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Print Planning & Buying

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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 & Buying

  1. 1. Print Planning and Buying The Basics Prepared by The Media Kitchen
  2. 2. AgendaPrint Strategy DevelopmentEvaluating PublicationsNegotiatingCorporate DealsPlacement TypesCross-Platform 2
  3. 3. Print Strategy Development
  4. 4. A Strategy is Important for Effective Print Planning• Prioritizes target audiences• Narrows consideration set to specific categories• Guides the evaluation of print properties 4
  5. 5. Print Strategy Framework Campaig Campaig n n Message Objective Tone of the s Brand Overall Audience Communicatio Mindsets, n Strategy Lifestyles EditorialEnvironment s Print Audience Print Strategy Compsumption Print Categories & Types 5
  6. 6. Certain campaign elements must already be in place Campaig Campaig n n Message Objective Tone of the s Brand Overall Communicatio n Strategy Print Strategy 6
  7. 7. Campaign Elements Brand Tone Campaign Message Campaign Objectives Consistent from prior For example, build Typically remains campaigns, an awareness, drive sales, consistent from evolution of a past drive to a promotion,campaign to campaign message, or a brand etc. new effort 7
  8. 8. Choose print environments that… Will help to accomplish Are relevant to andMatch or amplify the the campaign synergistic with the brand tone objectives brand message 8
  9. 9. An understanding of the audience is essential to developing a print strategy Overall Audience Communicatio Mindsets, n Strategy Lifestyles Print Audience Print Strategy Compsumption 9
  10. 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!) 10
  11. 11. Audience Characteristics • Important when developing the communication strategy • Some audiences provide the greatest opportunity forMindsets growth (if multiple targets, they should be prioritized)Lifestyles • Some audience segments will be most receptive to theInterests brand message in a print environment • These factors often coincide with how they consume print 11
  12. 12. Audience Print Consumption • What they read – be where the audience is • Where they read affects their state of mind andWhat perception of the message (work, home, traveling,Where etc.)When • When would they be most likely to respond to a call- Why to-action (i.e. relaxing with the Sunday paper) • Why do they read (seeking information vs. entertainment vs. emotional support) 12
  13. 13. These factors help determine theeditorial environments and types of print in which to place the brand message Editorial Environments Print Strategy Print Types 13
  14. 14. Editorial Environments • Look for print categories that have: • High audience composition (% of readers who fall within the target) and/or Print • Wide audience coverage (% of target who readsCategories a print category) • Exceptions can be made based on campaign objectives (i.e. need high impact at the expense of efficiency) Fitness Business Parenting News Trade Niche Gaming Sports Women’s Service 14
  15. 15. Importance of Editorial Environments • Allows you to reach the audience when they will be more receptive to the brand messageReceptivity • i.e. Someone reading about the financial climate might be more receptive to an ad for a financial planning company • Increases the possibility that you’re reaching people who care about the brand categoryTargeting • i.e. If someone reads health magazines, there’s a better chance they will ne interested in a health food product • Unexpected environments can help the messageElement of resonate Surprise • i.e. An ad for a weight loss program in Cooking with Paula Deen 15
  16. 16. Types of Print Monthlies Weeklies Dailies Shorter lead-time to be Typically newspapers;Longer shelf-life; kept in an issue; more very short lead time to longer by reader; current content; fewer place time-sensitive easier to align with pages can mean less creative; can aligh with planned content clutter appropriate sections 16
  17. 17. Types of Print • Can impact the credibility of an advertiser (i.e. a publication distributed in a doctor’s office) • Can more precisely targetAlternative • Distributed where the audience is (i.e. at aDistributio festival, reastaurant, or on an airline)n methods • 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) 17
  18. 18. Evaluating Print Properties
  19. 19. Much of the information you’ll need to evaluate publications can be pulled from online data sources
  20. 20. • 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 21
  21. 21. • 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 22
  22. 22. • 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 23
  23. 23. • 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 24
