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This is a basic yet extensive marketing template that anyone starting out or anyone wanting a more structured promo plan would benefit in reading.
It has an Aussie tang but its useful to anyone.
Its also very long and might be better put in the library.
Action Sheet 1 – Foundation for communications strategy
PERCEPTIONS
How do I want to be perceived?
How am I perceived?
Are there any gaps between the two questions above?
If so, how can I address these?
TARGET AUDIENCE
Who are they?
What are their characteristics?
What are their needs?
How can I reach them?
What are the motivations and barriers to their buying my work?
How can I address these in my communications?
FEATURES & BENEFITS
What features and benefits can I offer the target audience?
COMPETITION
Who or what is my competition? (may not be arts related)
What are my competitive strengths and weaknesses?
What differentiates me or my company from my competitors?
How should I position myself in the marketplace?
Action Sheet 2 – The drivers for your communications strategy
COMMUNICATIONS OBJECTIVES
What do you want to achieve?
How do these objectives serve your goals?
COMMUNICATIONS STRATEGIES
You will use these to achieve your objectives.
TARGET AUDIENCE
Transfer from Action Sheet 1.
KEY MESSAGES
To position your company or event.
KEY SELLING POINTS
To appeal to the greatest number of people in your potential audience – can sometimes be the same as key messages.
TONE OF VOICE
Action Sheet 3 –
Evaluation - the channels, the message, the word and the image
The task sheet below provides a grid for you to evaluate a campaign that you have done. This could be to attract people to an exhibition, to create awareness of your work among presenters, etc.
Make a list of communications channels used in the left-hand column below. List target markets reached through each channel in the right hand columns.
COMMUNICATIONS CHANNELS TARGET MARKETS
EXAMPLE
Current attenders Consumers of books, videos & films Young professionals Teachers & school groups
Brochure mailed ¸ ¸ ¸ ¸
Brochure distributed ¸ ¸
Letter ¸ ¸ ¸ ¸
Street press ¸ ¸
Was the message appropriate for each channel? (For example, did the press advertisement convey the right messages appropriate to the channel and the audience?)
Which channels were most effective and why?
If you could run the campaign again how would you change your:
ß choice of channels
ß market segments targeted
ß messages conveyed?
Give the reasons why.
THE WRITTEN WORD SELECT AN IMPORTANT TOOL OF YOUR COMMUNICATIONS FOR EVALUATION
Describe the tone of voice of the communication.
Is it appropriate for the event and the audience?
Are the 5Ws there?
Is there a call to action? If not, should there be?
What are the key selling points and key messages?
Does it convey a benefit for the audience? What is this benefit?
Are there any empty words?
The AIDA checklist: how does the item attract Attention, generate Interest, create Desire and encourage Action?
THE SPOKEN WORD
EVALUATE A PRESENTATION, TALK, SEMINAR, SPEECH OR MEETING
Give yourself a score between 1 and 10. 1=poor and 10=excellent
I built the argument in logical easy-to-understand steps.
I used interesting, concrete examples rather than abstract concepts.
I supported my argument with objective facts.
I conveyed reasoned passion.
The audience was interested in what I had to say.
I made use of visuals, questioning, practical tasks or videos, where applicable.
The audience participated by asking questions or taking notes.
IMAGERY
EVALUATE A KEY IMAGE USED IN A CAMPAIGN
What did it say about your company, your work, the event?
Did this image support your key messages and key selling points?
Was it true to the work or exhibition?
Did it suggest an offer you were able to deliver?
Did the image translate well into different media (brochure, poster, advertising, etc)? If not, why not?
Action Sheet 4 – The written word
Here are some examples of real-life copy taken from brochures, advertisements and posters and some questions for you to consider.
BODY COPY
Body copy is the explanatory copy or main text in an advertisement or brochure.
Copy 1 - Print advertisement body copy (repeated on outdoor posters) Campaign by a major art gallery.
‘The internationally renowned artist X is one of Australia’s leading contemporary artists.’
Copy 2 - Postcard body copy for a season of Sleepless Beauty at The Studio, Sydney Opera House
‘Sleepless Beauty: Post-post-postmodern hallucinatory cabaret without a show tune in sight...funny fractured fairytale for the chemical generation with delirious collaborations from underground legends...With X as the house band, be prepared for the shock of the new.’
