Journal of Brand Strategy Spring 2013 Article

“How direct response television (DRTV) builds brand equity and sells products and services”

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© HENRY STEWART PUBLICATIONS 2045-8568 JOURNAL OF BRAND STRATEGY VOL. 1, NO. 4, 361–376 WINTER 2012–2013 361

Irv Bechner,Acquirgy, Inc.,877 Executive Center DriveWest, #300,St. Petersburg, FL 33702,USA

Tel: �1 727 576 6630E-mail:[email protected]

How direct response television(DRTV) builds brand equity andsells products and servicesReceived (in revised form): 17th October, 2012

IRV BRECHNERis Executive Vice President, Corporate Communications and Founding Partner of acquirgy, the customer acquisitionagency. He writes about a wide range of DRTV-driven customer acquisition tactics, trends and issues. He developedacquirgy’s IntelCenter, with over 100 best practices papers, infographics, briefs and more. He is the author ofnumerous e-books on a variety of topics of interest to DRTV marketers. He writes regularly for Response Magazine,Electronic Retailer, MediaBizBloggers.com, Agency Post and other leading trade publications. He has written 13 bookson a variety of topics including marketing, advertising, careers, computers and college.

AbstractBrands are constantly looking for fresh ways to generate new customers.While many have usedtelevision advertising for branding, many have not yet used direct response, even when it makescomplete sense. An overwhelming majority of brands have not used DRTV because of the generalperception that it is a carnival-style product-hawking medium.Yet many major brands that have usedDRTV have been successful, and have found that, when executed correctly, DRTV advertising can buildtheir brands and pay its own way.

Keywordsdirect response television, DRTV, infomercial, customer acquisition, acquisition marketing

INTRODUCTIONAfter reading the title of this paper, onemight easily wonder why the subject ofdirect response television (DRTV) isappearing in a respected journal dedicatedto branding strategy. It is also easy towonder how infomercials, pitchmen,hawkers and low-budget productionscould possibly be related to brands thathave taken decades to build.

The answer is simple: for a wide range ofcompanies (see Figure 1), DRTV has notonly sold products successfully online andat retail outlets, but has actively contributedto brand equity.This is due in large part toa new breed of DRTV that combines highproduction values, subtle selling and otherbrand-enhancing tactics across the com-mercial production, the media purchasedand online supporting tactics such as paidsearch engine marketing.

In this paper, brand owners will learnabout:

● popular misconceptions about DRTV;● the two major production-related

categories of DRTV;● top-level ways DRTV builds brand

equity;● DRTV as the consummate storyteller;● how brand values translate to DRTV;● specific tactics to enhance brands in all

aspects of the DRTV campaign;● the future of DRTV.

Three recent infomercials from Hoover’sdirect response and branding campaignwill be used to illustrate numerous spe-cific tactics that have worked for this well-respected US company, and examplesfrom other DRTV advertisers will also beincluded.The term ‘DRTV’ shall include

Irv Brechner

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362 © HENRY STEWART PUBLICATIONS 2045-8568 JOURNAL OF BRAND STRATEGY VOL. 1, NO. 4, 361–376 WINTER 2012–2013

long-form infomercials (28.5 minutes),short-form commercials (one and twominutes), as well as other commerciallengths (such as three to five minutes).Theterm ‘products’ also includes services.DRTV is also used for both one-step salesand two-step lead generation.

POPULAR MISCONCEPTIONS ABOUTDRTVMost people associate DRTV with thekinds of show (heavy-handed, in-your-face, carnival hawker-style productions)and products (US$19.95 gadgets, get-rich-quick schemes and other dubiousproducts with no brands to speak ofbehind them) that are constantly aired.

In recent years, major brands have dic-tated a completely different type of DRTVproduction to that which has been popularfor decades. As a result, these misconcep-tions about DRTV are worth mentioning:

● DRTV � low quality.While some prod-ucts fall into this category, there arenumerous examples of high-qualityproducts from major manufacturers thatare sold via DRTV.