  24. 24. 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) 25
  25. 25. Information Needed from Publisher Request for Proposal Ratebase: Guaranteed circulation per issue Gross Open Rate: The publicly listed cost for an adProposed 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 planned Frequency: Number of issues per year 27
  26. 26. There are numerous factors toconsider when reviewing proposals
  27. 27. Efficiency is reaching the most people with the least amount of moneyRatebase Measures the cost of an insertion against the publication’s CPM guaranteed circulation per issueAudience Measures the cost of an insertion against the number of CPM audience impressions per issue Measures the total cost of the print schedule against theEffective total circulation or number of impressions (factors in CPM bonus pages) 29
  28. 28. Positioning• The publication should provide guarantees of where the ads will be placed within each issue• Better positions often mean higher visibility TOC: Cover 4: Opposite table Back of contents Far Cover 2: cover Forward: Inside Within 1st front cover 33% of issue Cover 3: Opener: Inside the Opposite the back cover beginning of an article Editorial Adjacency: Masthead: Next to content that Opposite the list of is relevant with the publishers and brand editorial board 30
  29. 29. 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 31
  30. 30. 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 Advertoria l Front E-blast cover strip Vista/Starch Fraction research al unit inclusion (measures ad Newspetter effectiveness) In-book or online Sponsorship promotional listing 32
  31. 31. 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 33
  32. 32. 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 34
  33. 33. Negotiating
  34. 34. Rarely is a proposal perfectwhen first submitted, so it’s important to negotiate
  35. 35. Negotiations Strive to reach the right balance between efficiency, positioning, and added valueThe sales rep’s The planner’sjob is try to get job is to try to the most get the bestmoney for their value for their product client 37
  36. 36. Negotiating Tips Know • If a certain page rate will allow you to reach the desired number of pages within the budget, ask for itwhat you • Request specific positions or added value based on the client’sneed and priorities (i.e. if e-blasts are part of the campaign, the publicationask for it can probably execute them for free to their opt-in email list) • Explain why you need what you need, for example: • Budgets are downKeep lines of • Aggressive competitioncommunicatio • The client is skeptical n open • Provides leverage to request a better deal, and gives the sales rep leverage to fight for your request internally • Be professional and appreciative, as sales reps represent you withinMaintain their organization to have your request approved a • Acknowledge that you’re both doing your job, but ultimately, you’remutual partners working for the clientrespect • Remember, you represent your agency and your client, and the media business is all about building relationships – build good ones! 38
  37. 37. Corporate Deals
  38. 38. Corporate proposals are structured differently from single-book proposalsThey vary by publishing house, but they all leverage incentives
  39. 39. 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 41
  40. 40. Corporate Incentives Proposals are typically structured on a tiered system based on spend Higher 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) 42
  41. 41. Corporate Concessions Proposals are typically structured on a tiered Also reach higher system Tiers 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 43
  42. 42. Corporate Proposals – Things to Note 44
  43. 43. Placement Types
  44. 44. Print buys are not limited to brand ads
  45. 45. Beyond the Brand AdAdvertorial: a branded pagewith custom content relevantto 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” 47
  46. 46. Beyond the Brand AdContent Partnership/Sponsored Editorial: editorial content relevant to the brand message 48
  47. 47. Beyond the Brand AdImpact units: Can be traditional impact units like a gatefold, or more unique (i.e. functional units) 49
  48. 48. Beyond the Brand AdInsert: Typically morethan one page ondifferent stock paperwith a brand ad andcustom content 50
  49. 49. 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 51
  50. 50. Leveraging Cross-Platform
  51. 51. It can be smart to leverage a mediapartner’s multiple outlets, if it makes sense for the brand
  52. 52. 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 54
  53. 53. 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 55
  54. 54. Presentation created by: Erin Silvettiesilvetti@mediakitchen.tv