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The basics of print media planning and buying (strategy development, evaluating publications, negotiating, corporate deals, types of print, etc.)
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Print Planning and Buying
The Basics
Prepared by The Media Kitchen
2
Agenda
Print Strategy DevelopmentEvaluating PublicationsNegotiatingCorporate DealsPlacement TypesCross-Platform
Print Strategy Development
4
A Strategy is Important for Effective Print Planning
• Prioritizes target audiences• Narrows consideration set to specific
categories• Guides the evaluation of print properties
5
Print Strategy Framework
Audience Mindsets, Lifestyles
Print Strateg
y
Overall Communication Strategy
Audience Print
Compsumption
Editorial Environme
nts
Print Categories
& Types
Tone of the
Brand
Campaign
Message
Campaign
Objectives
6
Certain campaign elements must already be in place
Print Strateg
y
Tone of the
Brand
Campaign
Message
Campaign
Objectives
Overall Communication Strategy
7
Campaign ElementsBrand Tone
Typically remains consistent from
campaign to campaign
Campaign Message
Consistent from prior campaigns, an evolution of a past
message, or a brand new effort
Campaign Objectives
For example, build awareness, drive sales, drive to a promotion, etc.
8
Choose print environments that…
Match or amplify the brand tone
Are relevant to and synergistic with the
brand message
Will help to accomplish the
campaign objectives
9
An understanding of the audience is essential to developing a print strategy
Audience Mindsets, Lifestyles
Print Strateg
y
Overall Communication Strategy
Audience Print
Compsumption
10
Audience Research Tools
• Syndicated research: MRI, Simmons, etc.
• Qualitative research: Focus groups, interviews
• Publisher-provided: Often, publishers do their own audience research (be careful to distinguish the sales pitch from the facts!)
11
Audience CharacteristicsMindset
sLifestyle
sInterest
s
• Important when developing the communication strategy
• Some audiences provide the greatest opportunity for growth (if multiple targets, they should be prioritized)
• Some audience segments will be most receptive to the brand message in a print environment
• These factors often coincide with how they consume print
12
Audience Print Consumption
WhatWhereWhenWhy
• What they read – be where the audience is• Where they read affects their state of mind
and perception of the message (work, home, traveling, etc.)
• When would they be most likely to respond to a call-to-action (i.e. relaxing with the Sunday paper)
• Why do they read (seeking information vs. entertainment vs. emotional support)
13
Editorial Environments
Print Types
These factors help determine the editorial environments and types
of print in which to place the brand message
Print Strateg
y
14
Editorial Environments
Print Categorie
s
• Look for print categories that have:• High audience composition (% of readers
who fall within the target) and/or• Wide audience coverage (% of target who
reads a print category)• Exceptions can be made based on campaign
objectives (i.e. need high impact at the expense of efficiency)
Business Parenting
NewsWomen’s Service
GamingSports
FitnessTrade Niche
15
Importance of Editorial Environments
Receptivity
• Allows you to reach the audience when they will be more receptive to the brand message• i.e. Someone reading about the financial
climate might be more receptive to an ad for a financial planning company
Targeting
• Increases the possibility that you’re reaching people who care about the brand category• i.e. If someone reads health magazines,
there’s a better chance they will ne interested in a health food product
Element of Surprise
• Unexpected environments can help the message resonate• i.e. An ad for a weight loss program in
Cooking with Paula Deen
16
Types of Print
Monthlies
Longer shelf-life; kept longer by
reader; easier to align with planned
content
Weeklies
Shorter lead-time to be in an issue; more current
content; fewer pages can mean
less clutter
Dailies
Typically newspapers; very short lead time to
place time-sensitive creative; can aligh with appropriate
sections
17
Types of Print
Alternative
Distribution
methods
• Can impact the credibility of an advertiser (i.e. a publication distributed in a doctor’s office)
• Can more precisely target• Distributed where the audience is (i.e. at
a festival, reastaurant, or on an airline)• Can be a regular publication mailed to a
specifically targeted audience for a more effient buy (i.e. a Family or a Women’s edition)
Strategy determines which publications are within the consideration set
Budget determines how many of those publications make the plan
Evaluating Print Properties
Much of the information you’ll need to evaluate publications can be pulled from online data sources
21
• Impressions and coverage are proportionate, as are composition and index
• Utilize all numbers to tell a story about the readership– Just looking at one number can sometimes be misleading
22
• Median age: the middle age in the range of ages reading the publication– Clients often ask for this information during
presentations, so it’s important to have it handy
• Find the optimal balance of Reach/Frequency to evaluate full print schedules:– Reach: the % of the target audience who will see the