● DRTV � low price.While US$19.95 andunder gadgets have been a mainstay ofDRTV for years, there are plenty ofproducts selling for more thanUS$19.95, including many products

costing several hundred dollars, andsome in the thousands. Brands sellingexpensive products via DRTV includeBowflex (exercise equipment), Nissan(automobiles), Dell (computers) andJelSleep (bedding).

● DRTV � late night commercials. Whilethere are plenty of overnight DRTVairings, DRTV is seen throughout theday and at prime time as well. DRTVmedia buyers identify the most prof-itable time slots, day or night.

● DRTV � no brand equity. While manylow-end products are not concerned withbuilding a brand, companies like Hoover,ADT,TimeLife and others employ tech-niques to enhance their brands.

THE TWO MAJOR PRODUCTION-RELATED CATEGORIES OF DRTVFrom the advent of DRTV as a saleschannel until the turn of the century,most DRTV productions were charac-terised by:

● inexpensive productions;● high-pressure selling techniques;● disruptive presentations;● stretching the truth in terms of claims.

As major brands discovered the value ofDRTV, a second type of DRTV produc-tion evolved, particularly from the year

Figure 1 Mainstream companies that have used DRTV

HOW DIRECT RESPONSE TELEVISION BUILDS BRAND EQUITY


2000, where commercials had the follow-ing characteristics:

● productions with high values;● subtle selling techniques;● entertaining presentations;● accurate and clear claims supported by

research and data.

While many consumers will take achance on spending US$19.95 for aproduct from a no-name company, theyare much more conservative when facedwith a product costing over US$50, andas high as several thousand dollars. Inthese cases, the brand name and thebrand values that are encompassed intoday’s DRTV productions give con-sumers the confidence to buy thesemore expensive products.

TOP-LEVEL WAYS DRTV BUILDSBRAND EQUITYThere are three building blocks of brandequity that are positively affected byDRTV — the impressions, the messageand the touchpoints. When combinedproperly, they contribute in a major wayto the overall development of the brand.

ImpressionsThe sheer number of times a consumersees a relevant message that resonates isone-third of the equation. As DRTVmedia is unsold time purchased at a deepdiscount throughout the 24-hour day, thenumber of rating points delivered perdollar spent can be four times as much astelevision media time bought at rate-cardprice.This multiplier effect makes DRTVthe most efficient way to buy televisionmedia time, all other factors being equal.The notion is not to abandon branding

television, but to complement it withDRTV. Both together are greater thaneither one alone.

MessageAs most branding spots are 30 seconds,the advertiser is limited in the number ofwords and images.While these 30-secondspots can be effective, DRTV’s longermessaging formats — one and twominute spots and 28.5 minute infomer-cials — afford brands substantially moretime to talk about their products, brand,company, benefits, features, etc. Whenbrands have the luxury of time, especiallyinfomercials, the ability to include testi-monials, comparisons with other products,and very detailed features and benefits,becomes a major benefit.While 30-secondspots paint a general picture, DRTV isvery specific, bringing products to life.

TouchpointsIn most 30-second branding spots, theweb URL is displayed for only a few sec-onds. Consumers may or may not see theURL and will probably not visit the web-site. It would appear that generating traf-fic to the site is not a primary objective ofmost branding commercials. DRTV, onthe other hand, with prominent calls toaction, is designed to motivate the con-sumer to respond, to place an order orrequest more information. With all theresponse choices today, consumersresponding to DRTV result in manymore touchpoints. Consumers will endup touching the brand via a phone call ora visit to the website, or by using a searchengine to research the company andproduct, or going to a social site to seewhat others are saying about it, and soon.When consumers respond to DRTVand visit multiple touchpoints that are

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all coordinated with the same relevantmessage, the brand is enhanced manytimes over.

