to
encourage and promote socially responsible programs and
actions. For example, Toys ’R’ Us (Canada) was praised by a
number of groups for its new Toy Guide for Differently Abled
Kids! This 16-page catalogue, featuring 50 toys designed for
disabled children, was distributed through the company’s 56
Canadian locations as well as through such agencies as Easter
Seals and the Canadian National Institute for the Blind.
Although none of the toys displayed in the catalogue was specif-
ically designed for disabled children, the publication informed
parents about which toys were suitable for their children and
how the toys might help their children develop certain skills.
19
Personal Sel l i ng
A company’s salespeople must follow the rules of “fair competition.” For exam-
ple, salespeople may not lie to consumers or mislead them about the advantages
of buying a product. To avoid bait-and-switch practices, salespeople’s statements
must match advertising claims.
Different rules apply to consumers who are visited by salespeople at home than
to those who go to a store in search of a product. Because people called on at home
may be taken by surprise and may be especially vulnerable to high-pressure selling
techniques, most provincial governments have stipulated a three-day cooling-off rule
to give special protection to customers who are not seeking products: Under this
rule, customers who agree in their own homes to buy something have 72 hours in
which to cancel a contract or return merchandise and get their money back, no ques-
tions asked.
Much personal selling involves business-to-business trade. In selling to busi-
nesses, salespeople may not offer bribes to purchasing agents or to others who can
in?uence a sale. They may not obtain or use technical or trade secrets of com-
petitors through bribery or industrial espionage. Finally, salespeople must not dis-
parage competitors or competing products by suggesting things that are not true.
20
Chapter 13 Integrated Marketing Communication Strategy 563
Toys ’R’ Us helped both parents
and disabled children with its
new toy guide.
Part III Developing the Marketing Mix 564
Revi ew of Concept Connect i ons
Modern marketing calls for more than just developing
a good product, pricing it attractively, and making it
available to target customers. Companies also must
communicate with current and prospective customers,
and what they communicate should not be left to
chance. For most companies, the question is not
whether to communicate, but how much to spend and
in what ways.
1. Name and de?ne the ?ve tools of the promotion
mix.
A company’s total marketing communications
mix—also called its promotion mix—consists of
the speci?c blend of advertising, personal selling,
sales promotion, public relations, and direct mar-
keting tools that the company uses to pursue its ad-
vertising and marketing objectives. Advertising in-
cludes any paid form of non-personal presentation
and promotion of ideas, goods, or services by an
identi?ed sponsor. In contrast, public relations fo-
cuses on building good relations with the com-
pany’s various publics by obtaining favourable un-
paid publicity. Firms use sales promotion to
provide short-term incentives to encourage the
purchase or sale of a product or service. Personal
selling is any form of personal presentation by the
?rm’s sales force for the purpose of making sales
and building customer relationships. Finally, ?rms
seeking immediate response from targeted individ-
ual customers use non-personal direct marketing
tools to communicate with customers.
2. Discuss the process and advantages of integrated
marketing communications.
Recent shifts in marketing strategy from mass mar-
keting to targeted or one-on-one marketing, cou-
pled with advances in information technology, have
had a dramatic impact on marketing communica-
tions. Although still important, the mass media are
giving way to a profusion of smaller, more focused
media. Companies are doing less broadcasting and
more narrowcasting. As marketing communicators
adopt richer but more fragmented media and pro-
motion mixes to reach their diverse markets, they
risk creating a communications hodgepodge for
consumers. To prevent this, companies are adopting
the concept of integrated marketing communica-
tions, which calls for carefully integrating all
sources of company communication to deliver a
clear and consistent message to target markets.
To integrate its external communications effec-
tively, the company must ?rst integrate its internal
communications activities. The company then
works out the roles that the various promotional
tools will play and the extent to which each will be
used. It carefully coordinates the promotional activ-
ities and the timing of when major campaigns take
place. Finally, to help implement its integrated mar-
keting strategy, the company appoints a marketing
communications director who has overall responsi-
bility for the company’s communications efforts.
3. Outline the steps in developing effective marketing
communications.
In preparing marketing communications, the com-
municator’s ?rst task is to identify the target audi-
ence and its characteristics. Next, the communica-
tor must de?ne the response sought, whether it be
awareness, knowledge, liking, preference, convic-
tion, or purchase. Then a message should be con-
structed with an effective content and structure.
Media must be selected, both for personal and
non-personal communication. Finally, the commu-
nicator must collect feedback by watching how
much of the market becomes aware, tries the prod-
uct, and is satis?ed in the process.
4. Explain the methods for setting the promotion
budget and factors that affect the design of the
promotion mix.
The company must decide how much to spend on
promotion. The most popular approaches to mak-
ing this decision are to spend what the company
can afford, to use a percentage of sales, to base
promotion on competitors’ spending, or to base it
on an analysis and costing of the communication
objectives and tasks.
The company must divide the promotion bud-
get among the major tools to create the promotion
mix. Companies can pursue a push or a pull pro-
motional strategy, or a combination of the two.
What speci?c blend of promotion tools is best de-
pends on the type of product-market, the desir-
ability of the buyer’s readiness stage, and the prod-
uct life cycle stage.
Chapter 13 Integrated Marketing Communication Strategy 565
1. Name which form of marketing communications
each of the following represents: (a) a U2 T-shirt
sold at a concert, (b) a Rolling Stone interview
with Nelly Furtado arranged by her manager, (c) a
scalper auctioning tickets via e-Bay (ebay.com) for
a Pearl Jam concert, and (d) a record store selling
Our Lady Peace albums for $2 off the week their
latest music video debuts on MuchMusic, and (e)
Shania Twain’s development of a Web page to
keep fans aware of her concert tours, latest record-
ings, and line of signature clothing products.
2. The shift from mass marketing to targeted market-
ing, and the corresponding use of a richer mix-
ture of promotion tools and communication chan-
nels, poses problems for many marketers. Using
all of the promotion mix elements suggested in
the chapter, propose a plan for integrating market-
ing communications at one of the following:
(a) your university or college, (b) McDonald’s (see
www.mcdonalds.com), (c) Burton Snow Boards
(see www.burton.com), or (d) a local zoo, museum,
theatre, or civic event. Discuss your plan in class.
3. Many ?rms advertising in Canada use American
rather than Canadian celebrities to endorse their
products. For example, Sprint Canada uses Can-
dice Bergen (who plays Murphy Brown on the self-
titled sitcom) to promote its service. Why do you
think they made this choice? Identify a product or
service that has made effective use of a celebrity
endorser. Identify another in which you think the
use of a celebrity endorser was inappropriate.
What criteria did you use to differentiate between
a successful and unsuccessful use of a celebrity en-
dorser?
4. Using Figure 13-2, describe the communications
process for (a) a local newspaper ad for new cars,
(b) a phone call from a representative of MCI re-
questing service sign-up, (c) a salesperson in Sears
attempting to sell you a television set, and (d) Mi-
crosoft’s Web page (www.microsoft.com) allowing
you to ask questions about products.
5. The marketing communicator can use one or more
types of appeals or themes to produce a desired
response. (a) What are these types of appeals?
(b) When should each be used? (c) Provide an ex-
ample of each type of appeal using three different
magazine ads.
6. Celebrity endorsers like Wayne Gretzky, Michael
Jordan, and Tiger Woods, and numerous Olympic
athletes like Marnie McBean, Simon Whit?eld,
Emilie Heymans, Anne Montminy, and Ian Millar
have had a huge impact on advertising and en-
dorsements. Explain the positive and negative con-
sequences of using celebrity sports ?gures to pro-
mote a company’s products. What impact does the
use of sports celebrity endorsers have on the aver-
age person? Is this different from the impact of
other types of celebrity endorsers?
7. Decide which of the promotional budget models
described in the text would be most appropriate
for (a) a small retail gift store, (b) an of?ce supply
company that has had a consistent sales and pro-
motion pattern during each of the past ?ve years,
(c) a grocery store that has faced intense competi-
tion from three competitors in its immediate mar-
ket area, and (d) an electronics manufacturer that
is seeking to expand its market base and national
appeal. Explain.
Di scussi ng t he I ssues
Advertising (p. 540)
Affordable method (p. 557)
Buyer readiness stages (p. 547)
Competitive-parity method
(p. 557)
Direct marketing (p. 540)
Emotional appeals (p. 550)
Integrated marketing
communications (p. 542)
Marketing communications mix
(promotion mix) (p. 540)
Moral appeals (p. 551)
Non-personal communication
channels (p. 553)
Objective-and-task method (p. 558)
Percentage-of-sales method (p. 557)
Personal communication channels
(p. 553)
Personal selling (p. 540)
Public relations (p. 540)
Pull strategy (p. 560)
Push strategy (p. 560)
Rational appeals (p. 549)
Sales promotion (p. 540)
Word-of-mouth in?uence (p. 553)
Key Terms
Part III Developing the Marketing Mix 566
8. Each promotional tool has its own characteristics.
Marketers must understand these characteristics
in selecting their tools. Using Coca-Cola as an ex-
ample, demonstrate how each of the promotional
tools might be used to create an integrated mar-
keting communications approach for the upcom-
ing year.
1. The markets for personal and handheld computers
are exploding. It seems that there will soon be a PC
for every desk or pocket. However, tomorrow’s
computers will probably be as different from to-
day’s as today’s laptops are from yesterday’s old
“punch card” machines. But how do you tell con-
sumers in plain terms what they need to know
about new generations of products without boring
them? Computer manufacturers have learned that
most consumers do not respond well to the detailed
descriptions that are often needed to explain com-
plex technological features and differences. The an-
swer may be as close as the computer company’s
Web site. Experts predict that more and more con-
sumers will be sur?ng the Web for product in-
formation and that fewer will use traditional infor-
mation sources. Examine these Web sites: Sharp
(www.sharp.ca), IBM (www.can.ibm.com), NEC
Computer Systems (www.nec.com), Casio
(www.casio.com), Apple (www.apple.com/ca/), and
Sony (www.sony.ca).
a. How are the marketing communications at
these Web sites different from those found in
traditional advertising media? Develop a grid
that compares and critiques the two forms of
marketing communication. Assess the advan-
tages and disadvantages of each form.
b. Which of these Web sites is the most effective?
Explain.
c. After reviewing each site, pick a product that
you might like to own (such as a laptop or
handheld computer). Based solely on the Web
sites above, which company and product most
grabs your attention and purchasing interest?
Critique your information-gathering experi-
ence: What information was most useful? How
could the communication be improved? Would
you be willing to purchase the product via the
Internet? Why or why not?
2. In ?ve short years, Charles Brewer turned Mind-
Spring Enterprises (www.mindspring.com) from a
one-room operation into one of North America’s
largest Internet service providers (ISP). When
Mindspring recently merged with EarthLink
Network, it jumped past such industry giants
as Microsoft, AT&T, and Prodigy to become
the number two US ISP behind mammoth AOL
(www.aol.com). However, with three million cus-
tomers versus AOL’s 20 million, catching up will
take careful strategic planning—and a bit of luck.
MindSpring/EarthLink plans to spend $300 mil-
lion (half of its annual revenues) on promotion to
encourage AOL customers (approximately one
million defect from AOL each month) to join the
ISP “with better service.” EarthLink also plans to
attack AOL’s small business market by offering
customized e-mail addresses, home pages, and ap-
plications that AOL doesn’t currently provide.
Will these moves move MindSpring/EarthLink
closer to the top, or will the AOL juggernaut con-
tinue to roll unchecked? Only time will tell.
a. What successful communications strategies
does MindSpring/EarthLink appear to be using
now? How could MindSpring/EarthLink use
integrated marketing communications (IMC)
to challenge AOL?
b. What other areas of AOL vulnerability might
MindSpring/EarthLink attack?
c. If you were AOL’s CEO, what would you do to
meet the threat?
d. If you were to give one piece of advice to an ISP
that wanted to get your business, what would
the advice be? What would be the best way for
MindSpring/EarthLink to communicate in re-
sponse to your advice?
Market i ng Appl i cat i ons
Chapter 13 Integrated Marketing Communication Strategy 567
I nt ernet Connect i ons
I nt egr at ed Mar ket i ng
Communi cat i ons
McDonald’s is one of the most powerful brands in the
world. In addition to its product mix, wide distribu-
tion of restaurants, and value pricing, McDonald’s has
extremely effective communications with important
audiences. The concept of integrated marketing com-
munications recognizes that customers are only one
group to whom a ?rm wants to disseminate persuasive
information. In addition to targeting kids and their
parents, McDonald’s is concerned with shareholders,
potential franchisees, potential employees, and the
communities in which the restaurants reside. Visit Mc-
Donald’s online (www.mcdonalds.com) and see how it
communicates to various audiences. View each page
named in the table and then formulate a sentence to
describe your opinion about the overall communica-
tion content and desired response
For Di scussi on
1. Why do you think McDonald’s wants to communi-
cate with each of the non-customer groups?
2. Although the speci?c messages may differ, is the
overall appeal of its messages consistent to all audi-
ences (rational or emotional tone, visuals, colour,
brand name, and image)? What is the overall feeling
you get from viewing its site?
3. Is McDonald’s online message to consumers consis-
tent with what you’ve seen on TV and elsewhere?
4. Have you seen any of McDonald’s promotions or
packages that direct consumers to the Web site?
Specify where you’ve seen them.
Audience One-sentence message Desired response from
to this audience this audience
Customer: Kids
Customer: Adults
Investors
Potential franchises (corporate)
Potential employees
Community
Other (specify)
Other (specify)
Part III Developing the Marketing Mix 568
Savvy Si t es
• Want to see some Web sites that don’t do a
good job at attracting and keeping visitors?
Visit Web Pages That Suck (www.webpages
thatsuck.com) for an interesting and humor-
ous look at the Web’s worst.
• Check out the Advertising Age (www.adage.com)
and AdWeek (www.adweek.com) online edi-
tions to learn more about what is happening in
integrated marketing communications world-
wide.
• Want to see an ad you loved again and again?
Go to AdCritic (www.adcritic.com) and check
out their weekly videos of new ads as well as
your favourites.
1. Based on information supplied by Jim Lesinski at Volvo Trucks
North America.
2. For these and other de?nitions, see Peter D. Bennett, Dictionary
of Marketing Terms, Chicago: American Marketing Association,
1988.
3. For more discussion, see Don E. Schultz, Stanley I. Tannen-
baum, and Robert F. Lauterborn, Integrated Marketing Com-
munication, Chicago: NTC, 1992:11,17; Larry Percy, Strategies
for Implementing Integrated Marketing Communication,
Chicago: NTC, 1997; and James R. Ogdan, Developing a Cre-
ative and Innovative Integrated Marketing Communications
Plan, Upper Saddle River, NJ: Prentice Hall, 1998.
4. Michael Kubin, “Simple days of retailing on TV are long gone,”
Marketing News, 17 February 1997:2,13; Elizabeth Lesly
Stevens and Ronald Glover, “The entertainment glut,” Business
Week, 16 February 1998:88–95; Ronald Glover, “If these shows
are hits, why do they hurt so much?” Business Week, 13 April
1998:36; Stuart Elliott, “Fewer viewers, more commercials,”
New York Times, 8 June 1999:1; Joe Mandese, “Networks fac-
ing a most uncertain fate,” Advertising Age, 14 February 2000:
54,516; www.magazine.org, March 2000.
5. “Promotion practices condensed,” Potentials, November
1998:6.
6. See Schultz, Tannenbaum, and Lauterborn, Integrated Market-
ing Communication: Chapters 3, 4.
7. P. Grif?th Lindell, “You need integrated attitude to develop
IMC,” Marketing News, 26 May 1997:6.
8. Kevin Goldman, “Advertising: Knock, knock. Who’s there? The
same old funny ad again,” Wall Street Journal, 2 November
1993:B10; Marc G. Weinberger, Harlan Spotts, Leland Camp-
bell, and Amy L. Parsons, “The use and effect of humour in dif-
ferent advertising media,” Journal of Advertising Research,
May–June 1995:44–55.
9. “The creative eye,” Marketing On-Line, 11 December 2000.
10. The history of Buckley’s Mixture can be found online at
www.buckleys.com.
11. For more on message content and structure, see Leon G. Schiff-
man and Leslie Lazar Kanuk, Consumer Behavior, 5th ed.,
Englewood Cliffs, NJ: Prentice Hall, 1994:Chapter 10; Alan G.
Sawyer and Daniel J. Howard, “Effects of omitting conclusions
in advertisements to involved and uninvolved audiences,” Journal
of Marketing Research, November 1991:467–74; Cornelia Pech-
mann, “Predicting when two-sided ads will be more effective than
one-sided ads: The role of correlational and correspondent infer-
ences,” Journal of Marketing, November 1992:441–53; and Ayn
E. Crowley and Wayne D. Hoyer, “An integrative framework for
understanding two-sided persuasion,” Journal of Consumer Re-
search, March 1994:561–74.
12. Philip Kotler, Peggy Cunningham, and Ronald E. Turner, Mar-
keting Management: Analysis, Planning, Implementation, and Con-
trol, 10 ed., Scarborough, ON: Prentice Hall Canada, 2000:
612–3.
13. Phil Connell and Peggy Cunningham, Becel Margarine: Meeting
Expectations, case, Queen’s University, January 2001.
14. For a more comprehensive discussion on setting promotion bud-
gets, see J. Thomas Russell and W. Ronald Lane, Kleppner’s Ad-
vertising Procedure, Englewood Cliffs, NJ: Prentice Hall, 1993:
138–41.
15. David Allen, “Excessive use of the mirror,” Management Ac-
counting, June 1966:12. Also see Laura Petrecca, “4A’s will study
financial return on ad spending,” Advertising Age, 7 April
1997:3,52.
16. For more on Canadian viewing habits, see Canadian Media Direc-
tors’ Council, 1999–2000 Media Digest. Quote from Stuart
Elliott, “Fewer viewers, more commercials,” New York Times,
8 June 1999:1.
17. See “Median costs per call by industry,” Sales & Marketing Man-
agement, 28 June 1993:65.