ad– Frequency: the number of times they will see the ad
• The right balance is based on an understanding of the audience and client priorities
• Should be included when recommending a plan to the client
23
• Use the FASFAX report to calculate the Circulation Vitality of a magazine
• You will find:– The % of circulation that is subscription vs. newsstand– The total circulation for the year– The change in circulation from year to year
• It’s an indication of the health of the publication
• Can be leveraged during negotiations
24
• Ad Vitality: the change in the number of ad pages and revenue from year to year
• An indication of the health of a publication
• Can be leveraged during negotiatoins
• Found on Magazine.org
25
Use to:• Learn about publications within specific categories
• Look up sales contact info
• Find publication details:– Gross Open Rates– Current Ratebase– Current Circulation– Closing Dates: Date by which the publication needs to receive
an IO in order to place an ad in an issue– On-sale Dates: Date the issue is released onto newsstands
(subscriptions are usually mailed prior to this date)
To further evaluate publications, planners request information from sales representatives
via a request for proposal (RFP)
27
Information Needed from Publisher
Request for Proposal
Ratebase: Guaranteed circulation per issueGross Open Rate: The publicly listed cost for an ad
Proposed Rate: The cost at which the publication is willing to sell an ad (Often fluctuates based on number of pages bought)
Discount: The percent difference between the Gross Open Rate and the Proposed Rate
Total Audience: The number of people who read an issue; calculated as the total circulation x readers per copy
Target Audience: The number of people within a specific demographic and/or psychographic who read an issue
Editorial Calendar: Description of planned editorial for each issue. Although this may change throughout the year, it gives an idea of
the kind of content plannedFrequency: Number of issues per year
There are numerous factors to consider when reviewing
proposals
29
Efficiency is reaching the most people with the least amount of money
Ratebase CPM
Measures the cost of an insertion against the publication’s guaranteed circulation per issue
Audience CPM
Measures the cost of an insertion against the number of audience impressions per issue
Effective CPM
Measures the total cost of the print schedule against the total circulation or number of impressions (factors in bonus pages)
30
Positioning• The publication should provide guarantees of where the
ads will be placed within each issue• Better positions often mean higher visibility
Cover 4:Back cover
Cover 3:Inside the
back cover
Far Forward:Within 1st 33% of issue
TOC:Opposite table of contentsCover 2:
Inside front cover
Editorial Adjacency:
Next to content that is relevant with the brand
Opener:Opposite the beginning of
an article
Masthead:Opposite the list of publishers and
editorial board
31
Bonus pages• A great way to bring down the effective CPM
• If counted into the Effective CPM:– Should not be considered added value (they become
part of the effective page rate)
– Should abide by the same positioning and other requirements, just like paid pages
32
Added Value• Partnership elements beyond the brand ad negotiated
into the cost of the schedule• Can expand on the brand ad’s message, either for
general brand awareness or to help drive to a promotion or website
E-blast
Fractional unit
In-book or online
promotional listing
Newspetter Sponsorship
Front cover strip
Advertorial
Vista/Starch research inclusion
(measures ad effectiveness)
33
Ability to Meet Requirements• Clients often have specific requirements
publications must be able to accommodate, for example:– Separation from a competitive advertiser
– Flexible with closing dates
34
Year Over Year Comparison
• Provides a benchmark or starting point for negotiations
• Year over year changes are a good indication of a publication’s health
Negotiating
Rarely is a proposal perfect when first submitted, so
it’s important to negotiate
37
Negotiations
The planner’s job is to try to get the best
value for their client
The sales rep’s job is try
to get the most money
for their product
Strive to reach the right balance between efficiency, positioning, and added value
38
Negotiating TipsKnow what you
need and ask
for it
• If a certain page rate will allow you to reach the desired number of pages within the budget, ask for it
• Request specific positions or added value based on the client’s priorities (i.e. if e-blasts are part of the campaign, the publication can probably execute them for free to their opt-in email list)
Keep lines of
communication open
• Explain why you need what you need, for example:• Budgets are down• Aggressive competition• The client is skeptical
• Provides leverage to request a better deal, and gives the sales rep leverage to fight for your request internally
Maintain a
mutual respect
• Be professional and appreciative, as sales reps represent you within their organization to have your request approved
• Acknowledge that you’re both doing your job, but ultimately, you’re partners working for the client
• Remember, you represent your agency and your client, and the media business is all about building relationships – build good ones!