DRTV AS THE CONSUMMATESTORYTELLERStorytelling for brands is more importantthan ever. Michael Margolis, storytellingexpert and President of Get Storied, said,‘Today, your brand story is how you dis-tinguish yourself from the storm ofinformation overload and attentiondeficit.’1 Quite possibly the best story-teller of a brand and its products is thelong-form television infomercial and theshort-form one and two minute com-mercials.

With a lot more time than 30 seconds,telling the brand’s story becomes the cor-nerstone for successful DRTV. This sup-ports the brand’s story with a cast ofcharacters including testimonials, demon-strations, features, functions, animations,beauty shots and more. With the luxuryof time found only in DRTV, brands canexplore new ways to tell their stories.The 30-second spot is like a trailer for the28.5 minute movie.

HOW BRAND VALUES TRANSLATEINTO DRTVBrands often use the following terms todescribe aspects of branding:

● loyal;● trustworthy;● authentic;● credible;● consistent;● positive interaction;● memorable;● simple;● adaptable.

In this section, examples taken from threerecent Hoover infomercials and numerousothers will be used to illustrate the topicsdiscussed. Hoover is one of those iconiccompanies that have developed an endur-ing brand over the last century. Brandequity was a cornerstone of these produc-tions. For reference, the three infomercialscan be viewed here:

● Hoover MAXExtract 60 Carpet Washer:http://A162.acquirgy.net;

● Hoover WindTunnel Air Bagless UprightVacuum: http://A163.acquirgy.net;

● Hoover TwinTank Steam Mop:http://A164.acquirgy.net.

LoyalOne ingredient of brand equity is loyalty.Showing a series of Hoover vacuumsthroughout the decades (see Figure 2)paints a picture in the consumer’s mindthat the three cleaning machines in the2012 shows are next in a long line of prod-ucts that consumers have purchased overthe years, clearly demonstrating loyalty.

TrustworthyConsumers place a great deal of trust inbrands, which those brands have earnedover years or decades.When the CEO ofa brand company appears in a DRTVproduction (see Figure 3), this is a strongmessage to the consumer that the CEO isstanding behind the product. When theCEO endorsement is coupled with astrong guarantee, the brand has accom-plished a lot of trust-building.

AuthenticConsumers respond to images and wordsbased on past experiences and know-ledge. One example is that of German



engineering and quality of workmanship.Thus, Rowenta used both (see Figure 4)for its Steam Station iron by referring to German craftsmanship and partneringwith one of the most well-knownGerman brands, Mercedez-Benz, to drivehome the notion of authenticity.

CredibleLike trust, credibility needs to be estab-lished,and one of the most common methods

is through third-party endorsements. TheDRTV for Cold-EEZE (see Figure 5)establishes credibility quickly and easily bydisplaying the seal claiming that it is the ‘#1Pharmacist Recommended Brand!’

Consistent Consistency is a quality that brandsembrace in everything they do, not justin their advertising. Being consistentthroughout the DRTV production is abrand-building opportunity. This QuickBooks example (see Figure 6) uses thesoftware box and brand name throughoutthe commercial to drive home the uniqueselling proposition (USP) — that the soft-ware is useful, simple and efficient.

Positive interactionsIn the world of DRTV, positive consumerinteractions are expressed through testi-monials by consumers and professionalswho have used the product and talkabout their experiences in their own,

Figure 2 Hoover vacuums throughout the decadesWatch the video clip of this scene: http://A174.acquirgy.net Watch the entire Hoover production: http://A163.acquirgy.net

Figure 3 CEO endorsements build trust, an important brandbuilding block Watch the video clip of this scene: http://A175.acquirgy.net.Watch the entire Cold-EEZE production: http://A167.acquirgy.net

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MemorableThe goal of every DRTV production is tocreate footage that will move the consumerto action and be memorable, so consumerswill tell their friends. The ‘memorablemoments’ in the Hoover WindTunnel Airvacuum cleaner commercial was the open-ing, showing a vacuum ‘sticking’ to theceiling under its own suction power, andlater, over a dozen vacuum cleaners stick-ing to a wall (see Figure 8).Another strik-ing demonstration was the vacuum cleanerlifting 120 pounds of weight. All demon-strated the suction power of the vacuumcleaner, and were extremely memorable.These types of demonstrations are some-times called ‘extreme demos’.