18. Based on Matthew P. Gonring, “Putting integrated marketing
communications to work today,” Public Relations Quarterly, Fall
1994:45–8.
19. James Pollock, “Toys ’R’ Us reaches out to differently-abled kids,”
Marketing, 16 October 1995:2.
20. For more on the legal aspects of promotion, see Louis W. Stern
and Thomas I. Eovaldi, Legal Aspects of Marketing Policy, Engle-
wood Cliffs, NJ: Prentice Hall, 1984:Chapters 7,8; Robert J.
Posch, The Complete Guide to Marketing and the Law, Engle-
wood Cliffs, NJ: Prentice Hall, 1988:Chapters 15–17; and Kevin
Kelly, “When a rival’s trade secret crosses your desk . . .”
Business Week, 20 May 1991:48.
Not es
Chapter 13 Integrated Marketing Communication Strategy 569
Company Case 13
F I E R C E C R E A T U R E S : I N S E C T S , D O G S , A N D OT H E R
A M I G O S WO R K T O R I N G U P P C S S A L E S
In 1997, the sector that spent the most on advertis-
ing was the telecommunications industry. A record
number of primetime ads were run as the telecom-
munications giants fought new market entrants.
Canada’s largest advertiser, BCE, parent of the Bell
companies, spent a cool $99 million on advertising.
Rogers Cantel dug deep and found $35.5 million for
its communications budget. Sprint Canada splurged
with another $17.6 million. AT&T budgeted $16.6
million. And Unitel coughed up an additional $13.8
million. Even the newest players had huge expendi-
tures: Microcell and Clearnet spent $400 000 and
$800 000, respectively.
Part of these expenditures went to support the
launch of the industry’s newest products—personal com-
munications services or PCS—those funky little handsets
that handle everything from e-mail to voice-mail to ac-
tual telephone calls. The ?ght for market share is being
fought with a vengeance and, if this market follows the
history of cell phones, it won’t be an easy battle. Even af-
ter years on the market, cell phones have penetrated a
meagre 12 to 15 percent of the Canadian market.
It may not be surprising that consumers have been
so slow on the uptake. They have been barraged with
ads and sales pitches, yet they ?nd it impossible to
compare prices and total costs of the services since
most of the companies were subsidizing the cost of the
phone by making consumers sign long-term service
contracts and charging them premium per-minute us-
age rates. At least, that was the case until Clearnet, of
Pickering, Ontario, entered the scene.
Clearnet is one of the four ?rms vying for share in
this superheated market. While the telecommunica-
tions giants, Bell and Rogers Cantel, are marketing
their PCS products to existing customers as upgrades
for their current products, the upstarts, Clearnet and
Microcell, want consumers to see PCS as a totally new
product class that will give consumers control over
their personal and business communications. Thus,
Rogers Cantel used promotions that extended the
Amigo brand into the PCS arena shouting, “Let’s get
digital!” and Bell used the same 12-year-old spokesper-
son for both its Bell Mobility and PCS spots to tie the
two product lines together. Microcell built its strategy
around faithful FIDO.
When planning its strategy, Clearnet believed it
faced a three-fold challenge: Introduce a completely
new technology; establish a unique brand identity for
its product; and provide potential buyers with enough
information so that they would be comfortable making
a purchase decision.
Research conducted by Clearnet and its agency,
TAXI Advertising and Design, showed that consumers
were concerned about rampant technological change
and the constant product variations it created. There-
fore, the team knew that focusing on the technology it-
self would be a mistake. Unlike the other companies,
Clearnet decided to offer national coverage from day
one instead of rolling out its products on an area-by-
area basis. It also decided to simultaneously aim its
product at both the end-consumer and the business
marketplaces. Unlike the other competitors, Clearnet’s
pricing strategy is simplicity itself. Consumers pay
$149.99 for their PCS phone and sign up for one of
two talk-time plans. George Cope, Clearnet president,
says, “We’ve ?nally made wireless telephoning accessi-
ble and affordable. No more 60¢-a-minute charges.”
In addition to simplicity in pricing, Clearnet made its
phones widely available. Customers can use one of
over 600 outlets across Canada as well as such non-
traditional phone sales outlets as Blockbuster Video,
Business Depot, Future Shop, Grand & Toy, Battery
Depot, and The Telephone Booth.
Given Clearnet’s cross-country launch and non-
traditional distribution channels, it needed a commu-
nications strategy that would be as meaningful in
Amherstview as it was in the Okanagan. Moreover,
Clearnet, a small player facing industry giants, had
only a small communications budget to launch the
product, $800 000 compared to the $10 million used
by Bell to launch its PCS service. Therefore, Clearnet
had to carefully integrate its efforts so that it could
speak to consumers with one voice.
In the face of these daunting challenges, Clearnet
decided to create a human face for its brand that would
link all of the elements of their campaign. This thinking
gave birth to Mike, the “buddy” who can handle all
forms of communication including two-way radio.
Mike is an unassuming guy meant to typify to potential
users that the service is a practical way to save users
both time and money. Clearnet put Mike everywhere.
Clearnet decided it was important to use a shotgun ap-
proach, believing it could only reach key buyers with
this type of campaign. Thus, Mike appeared in a teaser
Part III Developing the Marketing Mix 570
campaign placed in newspapers, on television, in direct-
mail pieces, at special events, and in news releases.
Clearnet’s initial campaign was aimed at generat-
ing awareness. Its next task was to provide potential
buyers with more information to move them through
the decision-making process. This is where newspaper
advertising really came into its own. According to Rick
Seifeddine, Clearnet’s director of communications and
advertising, “Newspapers allow you to touch a lot of
people, but [they] give you a little more time to deliver
a complex message.”
The secondary objective of the campaign was to
generate leads about people most interested in the prod-
uct so that Clearnet could follow up with more personal,
targeted sales methods. Being able to explore niche mar-
kets overlooked by the two big players is an important
part of Clearnet’s strategy. It plans to use a direct mar-
keting program that will target small ?rms and home
businesses in which internal and external communica-
tions is essential to getting their work done. As part of its
direct marketing efforts, Clearnet will make use of the
Web, telemarketing, direct mail, and direct television.
Clearnet’s “Mike” campaign helped turn the com-
pany into the mouse that roared. It became the industry
leader, selling 30 000 units and growing its staff from 11
employees to over 1600. To sustain this remarkable
growth, Clearnet launched a second campaign late in
1997. All of the ads featured nature-based images—
everything from dung beetles to ?y-catching plants.
Clearnet chose the images to convey its positioning as
the “simple” choice—one that wouldn’t ensnare cus-
tomers in complex contracts. Ads contained the mes-
sage that buying PCS technology was as hassle-free as
buying a toaster.
Were the ads enough to help Clearnet reign supreme
in the competitive jungle? They certainly turned the
small ?rm into a force to be reckoned with. In October
2000, Clearnet was acquired by TELUS Corporation,
western Canada’s leading telecommunications com-
pany, and a new company, TELUS Mobility, was born.
It has since moved quickly to the forefront of Canada’s
wireless marketplace. Go to the Clearnet website
(www.clearnet.com/english/pcs) to learn more about its
current advertising campaigns and the Telus merger.
QUESTIONS
1. When launching a new product based on a new
technology, is competition a good or bad thing?
2. Which strategy do you think is most viable for the
PCS product launch—the one followed by the big
telecommunications companies that position their
products as line extensions, or the one used by the
upstart ?rms that position their products as break-
through, new-to-the world offerings? Which one is
easier to communicate to prospective customers?
Which one offers the biggest payback?
3. Describe the unique selling proposition around
which Clearnet’s integrated communication pro-
gram was built.
4. While Clearnet’s shotgun approach may give the
?rm the volume it needs to cover the huge costs
of launching the product, do you think this strat-
egy is viable for the future?
5. The communications task facing marketers of the
new PCS technology is complex. They have to
convey messages to consumers that range from the
bene?ts associated with the product to the capa-
bilities of the new technologies. They must explain
how PCS differs from cell phones and what the
various price-points will be. The ?rms also have
to move consumers step-by-step through the deci-
sion-making process. What media vehicles would
you recommend for people at different decision-
making stages? Can you use the same media for
end-consumers and business customers?
6. The huge amount of ad spending in the telecom-
munications market may have caused consider-
able consumer confusion. Did Clearnet’s adver-
tising campaign differentiate the ?rm from its
competition? Before you read this case, did you
recall Clearnet’s ads? Did you understand the
bene?ts of its products?
7. As consumers become more comfortable with
PCS technology, what communication challenges
will Clearnet face in the future?
Sources: Quotes from Terence Belford, “Dial-up goes digital,”
Financial Post, 20 November 1997
5; and David Bosworth, “Spe-
cial report: Mike packs wallop with media splash,” Strategy,
3 March 1997:30. Also see David Chilton, “Clearnet—Meet Mike,”
Strategy, 30 September 1996:5; Lesley Daw and Bobbi Bulmer, “The
Telco barrage,” Marketing, 20 October 1997:22–5; Mark De Wolf,
“PCS products a natural for direct marketing,” Strategy, 21 July
1997R1; Lara Mills, “Clearnet PCS adopts ‘natural’ strategy,”
Marketing, 6 October 1997:3; Patti Summer?eld, “Bell Mobility
launches PCS Plus,” Strategy, 13 October 1997:2; www.clearnet.
com/.
Chapter 13 Integrated Marketing Communication Strategy 571
v i d e o c a s e 1 3
I N F O M E R C I A L S : B R A N D B U I L D I N G
T O O L S O R D I S G U I S E D
A D V E R T I S I N G ?
Turn on your TV late at night or in the early morning
hours and you’ll see that infomercials are everywhere.
The word alone conjures up images of washed-up TV
stars hawking everything from thigh-masters to spray-
on hair. But what’s this . . . a 30 minute, prime-time
spot featuring the upscale Land Rover? Another for the
services offered by the Bank of Montreal and a third for
Sprint Canada. Why are these national brand advertis-
ers using what was once regarded as the cheesiest form
of advertising?
Infomercials are the fastest growing sector in adver-
tising and more and more infomercials are appearing on
Canadian prime-time television. Infomercials are televi-
sion commercial messages promoting products or ser-
vices that are more than 12 continuous minutes in
length. Infomercials are exempt from the CRTC-
imposed 12-minutes-per-hour ceiling on advertising
time. Sometimes called direct response television, in-
fomercials attempt to elicit a measurable audience re-
sponse in the form of an order or request for further in-
formation. This is usually done by placing a toll-free
number in the commercial.
In 1995, the Telecaster Committee of Canada re-
ported that there were two infomercials approved for
broadcast, but by 1999 more than 600 infomercials had
been approved. The increased numbers of infomercials
are only one change affecting the industry. Today, in-
fomercials are being aired by some of Canada’s most
prestigious companies as well as its charitable organiza-
tions. The number of really successful, long-running in-
fomercials has also dramatically increased. Sprint
Canada, for example, sponsored an infomercial that ran
almost 4000 times, and Look Communications broad-
cast an infomercial for close to two years. Cantel AT&T
has found infomercials so effective that it produced ten
between 1995 and 2000. Recently it adopted a Much-
Music-style infomercial to hawk its “Pay as You Go”
service to teens.
Today, the only stations that cannot air infomercials
are those that receive public funding, such as CBC or
TVOntario. All other channels, including specialty
channels, can broadcast infomercials whenever they
please. One station, Toronto’s Star Television, runs
nothing but infomercials 24 hours a day, seven days a
week. Despite the concern about audience fragmenta-
tion, television still reaches more Canadians than any
other medium. The 2000/2001 Television Bureau of
Canada’s audience statistics show that 85 percent of
Canadian adults over 18 watch television daily. This
compares to the 66 percent who read newspapers, the
42 percent who read magazines, and the 34 percent who
use the Internet. And as products and services become
increasingly complex, consumers may need more infor-
mation than ever before to optimize their choices. Pro-
ducers of such products have recognized the power of
infomercials to deliver needed information to target
audiences.
The arrival of big business has transformed in-
fomercials. They no longer use tacky pitches where peo-
ple scream at you to buy their products. Instead, many
infomercials today have high production values. For in-
stance, the Bank of Montreal’s “Matchmaker” RSP in-
fomercial employed experts and customer testimonials
to increase believability. Others use “mini-dramas” that
viewers can identify with. One thing is certain: when in-
fomercials are of high quality, they bring in new cus-
tomers. Cantel’s “Pay as You Go” infomercial not only
generated direct sales, but helped in-store sales as well
since teens who viewed the infomercial were more pre-
disposed to buy.
Producing high quality programming takes deep
pockets, talented producers and expensive actors. The
key to getting people to watch is that infomercials must
be entertaining as well as informative. The transforma-
tion of infomercials has been so profound that even the
name is starting to change. Producers like Ian French
call them “direct response programming.” They are also
known as documercials, edumercials, and storymercials.
Many look more like soap operas than half-hour
commercials.
What concerns advertising critics is that the line be-
tween regular programming and commercial time is be-
coming increasingly blurred. They contend that viewers
may not know they are watching a “product pitch” if
they happen to tune in late and miss the opening dis-
claimer, which states that the program is paid-for, com-
Part III Developing the Marketing Mix 572
mercial material. Some formats have drawn more criti-
cism than others, especially those infomercials that look
just like news talk shows. No matter what they are
called, infomercials seem here to stay. The debate rages,
however, about whether they are deceptive advertising.
Questions
1. Why are large companies that sell national brands
turning to infomercials?
2. Some sponsors defend the discreet approach to
selling taken by some infomercials, claiming fewer
ads today hit people over the head with commer-
cial claims. They ask “So what?” when it is
claimed people may not know they are watching a
long commercial. Is it important that people know
they are viewing commercial programming? Are
there certain groups who may be harmed by not
knowing they are viewing a commercial?
3. If you were a brand manager for a nationally rec-
ognized brand, would you use an infomercial?
Why or why not?
Sources: Peggy Cunningham prepared this case based on “In Dis-
guise,” Undercurrents, October 19, 1999; James Careless, “Blue-Chip
Marketers Join the Ranks of the Infomercial True Believers,” Market-
ing On-line, November 1, 1999; Ian French, “Finding the Time,”
Marketing On-line, October 16, 2000; Media Digest, “Direct Re-
sponse Television,” Marketing On-line, September 11, 2000.
doc_666307812.pdf
you should be able to
1. Name and de?ne the ?ve
tools of the promotion mix.
2. Discuss the process and
advantages of integrated
marketing
communications.
3. Outline the steps in devel-
oping effective marketing
communications.
4. Explain the methods for
setting the promotion bud-
get and factors that affect
the design of the
promotion mix.
Integrated Marketing
Communication
Strategy
Concept Connect i ons
Developing the Marketing Mix
chapt er 13
J
im Lesinski, director of marketing communications and research
for Volvo Trucks North America, ?rst proposed putting an ad for
Volvo’s heavy-duty trucks on the Super Bowl in 1994. His bosses
at Swedish parent AB Volvo, who were not familiar with the hype and
frenzy that surrounds North American football, must have thought
he’d gone a little ditzy. “How much will it cost?” they asked. “About
$1.9 million in media costs,” replied Lesinski. “Plus another $750 000
or so to produce the ad.” “And how long and how often will the ad
run?” they asked. “Just once,” said Lesinski, “for 30 seconds.” With eye-
brows raised and mouths agape, Volvo’s top management respect-
fully rejected Lesinski’s proposal.
In fact, early on, Lesinski himself had some doubts. Did it make
sense to spend almost a third of his annual marketing budget on
a single ad? Given the narrow target market for Volvo’s huge,
$180 000 trucks, was it wise to advertise in the granddaddy of mass-
media spectacles, amidst the glitzy showcase ads run by big-
spending consumer product companies selling to the masses? Volvo
Trucks’ target market constituted a mere one percent of the total Su-
per Bowl audience. Moreover, no other heavy-duty truck manufac-
turer was advertising on television, let alone on the Super Bowl.
But the more he thought about it, the more convinced Lesinski
became. Volvo had been selling heavy trucks in North America
since 1981 under a variety of nameplates, including Volvo, Autocar,
and White/GMC. Its early trucks lacked quality, sold at relatively
low prices, and had gained a reputation as low-status “fleet
trucks.” In recent years, however, Volvo Trucks had consolidated its
nameplates under the Volvo brand and had developed a new line
of premium trucks—the VN Series. These new Volvo trucks were
superior to competing premium brands in overall quality, design,
safety, and driving comfort. Now, all that remained was to raise
Volvo Trucks’ old low-status image to match the new high-quality
reality. That task, Lesinski knew, would take something dramatic—
something like the Super Bowl. He persisted and ?nally won ap-
proval to place a single ad in the 1998 Super Bowl.
The target market for heavy-duty trucks is truck ?eet buyers
and independent owner-operators. However, truck drivers them-
selves are perhaps the most important buying in?uence. The indus-
try faces a severe driver shortage, and ?rms perceived as having
better-performing, more comfortable, higher-status trucks have a big edge in attracting and holding
good drivers. As a result, truck buyers are swayed by driver perceptions. Therefore, Lesinski’s commu-
nications goal was to improve the image of Volvo’s VN Series trucks not just among truck buyers but
also among drivers. No other event reaches this audience more completely than the Super Bowl. In
fact, nearly 70 percent of all truck drivers watch some or all of an average Super Bowl game.