Corporate Deals
Corporate proposals are structured differently from single-book proposals
They vary by publishing house, but they all leverage incentives
41
Corporate Proposals• Work with one contact who represents all
publications under a publisher’s umbrella to negotiate each partnership
• Positioning and added value negotiations vary by publisher– Some are negotiated by the corporate rep, while
others are negotiated with each individual publication
42
Corporate Incentives
Proposals are typically structured on a tiered system based
on spendHigher tiers offer better incentives, which can come in the form of:• Lower out-of-pocket page rates• Greater discount across all titles (% saved off of the Open Rate)• Greater CPM reduction across all titles (i.e. Tier 1 = 2% CPM
decrease, Tier 2 = 1.5% CPM decrease)
43
Corporate Concessions
Proposals are typically structured on a tiered
systemAlso reach higherTiers by making
concessions• Adding a new publication to the plan• Share of budget: one publisher is guaranteed the most spend• Share of market within category: one publications is
guaranteed more pages than a competitor• Exclusivity: A publication is guaranteed to be the only one
chosen in the category or vs. a specific competitor
44
Corporate Proposals – Things to Note
Monitor adherence to
corporate
stipulations
throughout the
length of the
schedule to ensure
that any changes or
opportunistic spend
will not interfere with
contract terms
Corporate contracts
are only worthwhile if
the incentive is
strong enough to
warrant increased
spend and concessions
Placement Types
Print buys are not limited to brand ads
47
Beyond the Brand Ad
Advertorial: a branded page with custom content relevant to the brand message
• Typically created by the vendor with the client’s assets and talking points and client/agency direction and approval
• Must say “Advertorial”
48
Beyond the Brand AdContent Partnership/Sponsored Editorial: editorial
content relevant to the brand message
Created by the publisher with client/agency guidance, but
typically cannot name the brand
for an overt endorsement
Often has a brand ad adjacency
49
Beyond the Brand Ad
Impact units: Can be traditional impact units like a gatefold, or more unique (i.e. functional
units)
50
Beyond the Brand Ad
Insert: Typically more than one page on different stock paper with a brand ad and custom content
51
Custom Programs
• A custom program can enhance the value of a partnership:– Custom content– Blown-out promotion– Content integration– Can showcase the vendor’s
talent in creative– Co-branded content
• Custom programs can incorporate the editorial voice, so it’s tailored to the audience and blended with content
Leveraging Cross-Platform
It can be smart to leverage a media partner’s multiple
outlets, if it makes sense for the brand
54
Cross-Platform Buys• Many media companies own television, print,
online, and/or radio properties• Opportunity to develop an extensive custom
program that will run across media platforms for maximum exposure
55
Benefits of Cross-Platform Buys
• Leverage in negotiations– Bundled for a more efficient buy
– Increased added value to support the initiative
– Better positioning
• Greater Impact– The messaging is reinforced via numerous outlets
– Allows for unique and creative custom executions or promotions
– Each medium can reference or drive to other platforms
Presentation created by:Erin Silvetti