SimpleTo demonstrate simplicity, another brandhallmark, this Keurig close-up demonstrateshow simple the Vue is to use (see Figure 9).

AdaptableThe Jacuzzi Bed Collection from JelSleep(see Figure 10) is an excellent example ofhow a brand that is number one in a cat-egory can be adaptable in another cate-gory where it is a new entry. Jacuzzi’sreputation for high-end, quality products

Figure 4 Using a country and another brand to build a brand Watch the Rowenta (left) video clip of this scene: http://A176.acquirgy.net.Watch the Rowenta (right) video clip of this scene: http://A213.acquirgy.net.Watch the entire Rowenta production:http://A168.acquirgy.net

Figure 5 Credibility established through pharmacist and sealWatch the video clip of this scene: http://A177.acquirgy.net.Watch the entire Cold-EEZE production: http://A167.acquirgy.net

Figure 6 Use brand elements throughout the DRTV commercialWatch the video clip of this scene: http://A178.acquirgy.net.Watch the entire QuickBooks production: http://A169.acquirgy.net

non-scripted, words. Over time, a success-ful brand experiences numerous positiveinteractions with its customers. During theacquisition stage, testimonials may be oneof the earliest positive interactions that abrand’s product garners (see Figure 7).


consumer and offers a large number ofbranding opportunities.Whether in frontof the camera, behind the scenes or in theediting suite, this collection of productiontactics provides proven ways to enhancethe brand using the DRTV format.

The overall DRTV strategyA successful DRTV strategy incorporatesthree major components:


Figure 7 Authentic testifiers start the positive interaction process Watch the eDiets (left) video clip of this scene: http://A182.acquirgy.net.Watch the eDiets (right) video clip of this scene: http://A212.acquirgy.net.Watch the entire eDiets production: http://A171.acquirgy.net

Figure 8 Extreme demos build brand value and are memorableWatch the Hoover (left) video clip of this scene: http://A183.acquirgy.net.Watch the Hoover (right) video clip of this scene: http://A184.acquirgy.net.Watch the entire Hoover production: http://A163.acquirgy.net

Figure 9 Closeup of Product Feature Demonstrates Simplicity Watch the video clip of this scene: http://A185.acquirgy.net.Watch the entire Keurig production: http://A173.acquirgy.net

is carried through for this high-end,quality mattress featuring JelSleepTechnology. Results indicate that thisstrategy of adaptability is paying off.

SPECIFIC TACTICS TO ENHANCEBRAND IN DRTVProductionThe execution of the DRTV commercialis the most visible component to the

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● a heavy dose of branding based onclient input and research;

● other non-brand client requirements,such as pricing, offers, etc.;

● proven DRTV selling tactics, revised basedon branding and client requirements.

A tremendous amount of time is requiredto develop the optimal DRTV strategy toensure that sales objectives are met.Brandswould be wise to share research, creativebriefs and other documents with theDRTV producer in order ensure that theproducer has the benefit of knowing howthe brand thinks and communicates.

The overall strategy covers a wide rangeof top-level issues, but also focuses on thedetails, such as the choice of celebrityand/or host, the product demonstrationsand offer, and so on. Brands should insiston client–agency meetings as part of thedevelopment of the overall DRTV strategy.

The script A key aspect of the script is the combina-tion of the various components and howthey flow together. It is a real art, born ofexperience, to determine where to placethe following:

● USP;● presentation of the problem and

solution;

● demonstrations;● testimonials;● features;● benefits;● offer.