Still, Jim Lesinski knew that a single Super Bowl ad, by itself, wasn’t likely to have
much lasting impact on buyer and driver perceptions. Instead—and this is the real
story—he designed a comprehensive, carefully targeted, four-month integrated pro-
motional campaign, with Super Bowl advertising as its centrepiece (see ?gure
below). Called The Best Drive in the Game Sweepstakes, the promotion offered
truck drivers a chance to win a new Volvo VN770 truck. Lesinski began promot-
ing the Best Drive sweepstakes in September 1997, using a wide range of carefully
coordinated media, including trucker magazines and radio stations. Drivers could
enter the sweepstakes by responding to print or radio ads, by visiting a Volvo Truck
dealer or participating truck stop, or by clicking onto the Volvo Trucks Web site
(a large proportion of truckers use the Internet regularly to schedule loads). To cre-
ate additional interest, Volvo Trucks sponsored a North American truck tour, con-
sisting of two caravans of three VN770s each, which visited major truck stops,
encouraging truck drivers to enter the Best Drive sweepstakes and giving them a
chance to experience a new Volvo VN770 ?rst-hand.
The campaign attracted more than 48 700 entrants. Each entrant received a
wallet-size entry card with one of 40 “Volvo Truths” printed on it—each empha-
sizing a key VN770 positioning point. If the phrase on a driver’s card matched
the winning phrase revealed in the Super Bowl commercial, the driver became a
?nalist eligible for the grand prize. To further encourage drivers to watch the com-
mercial, Volvo Trucks sponsored Super Bowl parties at 40 Flying J truck stops. It
also had Volvo VN770s at each truck stop so that drivers could see the truck that
was causing all the commotion.
Part III Developing the Marketing Mix 538
On Super Bowl Sunday 1998, Jim Lesinski found himself at a Greensboro,
North Carolina, truck stop, anxiously awaiting the fourth-quarter airing of his ad.
He sat shoulder to shoulder with a standing-room-only crowd of truckers, clus-
tered around a lounge television with their Best Drive wallet cards in hand. To
Lesinski’s dismay, a clever ad for Tabasco Sauce preceded the Volvo ad (remem-
ber the exploding mosquito?) and the crowd was still laughing as the Volvo com-
mercial began. Lesinski still remembers counting off the missed seconds (at a cost
of some $60 000 apiece!) waiting for the group to settle their attention on his ad.
The Volvo Trucks ad itself used soft humour to make the quality point. It fea-
tured an experienced and approachable professional driver named Gus, driving a
new Volvo VN770 down a desert highway. Gus talked sagely about “what 30
years on the road have taught me” and advised “always run the best truck you
can.” During the 30-second spot, the scenes shifted to show both the sleek, hand-
some exterior of the truck and its luxurious interior. “But success hasn’t spoiled
me,” Gus concluded. “I still put my pants on one leg at a time.” As Gus deliv-
ered this last line, a uniformed butler approached from the sleeper area of the
truck, presenting a small silver box on a pillow. “Your toothpick, sir,” he intoned.
The winning phrase, “Volvo—Drive Safely,” appeared on the screen as the com-
mercial ended.
To Jim’s enormous relief, the drivers at the truck stop seemed to really like
the commercial. They were pleased that it portrayed professional truck drivers and
their huge, sometimes scary trucks in a positive light. More importantly, the ad
got the drivers buzzing about the VN770 truck and the winning phrase. In the
month following the Super Bowl, the 10 ?nalists holding winning phrases received
all-expense-paid trips to the trucking industry’s premier trade show, the Mid-
America Truck Show in Louisville, Kentucky. Volvo stole the show, sponsoring a
Brooks and Dunn concert at which company of?cials held an on-stage drawing in
front of 20 000 truckers to select the grand prize winner.
In all, the Best Drive in the Game Sweepstakes cost Volvo Trucks North Amer-
ica $3.6 million—$2.7 million for the ad alone. Was it worth the cost? Lesinski
and his bosses at AB Volvo certainly think so. Later research showed that the cam-
paign had a sizeable, positive impact on both trucker and public perceptions. More
than 30 million adults recalled seeing the Super Bowl ad. Just that one ad created
a 98 percent increase in the general public’s awareness of Volvo trucks and sig-
ni?cantly improved public perceptions of Volvo drivers as intelligent, safe, suc-
cessful, and friendly.
Perhaps more importantly, the ad was viewed by 1.4 million truck drivers,
almost half the target market.
Twenty-three percent of these drivers talked about the ad with someone else,
generating more than 325 000 conversations about the commercial. After the Best
Drive campaign, substantially higher proportions of drivers and buyers perceive
the Volvo VN770 as being like a “Hilton” rather than a “Motel 6,” and as a
“sleek, aerodynamic, friendly vehicle” versus a “work truck.” The campaign cre-
ated 30 percent driver preference for Volvo trucks, higher than preferences for
competitors Freightliner (25%), Peterbilt (23%), and Kenworth (16%). By the end
of 1998, sales of Volvo trucks were up by 44.5 percent over the previous year,
and market share had risen 2.5 points to 12 percent. Based on these results, Volvo
Trucks North America sponsored a repeat promotion, The Best Drive in the Game
II, the following year, including a brand new ad in the 1999 Super Bowl.
Why did the Best Drive promotion work so well? Success resulted from much
more than just a single Super Bowl ad. “The ad was de?nitely the main attrac-
tion,” says Jim Lesinski. “But it was really just the lure that pulled drivers into
the full Best Drive promotion and got them into our trucks.” By blending Super
Bowl advertising with a full slate of other carefully targeted ads, promotions, and
events, Lesinski created a complete integrated marketing communications cam-
Chapter 13 Integrated Marketing Communication Strategy 539
Volvo Trucks
www.volvotrucks.volvo.com/
paign that had a larger and more lasting impact than any single ad could ever
have achieved.
1
Modern marketing calls for more than just developing a good product, pric-
ing it attractively, and making it available to target customers. Companies also
must communicate with their customers, and what they communicate should not
be left to chance. For most companies, the question is not whether to communi-
cate, but how much to spend and in what ways.
The Marketi ng Communi cati ons Mi x
A company’s total marketing communications mix, or promotion mix, consists of
the speci?c blend of advertising, personal selling, sales promotion, and public rela-
tions tools that the company uses to pursue its advertising and marketing objec-
tives. The ?ve major types of promotion are:
2
• Advertising: Any paid form of non-personal presentation and promotion of
ideas, goods, or services by an identi?ed sponsor.
• Personal selling: Personal presentation by the ?rm’s sales force to make sales and
build customer relationships.
• Sales promotion: Short-term incentives to encourage the purchase or sale of a
product or service.
• Public relations: Building good relations with the company’s publics by obtain-
ing favourable publicity, building up a good “corporate image,” and handling or
heading off unfavourable rumours, stories, and events.
• Direct marketing: Direct communications with carefully targeted individual
consumers to obtain an immediate response—the use of mail, telephone, fax,
e-mail, and other non-personal tools to communicate directly with speci?c con-
sumers or to solicit a direct response.
Each type of promotion has its own tools. Advertising includes print, broad-
cast, outdoor, and other forms. Personal selling includes sales presentations, trade
shows, and incentive programs. Sales promotion includes point-of-purchase dis-
plays, premiums, discounts, coupons, specialty advertising, and demonstrations.
Direct marketing includes catalogues, telemarketing, fax transmissions, and the
Internet. Thanks to technological breakthroughs, marketers can now communicate
through traditional media (newspapers, radio, telephone, and television), as well
as its newer forms (fax machines, cellular phones, pagers, and computers). These
new technologies have encouraged more companies to move from mass commu-
nication to more targeted communication and one-on-one dialogue.
At the same time, communication goes beyond these speci?c promotion tools.
The product’s design, its price, the shape and colour of its package, and the stores
that sell it—all communicate something to buyers. Thus, although the promotion
mix is the company’s primary communication activity, the entire marketing mix—
promotion and product, price, and place—must be coordinated for greatest com-
munication impact.
In this chapter, we begin by examining the rapidly changing marketing com-
munications environment, the concept of integrated marketing communications,
and the marketing communication process. Next, we discuss the factors that mar-
keting communicators must consider in shaping an overall communication mix.
Finally, we summarize the legal, ethical, and social responsibility issues in mar-
keting communications. In Chapter 14, we look at mass-communication tools—
advertising, sales promotion, and public relations. Chapter 15 examines the sales
force as a communication and promotion tool.
Part III Developing the Marketing Mix 540
Marketing communications
mix (or promotion mix)
The speci?c mix of advertising,
personal selling, sales promotion,
and public relations a company uses
to pursue its advertising and
marketing objectives.
Advertising
Any paid form of non-personal
presentation and promotion of ideas,
goods, or services by an identi?ed
sponsor.
Personal selling
Personal presentation by the ?rm’s
sales force to make sales and build
customer relationships.
Sales promotion
Short-term incentives to encourage
purchase or sale of a product or
service.
Public relations
Building good relations with the
company’s publics by obtaining
favourable publicity, building up a
good “corporate image,” and
handling or heading off
unfavourable rumours, stories, and
events.
Direct marketing
Direct communications with carefully
targeted individuals to obtain an
immediate response.
Integrated Marketi ng Communi cati ons
Over the past few decades, companies around the world perfected the art of mass
marketing—selling highly standardized products to masses of customers. In the
process, they developed effective mass-media advertising techniques to support
their mass-marketing strategies. These companies routinely invested millions of
dollars in the mass media, reaching tens of millions of customers with a single ad.
However, as we move into the twenty-?rst century, marketing managers face some
new marketing communications realities.
The Changi ng
Communi cati ons Envi ronment
Two major factors are changing the face of today’s marketing communications.
First, as mass markets have fragmented, marketers are shifting away from mass
marketing and developing focused marketing programs, designed to build closer
relationships with customers in more narrowly de?ned micromarkets. Second, vast
improvements in information technology are speed-
ing the movement toward segmented marketing.
Today’s information technology helps marketers to
keep closer track of customer needs—more informa-
tion about consumers at the individual and house-
hold levels is available than ever before. New tech-
nologies also provide new communications avenues
for reaching smaller customer segments with more
tailored messages.
The shift from mass marketing to segmented
marketing has had a dramatic impact on marketing
communications. Just as mass marketing gave rise to
a new generation of mass-media communications, the
shift toward one-on-one marketing is spawning a
new generation of more specialized and highly tar-
geted communications efforts.
3
Given this new communications environment,
marketers must rethink the roles of various media
and promotion mix tools. Mass-media advertising
has long dominated the promotion mixes of con-
sumer product companies. However, although televi-
sion, magazines, and other mass media remain very
important, their dominance is now declining. Market
fragmentation has resulted in media fragmentation
into more focused media that better match today’s
targeting strategies. For example, in 1975, what were
the three major US TV networks (ABC, CBS, and
NBC) attracted 82 percent of the 24-hour viewing
audience. By 1995, that number had dropped to only
35 percent, as cable television and satellite broad-
casting systems offered advertisers dozens or even
hundreds of alternative channels, which reach
smaller, specialized audiences. It’s expected to drop
even further, down to 25 percent by the year 2005.
Similarly, the relatively few mass magazines of the
1940s and 1950s—Look, Life, Maclean’s, Saturday
Evening Post—have been replaced by more than
18 600 special-interest magazines, reaching more
Chapter 13 Integrated Marketing Communication Strategy 541
The relatively few mass
magazines of the mid-twentieth
century have been replaced by
thousands of special-interest
magazines. HMF alone publishes
these and more than 20 other
magazines reaching 17 different
markets and more than 47
million readers, not to mention a
wide range of online, broadcast,
outdoor, and other media.
focused audiences. Beyond these channels, advertisers are making increased use of
new, highly targeted media, ranging from video screens on supermarket shopping
carts to CD-ROM catalogues and Web sites on the Internet.
4
More generally, advertising appears to be giving way to other elements of the
promotion mix. In the glory days of mass marketing, consumer product compa-
nies spent the lion’s share of their promotion budgets on mass-media advertising.
Today, media advertising captures only about 26 percent of total promotion spend-
ing.
5
The rest goes to various sales promotion activities, which can be focused
more effectively on individual consumer and trade segments. Marketers are using
a richer variety of focused communication tools in an effort to reach their diverse
target markets. In all, companies are doing less broadcasting and more narrow-
casting.
The Need for Integrated
Marketi ng Communi cati ons
The shift from mass marketing to targeted marketing, with its corresponding use
of a richer mixture of communication channels and promotion tools, poses a prob-
lem for marketers. Consumers are being exposed to a greater variety of marketing
communications from and about the company from an array of sources. However,
customers don’t distinguish between message sources the way marketers do. In the
consumer’s mind, advertising messages from different media—such as television,
magazines, or online sources—blur into one. Messages delivered via different pro-
motional approaches—such as advertising, personal selling, sales promotion, pub-
lic relations, or direct marketing—all become part of a single message about the
company. Con?icting messages from these different sources can result in confused
company images and brand positions.
All too often, companies fail to integrate their various communications chan-
nels. The result is a hodgepodge of communications to consumers. Mass adver-
tisements say one thing, a price promotion sends a different signal, a product label
creates still another message, company sales literature says something altogether
different, and the company’s Web site seems out of sync with everything else.
The problem is that these communications often come from different company
sources. The advertising department or advertising agency plans and implements
advertising messages. Sales management develops personal selling communications.
Other functional specialists are responsible for public relations, sales promotion,
direct marketing, online sites, and other forms of marketing communications. Such
functional separation has recently become a major problem for many companies
and their Internet communications activities, which are often split off into sepa-
rate organizational units. “These new, forward-looking, high-tech functional
groups, whether they exist as part of an established organization or as a separate
new business operation, commonly are located in separate space, apart from the
traditional operation,” observes one integrated marketing communications expert.
“They generally are populated by young, enthusiastic, technologically pro?cient
people with a burning desire to ‘change the world,’ ” he adds, but “the separation
and the lack of cooperation and cohesion” can be a disintegrating force in mar-
keting communications (see Marketing Highlight 13-1).
In the past, no one person was responsible for thinking through the commu-
nication roles of the various promotion tools and coordinating the promotion mix.
Today, however, many companies are adopting the concept of integrated market-
ing communications (IMC). Under this concept, as illustrated in Figure 13-1, the
company carefully integrates and coordinates its many communications channels
to deliver a clear, consistent, and compelling message about the organization and
its products.
6
As one marketing executive puts it, “IMC builds a strong brand
identity in the marketplace by tying together and reinforcing all your images and
Part III Developing the Marketing Mix 542
Integrated marketing
communications (IMC)
The concept under which a company
carefully integrates and coordinates
its many communications channels
to deliver a clear, consistent, and
compelling message about the
organization and its products.
messages. IMC means that all your corporate messages, positioning and images,
and identity are coordinated across all [marketing communications] venues. It
means that your PR materials say the same thing as your direct mail campaign,
and your advertising has the same ‘look and feel’ as your Web site.”
7
The IMC solution calls for recognizing all contact points at which the cus-
tomer may encounter the company, its products, and its brands. Each brand con-
tact will deliver a message, whether good, bad, or indifferent. The company must
strive to deliver a consistent and positive message at all contact points.
To help implement IMC, some companies appoint a marketing communica-
tions director, or marcom manager, who has overall responsibility for the com-
pany’s communications efforts. Compaq Canada, for example, has a vice-president
of integrated marketing communications. IMC produces better communications
consistency and greater sales impact. It places the responsibility in someone’s
hands—where none existed before—to unify the company’s image as it is shaped
by thousands of company activities. It leads to a total marketing communication
strategy aimed at showing how the company and its products can help customers
solve their problems.
A Vi ew of the Communi cati on Process
IMC involves identifying the target audience and shaping a well-coordinated pro-
motional program to elicit the desired audience response. Too often, marketing
communications focus on overcoming immediate awareness, image, or preference
problems in the target market. But this approach to communication has limita-
tions: It is too short term and too costly, and most messages of this type fall on
deaf ears. Marketers are moving toward viewing communications as managing the
customer relationship over time, during the preselling, selling, consuming, and post-
consumption stages. Because customers differ, communications programs need to
be developed for speci?c segments, niches, and even individuals. Given the new
interactive communications technologies, companies must ask not only “How can
Chapter 13 Integrated Marketing Communication Strategy 543
FIGURE 13-1
Integrated marketing
communications
Part III Developing the Marketing Mix 544
The Internet, Interactivity, and All Those Nets and Dot-Coms:
Disintegrated Marketing Communications?
ma r k e t i n g h i g h l i g h t 1 3 - 1
E
ver have a day when you couldn’t
get a TV commercial out of your
head? Or do ad jingles from yester-
year sometimes stick in your cranium,
like “I’d like to buy the world a Coke,”
or “Plop, plop, ?zz, ?zz. Oh what a relief
it is”? Or do long lost words like “Two all
beef patties, special sauce, lettuce,
cheese, pickles, onions, on a sesame
seed bun” suddenly and inexplicably
burst from your mouth? If you’re like
most people, you sop up more than a
fair share of TV advertising.
Now, try to remember the last ad you
saw while sur?ng the Internet. Drawing a
blank? That’s not surprising. The
Web’s ineffectiveness as a major brand-
building tool is one of today’s hottest
marketing issues, even though spending
on Internet advertising by Canadian mar-
keters grew by 126 percent between
1998 and 1999. Despite its growth, In-
ternet advertising ($55.5 million) repre-
sents only a small portion of Canadian
advertising expenditures. Television still
represents 34.1 percent of total spend-
ing at $2.36 billion, followed by daily
newspapers (25.1% at $1.7 billion), ra-
dio (13.8% at $952 million), weekly
newspapers (11.4% at $788 million),
magazines (10.8% at $747 million),
and outdoor signage (4.1% at $287 mil-
lion). Still, some ?rms are treating the
Internet as if it were the “one and only”
communication medium of the future.
The problem? According to inte-
grated marketing communication guru
Don Schultz, all the special attention
this new medium is getting may be re-
sulting in disintegrated marketing com-
munications. Says Schultz:
My mailbox has ?lled with brochures,
invitations, meetings, get-togethers, and
debates all promising to explain interac-
tivity, new media, e-commerce and elec-
tronic media. Each . . . promises to give
me the full picture of how to do the Inter-
net, the Web, extranets, intranets, and all
the other “nets” that are popping up
everywhere. Not one has even suggested
how all this new stuff might ?t with, coor-
dinate alongside, relate to, or be inte-
grated with the existing media systems.