Copy 3 - Copy from text for an online exhibition at Maningrida Arts & Culture Online Exhibition www.maningrida.com/mac/cover.php
Fish trap forms
The Maningrida region is known for conical fish traps made by men and now sometimes by women. Traditionally the conical fish traps were used in conjunction with long mats that were used as barriers in creeks to divert fish into the trap... Burarra and Kuninjku people are particularly renown for making fish traps. Burarra make conical fish traps called jina-bakara, using pandanus (pandanus spiralis). The Kuninjku people traditionally make two sorts of conical fish traps, one called Mandjabu made from milil (Malaisia scandens) a vine and a smaller one called Manyilk Mandjabu made from the grass manyilk (cyperus javanicus).
Today some artists use fish trap forms as the basis for sculptural works of art. Artists innovate with forms and colours, using diverse weaving techniques to make sculptures that have their origin in the traditional fish trap techniques. The utilitarian purpose of the fish trap is not anymore the main focus of such production. Artists re-explore traditional techniques to create contemporary and innovative works of art.
Artist Information
Lorna Jin-gubarrangunyja (b.1952) Burarra fibre artist [one of several artists exhibited online]
Repertoire: Mats, dilly bags and fish traps
Winner of the 2003 Wandjuk Marika Memorial 3D award, National Aboriginal and Torres Strait Islander Art Award, Darwin, NT with a pandanus fish trap
Selected exhibitions:
ß 1995 Maningrida: the language of weaving, AETA touring exhibition throughout Australia and New Zealand
ß 1998 Maningrida weavings, Framed Gallery, Darwin, NT
ß 2003 20th Telstra National Aboriginal & Torres Strait Islander art award, Museum and Art Gallery of Northern Territory, Darwin, NT
ß 2003 Threads of time, Burrinja gallery, Upwey, VIC
Copy 4 - First paragraph of text about a play in a Griffin Theatre subscription brochure
‘An angelic violinist is suspended from the ceiling. A giant shell is Dali's deathbed. Be taken on a on a lobster-sized trip through the life and mind of one of the great artists - or con artists - of the twentieth century.’
Copy 5 - One of two sentences selling a concert that contained Bruch's G minor Violin Concerto and Berlioz' Symphonie fantastique in London Philharmonic’s season brochure
‘Bruch's unforgettable G minor Violin Concerto should have turned his life around, but he'd accepted a one-off payment and so missed out on a fortune in royalties!’
Copy 6 - Opening sentence for Boxed Set, Live Bait festival at Bondi Beach
‘Kick back with a drink in the sea breeze as the sun sets.’
Copy 7 - Opening sentence, Harbour, Sydney Theatre Company, 2004 subscription brochure
‘On the Wednesday before Easter 1998, a few hundred metres away from the site of the new Sydney Theatre, one of the most dramatic events in recent Australian history took place.’
SOME QUESTIONS FOR YOU TO CONSIDER ABOUT BODY COPY:
Q. Which adjectives have been taken from the standard hyperbole shelf?
A. ‘renowned’, ‘leading’
Q. Which copyline conveys ‘most popular’ without using those words?
A. Copy 5
Q. What is the key selling point and key message in copy 3?
A. Key selling point: fish traps a specialty of the region, credentials of the artist, authenticity (artists working from their own traditions) Key message: Aboriginal artists create contemporary work based on traditional forms.
Q. Who do you think the target audience is for copy 2? What is the underlying metaphor used in this copy? How does this metaphor relate to the title of the work?
A. Target audience: young people. Metaphor: drugs. Relation to the title: some drugs make you feel good and keep you awake! (Metaphors lose something in the translation, don’t they?)
Q. Which opening copy line sells a benefit to the reader? What is the benefit?
A. Copy 6. Benefit: relaxing by the beach, having a good time.
Q. Which copy uses a story-telling technique?
A. Copy 7. It sets the scene and builds a sense of tension and conflict that seek resolution.
Q. Does the exclamation mark on copy 5 help or hinder?
A. This is a matter of personal choice. Exclamation marks on the whole should be avoided.
Theres more but theres a limit on words per post
(its free)
This is a basic yet extensive marketing template that anyone starting out or anyone wanting a more structured promo plan would benefit in reading.