Pacing and building viewer interest andexcitement are critical to the success ofthe DRTV show. Brands should keepthese scripting factors in mind whenreviewing the script and storyboards.Theycall them ‘storyboards’ for a reason — theultimate goal of DRTV is to tell a storythat ultimately moves the consumer toaction.

The crew The DRTV production with high brandvalues is a group effort. Whether oneperson or a group, the directors need tounderstand the importance of brandingand where it fits in with a DRTV com-mercial that must also sell. How the direc-tors actually shoot the short-form orinfomercial is an overall element thataffects all the other factors in this section.

Host/celebrityThe choice of a host, whether it be acelebrity or not, can be a very positivefactor for brands. The celebrity host forthe Keurig Vue coffee brewer, actressJennie Garth (see Figure 11), representedthe target demographic and added a veryclassy tone to the infomercial, which wasreflected in her dress, style, demeanor andpresentation. Her brand appeal was dia-metrically opposed to most hosts, espe-cially in her subtle manner of talkingabout the product.

Testimonials The choice of consumers and profession-als who talk about their experience with


Figure 10 Use top brand in one category to help new brandin another Watch the video clip of this scene: http://A186.acquirgy.net.Watch the entire JelSleep production: http://A172.acquirgy.net


a product on air is another brandingopportunity. Without question, brandswant real people who have used the prod-uct or service and who are authentic inwhat they say, using their own words.Beyond that, their physical appearance,demeanor and style all contribute to thebranding effort. A professor/scientist typeadds credibility and reinforces the qualityof the brand (see Figure 12).

The voices and supersThe combination of spoken words andwords appearing on the television screen(‘supers’) are the obvious components ofthe script. Together they must reflect thebrand equities provided.The not-so-obvi-ous aspects of the script are a group offactors associated with both written andspoken words:

● tone;● inflection;● volume;● age appropriateness;● tempo.

Brands also need to look at the typogra-phy and graphics used for the supers.While many DRTV commercials featureloud and excitable pitchmen and/or ener-getic hosts, others, like Keurig, feature amore understated host whose words and

manner of speaking are more subdued –by design.

The set, location and propsThe location where DRTV is shot canhave a major impact on branding. For theKeurig Vue coffee brewer, the locationcould have been in an auditorium with alive studio audience (traditional, low-brandequity), but was instead shot at high-classprivate parties with friends of JennieGarth, in major cities across America,including New York and Chicago, and oneat her home in Los Angeles (see Figure 13).The infomercial exhibits many brand-pos-itive qualities throughout, especially interms of set, location and props.

Video quality While most branding commercials are shotin High Definition (HD), most DRTV iscurrently shot in Standard Definition (SD).A very easy way for brands to add a heavydose of branding to DRTV is by insistingthat the commercial is shot in HD. Theeffect is twofold: (a) the DRTV shot inHD will stand out from most of those thatare in SD; and (b) the images will becrisper, cleaner and richer than those inSD, giving the product a better presenta-tion, with consumers and professionals fea-tured as testimonials given a more realistic


Figure 11 Celebrity/host choice impacts brand dramatically Watch the Keurig (left) video clip of this scene: http://A187.acquirgy.net.Watch the Keurig (right) video clip of this scene: http://A188.acquirgy.net.Watch the entire Keurig production: http://A173.acquirgy.net

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and authentic look and feel. For an in-depth discussion on the value of HD, seeThe TV ‘Tuneaway Factor’ – HD CommercialsReduce Viewer Tuneaway e-book (http://TT2.acquirgy.net).

The opening of the DRTV production The primary purpose of the first 5–10 sec-onds of a short-form or infomercial is tocapture the viewer’s attention and whettheir appetite for things to come.An arrest-ing opening is critical to motivate the con-sumer to watch the balance of thecommercial. For its QuickBooks product,Intuit used a six-armed man (see Figure 14)to demonstrate that small business ownerswear many hats and are overloaded withwork.This humorous message contributedto the Intuit brand by cleverly helpingbusiness owners and managers identifywith the six-armed man.