Nothing on how to combine or bring
together existing programs and existing
customers with the brave new world of
the 21st century.
Most troubling is that many ?rms are
organizing their new e-communications
operations into separate groups or divi-
sions, isolating them from mainstream
marketing activities. “It is . . . the
apartness that concerns me,” Schultz
observes. “We seem to be creating the
same problems with new media, new
marketing, and new commerce that we
created years ago when we developed
separate sales promotion groups, sepa-
rate direct-marketing activities, separate
public relations departments, separate
events organizations, and so on. . . . In
my view, we are well on the way to disin-
tegrating our marketing and communi-
cation programs and processes all over
again.” However, whereas companies ap-
pear to be compartmentalizing the new
communications tools, customers won’t.
According to Schultz:
New media, the Internet, interactivity and
all the Nets and “dot-coms” are critical
to marketing and communication prac-
tice, but they are not the be-all-and-end-
all of marketing and marketing communi-
cation. They . . . are not going to instan-
taneously replace all our current
techniques, approaches or media sys-
tems. . . . The real issue for most [mar-
keters] and consumers is transition, from
what they do now to what they likely will
do in the future. And, the truth is, most
[consumers] won’t compartmentalize their
use of the new systems. They won’t say,
“Hey, I’m going off to do a bit of Net surf-
ing. Burn my TV, throw out all my radios,
cancel all my magazine subscriptions,
and, by the way, take out my telephone
and don’t deliver any mail anymore.” It’s
not that kind of world for consumers, and
it shouldn’t be the kind of world for mar-
keters either.
To be sure, the new Internet
promises exciting marketing communi-
cations potential. However, marketers
trying to use the Web to build brands
face many challenges. One limitation is
that the Internet doesn’t build mass
brand awareness. Instead, it’s like hav-
ing millions of private conversations.
The Web simply can’t match the impact
of the Super Bowl, where tens of mil-
lions of people see the same 30-second
Coca-Cola or Hallmark ad at the same
time. Thus, using the Internet, it’s hard
to establish the universal meanings—
like “Always Coca-Cola” or “When you
care enough to send the very best”—
that are at the heart of brand recogni-
tion and brand value. That’s why tactics
that have worked on TV have failed on
the Web. For example, Bell Atlantic de-
veloped an online soap opera that re-
we reach our customers?” but also “How can we ?nd ways to let our customers
reach us?”
Therefore, the communications process should start with an audit of all the
potential interactions that target customers may have with the product and com-
pany. For example, someone purchasing a new computer may talk with others,
see television commercials, read articles and ads in newspapers and magazines,
and try out computers in the store. Marketers must assess the in?uence that each
of these communications experiences will have at different stages of the buying
process. This understanding will help them allocate their communication dollars
more ef?ciently and effectively.
To communicate effectively, marketers need to understand how communica-
tion works. Communication involves the nine elements shown in Figure 13-2. Two
of these elements are the major parties in a communication—the sender and
receiver. Another two are the major communication tools—the message and the
media. Four more are major communication functions—encoding, decoding,
response, and feedback. The last element is noise in the system. De?nitions of these
elements are applied to an ad for Hewlett-Packard colour multifunction machines:
• Sender: The party sending the message to another party—here, Hewlett-Packard.
• Encoding: The process of putting thought into symbolic form—HP’s advertising
agency assembles words and illustrations into an advertisement that will convey
the intended message.
Chapter 13 Integrated Marketing Communication Strategy 545
volved around yuppie newlyweds Troy
and Linda. Although the site won raves
from critics and had lots of fans, Bell
Atlantic’s research showed it did little to
boost the brand.
Another Internet limitation is format
and quality constraints. Web ads are
still low in quality and impact. Procter &
Gamble and other large advertisers have
been pushing to get Internet publishers
to allow larger, more complex types of
ads with high-quality sound and full-
motion video. So far, however, ads on
the Internet are all too ignorable. Even if
advertisers could put larger, richer ads
on the Web, they would likely face a
consumer backlash. In the digital world,
consumers control ad exposure. Many
consumers who’ve grown up with the In-
ternet are sceptical of ads in general
and resentful of Web ads in particular.
Internet advertisers face an uphill battle
in getting such consumers to click onto
their ads. In fact, a recent survey found
that 21 percent of Internet users polled
said they never clicked on Internet ads
and another 51 percent said they
clicked only rarely.
Facing such realities, most marketers
opt for fuller promotion campaigns to
build their brands. Even companies that
rely primarily on e-commerce for sales
are conducting most of their branding
efforts of?ine. Business-to-business e-
commerce star Cisco Systems spends ad
money on full-page ads in the Wall
Street Journal rather than on Web ban-
ners. Dell Computer is one of the largest
ad spenders in tech trade magazines
and runs a $150-million-plus branding
campaign almost entirely on TV. Dell
hopes to conduct 50 percent of all
transactions online and contends that it
can’t generate that kind of volume with
Web advertising.
Similarly, most traditional marketers
are adding the Web as an enhancement
to their more traditional communication
media. They wed the emotional pitch
and impact of traditional brand market-
ing with real service offered online. For
example, television ads for Saturn still
offer the same old-fashioned humorous
appeal. But now they point viewers to
the company’s Web site, which offers
lots of help and very little hype. The site
helps serious car buyers select a model,
calculate payments, and ?nd a dealer
online. Even marketers that can’t really
sell their goods via the Web are using
the Internet as an effective customer
communication and relationship en-
hancer. For example, Procter & Gamble
has turned Pampers.com into the Pam-
pers Parenting Institute, addressing vari-
ous issues of concern to new and expec-
tant parents.
Thus, although the Internet offers
electrifying prospects for marketing
communication, it can rarely stand
alone as a brand-building tool. Instead,
it must be carefully integrated into the
broader marketing communications mix.
Schultz makes this plea: “My cry is to
integrate, not isolate. Yes, we need to
explore and develop the new media and
new approaches, but we need to . . .
integrate [them] with the old, melding
e-commerce and across-the-counter
commerce. There never has been a
greater need for integration than there is
today. Let’s recognize and develop the
new electronic forms on the basis of
what they are—alternatives and perhaps
enhancements for the existing ap-
proaches presently in place—and noth-
ing more. Then again, they are nothing
less, either.”
Sources: Quotes and excerpts from Don E. Schultz,
“New media, old problem: Keep marcom integrated,”
Marketing News, 29 March 1999:11. Also see “Net
leads the way in spending,” Marketing On-Line,
25 September 2000; Jeffrey O’Brien, “Web advertising
and the branding mission,” Upside, September 1998:
90–4; Saul Hansell, “Selling soap without the soap
operas, mass marketers seek ways to build brands on
the Web,” New York Times, 24 August 1998
1–2; EllenNeuborne, “Branding on the Net,” Business Week,
9 November 1998:76–86; and Bradley Johnson, “Boom
or bust?” Advertising Age, 1 November 1999:1,52.
The Internet can rarely stand alone as a brand-
building tool. Even companies that rely primarily
on e-commerce for sales are conducting most of
their branding efforts of?ine.
Hewlett-Packard
www.hp.com/
• Message: The set of symbols that the sender transmits—the actual HP multi-
function machine ad.
• Media: The communication channels through which the message moves from
sender to receiver—in this case, the speci?c magazines that HP selects.
• Decoding: The process by which the receiver as-
signs meaning to the symbols encoded by the
sender—a consumer reads the HP multifunction
machine ad and interprets the words and illus-
trations it contains.
• Receiver: The party receiving the message sent
by another party—the home of?ce or business
customer who reads the HP multifunction ma-
chine ad.
• Response: The reactions of the receiver after be-
ing exposed to the message—any of hundreds of
possible responses, such as the consumer is more
aware of the attributes of HP multifunction ma-
chines, actually buys an HP multifunction ma-
chine, or does nothing.
• Feedback: The part of the receiver’s response
communicated back to the sender—HP research
shows that consumers are struck by and remem-
ber the ad, or consumers write or call HP prais-
ing or criticizing the ad or HP’s products.
• Noise: The unplanned static or distortion during
the communication process, which results in the
receiver’s getting a different message than the
one the sender sent—the consumer is distracted
while reading the magazine and misses the HP ad
or its key points.
For a message to be effective, the sender’s
encoding process must mesh with the receiver’s
decoding process. Therefore, the best messages con-
sist of words and other symbols that are familiar to
Part III Developing the Marketing Mix 546
FIGURE 13-2
Elements in the
communication
process
An understanding of the concerns
of home-business owners helps
Hewlett-Packard communicate
effectively.
the receiver. The more the sender’s ?eld of experience overlaps with that of the
receiver, the more effective the message is likely to be. Marketing communicators
may not always share their consumer’s ?eld of experience. For example, an adver-
tising copywriter from one social stratum might create ads for consumers from
another stratum—say, blue-collar workers or wealthy business owners. However,
to communicate effectively, the marketing communicator must understand the con-
sumer’s ?eld of experience.
This model points out several key factors in good communication. Senders
need to know what audiences they wish to reach and what responses they want.
They must be good at encoding messages that take into account how the target
audience decodes them. They must send messages through media that reach tar-
get audiences, and they must develop feedback channels so that they can assess
the audience’s response to the message.
Steps i n Devel opi ng Effecti ve Communi cati on
We now examine the steps in developing an effective integrated communications and
promotion program. The marketing communicator must: identify the target audi-
ence; determine the response sought; choose a message; choose the media through
which to send the message; select the message source; and collect feedback.
Identi fyi ng the Target Audi ence
A marketing communicator starts with a clear target audience in mind. The audi-
ence may be potential buyers or current users, those who make the buying deci-
sion or those who in?uence it. The audience may be individuals, groups, special
publics, or the general public. The target audience will affect the communicator’s
decisions on what will be said, how it will be said, when it will be said, where it
will be said, and who will say it.
Determi ni ng the Desi red Response
After de?ning the target audience, the marketing communicator must decide what
response is desired. In most cases, the ?nal response is purchase. But purchase is
the result of a long process of consumer decision making. The target audience may
be in any of six buyer readiness stages, the stages that consumers typically pass
through on their way to making a purchase. These stages are awareness, knowl-
edge, liking, preference, conviction, and purchase (see Figure 13-3). The market-
ing communicator needs to know where the target audience is now and to what
stage it needs to be moved.
The marketing communicator’s target market may be totally unaware of the
product, know only its name, or know little about it. The communicator must
?rst build awareness and knowledge. When Nissan introduced its In?niti auto-
mobile line, it began with an extensive “teaser” advertising campaign to create
Buyer readiness stages
The stages consumers typically pass
through on their way to purchase:
awareness, knowledge, liking,
preference, conviction, and
purchase.
Chapter 13 Integrated Marketing Communication Strategy 547
FIGURE 13-3 Buyer
readiness stages
name familiarity. Initial ads for the In?niti created curiosity and awareness by
showing the car’s name but not the car. Later ads created knowledge by inform-
ing potential buyers of the car’s high quality and many innovative features.
Assuming target consumers know the product, how do they feel about it?
Once potential buyers know about the In?niti, Nissan’s marketers want to move
them through successively stronger stages of feelings toward the car. These stages
include liking (feeling favourable about the In?niti), preference (preferring In?niti
to other car brands), and conviction (believing that In?niti is the best car for them).
In?niti marketers can use a combination of the promotion mix tools to create pos-
itive feelings and conviction. Advertising extols the In?niti’s advantages over com-
peting brands. Press releases and other public relations activities stress the car’s
innovative features and performance. Dealer salespeople tell buyers about options,
value for the price, and after-sale service.
Finally, some members of the target market might be convinced about the prod-
uct, but not quite get around to making the purchase. Potential In?niti buyers may
decide to wait for more information or for the economy to improve. The communi-
cator must lead these consumers to take the ?nal step. Actions may include offering
special promotional prices, rebates, or premiums. Salespeople may call or write to
selected customers, inviting them to visit the dealership for a special showing.
Marketing communications alone cannot create positive feelings and purchases
for In?niti. The car itself must provide superior value for the customer. In fact,
Part III Developing the Marketing Mix 548
Postpurchase behaviour
The stage of the buyer decision
process in which consumers take
further action after purchase based
on their satisfaction or dissatis-
faction.
ma r k e t e r s s p e a k o u t
Alan Quarry, President of Quarry Integrated Communications
“C
lients count on us to help build
their business, build their
brands, build their customer
relationships and build their pro?ts . . .
and we deliver,” states Alan Quarry,
“head coach” of Quarry Integrated
Communications, a ?rm based in Wa-
terloo, Ontario, with of?ces in Toronto,
Dallas, and Japan. The hand-lettered
signs posted all around Quarry’s
premises capture their essence: “Our
mission is to help our clients build their
businesses through integrated commu-
nications.” Quarry’s clients—?rms like
Nortel Networks, Hewlett-Packard,
Royal Bank, Cyanamid Crop Protection,
Clarica Life, Hoffmann-la Roche,
Elanco Animal Health, FedEx, Merck
Frosst, and Sprint Canada—all agree
that Quarry has helped them accom-
plish this objective.
It’s hard to catch up with Alan
Quarry. A person with seemingly endless
energy, he not only is the president of
Quarry Integrated Communications, but
he also ?nds time to teach marketing
communications to fourth-year honours
business students at Wilfrid Laurier Uni-
versity. When he isn’t teaching, travel-
ling, working with his clients, or sharing
a laugh with his family, he has his head
in a book. He is a strong believer that
continuous learning is the key to suc-
cess in the modern economy. “As com-
municators, we can never stop increas-
ing our knowledge about consumer
motivation and how effective communi-
cations work,” states Quarry.
Quarry Integrated focuses on build-
ing demand for considered-purchase
goods and services in the information
technology, financial services, agri-
business, and health care industries.
But, as Quarry notes, “Advertising
doesn’t work like it used to. People
have grown sceptical, info-saturated,
atomized in their interests, and now
wired to the Internet.” So how do you
reach your customers in such a jaded
marketplace? Quarry asks. We know
that advertisers can’t simply deliver a
snappy selling message and expect re-
sults. Increasingly, the challenge is to
understand the lifestyles, attitudes,
and motivations of individual cus-
tomers, and ?nd a way to reach them
with a consistent, relevant message. In
other words, you have to use integrated
communications where integration
means consistency of brand contacts.
Even more importantly, Quarry notes,
“Consistency means trust. Trust means
better relationships with your cus-
tomers.”
As you may gather from the last
statement, Quarry Integrated Communi-
cations is a values-led company. Three
core values guide its actions: integrity,
relevance, and achievement. Visit
Quarry’s Web site to understand fully the
importance of these guiding principles
for the firm (www.quarry.com/culture/
values). Integrity means that Quarry con-
ducts its business honestly and fairly
with its clients, associates, suppliers,
and the marketplace. In terms of rele-
vance, Quarry works to anticipate and
identify critical success factors for
clients and then exceed their expecta-
tions by delivering on its commitments
in a creative, timely, and cost-effective
manner. To Quarry, achievement is suc-
cessfully building the businesses of its
clients and their brands.
In addition to being values-led,
Quarry Integrated is a highly innovative
?rm, which broke the traditional adver-
Nissan Canada
www.nissancanada.com/
outstanding marketing communications can actually speed the demise of a poor
product. The more quickly potential buyers learn about the poor product, the more
quickly they become aware of its faults. Thus, good marketing communication
calls for “good deeds followed by good words.”
Desi gni ng a Message
Having de?ned the desired audience response, the communicator turns to devel-
oping an effective message. Ideally, the message should get attention, hold interest,
arouse desire, and obtain action (a framework known as the AIDA model ). In
practice, few messages take the consumer all the way from awareness to purchase,
but the AIDA framework suggests the qualities of a good message.
In putting together the message, the marketing communicator must solve three
problems: what to say (message content), how to say it logically (message struc-
ture), and how to say it symbolically (message format).
Message Content
The communicator must identify an appeal or theme that will produce the desired
response. There are three types of appeals: rational, emotional, and moral.
Rational appeals relate to the audience’s self-interest. They show that the prod-
uct will produce the desired bene?ts. Rational appeal messages may show a prod-
Chapter 13 Integrated Marketing Communication Strategy 549
Alan Quarry.
tising agency model in the early 1990s
and developed a new model for doing
business. “The structure of the tradi-
tional ad agency seemed dysfunctional
and almost anti-client to me,” states
Alan Quarry. “All the internal politics
and focus on driving mass-media spend-
ing was not the kind of organization we
wanted to be. We couldn’t be the type of
strategic ally that our clients need to be
successful in the future.
“We believe that mass media adver-
tising is communications ‘at’ the con-
sumer. Integrated marketing communi-
cations (IMC) is a conversation ‘with’
the consumer. There will be a lot less
marketing in the future and a lot more
‘customerizing’ as IMC guru Don
Schultz has pointed out. We believe that
relationship-building dialogue with the
customer strengthens and can even im-
prove products and brands.”
To help make this all happen, Quarry
Integrated is wired. No, not from three-
martini lunches, but by the ethernet
hubs, Internet routers, T-1 lines, video
conferencing, and leading edge tele-
phony and software, which they use to
improve communications between
Quarry and its clients. This “technology-
enhanced communications” approach is
another difference between Quarry and
many of its competitors. “Lots of ad
agencies seem to think of buying tech-
nology as being an ‘expense’. . . we
think of acquiring the tools we use as an
‘investment,’ ” explained Alan Quarry.
“It’s a mindset thing. We know that we
cannot be a successful, global organiza-
tion and help our clients build without
being tech-savvy.”