It has an Aussie tang but its useful to anyone.
Its also very long and might be better put in the library.
Action Sheet 1 – Foundation for communications strategy
PERCEPTIONS
How do I want to be perceived?
How am I perceived?
Are there any gaps between the two questions above?
If so, how can I address these?
TARGET AUDIENCE
Who are they?
What are their characteristics?
What are their needs?
How can I reach them?
What are the motivations and barriers to their buying my work?
How can I address these in my communications?
FEATURES & BENEFITS
What features and benefits can I offer the target audience?
COMPETITION
Who or what is my competition? (may not be arts related)
What are my competitive strengths and weaknesses?
What differentiates me or my company from my competitors?
How should I position myself in the marketplace?
Action Sheet 2 – The drivers for your communications strategy
COMMUNICATIONS OBJECTIVES
What do you want to achieve?
How do these objectives serve your goals?
COMMUNICATIONS STRATEGIES
You will use these to achieve your objectives.
TARGET AUDIENCE
Transfer from Action Sheet 1.
KEY MESSAGES
To position your company or event.
KEY SELLING POINTS
To appeal to the greatest number of people in your potential audience – can sometimes be the same as key messages.
TONE OF VOICE
Action Sheet 3 –
Evaluation - the channels, the message, the word and the image
The task sheet below provides a grid for you to evaluate a campaign that you have done. This could be to attract people to an exhibition, to create awareness of your work among presenters, etc.
Make a list of communications channels used in the left-hand column below. List target markets reached through each channel in the right hand columns.
COMMUNICATIONS CHANNELS TARGET MARKETS
EXAMPLE
Current attenders Consumers of books, videos & films Young professionals Teachers & school groups
Brochure mailed ¸ ¸ ¸ ¸
Brochure distributed ¸ ¸
Letter ¸ ¸ ¸ ¸
Street press ¸ ¸
Was the message appropriate for each channel? (For example, did the press advertisement convey the right messages appropriate to the channel and the audience?)
Which channels were most effective and why?
If you could run the campaign again how would you change your:
ß choice of channels
ß market segments targeted
ß messages conveyed?
Give the reasons why.
THE WRITTEN WORD SELECT AN IMPORTANT TOOL OF YOUR COMMUNICATIONS FOR EVALUATION
Describe the tone of voice of the communication.
Is it appropriate for the event and the audience?
Are the 5Ws there?
Is there a call to action? If not, should there be?
What are the key selling points and key messages?
Does it convey a benefit for the audience? What is this benefit?
Are there any empty words?
The AIDA checklist: how does the item attract Attention, generate Interest, create Desire and encourage Action?
THE SPOKEN WORD
EVALUATE A PRESENTATION, TALK, SEMINAR, SPEECH OR MEETING
Give yourself a score between 1 and 10. 1=poor and 10=excellent
I built the argument in logical easy-to-understand steps.
I used interesting, concrete examples rather than abstract concepts.
I supported my argument with objective facts.
I conveyed reasoned passion.
The audience was interested in what I had to say.
I made use of visuals, questioning, practical tasks or videos, where applicable.
The audience participated by asking questions or taking notes.
IMAGERY
EVALUATE A KEY IMAGE USED IN A CAMPAIGN
What did it say about your company, your work, the event?
Did this image support your key messages and key selling points?
Was it true to the work or exhibition?
Did it suggest an offer you were able to deliver?
Did the image translate well into different media (brochure, poster, advertising, etc)? If not, why not?
Action Sheet 4 – The written word
Here are some examples of real-life copy taken from brochures, advertisements and posters and some questions for you to consider.
BODY COPY
Body copy is the explanatory copy or main text in an advertisement or brochure.
Copy 1 - Print advertisement body copy (repeated on outdoor posters) Campaign by a major art gallery.
‘The internationally renowned artist X is one of Australia’s leading contemporary artists.’
Copy 2 - Postcard body copy for a season of Sleepless Beauty at The Studio, Sydney Opera House
‘Sleepless Beauty: Post-post-postmodern hallucinatory cabaret without a show tune in sight...funny fractured fairytale for the chemical generation with delirious collaborations from underground legends...With X as the house band, be prepared for the shock of the new.’