Presentation of the offer The screen presenting the offer is anotherbranding opportunity. While most ‘noname’ companies have garish offer screens,


Figure 12 Consumer and professional testimonials enhance the brand Watch the Hoover (left) video clip of this scene: http://A189.acquirgy.net.Watch the Hoover (right) video clip of this scene: http://A191.acquirgy.net.Watch the entire Hoover production: http://A163.acquirgy.net

Figure 13 Set, location and props can be effective brand builders Watch the Keurig (left) video clip of this scene: http://A192.acquirgy.net.Watch the Keurig (right) video clip of this scene: http://A193.acquirgy.net.Watch the entire Keurig production: http://A173.acquirgy.net

Figure 14 A commercial’s opening sets the brand toneimmediatelyWatch the video clip of this scene: http://A194.acquirgy.net.Watch the entire QuickBooks production: http://A169.acquirgy.net


classy and clean offer screens add value tothe brand (see Figure 15). The Keurigoffer screen combines a product shot, acompelling consumer offer, modern typeand a very clean overall presentation thatadds to, rather than detracts from, thebrand.

The guarantee Strong guarantees are a hallmark ofDRTV.They are also an excellent way toreinforce the brand that stands behind theproduct or service. The ‘No Cover-Up’guarantee from JelSleep for the JacuzziBed Collection (see Figure 16) presents aground-breaking guarantee in a veryprominent way with a classy graphic.

Animation Animations have long been a staple ofDRTV productions. For those consumerswho want to know the how and why behinda product, animations go behind the scenesto show consumers what is so special aboutthe product.Animations are a powerful brand-building tool, as they afford an opportunityto present a logical and visually dramaticexplanation that brings the product’s claimsto life.These examples (see Figure 17) forCold-EEZE and JelSleep give consumers abetter understanding of why these productsare so effective.

Special effects Used appropriately, special effects can beanother powerful way to show a prod-uct’s superiority while enhancing thebrand. One special effect combines exag-geration and black-and-white footage. Inthis example for the Hoover AirWindTunnel Air (see Figure 18), thephoto on the left shows a woman liftingan oversized, exaggerated vacuumcleaner upstairs, shot in black-and-white.The photo on the right is the exactopposite, showing a woman easily carry-ing the WindTunnel Air up some steps,in full color. This special effect requiresonly for the exaggerated product to bebuilt and shot in black-and-white.


Figure 15 The offer screen is often a forgotten brandingopportunity Watch the video clip of this scene: http://A195.acquirgy.net.Watch the entire Keurig production: http://A173.acquirgy.net.

Figure 17 Use animations to explain why products are superior Watch the Cold-EEZE video clip of this scene: http://A197.acquirgy.net.Watch the JelSleep (not shown) video clip of this scene:http://A198. acquirgy.net.Watch the entire Cold-EEZE production: http://A167.acquirgy.net.Watch the entire JelSleep production: http://A172.acquirgy.net

Figure 16 Presenting a strong guarantee reinforces thebrand Watch the video clip of this scene: http://A196.acquirgy.net.Watch the entire JelSleep production: http://A172.acquirgy.net

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MediaThe DRTV media purchased can have apositive impact on branding. Using client-supplied research, from their brandingagency and other sources, the media plan-ners work to build the brand vis-à-vissmart media buying. There are severalareas in which this occurs.

Choice of networks and broadcast stationsBrands should provide basic informationto their media buyers, which is used todetermine which networks/stations torecommend.These factors are:

● gender;● age;● household income;● audience reach.

The media planners/buyers will com-bine these factors with two others thatcollectively form the basis for the recom-mendation:

● efficiency in terms of cost per thousandviewers;

● direct response ‘rating’ of the networksand broadcast station.

Some networks/stations are better interms of direct response given the identi-cal demographics listed above. Prudent

testing will determine which are right forany given campaign.