In an industry characterized by dis-
turbingly high staff turnover rates, Quarry
Integrated has had one of Canada’s best
track records for continuity. Many think
that Quarry’s high retention rate has a lot
to do with the environment created at the
workplace. It’s an environment without
corner of?ces. (In fact, Alan Quarry, the
president, does not have an assigned of-
?ce at all. Instead he pushes his mobile
work surface around and answers to the
nickname ‘Virtu-Al.’) It has idea rooms
named the Eureka Room and the Ka-
boom Room. There’s a 1950s-style diner,
called Al’s Diner (in honour of Albert Ein-
stein), where the Quarry team and guests
meet, work, and have access to a free
supply of fruit, veggies, and other brain
food. It’s an environment that offers at
least one view of the outside world no
matter where you stand. The workplace
motto—“Think like the customer, Always
anticipate, And have fun!”—is posted all
around.
Quarry Integrated Communications
has been incredibly successful in an in-
dustry where many believe starting new
communication agencies, let alone inde-
pendent Canadian-owned agencies, is
next to impossible. However, Quarry con-
tinues to grow. Not content to rest on its
laurels, Quarry Integrated Communica-
tions has a remarkable growth objective:
To be the best integrated communica-
tions organization in the galaxy! Seeing
the incredible commitment and energy in
this ?rm can convince anyone that it is
well on its way to accomplishing this aim.
Sources: Information provided to Peggy Cunningham by
Alan Quarry. Also see www.quarry.com.
Rational appeals
Message appeals that relate to the
audience’s self-interest and show
that the product will produce the
claimed bene?ts; for example,
product quality, economy, value, or
performance.
uct’s quality, economy, value, or performance. In its ads, Mercedes offers cars that
are “engineered like no other car in the world,” stressing engineering design, per-
formance, and safety. Buckley’s Mixture took its most recognizable quality, the
bad taste of its cough syrup, and turned it into an award-winning campaign linked
by the tag line, “It tastes awful. And it works.”
Emotional appeals attempt to stir up either negative or positive emotions that
can motivate purchase. Communicators can use such positive emotional appeals
as love, pride, joy, and humour. Advocates for humorous messages claim that they
attract more attention and create more liking and belief in the sponsor. Cliff Free-
man, the advertiser responsible for Little Caesars’ humorous “Pizza, Pizza” ads,
contends that: “Humour is a great way to bound out of the starting gate. When
you make people laugh, and they feel good after seeing the commercial, they like
the association with the product.” But others maintain that humour can detract
from comprehension, wear out its welcome fast, and overshadow the product.
8
Consider some recent ads from Telus:
9
For the Christmas 2000 shopping season, Telus Corporation, one of Canada’s leading telecom-
munications companies, launched a new series of 12 ads for Telus Store products using humour
to draw attention to its products. In one ad, a woman overhears Christmas carolers approaching
Part III Developing the Marketing Mix 550
Emotional appeals
Message appeals that attempt to
stir up negative or positive
emotions—for example, fear, guilt,
shame, love, humour, pride, and
joy—to motivate purchase.
To move consumers toward
purchase of the In?niti, Nissan
created a multi-phase promotion
campaign. The ?rst teaser ads,
which did not even show the car,
built awareness. Later ads
created liking, preference, and
conviction by comparing In?niti’s
features with those of
competitors.
her home on a snowy festive night. She cheerfully opens the door,
only to ?nd the group singing loudly but totally unintelligibly
through the muf?ers wrapped up to their eyeballs. The ad then
cuts to the headline, “Communicating clearly is important,” and
then quickly features some key products. As the “Creative Eye”
section of Marketing Magazine notes, “Great work—fresh and
memorable. Fun and well produced, [in fact] the second Telus
campaign is brilliant. It’s a fresh way to convey otherwise dry
product bene?ts. It also creates a very smart, approachable
brand character.” Humour helped the ads break through the clut-
ter of competitors’ Christmas campaigns and accomplished their
purpose of getting people to think of the variety of gifts they
can buy at the Telus Store when doing their Christmas shopping
expeditions. Palmer Jarvis DDB, of Vancouver created the
campaign.
Communicators can also use negative emotional
appeals such as fear, guilt, and shame, which get peo-
ple to do things they should (brush their teeth, buy
new tires), or to stop doing things they shouldn’t
(smoke, drink too much, eat fatty foods). One Crest
ad invokes mild fear of cavities when it claims: “There
are some things you just can’t afford to gamble with.”
Etonic ads ask: “What would you do if you couldn’t
run?” and go on to note that Etonic athletic shoes are
designed to avoid injuries—they’re “built so you can
last.” A Michelin tire ad features cute babies and sug-
gests, “Because so much is riding on your tires.”
Moral appeals are directed to the audience’s sense
of what is “right” and “proper.” They often are used
to urge people to support such social causes as a
cleaner environment and aid to the needy, or combat
such social problems as drug abuse, discrimination, sexual harassment, and spousal
abuse. An example of a moral appeal is the March of Dimes appeal: “God made
you whole. Give to help those He didn’t.”
Message Structure
The communicator must decide which of three ways to use to structure the mes-
sage. The ?rst is whether to draw a conclusion or leave it to the audience. Early
research showed that drawing a conclusion was usually more effective; however,
more recent research suggests that the advertiser is often better off asking questions
and letting buyers draw their own conclusions. The second structure issue is whether
to present a one-sided argument—mentioning only the product’s strengths—or a
two-sided argument—touting the product’s strengths while also admitting its short-
comings. Buckley’s Mixture built its entire business around this technique:
10
Buckley’s Mixture was ?rst developed in 1919 by pharmacist William Knapp Buckley in his
Toronto drug store. W.K. was a pioneer, not only in terms of developing a highly effective prod-
uct, but also because he was one of the ?rst to recognize the power of catchy copy. He used
both print and radio at a time when advertising, especially radio advertising, was a relatively
new and a poorly understood phenomena. Advertising made the product a hit, despite its taste.
It wasn’t long before W.K. extended his success overseas. By the late ’30s, Buckley’s had intro-
duced itself to cold sufferers in the United States and Caribbean, and to New Zealand, Aus-
tralia, and Holland by the ’40s. The company roared along until the 1960s. Suddenly, phar-
macies started to be bought up by chains and other cough medicines started to advertise. The
creative advertising strategies that had made Buckley’s so successful and unique among the rest
of the category were now being used by everyone, and sales began sliding. It wasn’t until the
1980s that the company hit on its ‘the back to basics’ strategy. Buckley’s Mixture possessed
two strong characteristics: lousy taste and tremendous ef?cacy. Using these two points of dif-
ference, Buckley’s produced an award-winning advertising campaign that made Buckley’s Mix-
Chapter 13 Integrated Marketing Communication Strategy 551
Moral appeals
Advertising messages directed to the
audience’s sense of what is “right”
or “proper.”
Telus Corporation successfully
used humour as a way to convey
otherwise dry product bene?ts
and to generate traf?c in its
stores.
March of Dimes
www.modimes.org/
ture and Frank Buckley (W.K.’s son) household names in Canada. The company’s simple, hon-
est, and humorous approach to advertising and its famous tag line, “It tastes awful, and it
works,” attracted attention, praise, and advertising awards. More importantly it brought in new
users. Today, Buckley’s Mixture is the top-selling cough syrup in Canada by volume, command-
ing a 10 percent share of the market. The ‘bad taste’ campaign also solidi?ed its position in
the Caribbean, Australia, New Zealand, and the US. If, like other Canadians, you regard Buck-
ley’s as part of your Canadian heritage, you can join other fans and view Buckley’s current and
historical advertising at www.buckleys.com/Cdn/Cdn%20Frames/cdn_main_page.htm.
Usually, a one-sided argument is more effective in sales presentations—except
when audiences are highly educated, negatively disposed, or likely to hear opposing
claims. In these cases, two-sided messages can enhance the advertiser’s credibility
and make buyers more resistant to competitor attacks. The third message structure
issue is whether to present the strongest arguments ?rst or last. Presenting them ?rst
gets strong attention, but may lead to an anti-climactic ending.
11
Message Format
The marketing communicator needs a strong format for the message. In a print
ad, the communicator has to decide on the headline, copy, illustration, and colour.
To attract attention, advertisers can use novelty and contrast; eye-catching pictures
and headlines; distinctive formats; message size and position; and colour, shape,
and movement. If the message will be carried over the radio, the communicator
must choose words, sounds, and voices. The “sound” of an announcer promot-
ing banking services, for example, should be different from one promoting qual-
ity furniture.
If the message is to be carried on television or in person, then all these ele-
ments plus body language have to be planned. Presenters plan their facial expres-
sions, gestures, dress, posture, and hair style. If the message is carried on the prod-
uct or its package, the communicator has to watch texture, scent, colour, size, and
Buckley’s Mixture has won world
renown by using simple and
humorous two-sided
advertising—“It tastes awful,
and it works.”
Part III Developing the Marketing Mix 552
shape. Colour plays a major communication role in food preferences. When con-
sumers sampled four cups of coffee that had been placed next to brown, blue, red,
and yellow containers (all the coffee was identical, but the consumers did not know
this), 75 percent felt that the coffee next to the brown container tasted too strong;
nearly 85 percent judged the coffee next to the red container to be the richest;
nearly everyone felt that the coffee next to the blue container was mild; and the
coffee next to the yellow container was seen as weak. Therefore, if a coffee com-
pany wants to communicate that its coffee is rich, it should probably use a red
container along with label copy boasting the coffee’s rich taste.
12
Choosi ng Medi a
The communicator now must select channels of communication. There are two
broad types of communication channels—personal and non-personal.
Personal Communi cati on Channel s
In personal communication channels, two or more people communicate directly
with each other. They can communicate face to face, over the telephone, or even
through the mail or e-mail. Personal communication channels are effective because
they allow for personal addressing and feedback.
The company controls some personal communication channels directly; com-
pany salespeople, for example, contact buyers in the target market. But other per-
sonal communications about the product may reach buyers through channels not
directly controlled by the company. These may be independent experts—consumer
advocates, consumer buying guides, and others—making statements to target buy-
ers. Or they may be neighbours, friends, family members, and associates talking
to target buyers. This last channel, known as word-of-mouth in?uence, has con-
siderable effect in many product areas.
Personal in?uence carries great weight for products that are expensive, risky,
or highly visible. For example, buyers of automobiles, home decor, and fashion
often go beyond mass-media sources to seek the opinions of knowledgeable
people.
Companies can take several steps to put personal communication channels to
work for them. They can devote extra effort to selling their products to well-
known people or companies, who may, in turn, in?uence others to buy. They can
create opinion leaders—people whose opinions are sought by others—by supply-
ing certain people with the product on attractive terms. For example, companies
can work through community members such as local radio personalities, class pres-
idents, and heads of local organizations. And they can use in?uential people in
their advertisements or develop advertising that has high “conversation value.”
Non-Personal Communi cati on Channel s
Non-personal communication channels are media that carry messages without per-
sonal contact or feedback. They include major media, atmospheres, and events.
Major media include print media (newspapers, magazines, direct mail); broadcast
media (radio, television); and display media (billboards, signs, posters).
Atmospheres are designed environments that create or reinforce the buyer’s leanings
toward buying a product. Thus, lawyers’ of?ces and banks are designed to commu-
nicate con?dence and other qualities that might be valued by their clients. Events
are staged occurrences that communicate messages to target audiences, such as
press conferences, grand openings, shows and exhibits, public tours, and other
events arranged by public relations departments. Many Canadian companies spon-
sor sporting events that draw audiences that match the ?rm’s target market. The
Personal communication
channels
Channels through which two or more
people communicate directly with
each other, including face to face,
person to audience, over the
telephone, or through the mail or
e-mail.
Word-of-mouth influence
Personal communication about a
product between target buyers and
neighbours, friends, family members,
and associates.
Non-personal communi-
cation channels
Media that carry messages without
personal contact or feedback,
including major media, atmospheres,
and events.
Chapter 13 Integrated Marketing Communication Strategy 553
Bank of Montreal, for example, is the lead sponsor for equestrian events held at
Spruce Meadows in Calgary and at the Royal Winter Fair in Toronto. Molson
Breweries holds two annual Indy races: one in Vancouver, the other in Toronto.
Non-personal communication affects buyers directly. It also often affects them
indirectly by causing more personal communication. Communications ?rst ?ow
from television, magazines, and other mass media to opinion leaders and then from
these opinion leaders to others. Thus, opinion leaders step between the mass media
and their audiences and carry messages to people who are less exposed to media.
This suggests that mass communicators should aim their messages directly at opin-
ion leaders, letting them carry the message to others.
Sel ecti ng the Message Source
In either personal or non-personal communication, the message’s impact on the tar-
get audience is affected by how the audience views the communicator. Messages
delivered by highly credible sources are more persuasive. Therefore, marketers hire
celebrity endorsers—well-known athletes, actors, and even cartoon characters—to
deliver their messages (see Marketing Highlight 13-2).
Many food companies promote to doctors, dentists, and other health care
providers to motivate these professionals to recommend their products to patients.
Part III Developing the Marketing Mix 554
Molson Indy
www.molsonindy.com
Labatt used non-personal
communication channels for its
award-winning “Know When to
Draw the Line” campaign.
Chapter 13 Integrated Marketing Communication Strategy 555
Celebrity Endorsers
ma r k e t i n g h i g h l i g h t 1 3 - 2
“K
id, you’ve got the talent, but
you’ve got a problem,” barks
Bill Laimbeer, one of basket-
ball’s all-time dirtiest players, at young
superstar Grant Hill during a commer-
cial for Fila. “You’re too nice.” A series
of drills follows in which Laimbeer tries
to teach Hill elbowing, tripping, referee
abuse, cameraman pushing, nose
piercing—all the skills needed for to-
day’s modern athletes to make big
money off the court and playing ?eld.
But the joke is on Laimbeer. A follow-
up spot shows Hill calling his mom,
asking her to rescue him. The next
commercial in the series depicts Hill ?-
nally breaking free of Laimbeer’s hold,
despite 52 days of brainwashing at
“Camp Tough Guy.” “I’ve got to play
with decency, honesty,” he says as a ray
of light dawns upon him. “I’ve got to
play clean.” Clean is now cool. Clean is
also lucrative. For endorsing Fila’s run-
ning shoes, Hill received about $36
million over ?ve years.
Teams, as well as individual athletes,
are attracting sponsorship dollars. In a
landmark deal, TD Waterhouse Investor
Services, the Toronto-based discount
brokerage, signed on as title sponsor for
the next three Toronto Maple Leafs and
Toronto Raptors seasons, 2001–2004.
Choosing the wrong salesperson can
result in embarrassment and a tarnished
image. Hertz discovered this when it en-
trusted its good name to the care of O.J.
Simpson. Kellogg Canada Inc. is still
feeling the agony over its sponsorship of
sprinter Ben Johnson, who was stripped
of his gold medal after the 1988
Olympics for taking an illegal substance.
Manufacturers and advertisers seek
an endorser’s “halo effect”—the positive
association that bathes the product in
good vibes after a popular sports
celebrity has pitched it. The trend toward
nice is very good news for brand names
that are marketed globally. Tennis star
Michael Chang has emerged as the most
popular athlete in Asia by far. Reebok is
basing its entire Asian strategy around
him, as is Procter & Gamble’s Rejoice
(Pert Plus) shampoo line. What makes
Asia so crazy about Chang? It’s not just
his heritage. It’s also his persona. On a
continent where family is considered
paramount, Chang is coached by his
brother, and they travel frequently with
their parents. He’s properly humble and
soft-spoken as well. “We’ve always been
a very close-knit family, and I think that’s
pretty characteristic of Asian families,
period,” says Chang.
Professional athletes aren’t the only
ones drawing sponsorship dollars. Ama-
teur athletes, especially those training
for the Olympics, are receiving increased
attention. Olympic sponsorship is a sig-
ni?cant marketing vehicle, whether it is
of the Games themselves, the teams that
compete in them, or individual athletes.
People aren’t as jaded in their views of
Olympic athletes as they are about their
professional counterparts. Although
Olympic athletes may not be household
names, people believe that these ath-
letes compete for the love of the sport.
Thus, the goodwill that adheres to a
company that supports Olympic athletes
is greater than that associated with sup-
port of a professional sports celebrity.
Since the Olympics draw both interna-
tional and national audiences, they pro-
vide sponsoring companies with the op-
portunity to speak to the world.
The power of the Games led Kellogg
to re-enter the sponsorship game. Run-
ner Donovan Bailey graced the front of
the Corn Flakes box. Swimmer Joanne
Malar, who projects an image of ?tness
and health-consciousness, was chosen
as the perfect ?t for Special K. Divers
Anne Montminy and Annie Pelletier also
receive Kellogg’s support.
Kellogg certainly isn’t alone in its
sponsorship of Canadian Olympic ath-
letes. Home Depot Canada has a
unique program in which it provides
jobs for 10 Olympians in training.
Panasonic runs breakthrough advertis-
ing showing the women’s rowing team
tearing up the pavement of Canadian
cities. Nike Canada supports the snow-
boarding and hockey teams. Roots
Canada was one of Canada’s official
clothing providers for the Games, and
also sponsors individual athletes such
as skater Elvis Stojko. Tim Hortons sup-
ports the Canadian Cycling Association,
while Procter & Gamble supports the
Spirit of Sport Foundation.
Olympic sponsorship is not without
risks, however. When ?rms endorse an
individual athlete, they run the risk that
the person might not perform as well as
hoped. They may say something unfor-
tunate in their excitement over victory.
They may even bring disrepute, as when
Canadian snowboarder Ross Rebagliati
was temporarily stripped of his win after
testing positive for marijuana. Many
sponsors are now making their spon-
sored athletes sign codes of conduct
and morality.
Rather than sponsoring individual
competitors, many firms are now en-
dorsing teams. Ken McGovern, a Van-
couver researcher who specializes in
sponsorship, says, “When you’re en-
dorsing a team, what you’re really do-
ing is endorsing the spirit of the
Games, the excitement of competition
and the national pride that comes with
that.” Corporations that help make all
this happen reap a tremendous harvest
of goodwill.