Copy 3 - Copy from text for an online exhibition at Maningrida Arts & Culture Online Exhibition www.maningrida.com/mac/cover.php
Fish trap forms
The Maningrida region is known for conical fish traps made by men and now sometimes by women. Traditionally the conical fish traps were used in conjunction with long mats that were used as barriers in creeks to divert fish into the trap... Burarra and Kuninjku people are particularly renown for making fish traps. Burarra make conical fish traps called jina-bakara, using pandanus (pandanus spiralis). The Kuninjku people traditionally make two sorts of conical fish traps, one called Mandjabu made from milil (Malaisia scandens) a vine and a smaller one called Manyilk Mandjabu made from the grass manyilk (cyperus javanicus).
Today some artists use fish trap forms as the basis for sculptural works of art. Artists innovate with forms and colours, using diverse weaving techniques to make sculptures that have their origin in the traditional fish trap techniques. The utilitarian purpose of the fish trap is not anymore the main focus of such production. Artists re-explore traditional techniques to create contemporary and innovative works of art.
Artist Information
Lorna Jin-gubarrangunyja (b.1952) Burarra fibre artist [one of several artists exhibited online]
Repertoire: Mats, dilly bags and fish traps
Winner of the 2003 Wandjuk Marika Memorial 3D award, National Aboriginal and Torres Strait Islander Art Award, Darwin, NT with a pandanus fish trap
Selected exhibitions:
ß 1995 Maningrida: the language of weaving, AETA touring exhibition throughout Australia and New Zealand
ß 1998 Maningrida weavings, Framed Gallery, Darwin, NT
ß 2003 20th Telstra National Aboriginal & Torres Strait Islander art award, Museum and Art Gallery of Northern Territory, Darwin, NT
ß 2003 Threads of time, Burrinja gallery, Upwey, VIC
Copy 4 - First paragraph of text about a play in a Griffin Theatre subscription brochure
‘An angelic violinist is suspended from the ceiling. A giant shell is Dali's deathbed. Be taken on a on a lobster-sized trip through the life and mind of one of the great artists - or con artists - of the twentieth century.’
Copy 5 - One of two sentences selling a concert that contained Bruch's G minor Violin Concerto and Berlioz' Symphonie fantastique in London Philharmonic’s season brochure
‘Bruch's unforgettable G minor Violin Concerto should have turned his life around, but he'd accepted a one-off payment and so missed out on a fortune in royalties!’
Copy 6 - Opening sentence for Boxed Set, Live Bait festival at Bondi Beach
‘Kick back with a drink in the sea breeze as the sun sets.’
Copy 7 - Opening sentence, Harbour, Sydney Theatre Company, 2004 subscription brochure
‘On the Wednesday before Easter 1998, a few hundred metres away from the site of the new Sydney Theatre, one of the most dramatic events in recent Australian history took place.’
SOME QUESTIONS FOR YOU TO CONSIDER ABOUT BODY COPY:
Q. Which adjectives have been taken from the standard hyperbole shelf?
A. ‘renowned’, ‘leading’
Q. Which copyline conveys ‘most popular’ without using those words?
A. Copy 5
Q. What is the key selling point and key message in copy 3?
A. Key selling point: fish traps a specialty of the region, credentials of the artist, authenticity (artists working from their own traditions) Key message: Aboriginal artists create contemporary work based on traditional forms.
Q. Who do you think the target audience is for copy 2? What is the underlying metaphor used in this copy? How does this metaphor relate to the title of the work?
A. Target audience: young people. Metaphor: drugs. Relation to the title: some drugs make you feel good and keep you awake! (Metaphors lose something in the translation, don’t they?)
Q. Which opening copy line sells a benefit to the reader? What is the benefit?
A. Copy 6. Benefit: relaxing by the beach, having a good time.
Q. Which copy uses a story-telling technique?
A. Copy 7. It sets the scene and builds a sense of tension and conflict that seek resolution.
Q. Does the exclamation mark on copy 5 help or hinder?
A. This is a matter of personal choice. Exclamation marks on the whole should be avoided.
Theres more but theres a limit on words per post
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