Choice of time slot and programmingTime slots and programming are factorsthat can have a positive brand impact.Thefollowing is a general categorisation oftime slots that media planners use:

● early morning (6 am–9 am);● daytime (9 am–3 pm);● early fringe (3 pm–6 pm);● early news (4 pm–7 pm depending on

the market);● prime access (7 pm–8 pm);● prime time (8 pm–11 pm);● late fringe (11 pm–2 am);● overnight (2 am–6 am).

Within each time slot,media buyers look atthe specific programming and the affinity ofthe audience and programming to theDRTV product at hand. For example, amedia buyer would generally recommenda network that has a high affinity withthe product or service, and stay away fromthose that do not. There are, of course,exceptions, which need to be evaluated ona case-by-case basis.

Clean ‘lead in/lead out’Stations and cable networks usually sellpaid programming in blocks, such as 3 am


Figure 18 Special effects create a vivid picture in the viewer’s mind Watch the Hoover (left) video clip of this scene: http://A199.acquirgy.net.Watch the Hoover (right) video clip of this scene: http://A211.acquirgy.net.Watch the entire Hoover production: http://A163.acquirgy.net


to 5 am. It might be a two-hour block oran eight-hour block. Media buyers forbrands should look at purchasing ‘lead in’blocks (straight after regular programmingends) and ‘lead out’ blocks (just beforeregular programming commences). Thequality of the programming that occursbefore or after these blocks of paid pro-gramming can have a positive impact onthe brand.

Website designIn most cases, DRTV marketers develop alanding page, a microsite or a larger web-site to accept online orders or leads. Thissite may be one to five pages, and in manycases is designed by someone other thanthe people who designed the televisionproduction. As a result, the website typi-cally has a different look and feel to theproduction, and may actually tarnish thebrand. Brands need to ensure that thewebsite has the same look and feel as theproduction; that the information and priceare consistent; and that the same emphasison brand that has been put into the pro-duction is translated to the website. ThisJelSleep site (see Figure 19) is a goodexample of production–website synergy,with consistent information and using thesame graphics and photography.

Paid search engine marketingcampaignNielsen reports that 88 per cent of con-sumers watch television while they usetheir tablets, and 86 per cent watch televi-sion while using their smartphones.1

Consumers also use laptops and evendesktops while watching television (seeFigure 20). As a result, they can easilyrespond to DRTV by going to the webURL on the screen or to Google, Bing oranother search engine and searching for

the company name, product name orbuzzwords in the commercial.

As a result of this fairly recent phe-nomenon, brands need to craft a paidsearch engine marketing (SEM) pro-gramme that is in line with the brandingobjectives used in the production.This isaccomplished in two ways — with thekeywords used in the campaign and thecopy that appears when consumers searchthe keywords.

Long before the DRTV effort islaunched, brands need to coordinate theSEM programme with the productionteam.The search team should have a copyof the script as far in advance as possible,in order to be able to develop a keywordlist from the words used.They should alsobe notified of any changes in the script,particularly additions to it.

The search team should understand thebrand directives so that when they writecopy, it is consistent with the spoken andvisual words in the production. Some ofthe brand-enhancing copy that should beconsidered includes:

● official site (discourages consumersfrom going to affiliate sites);

● since 19XX (shows longevity of thebrand);

● use of registered or trademark symbols(see Figure 21);

● over one million sold (shows success ofthe product);

● rated number one in its class (demon-strates superiority over competitors).

The web tracking URLDRTV marketers have long recognised theneed to track the media source of onlineorders, which includes the network or sta-tion and time slot, as well as creative andoffer. This is usually accomplished by atracking URL, the most reliable being a


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‘prefix’ URL (eg 22.company.com) wherethe ‘22’ is tied to a specific network/station.Companies have tried ‘suffix’ URLs (egwww.company.com/tv/offer32) only tofind that they rarely work and cause errors.A very detailed discussion of prefix andsuffix URLs can be found at: http://A166.acquirgy.net.