Although the sponsorship arena has
long been dominated by male athletes,
not only men’s teams are drawing spon-
sorship dollars. In 1998, women’s
hockey was an Olympic event for the
?rst time, and the Canadian team at-
tracted a number of sponsors including
Imperial Oil.
While some corporations focus their
sponsorship efforts on just the athletes,
other ?rms, such as McDonald’s of
Canada, take a more integrated ap-
proach. Around the 2000 Olympics sea-
son, the company began by sponsoring
the CBC, the of?cial broadcaster of the
games. Each of its hundreds of Cana-
dian restaurants was designated an “of-
?cial headquarters.” All of McDonald’s
in-restaurant materials featured Olympic
themes—from tray liners to sandwich
wraps to a special magazine touting
Olympic values. Olympic watches were
offered as the featured premium, and
the company sent coupon booklets bear-
ing Olympic logos to every Canadian
household. Sales of the watches alone
raised $1 million for the Canadian
Olympic team. So that people watching
the television coverage of the Games
didn’t get bored with watching a single
ad aired again and again, McDonald’s
created 11 commercials. McDonald’s
believed that it was better to be associ-
ated with the spirit of the Games than to
sponsor an individual athlete.
Part III Developing the Marketing Mix 556
son, “Tiger!” Fortune, 12 May 1997:73–84; John Heinzl,
“Logos an Olympic event,” Globe and Mail, 20 October
1997:B1,B4; Lara Mills, “Women get in the Game,”
Marketing, 7 April 1997:10–1; James Walker, “Ben
Sources: Portions adapted from Lane Randall, “Nice
guys ?nish ?rst,” Forbes, 16 December 1996:236–42.
Also see Susan Chandler, “Michael Jordan’s full corpo-
rate press,” Business Week, 7 April 1997; Roy S. John-
Johnson on their minds,” Financial Post, 13 July 1996;
Patti Summer?eld, “TD Waterhouse makes landmark
sports deal,” Strategy, 23 October 2000:4; and www.
kelloggs.com/index_nite.html.
This has been an important strategy for Lipton’s Becel margarine, since research
showed that health professionals were important in?uencers on their patients’
dietary choices. In addition to award-winning advertising that helped the brand
grow throughout the 1990s, Becel developed its Becel Heart Health Information
Bureau. This “educational arm” of the brand provides health care professionals
and the public with current information on nutrition and the scienti?c issues affect-
ing heart health. While maintaining its objectivity, the bureau strives to dissemi-
nate both key scienti?c facts about heart health and key brand messages, primar-
ily on the Becel Canada Web page.
13
Col l ecti ng Feedback
After sending the message, the communicator must research its effect on the tar-
get audience. This involves asking the target audience members whether they
remember the message, how many times they saw it, what points they recall, how
they felt about the message, and their past and present attitudes toward the prod-
uct and company. The communicator also wants to measure behaviour resulting
from the message—how many people bought a product, talked to others about it,
or visited the store.
Feedback on marketing communications may suggest changes in the promotion
program or in the product offer itself. For example, when the new Boston Market
restaurant chain enters new market areas, it uses television advertising and coupons
in newspaper inserts to inform area consumers about the restaurant and to lure them
in. Suppose feedback research shows that 80 percent of all consumers in an area recall
seeing Boston Market ads and are aware of what the restaurant offers. Sixty percent
of those who are aware of it have eaten at the restaurant, but only 20 percent of
those who tried it were satis?ed. These results suggest that although the promotion
program is creating awareness, the restaurant isn’t giving consumers the satisfaction
they expect. Therefore, Boston Market needs to improve its food or service while stay-
ing with the successful communication program. In contrast, suppose the feedback
research shows that only 40 percent of area consumers are aware of the restaurant,
that only 30 percent of those aware of it have tried it, but 80 percent of those who
have tried it return. In this case, Boston Market needs to strengthen its promotion
program to take advantage of the restaurant’s power to create customer satisfaction.
Setti ng the Total Promoti on Budget and Mi x
We have examined the steps in planning and sending communications to a target
audience. But how does the company decide on the total promotion budget and
its division among the major promotional tools to create the promotion mix? We
now look at these questions.
Setti ng the Total Promoti on Budget
One of the hardest marketing decisions facing a company is how much to spend
on promotion. John Wanamaker, the department-store magnate, once said: “I know
Becel Canada
www.becelcanada.com/
that half of my advertising is wasted, but I don’t know which half. I spent $2 mil-
lion for advertising, and I don’t know if that is half enough or twice too much.”
Therefore, it is not surprising that industries and companies vary widely in how
much they spend on promotion. Promotion spending may be 20 to 30 percent of
sales in the cosmetics industry and only two or three percent in the industrial
machinery industry. Within any industry, both low and high spenders can be found.
How does a company decide on its promotion budget? We look at four com-
mon methods used to set the total budget for advertising: the affordable method,
the percentage-of-sales method, the competitive-parity method, and the objective-
and-task method.
14
Affordabl e Method
Some companies use the affordable method: They set the promotion budget at the
level they think the company can afford. Small businesses often use this method,
reasoning that the company cannot spend more on advertising than it has. They
start with total revenues, deduct operating expenses and capital outlays, and then
devote some portion of the remaining funds to advertising.
Unfortunately, this method of setting budgets completely ignores the effects of
promotion on sales. It tends to place advertising last among spending priorities,
even in situations in which advertising is critical to the ?rm’s success. It leads to
an uncertain annual promotion budget, which makes long-range market planning
dif?cult. Although the affordable method can result in overspending on advertis-
ing, it more often results in underspending.
Percentage-of-Sal es Method
Other companies use the percentage-of-sales method, setting their promotion bud-
get at a certain percentage of current or forecasted sales. Or they budget a per-
centage of the unit sales price. The percentage-of-sales method has a number of
advantages. First, using this method means that promotion spending is likely to
vary with what the company can “afford.” It also helps management think about
the relationship between promotion spending, selling price, and pro?t per unit.
Finally, it supposedly creates competitive stability because competing ?rms tend to
spend about the same percentage of their sales on promotion.
Despite these claimed advantages, however, the percentage-of-sales method has
little to justify it. It wrongly views sales as the cause of promotion rather than as
the result. “A study in this area found good correlation between investments in
advertising and the strength of the brands concerned—but it turned out to be effect
and cause, not cause and effect. . . . The strongest brands had the highest sales
and could afford the biggest investments in advertising!”
15
The budget is based
on availability of funds rather than on opportunities. It may prevent the increased
spending sometimes needed to turn around falling sales. Because the budget varies
with year-to-year sales, long-range planning is dif?cult. Finally, the method does
not provide any basis for choosing a speci?c percentage, except what has been
done in the past or what competitors are doing.
Competi tive-Pari ty Method
Still other companies use the competitive-parity method, setting their promotion
budgets to match competitors’ outlays. They monitor competitors’ advertising or
get industry promotion spending estimates from publications or trade associations,
and then set their budgets based on the industry average.
Two arguments support this method. First, competitors’ budgets represent the
collective wisdom of the industry. Second, spending what competitors spend helps
prevent promotion wars. Unfortunately, neither argument is valid. There are no
grounds for believing that the competition has a better idea of what a company
should be spending on promotion than does the company itself. Companies differ
Affordable method
Setting the promotion budget at the
level management thinks the
company can afford.
Chapter 13 Integrated Marketing Communication Strategy 557
Percentage-of-sales
method
Setting the promotion budget at a
certain percentage of current or
forecasted sales or as a percentage
of the sales price.
Competitive-parity method
Setting the promotion budget to
match competitors’ outlays.
greatly, and each has its own special promotion needs. Finally, there is no evidence
that budgets based on competitive parity prevent promotion wars.
Obj ective-and-Task Method
The most logical budget setting method is the objective-and-task method, whereby
the company sets its promotion budget based on what it wants to accomplish with
promotion. This budgeting method entails de?ning speci?c promotion objectives;
determining the tasks needed to achieve these objectives; and estimating the costs of
performing these tasks. The sum of these costs is the proposed promotion budget.
The objective-and-task method forces management to spell out its assumptions
about the relationship between dollars spent and promotion results. But it is also
the most dif?cult method to use. It is often hard to determine which speci?c tasks
will achieve speci?c objectives. For example, suppose Sony wants 95 percent
awareness for its latest camcorder model during the six-month introductory period.
What speci?c advertising messages and media schedules should Sony use to attain
this objective? How much would these messages and media schedules cost? Sony
management must consider such questions, even though they are hard to answer.
Setti ng the Overal l Promoti on Mi x
The company now must divide the total promotion budget among the major pro-
motion tools—advertising, personal selling, sales promotion, and public relations.
It must blend the promotion tools carefully into a coordinated promotion mix.
Companies within the same industry differ greatly in the design of their promo-
tion mixes. For example, Avon spends most of its promotion funds on personal
selling and direct marketing, whereas Revlon spends heavily on consumer adver-
tising, and Toronto-based M
.
A
.
C (Make-up Art Cosmetics) has rocketed onto the
world stage with almost no traditional advertising. We now look at the many fac-
tors that in?uence the marketer’s choice of promotion tools.
The Nature of Each Promoti on Tool
Each promotion tool—advertising, personal selling, sales promotion, public rela-
tions, and direct marketing—has unique characteristics and costs. Marketers must
understand these characteristics in selecting their tools.
Adverti si ng. Advertising can reach masses of geographically dispersed buyers
at a low cost per exposure and enables the seller to repeat a message many times.
Television advertising, for example, reaches huge audiences. On an average day,
77 percent of Canadians view television at least once. This viewership may be split
between Canadian national networks (19.5%), French networks (17.7%), Cana-
dian Global and independents (17.6%), and US conventional and superstations
(17.4%). More than 127 million North Americans tune in to the Super Bowl, and
about 78 million people watched at least part of the past Academy Awards broad-
cast. “If you want to get to the mass audience,” says a media services executive,
“Broadcast TV is where you have to be.” He adds, “For anybody introducing any-
thing who has to lasso an audience in a hurry—a new product, a new campaign,
a new movie—the networks are still the biggest show in town.”
16
Beyond its reach, large-scale advertising says something positive about the
seller’s size, popularity, and success. Because of advertising’s public nature, con-
sumers tend to view advertised products as more legitimate.
Advertising is also very expressive. It allows the company to dramatize its
products through the artful use of visuals, print, sound, and colour. On the one
hand, advertising can be used to build a long-term image for a product (such as
Coca-Cola ads). On the other hand, advertising can trigger quick sales (such as
Sears’ weekend sale ads).
Part III Developing the Marketing Mix 558
Objective-and-task method
Developing the promotion budget by
de?ning speci?c objectives; deter-
mining the tasks that must be
performed to achieve these objec-
tives; and estimating the costs of
performing these tasks. The sum of
these costs is the proposed
promotion budget.
MAC Cosmetics
www.maccosmetics.com/
Advertising also has shortcomings. Although it reaches
many people quickly, advertising is impersonal and cannot be
as persuasive as company salespeople. For the most part,
advertising can carry on only a one-way communication with
the audience, and the audience does not feel that it must pay
attention or respond. In addition, advertising can be very
costly. Although some advertising forms, such as newspaper
and radio advertising, can be done on small budgets, other
forms, such as network TV advertising, require very large
budgets.
Personal Sel l i ng. Personal selling is the most effective
tool at certain stages of the buying process, particularly in
building up buyers’ preferences, convictions, and actions.
Compared to advertising, personal selling has several unique
qualities. It involves personal interaction between two or
more people, so each person can observe the other’s needs
and characteristics and make quick adjustments. Personal
selling also allows all kinds of relationships to develop, rang-
ing from a matter-of-fact selling relationship to a deep per-
sonal friendship. The effective salesperson keeps the cus-
tomer’s interests at heart to build a long-term relationship.
Finally, with personal selling, the buyer usually feels a greater
need to listen and respond, even if the response is a polite
“no thank you.”
These qualities come at a cost, however. A sales force
requires a longer-term commitment than does advertising: A
company can turn on and off its advertising, but it is hard
to change the size of a sales force. Personal selling is also
the company’s most expensive promotion tool, costing
industrial companies an average of over $275 per sales
call.
17
North American ?rms spend up to three times as much on personal selling
as they do on advertising.
Sal es Promoti on. Sales promotion includes a wide assortment of tools, includ-
ing coupons, contests, cents-off deals, and premiums such as “buy 10 products,
and get one free.” These attract consumer attention and provide information that
may lead to a purchase. They offer strong incentives to purchase by providing
inducements or contributions that give additional value to consumers. And sales
promotions invite and reward quick response. Where advertising says, “Buy our
product,” sales promotion says, “Buy it now.”
Companies use sales promotion tools to create a stronger and quicker
response. Sales promotion can be used to dramatize product offers and to boost
sagging sales. Sales promotion effects are usually short lived, however, and are not
effective in building long-run brand preference.
Publ i c Rel ati ons. Public relations offers several bene?ts. It is very believable:
news stories, features, and events seem more real and believable to readers than
ads do. Public relations also can reach many prospects who avoid salespeople and
advertisements—the message gets to the buyers as “news” rather than as a sales-
directed communication. And, like advertising, public relations can dramatize a
company or product. Marketers tend to underuse public relations or to use it as
an afterthought. Yet a well-planned public relations campaign used with other pro-
motion mix elements can be very effective and economical.
Di rect Marketi ng. The many forms of direct marketing—direct mail, telemar-
keting, electronic marketing, online marketing, and others—share four distinctive
Chapter 13 Integrated Marketing Communication Strategy 559
Advertising is an important part
of Volkswagen’s promotion mix.
This award-winning, distinctive,
eye-catching ad helped
Volkswagen grab consumers’
attention.
characteristics. Direct marketing is non-public: The message is normally addressed
to a speci?c person. Direct marketing is also immediate and customized: Messages
can be prepared very quickly and can be tailored to appeal to speci?c consumers.
Finally, direct marketing is interactive: It allows a dialogue between the marketer
and consumer, and messages can be altered depending on the consumer’s response.
Therefore, direct marketing is well suited to highly targeted marketing efforts and
to building one-on-one customer relationships.
Promoti on Mi x Strategi es
Marketers can choose from two basic promotion mix strategies—push promotion
or pull promotion. Figure 13-4 contrasts the two strategies. A push strategy
involves “pushing” the product through distribution channels to ?nal consumers.
The producer directs its marketing activities (primarily personal selling and trade
promotion) toward channel members to induce them to carry the product and to
promote it to ?nal consumers. Using a pull strategy, the producer directs its mar-
keting activities (primarily advertising and consumer promotion) toward ?nal con-
sumers to induce them to buy the product. If the pull strategy is effective, con-
sumers then will demand the product from channel members, who will in turn
demand it from producers. Thus, under a pull strategy, consumer demand “pulls”
the product through the channels.
Some small industrial goods companies use only push strategies; some direct-
marketing companies use only pull. Most large companies use some combination
of both. For example, Frito-Lay uses mass-media advertising to pull its products,
and a large sales force and trade promotions to push its products through the
channels. In recent years, consumer goods companies have been decreasing the pull
portions of their promotion mixes in favour of more push.
Companies consider many factors when developing their promotion mix strate-
gies, including type of product-market and the product life cycle stage. For exam-
ple, the importance of different promotion tools varies between consumer and busi-
With personal selling, the
customer feels a greater need to
listen and respond, even if the
response is a polite “no thank
you.”
Part III Developing the Marketing Mix 560
Push strategy
A promotion strategy that calls for
using the sales force and trade
promotion to push the product
through channels. The producer
promotes the product to wholesalers,
the wholesalers promote to retailers,
and the retailers promote to
consumers.
Pull strategy
A promotion strategy that calls for
spending a lot on advertising and
consumer promotion to build up
consumer demand. If the strategy is
successful, consumers will ask their
retailers for the product, the
retailers will ask the wholesalers,
and the wholesalers will ask the
producers.
ness markets. Consumer goods companies usually “pull” more, putting more of
their funds into advertising, followed by sales promotion, personal selling, and then
public relations. In contrast, business-to-business marketers tend to “push” more,
putting more of their funds into personal selling, followed by sales promotion,
advertising, and public relations. In general, personal selling is used more heavily
with expensive and risky goods and in markets with fewer and larger sellers.
The effects of different promotion tools also vary with stages of the product
life cycle. In the introduction stage, advertising and public relations are good for
producing high awareness, sales promotion is useful in promoting early trial, and
personal selling must be used to get the trade to carry the product. In the growth
stage, advertising and public relations continue to be powerful in?uences, whereas
sales promotion can be reduced because fewer incentives are needed. In the mature
stage, sales promotion again becomes important relative to advertising: Buyers
know the brands, and advertising is needed only to remind them of the product.
In the decline stage, advertising is kept at a reminder level, public relations is
dropped, and salespeople give the product only a little attention; however, sales
promotion might continue to be strong.
Integrati ng the Promoti on Mi x
Having set the promotion budget and mix, the company must take steps to see
that all of the promotion mix elements are smoothly integrated. This is a check-
list for integrating the ?rm’s marketing communications.
18
• Analyze trends—internal and external—that can affect your company’s ability
to do business: Look for areas where communications can help the most. Deter-
mine the strengths and weaknesses of each communications function. Develop a
combination of promotional tactics based on these strengths and weaknesses.
• Audit the pockets of communications spending throughout the organization:
Itemize the communications budgets and tasks and consolidate these into a sin-
gle budgeting process. Reassess all communications expenditures by product,
promotional tool, stage of the life cycle, and observed effect.
Chapter 13 Integrated Marketing Communication Strategy 561
FIGURE 13-4 Push
versus pull
promotion strategy
• Identify all contact points for the company and its brands: Work to ensure that
communications at each point are consistent with your overall communications
strategy and that your communications efforts are occurring when, where, and
how your customers want them.
• Team up in communications planning: Engage all communications functions in
joint planning. Include customers, suppliers, and other stakeholders at every
stage of communications planning.