Brand managers typically oppose any changes to their URLs, citing that itis part of their brand and should not becompromised with tracking codes,whether they appear before or after thedomain. Finding a balance between thebrand manager’s decrees and the need totrack can be very challenging. A number


Figure 19 Website design should mirror DRTV production


of solutions have worked and could beaccepted by brands, including:

● add a verb before the company domain:44.TryCompany.com;

● add a verb before the product domain:28.BuyProduct.com;

● add ‘TV’ to the company domain:32.CompanyTV.com;

● add ‘TV’ to the product name:65.ProductTV.com.

These branded URLs are different fromthe main url that the company uses, andshould be reserved solely for DRTVtracking. They are ‘short and sweet’ andeasy to remember. Client data from aleading DRTV agency demonstrates thatthe URL has no impact on branding orresponse.The reason is alarmingly simple:the web URL is a ‘bridge’ between thecommercial and the website. It is only inthe consumer’s mind for a few seconds –the time it takes to type in the URL andpress ‘Enter’. When the consumer arrivesat the site, he/she is met with a branded

site, and immediately forgets the URL.The branding in the production and onthe site outweighs the short-livedmemory of the URL.

THE FUTURE OF DRTVAs technology advances, so does DRTV.As consumers become more mobile, newopportunities are opening up for brands:

● Streaming technology. With targetedhome profile delivery accelerating, itwill transform the internet into a col-lection of alternative television net-works, especially for children and youngadults.This will improve the targeting ofDRTV commercials, and just like majortelevision networks, there will bean abundant supply of unsold time thatcan be offered on remnant pricing.

● Increased fourth screen DRTV advertising.Nielsen reports that the sum total ofscreens that occupy public places suchas lifts, health clubs, petrol stations andcinemas deliver a larger total audiencethan prime time television.2 The‘Fourth Screen Network AudienceReport’ examines the impact of place-based media — what Nielsen refers toas the fourth screen — after televisions,computers and mobile devices. DRTVwill expand into this area because ofmobile pervasiveness.

● Increased mobile DRTV. As consumersincreasingly watch television with asmartphone in hand, the rate of theirresponse to DRTV via their phones willaccelerate. This changing behaviour


Figure 20 Consumers search online while watching television

Figure 21 Use of official symbols to establish brand authenticity

BRECHNER

gives advertisers a chance to get theimmediate results that DRTV can gen-erate in this day and age of mobility.

● Ease and convenience. The ease and con-venience of buying from television willcontinue to provide an important role,given that society is becoming evenmore convenience-oriented.

● DRTV internet marketing. DRTV on theinternet takes online direct response tothe next level and is in its infancy. Brandscan expect to see media aggregatorscompiling unsold inventory from pre-rolls to YouTube ads and offering thatmedia space on a remnant pricing basis.

● Cloud technology. With flexibility, costefficiency and even environmentalfriendliness, in addition to the introduc-tion of SmartTVs, the growing pene-tration of internet-enabled televisionsis about to give rise to very targetedDRTV and immediate informationavailability. Consumers will be able tosimply respond to a commercial viatheir television and receive a brochure,recipe or other document.

These exciting technologies usher in anew age in the continued expansion andsuccess of DRTV. Savvy brands willembrace them in order to capitalise ontoday’s wired, mobile and technology-comfortable consumers.

CONCLUSIONThe arguments are clear. The proof isthere. DRTV is a brand-builder that sellsat the same time. Brands with existing orsoon to be developed retail/dealer distri-bution, and service providers with anational footprint, are among the bestcandidates for DRTV.

References(1) Margolis, M. (2012) ‘Turn Your Brand Story

into an Epic Narrative’, YEC, 11th June,available at: http://theyec.org/turn-your-brand-strategy-into-an-epic-narrative/ (accessed 23rdJanuary, 2013).

(2) Nielsen Company (2010) ‘Nielsen FourthScreen Network Audience Report’, Nielsen,New York, NY.


Journal of Brand Strategy Spring 2013 Article

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