• Create compatible themes, tones, and quality across all communications media:
Make sure each element carries your unique primary messages and selling
points. This consistency achieves greater impact and prevents the unnecessary
duplication of work across functions.
• Create performance measures that are shared by all communications elements:
Develop systems to evaluate the combined impact of all communications
activities.
• Appoint a director responsible for the company’s persuasive communications ef-
forts: This move encourages ef?ciency by centralizing planning and creating
shared performance measures.
Soci al ly Responsi bl e Marketi ng Communi cati on
People at all levels of the organization must be aware of the growing body of legal
and ethical issues surrounding marketing communications. Most marketers work
hard to communicate openly and honestly with consumers and resellers. Still,
abuses do occur, and public policy makers have developed a substantial body of
laws and regulations to govern advertising, personal selling, and direct marketing
activities. In this chapter, we discuss issues regarding advertising and personal sell-
ing. Issues relating to direct marketing are addressed in Chapter 16.
Adverti si ng and Sal es Promoti on
The advertising industry in Canada is controlled both by the Canadian Radio-
television and Telecommunications Commission (CRTC) and by voluntary indus-
try codes administered by Advertising Standards Canada. The CRTC, which inde-
pendently governs broadcast licensing, is itself governed by the Broadcasting Act
of 1991 and the Telecommunications Act of 1993. The primary objective of the
Broadcasting Act is to ensure that all Canadians have access to a wide variety of
high-quality Canadian programming. The main objective of the Telecom-
munications Act is to ensure that Canadians have access to reliable telephone and
other telecommunications services at affordable prices. The CRTC also has the
mandate to ensure that programming in the Canadian broadcasting system re?ects
Canadian social values, creativity, and talent, the country’s linguistic duality, its
multicultural diversity, and the special place of aboriginal people within Canadian
society. The CRTC regulates over 5900 broadcasters, including telelvision, cable
distribution, AM and FM radio, pay and specialty television, direct-to-home satel-
lite systems, multipoint distribution systems, subscription television, and pay audio,
as well as 61 telecommunications carriers including major Canadian telephone
companies. The CRTC also administers several codes that have a particular impact
on certain categories of advertising. For example, the Code for Broadcast Adver-
tising of Alcoholic Beverages governs advertising of alcoholic beverages with over
seven percent alcohol.
Advertising Standards Canada (ASC), established as the Canadian Advertising
Foundation in 1963, is a national industry association committed to assuring the
integrity and viability of advertising through industry self-regulation. Its members
Part III Developing the Marketing Mix 562
Canadian Radio-
television and Communi-
cations Commission
www.crtc.gc.ca/
Advertising Standards
Canada
www.adstandards.com/
include advertisers, agencies, media organizations, and suppli-
ers to the advertising sector. ASC receives, reviews, adjudicates,
and reports on complaints about advertising. Industry codes
and guidelines administered by ASC include the Canadian Code
of Advertising Standards, the Gender Portrayal Guidelines,
Broadcast Code for Advertising to Children, the Guide to Food
Labelling and Advertising, Advertising Code of Standards for
Cosmetics, Toiletries & Fragrances, Guidelines for the Use of
Comparative Advertising in Food Commercials, Tobacco Vol-
untary Packaging, and the Advertising Industry Code. Details
of these codes can be found on the ASC Web site.
A company’s trade promotion activities are also closely
regulated. Under the Competition Act, sellers cannot favour
certain customers through their use of trade promotions. They
must make promotional allowances and services available to
all resellers on proportionately equal terms.
Beyond simply avoiding legal pitfalls, such as deceptive or
bait-and-switch advertising, companies can use advertising to
encourage and promote socially responsible programs and
actions. For example, Toys ’R’ Us (Canada) was praised by a
number of groups for its new Toy Guide for Differently Abled
Kids! This 16-page catalogue, featuring 50 toys designed for
disabled children, was distributed through the company’s 56
Canadian locations as well as through such agencies as Easter
Seals and the Canadian National Institute for the Blind.
Although none of the toys displayed in the catalogue was specif-
ically designed for disabled children, the publication informed
parents about which toys were suitable for their children and
how the toys might help their children develop certain skills.
19
Personal Sel l i ng
A company’s salespeople must follow the rules of “fair competition.” For exam-
ple, salespeople may not lie to consumers or mislead them about the advantages
of buying a product. To avoid bait-and-switch practices, salespeople’s statements
must match advertising claims.
Different rules apply to consumers who are visited by salespeople at home than
to those who go to a store in search of a product. Because people called on at home
may be taken by surprise and may be especially vulnerable to high-pressure selling
techniques, most provincial governments have stipulated a three-day cooling-off rule
to give special protection to customers who are not seeking products: Under this
rule, customers who agree in their own homes to buy something have 72 hours in
which to cancel a contract or return merchandise and get their money back, no ques-
tions asked.
Much personal selling involves business-to-business trade. In selling to busi-
nesses, salespeople may not offer bribes to purchasing agents or to others who can
in?uence a sale. They may not obtain or use technical or trade secrets of com-
petitors through bribery or industrial espionage. Finally, salespeople must not dis-
parage competitors or competing products by suggesting things that are not true.
20
Chapter 13 Integrated Marketing Communication Strategy 563
Toys ’R’ Us helped both parents
and disabled children with its
new toy guide.
Part III Developing the Marketing Mix 564
Revi ew of Concept Connect i ons
Modern marketing calls for more than just developing
a good product, pricing it attractively, and making it
available to target customers. Companies also must
communicate with current and prospective customers,
and what they communicate should not be left to
chance. For most companies, the question is not
whether to communicate, but how much to spend and
in what ways.
1. Name and de?ne the ?ve tools of the promotion
mix.
A company’s total marketing communications
mix—also called its promotion mix—consists of
the speci?c blend of advertising, personal selling,
sales promotion, public relations, and direct mar-
keting tools that the company uses to pursue its ad-
vertising and marketing objectives. Advertising in-
cludes any paid form of non-personal presentation
and promotion of ideas, goods, or services by an
identi?ed sponsor. In contrast, public relations fo-
cuses on building good relations with the com-
pany’s various publics by obtaining favourable un-
paid publicity. Firms use sales promotion to
provide short-term incentives to encourage the
purchase or sale of a product or service. Personal
selling is any form of personal presentation by the
?rm’s sales force for the purpose of making sales
and building customer relationships. Finally, ?rms
seeking immediate response from targeted individ-
ual customers use non-personal direct marketing
tools to communicate with customers.
2. Discuss the process and advantages of integrated
marketing communications.
Recent shifts in marketing strategy from mass mar-
keting to targeted or one-on-one marketing, cou-
pled with advances in information technology, have
had a dramatic impact on marketing communica-
tions. Although still important, the mass media are
giving way to a profusion of smaller, more focused
media. Companies are doing less broadcasting and
more narrowcasting. As marketing communicators
adopt richer but more fragmented media and pro-
motion mixes to reach their diverse markets, they
risk creating a communications hodgepodge for
consumers. To prevent this, companies are adopting
the concept of integrated marketing communica-
tions, which calls for carefully integrating all
sources of company communication to deliver a
clear and consistent message to target markets.
To integrate its external communications effec-
tively, the company must ?rst integrate its internal
communications activities. The company then
works out the roles that the various promotional
tools will play and the extent to which each will be
used. It carefully coordinates the promotional activ-
ities and the timing of when major campaigns take
place. Finally, to help implement its integrated mar-
keting strategy, the company appoints a marketing
communications director who has overall responsi-
bility for the company’s communications efforts.
3. Outline the steps in developing effective marketing
communications.
In preparing marketing communications, the com-
municator’s ?rst task is to identify the target audi-
ence and its characteristics. Next, the communica-
tor must de?ne the response sought, whether it be
awareness, knowledge, liking, preference, convic-
tion, or purchase. Then a message should be con-
structed with an effective content and structure.
Media must be selected, both for personal and
non-personal communication. Finally, the commu-
nicator must collect feedback by watching how
much of the market becomes aware, tries the prod-
uct, and is satis?ed in the process.
4. Explain the methods for setting the promotion
budget and factors that affect the design of the
promotion mix.
The company must decide how much to spend on
promotion. The most popular approaches to mak-
ing this decision are to spend what the company
can afford, to use a percentage of sales, to base
promotion on competitors’ spending, or to base it
on an analysis and costing of the communication
objectives and tasks.
The company must divide the promotion bud-
get among the major tools to create the promotion
mix. Companies can pursue a push or a pull pro-
motional strategy, or a combination of the two.
What speci?c blend of promotion tools is best de-
pends on the type of product-market, the desir-
ability of the buyer’s readiness stage, and the prod-
uct life cycle stage.
Chapter 13 Integrated Marketing Communication Strategy 565
1. Name which form of marketing communications
each of the following represents: (a) a U2 T-shirt
sold at a concert, (b) a Rolling Stone interview
with Nelly Furtado arranged by her manager, (c) a
scalper auctioning tickets via e-Bay (ebay.com) for
a Pearl Jam concert, and (d) a record store selling
Our Lady Peace albums for $2 off the week their
latest music video debuts on MuchMusic, and (e)
Shania Twain’s development of a Web page to
keep fans aware of her concert tours, latest record-
ings, and line of signature clothing products.
2. The shift from mass marketing to targeted market-
ing, and the corresponding use of a richer mix-
ture of promotion tools and communication chan-
nels, poses problems for many marketers. Using
all of the promotion mix elements suggested in
the chapter, propose a plan for integrating market-
ing communications at one of the following:
(a) your university or college, (b) McDonald’s (see
www.mcdonalds.com), (c) Burton Snow Boards
(see www.burton.com), or (d) a local zoo, museum,
theatre, or civic event. Discuss your plan in class.
3. Many ?rms advertising in Canada use American
rather than Canadian celebrities to endorse their
products. For example, Sprint Canada uses Can-
dice Bergen (who plays Murphy Brown on the self-
titled sitcom) to promote its service. Why do you
think they made this choice? Identify a product or
service that has made effective use of a celebrity
endorser. Identify another in which you think the
use of a celebrity endorser was inappropriate.
What criteria did you use to differentiate between
a successful and unsuccessful use of a celebrity en-
dorser?
4. Using Figure 13-2, describe the communications
process for (a) a local newspaper ad for new cars,
(b) a phone call from a representative of MCI re-
questing service sign-up, (c) a salesperson in Sears
attempting to sell you a television set, and (d) Mi-
crosoft’s Web page (www.microsoft.com) allowing
you to ask questions about products.
5. The marketing communicator can use one or more
types of appeals or themes to produce a desired
response. (a) What are these types of appeals?
(b) When should each be used? (c) Provide an ex-
ample of each type of appeal using three different
magazine ads.
6. Celebrity endorsers like Wayne Gretzky, Michael
Jordan, and Tiger Woods, and numerous Olympic
athletes like Marnie McBean, Simon Whit?eld,
Emilie Heymans, Anne Montminy, and Ian Millar
have had a huge impact on advertising and en-
dorsements. Explain the positive and negative con-
sequences of using celebrity sports ?gures to pro-
mote a company’s products. What impact does the
use of sports celebrity endorsers have on the aver-
age person? Is this different from the impact of
other types of celebrity endorsers?
7. Decide which of the promotional budget models
described in the text would be most appropriate
for (a) a small retail gift store, (b) an of?ce supply
company that has had a consistent sales and pro-
motion pattern during each of the past ?ve years,
(c) a grocery store that has faced intense competi-
tion from three competitors in its immediate mar-
ket area, and (d) an electronics manufacturer that
is seeking to expand its market base and national
appeal. Explain.
Di scussi ng t he I ssues
Advertising (p. 540)
Affordable method (p. 557)
Buyer readiness stages (p. 547)
Competitive-parity method
(p. 557)
Direct marketing (p. 540)
Emotional appeals (p. 550)
Integrated marketing
communications (p. 542)
Marketing communications mix
(promotion mix) (p. 540)
Moral appeals (p. 551)
Non-personal communication
channels (p. 553)
Objective-and-task method (p. 558)
Percentage-of-sales method (p. 557)
Personal communication channels
(p. 553)
Personal selling (p. 540)
Public relations (p. 540)
Pull strategy (p. 560)
Push strategy (p. 560)
Rational appeals (p. 549)
Sales promotion (p. 540)
Word-of-mouth in?uence (p. 553)
Key Terms
Part III Developing the Marketing Mix 566
8. Each promotional tool has its own characteristics.
Marketers must understand these characteristics
in selecting their tools. Using Coca-Cola as an ex-
ample, demonstrate how each of the promotional
tools might be used to create an integrated mar-
keting communications approach for the upcom-
ing year.
1. The markets for personal and handheld computers
are exploding. It seems that there will soon be a PC
for every desk or pocket. However, tomorrow’s
computers will probably be as different from to-
day’s as today’s laptops are from yesterday’s old
“punch card” machines. But how do you tell con-
sumers in plain terms what they need to know
about new generations of products without boring
them? Computer manufacturers have learned that
most consumers do not respond well to the detailed
descriptions that are often needed to explain com-
plex technological features and differences. The an-
swer may be as close as the computer company’s
Web site. Experts predict that more and more con-
sumers will be sur?ng the Web for product in-
formation and that fewer will use traditional infor-
mation sources. Examine these Web sites: Sharp
(www.sharp.ca), IBM (www.can.ibm.com), NEC
Computer Systems (www.nec.com), Casio
(www.casio.com), Apple (www.apple.com/ca/), and
Sony (www.sony.ca).
a. How are the marketing communications at
these Web sites different from those found in
traditional advertising media? Develop a grid
that compares and critiques the two forms of
marketing communication. Assess the advan-
tages and disadvantages of each form.
b. Which of these Web sites is the most effective?
Explain.
c. After reviewing each site, pick a product that
you might like to own (such as a laptop or
handheld computer). Based solely on the Web
sites above, which company and product most
grabs your attention and purchasing interest?
Critique your information-gathering experi-
ence: What information was most useful? How
could the communication be improved? Would
you be willing to purchase the product via the
Internet? Why or why not?
2. In ?ve short years, Charles Brewer turned Mind-
Spring Enterprises (www.mindspring.com) from a
one-room operation into one of North America’s
largest Internet service providers (ISP). When
Mindspring recently merged with EarthLink
Network, it jumped past such industry giants
as Microsoft, AT&T, and Prodigy to become
the number two US ISP behind mammoth AOL
(www.aol.com). However, with three million cus-
tomers versus AOL’s 20 million, catching up will
take careful strategic planning—and a bit of luck.
MindSpring/EarthLink plans to spend $300 mil-
lion (half of its annual revenues) on promotion to
encourage AOL customers (approximately one
million defect from AOL each month) to join the
ISP “with better service.” EarthLink also plans to
attack AOL’s small business market by offering
customized e-mail addresses, home pages, and ap-
plications that AOL doesn’t currently provide.
Will these moves move MindSpring/EarthLink
closer to the top, or will the AOL juggernaut con-
tinue to roll unchecked? Only time will tell.
a. What successful communications strategies
does MindSpring/EarthLink appear to be using
now? How could MindSpring/EarthLink use
integrated marketing communications (IMC)
to challenge AOL?
b. What other areas of AOL vulnerability might
MindSpring/EarthLink attack?
c. If you were AOL’s CEO, what would you do to
meet the threat?
d. If you were to give one piece of advice to an ISP
that wanted to get your business, what would
the advice be? What would be the best way for
MindSpring/EarthLink to communicate in re-
sponse to your advice?
Market i ng Appl i cat i ons
Chapter 13 Integrated Marketing Communication Strategy 567
I nt ernet Connect i ons
I nt egr at ed Mar ket i ng
Communi cat i ons
McDonald’s is one of the most powerful brands in the
world. In addition to its product mix, wide distribu-
tion of restaurants, and value pricing, McDonald’s has
extremely effective communications with important
audiences. The concept of integrated marketing com-
munications recognizes that customers are only one
group to whom a ?rm wants to disseminate persuasive
information. In addition to targeting kids and their
parents, McDonald’s is concerned with shareholders,
potential franchisees, potential employees, and the
communities in which the restaurants reside. Visit Mc-
Donald’s online (www.mcdonalds.com) and see how it
communicates to various audiences. View each page
named in the table and then formulate a sentence to
describe your opinion about the overall communica-
tion content and desired response
For Di scussi on
1. Why do you think McDonald’s wants to communi-
cate with each of the non-customer groups?
2. Although the speci?c messages may differ, is the
overall appeal of its messages consistent to all audi-
ences (rational or emotional tone, visuals, colour,
brand name, and image)? What is the overall feeling
you get from viewing its site?
3. Is McDonald’s online message to consumers consis-
tent with what you’ve seen on TV and elsewhere?
4. Have you seen any of McDonald’s promotions or
packages that direct consumers to the Web site?
Specify where you’ve seen them.
Audience One-sentence message Desired response from
to this audience this audience
Customer: Kids
Customer: Adults
Investors
Potential franchises (corporate)
Potential employees
Community
Other (specify)
Other (specify)
Part III Developing the Marketing Mix 568
Savvy Si t es
• Want to see some Web sites that don’t do a
good job at attracting and keeping visitors?
Visit Web Pages That Suck (www.webpages
thatsuck.com) for an interesting and humor-
ous look at the Web’s worst.
• Check out the Advertising Age (www.adage.com)
and AdWeek (www.adweek.com) online edi-
tions to learn more about what is happening in
integrated marketing communications world-
wide.
• Want to see an ad you loved again and again?
Go to AdCritic (www.adcritic.com) and check
out their weekly videos of new ads as well as
your favourites.
1. Based on information supplied by Jim Lesinski at Volvo Trucks
North America.
2. For these and other de?nitions, see Peter D. Bennett, Dictionary
of Marketing Terms, Chicago: American Marketing Association,
1988.
3. For more discussion, see Don E. Schultz, Stanley I. Tannen-
baum, and Robert F. Lauterborn, Integrated Marketing Com-
munication, Chicago: NTC, 1992:11,17; Larry Percy, Strategies
for Implementing Integrated Marketing Communication,
Chicago: NTC, 1997; and James R. Ogdan, Developing a Cre-
ative and Innovative Integrated Marketing Communications
Plan, Upper Saddle River, NJ: Prentice Hall, 1998.
4. Michael Kubin, “Simple days of retailing on TV are long gone,”
Marketing News, 17 February 1997:2,13; Elizabeth Lesly
Stevens and Ronald Glover, “The entertainment glut,” Business
Week, 16 February 1998:88–95; Ronald Glover, “If these shows
are hits, why do they hurt so much?” Business Week, 13 April
1998:36; Stuart Elliott, “Fewer viewers, more commercials,”
New York Times, 8 June 1999:1; Joe Mandese, “Networks fac-
ing a most uncertain fate,” Advertising Age, 14 February 2000:
54,516; www.magazine.org, March 2000.
5. “Promotion practices condensed,” Potentials, November
1998:6.
6. See Schultz, Tannenbaum, and Lauterborn, Integrated Market-
ing Communication: Chapters 3, 4.
7. P. Grif?th Lindell, “You need integrated attitude to develop
IMC,” Marketing News, 26 May 1997:6.
8. Kevin Goldman, “Advertising: Knock, knock. Who’s there? The
same old funny ad again,” Wall Street Journal, 2 November
1993:B10; Marc G. Weinberger, Harlan Spotts, Leland Camp-
bell, and Amy L. Parsons, “The use and effect of humour in dif-
ferent advertising media,” Journal of Advertising Research,
May–June 1995:44–55.
9. “The creative eye,” Marketing On-Line, 11 December 2000.
10. The history of Buckley’s Mixture can be found online at
www.buckleys.com.
11. For more on message content and structure, see Leon G. Schiff-
man and Leslie Lazar Kanuk, Consumer Behavior, 5th ed.,
Englewood Cliffs, NJ: Prentice Hall, 1994:Chapter 10; Alan G.
Sawyer and Daniel J. Howard, “Effects of omitting conclusions
in advertisements to involved and uninvolved audiences,” Journal
of Marketing Research, November 1991:467–74; Cornelia Pech-
mann, “Predicting when two-sided ads will be more effective than
one-sided ads: The role of correlational and correspondent infer-
ences,” Journal of Marketing, November 1992:441–53; and Ayn
E. Crowley and Wayne D. Hoyer, “An integrative framework for
understanding two-sided persuasion,” Journal of Consumer Re-
search, March 1994:561–74.
12. Philip Kotler, Peggy Cunningham, and Ronald E. Turner, Mar-
keting Management: Analysis, Planning, Implementation, and Con-
trol, 10 ed., Scarborough, ON: Prentice Hall Canada, 2000:
612–3.
13. Phil Connell and Peggy Cunningham, Becel Margarine: Meeting
Expectations, case, Queen’s University, January 2001.
14. For a more comprehensive discussion on setting promotion bud-
gets, see J. Thomas Russell and W. Ronald Lane, Kleppner’s Ad-
vertising Procedure, Englewood Cliffs, NJ: Prentice Hall, 1993:
138–41.
15. David Allen, “Excessive use of the mirror,” Management Ac-
counting, June 1966:12. Also see Laura Petrecca, “4A’s will study
financial return on ad spending,” Advertising Age, 7 April
1997:3,52.
16. For more on Canadian viewing habits, see Canadian Media Direc-
tors’ Council, 1999–2000 Media Digest. Quote from Stuart
Elliott, “Fewer viewers, more commercials,” New York Times,
8 June 1999:1.
17. See “Median costs per call by industry,” Sales & Marketing Man-
agement, 28 June 1993:65.
18. Based on Matthew P. Gonring, “Putting integrated marketing
communications to work today,” Public Relations Quarterly, Fall
1994:45–8.
19. James Pollock, “Toys ’R’ Us reaches out to differently-abled kids,”
Marketing, 16 October 1995:2.
20. For more on the legal aspects of promotion, see Louis W. Stern
and Thomas I. Eovaldi, Legal Aspects of Marketing Policy, Engle-
wood Cliffs, NJ: Prentice Hall, 1984:Chapters 7,8; Robert J.
Posch, The Complete Guide to Marketing and the Law, Engle-
wood Cliffs, NJ: Prentice Hall, 1988:Chapters 15–17; and Kevin
Kelly, “When a rival’s trade secret crosses your desk . . .”
Business Week, 20 May 1991:48.
Not es
Chapter 13 Integrated Marketing Communication Strategy 569
Company Case 13
F I E R C E C R E A T U R E S : I N S E C T S , D O G S , A N D OT H E R
A M I G O S WO R K T O R I N G U P P C S S A L E S
In 1997, the sector that spent the most on advertis-
ing was the telecommunications industry. A record
number of primetime ads were run as the telecom-
munications giants fought new market entrants.
Canada’s largest advertiser, BCE, parent of the Bell
companies, spent a cool $99 million on advertising.
Rogers Cantel dug deep and found $35.5 million for
its communications budget. Sprint Canada splurged
with another $17.6 million. AT&T budgeted $16.6
million. And Unitel coughed up an additional $13.8
million. Even the newest players had huge expendi-
tures: Microcell and Clearnet spent $400 000 and
$800 000, respectively.
Part of these expenditures went to support the
launch of the industry’s newest products—personal com-
munications services or PCS—those funky little handsets
that handle everything from e-mail to voice-mail to ac-
tual telephone calls. The ?ght for market share is being
fought with a vengeance and, if this market follows the
history of cell phones, it won’t be an easy battle. Even af-
ter years on the market, cell phones have penetrated a
meagre 12 to 15 percent of the Canadian market.
It may not be surprising that consumers have been
so slow on the uptake. They have been barraged with
ads and sales pitches, yet they ?nd it impossible to
compare prices and total costs of the services since
most of the companies were subsidizing the cost of the
phone by making consumers sign long-term service
contracts and charging them premium per-minute us-
age rates. At least, that was the case until Clearnet, of
Pickering, Ontario, entered the scene.
Clearnet is one of the four ?rms vying for share in
this superheated market. While the telecommunica-
tions giants, Bell and Rogers Cantel, are marketing
their PCS products to existing customers as upgrades
for their current products, the upstarts, Clearnet and
Microcell, want consumers to see PCS as a totally new
product class that will give consumers control over
their personal and business communications. Thus,
Rogers Cantel used promotions that extended the
Amigo brand into the PCS arena shouting, “Let’s get
digital!” and Bell used the same 12-year-old spokesper-
son for both its Bell Mobility and PCS spots to tie the
two product lines together. Microcell built its strategy
around faithful FIDO.
When planning its strategy, Clearnet believed it
faced a three-fold challenge: Introduce a completely
new technology; establish a unique brand identity for
its product; and provide potential buyers with enough
information so that they would be comfortable making
a purchase decision.
Research conducted by Clearnet and its agency,
TAXI Advertising and Design, showed that consumers
were concerned about rampant technological change
and the constant product variations it created. There-
fore, the team knew that focusing on the technology it-
self would be a mistake. Unlike the other companies,
Clearnet decided to offer national coverage from day
one instead of rolling out its products on an area-by-
area basis. It also decided to simultaneously aim its
product at both the end-consumer and the business
marketplaces. Unlike the other competitors, Clearnet’s
pricing strategy is simplicity itself. Consumers pay
$149.99 for their PCS phone and sign up for one of
two talk-time plans. George Cope, Clearnet president,
says, “We’ve ?nally made wireless telephoning accessi-
ble and affordable. No more 60¢-a-minute charges.”
In addition to simplicity in pricing, Clearnet made its
phones widely available. Customers can use one of
over 600 outlets across Canada as well as such non-
traditional phone sales outlets as Blockbuster Video,
Business Depot, Future Shop, Grand & Toy, Battery
Depot, and The Telephone Booth.
Given Clearnet’s cross-country launch and non-
traditional distribution channels, it needed a commu-
nications strategy that would be as meaningful in
Amherstview as it was in the Okanagan. Moreover,
Clearnet, a small player facing industry giants, had
only a small communications budget to launch the
product, $800 000 compared to the $10 million used
by Bell to launch its PCS service. Therefore, Clearnet
had to carefully integrate its efforts so that it could
speak to consumers with one voice.
In the face of these daunting challenges, Clearnet
decided to create a human face for its brand that would
link all of the elements of their campaign. This thinking
gave birth to Mike, the “buddy” who can handle all
forms of communication including two-way radio.
Mike is an unassuming guy meant to typify to potential
users that the service is a practical way to save users
both time and money. Clearnet put Mike everywhere.
Clearnet decided it was important to use a shotgun ap-
proach, believing it could only reach key buyers with
this type of campaign. Thus, Mike appeared in a teaser
Part III Developing the Marketing Mix 570
campaign placed in newspapers, on television, in direct-
mail pieces, at special events, and in news releases.
Clearnet’s initial campaign was aimed at generat-
ing awareness. Its next task was to provide potential
buyers with more information to move them through
the decision-making process. This is where newspaper
advertising really came into its own. According to Rick
Seifeddine, Clearnet’s director of communications and
advertising, “Newspapers allow you to touch a lot of
people, but [they] give you a little more time to deliver
a complex message.”
The secondary objective of the campaign was to
generate leads about people most interested in the prod-
uct so that Clearnet could follow up with more personal,
targeted sales methods. Being able to explore niche mar-
kets overlooked by the two big players is an important
part of Clearnet’s strategy. It plans to use a direct mar-
keting program that will target small ?rms and home
businesses in which internal and external communica-
tions is essential to getting their work done. As part of its
direct marketing efforts, Clearnet will make use of the
Web, telemarketing, direct mail, and direct television.
Clearnet’s “Mike” campaign helped turn the com-
pany into the mouse that roared. It became the industry
leader, selling 30 000 units and growing its staff from 11
employees to over 1600. To sustain this remarkable
growth, Clearnet launched a second campaign late in
1997. All of the ads featured nature-based images—
everything from dung beetles to ?y-catching plants.
Clearnet chose the images to convey its positioning as
the “simple” choice—one that wouldn’t ensnare cus-
tomers in complex contracts. Ads contained the mes-
sage that buying PCS technology was as hassle-free as
buying a toaster.
Were the ads enough to help Clearnet reign supreme
in the competitive jungle? They certainly turned the
small ?rm into a force to be reckoned with. In October
2000, Clearnet was acquired by TELUS Corporation,
western Canada’s leading telecommunications com-
pany, and a new company, TELUS Mobility, was born.
It has since moved quickly to the forefront of Canada’s
wireless marketplace. Go to the Clearnet website
(www.clearnet.com/english/pcs) to learn more about its
current advertising campaigns and the Telus merger.
QUESTIONS
1. When launching a new product based on a new
technology, is competition a good or bad thing?
2. Which strategy do you think is most viable for the
PCS product launch—the one followed by the big
telecommunications companies that position their
products as line extensions, or the one used by the
upstart ?rms that position their products as break-
through, new-to-the world offerings? Which one is
easier to communicate to prospective customers?
Which one offers the biggest payback?
3. Describe the unique selling proposition around
which Clearnet’s integrated communication pro-
gram was built.
4. While Clearnet’s shotgun approach may give the
?rm the volume it needs to cover the huge costs
of launching the product, do you think this strat-
egy is viable for the future?
5. The communications task facing marketers of the
new PCS technology is complex. They have to
convey messages to consumers that range from the
bene?ts associated with the product to the capa-
bilities of the new technologies. They must explain
how PCS differs from cell phones and what the
various price-points will be. The ?rms also have
to move consumers step-by-step through the deci-
sion-making process. What media vehicles would
you recommend for people at different decision-
making stages? Can you use the same media for
end-consumers and business customers?
6. The huge amount of ad spending in the telecom-
munications market may have caused consider-
able consumer confusion. Did Clearnet’s adver-
tising campaign differentiate the ?rm from its
competition? Before you read this case, did you
recall Clearnet’s ads? Did you understand the
bene?ts of its products?
7. As consumers become more comfortable with
PCS technology, what communication challenges
will Clearnet face in the future?
Sources: Quotes from Terence Belford, “Dial-up goes digital,”
Financial Post, 20 November 1997
5; and David Bosworth, “Spe-cial report: Mike packs wallop with media splash,” Strategy,
3 March 1997:30. Also see David Chilton, “Clearnet—Meet Mike,”
Strategy, 30 September 1996:5; Lesley Daw and Bobbi Bulmer, “The
Telco barrage,” Marketing, 20 October 1997:22–5; Mark De Wolf,
“PCS products a natural for direct marketing,” Strategy, 21 July
1997
R1; Lara Mills, “Clearnet PCS adopts ‘natural’ strategy,”Marketing, 6 October 1997:3; Patti Summer?eld, “Bell Mobility
launches PCS Plus,” Strategy, 13 October 1997:2; www.clearnet.
com/.
Chapter 13 Integrated Marketing Communication Strategy 571
v i d e o c a s e 1 3
I N F O M E R C I A L S : B R A N D B U I L D I N G
T O O L S O R D I S G U I S E D
A D V E R T I S I N G ?
Turn on your TV late at night or in the early morning
hours and you’ll see that infomercials are everywhere.
The word alone conjures up images of washed-up TV
stars hawking everything from thigh-masters to spray-
on hair. But what’s this . . . a 30 minute, prime-time
spot featuring the upscale Land Rover? Another for the
services offered by the Bank of Montreal and a third for
Sprint Canada. Why are these national brand advertis-
ers using what was once regarded as the cheesiest form
of advertising?
Infomercials are the fastest growing sector in adver-
tising and more and more infomercials are appearing on
Canadian prime-time television. Infomercials are televi-
sion commercial messages promoting products or ser-
vices that are more than 12 continuous minutes in
length. Infomercials are exempt from the CRTC-
imposed 12-minutes-per-hour ceiling on advertising
time. Sometimes called direct response television, in-
fomercials attempt to elicit a measurable audience re-
sponse in the form of an order or request for further in-
formation. This is usually done by placing a toll-free
number in the commercial.
In 1995, the Telecaster Committee of Canada re-
ported that there were two infomercials approved for
broadcast, but by 1999 more than 600 infomercials had
been approved. The increased numbers of infomercials
are only one change affecting the industry. Today, in-
fomercials are being aired by some of Canada’s most
prestigious companies as well as its charitable organiza-
tions. The number of really successful, long-running in-
fomercials has also dramatically increased. Sprint
Canada, for example, sponsored an infomercial that ran
almost 4000 times, and Look Communications broad-
cast an infomercial for close to two years. Cantel AT&T
has found infomercials so effective that it produced ten
between 1995 and 2000. Recently it adopted a Much-
Music-style infomercial to hawk its “Pay as You Go”
service to teens.
Today, the only stations that cannot air infomercials
are those that receive public funding, such as CBC or
TVOntario. All other channels, including specialty
channels, can broadcast infomercials whenever they
please. One station, Toronto’s Star Television, runs
nothing but infomercials 24 hours a day, seven days a
week. Despite the concern about audience fragmenta-
tion, television still reaches more Canadians than any
other medium. The 2000/2001 Television Bureau of
Canada’s audience statistics show that 85 percent of
Canadian adults over 18 watch television daily. This
compares to the 66 percent who read newspapers, the
42 percent who read magazines, and the 34 percent who
use the Internet. And as products and services become
increasingly complex, consumers may need more infor-
mation than ever before to optimize their choices. Pro-
ducers of such products have recognized the power of
infomercials to deliver needed information to target
audiences.
The arrival of big business has transformed in-
fomercials. They no longer use tacky pitches where peo-
ple scream at you to buy their products. Instead, many
infomercials today have high production values. For in-
stance, the Bank of Montreal’s “Matchmaker” RSP in-
fomercial employed experts and customer testimonials
to increase believability. Others use “mini-dramas” that
viewers can identify with. One thing is certain: when in-
fomercials are of high quality, they bring in new cus-
tomers. Cantel’s “Pay as You Go” infomercial not only
generated direct sales, but helped in-store sales as well
since teens who viewed the infomercial were more pre-
disposed to buy.
Producing high quality programming takes deep
pockets, talented producers and expensive actors. The
key to getting people to watch is that infomercials must
be entertaining as well as informative. The transforma-
tion of infomercials has been so profound that even the
name is starting to change. Producers like Ian French
call them “direct response programming.” They are also
known as documercials, edumercials, and storymercials.
Many look more like soap operas than half-hour
commercials.
What concerns advertising critics is that the line be-
tween regular programming and commercial time is be-
coming increasingly blurred. They contend that viewers
may not know they are watching a “product pitch” if
they happen to tune in late and miss the opening dis-
claimer, which states that the program is paid-for, com-
Part III Developing the Marketing Mix 572
mercial material. Some formats have drawn more criti-
cism than others, especially those infomercials that look
just like news talk shows. No matter what they are
called, infomercials seem here to stay. The debate rages,
however, about whether they are deceptive advertising.
Questions
1. Why are large companies that sell national brands
turning to infomercials?
2. Some sponsors defend the discreet approach to
selling taken by some infomercials, claiming fewer
ads today hit people over the head with commer-
cial claims. They ask “So what?” when it is
claimed people may not know they are watching a
long commercial. Is it important that people know
they are viewing commercial programming? Are
there certain groups who may be harmed by not
knowing they are viewing a commercial?
3. If you were a brand manager for a nationally rec-
ognized brand, would you use an infomercial?
Why or why not?
Sources: Peggy Cunningham prepared this case based on “In Dis-
guise,” Undercurrents, October 19, 1999; James Careless, “Blue-Chip
Marketers Join the Ranks of the Infomercial True Believers,” Market-
ing On-line, November 1, 1999; Ian French, “Finding the Time,”
Marketing On-line, October 16, 2000; Media Digest, “Direct Re-
sponse Television,” Marketing On-line, September 11, 2000.
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