Analysis and report writing by ri

Analysis and Report Writing, Slide No 1

2001


Course Content

Where analysis begins

How it proceeds through fieldwork

Structuring the report pre-analysis

Formal analysis

team sessions

content analysis


Content

What are we looking for?

how should we search?

where shall we find it?

Some conceptual frameworks

Research analysis tools

Purpose of a report

Various types of report

Guidelines on report writing


Where Analysis Begins

Interrogating the brief

Understanding as much background as possible

category (product and advertising)

previous research projects

reason for the brief

client issues

Organising the data

Generating some hypotheses (non-prescriptive)

matching methodology to allow them to be explored

building them into the discussion guide

And constantly ask yourself “so what?”


Background and Organising the Data

What happened in the groups?

Experience of other projects Information exchange with

other colleagues

What does it all mean?

How can we use it?

Within the context of:

key variables (age, sex , lifestage, involvement etc)

background information

client brief

Experience of other projects

what you know

already desk research

encyclopaedias


Background and Organising the Data TRANSCRIPTS VS NOTES

For quick turnaround:

use notetaker’s notes

listen to tapes make notes, observations, useful verbatims

researcher sends out first groups for transcription and makes

notes from others

For longer turnaround:

as above, but option to send all tapes out for transcription

too costly in exec time to transcribe in-house

Always cost in notetaking/transcription as part of overall costs

WHY DO WE NEED NOTES AND QUOTES?

Moderator can be more process orientated than context aware

Moderator has selective perceptions only

Client needs substantiation


Background and Organising the Data CODING BY MATRIX

DISCIPLINE!

Summarise findings within main headings by group/by country either by

grid or by heading

easy reference, order and synopsis

highlights commonalties and differences

Concept A First reactions Key benefits Communication Involvement

GROUP 1 GROUP 2 SUMMARY


Background and Organising the Data

OTHER METHODS

- big sheets

- “chop job” (sorting notes/transcripts)

- card index system

- flip charts

- computer chopping

- some people use computer word recognition software

- we tried them and found them wanting


How Analysis Proceeds Through Fieldwork

Download

ideas

Take active

analytical

notes

Use some

consistent

tasks

Make time/space for

creative leaps

Pilot Constant interrogation

of the brief through

fieldwork

Start analysis while

‘hot’

Fine tune


Structuring a Report Pre-Analysis

Client

Objectives

4

Discussion

Guide

8

:

New Angles

Logical

Corporate Style

Tailored to client needs

Report

Structure


Formal Analysis

Team sessions Individual Content Analysis

Our purpose in analysis is sifting, sorting and

making sense of consumer insight as it relates to

the client’s objective


What are We Looking for?

c

Consumer Insight

Inspiration

Client Objectives

Direction


How Should We Search?

beyond the

obvious

Make something

of the intensity

The obvious


How Should We Search?

Thorough

Involved

Representative

Good sense

GOOD OUTPUT

All this +

Creativity

Marketing problem solving

Breadth

Compelling delivery

GREAT OUTPUT


Where Shall We Find It?

Trial and experience

Watch

Study


Remembering What Consumer Responses

Do and Don’t Do 8Responses don’t usually give you the conceptual

frameworks

4 They do give you clues about the dimensions of

frameworks, e.g.:

indulgence vs worthiness

consonance / dissonance with brand image

user-centred / product centred proposition

4 They do give you indications of where the problems

lie


Some Conceptual Frameworks and

Distinctions

Credibility, Relevance, Distinctiveness

Form, Content

Attribute, Benefit

Position in the Cultural Register

User Values, Product Values

Literal, Referential


Credibility, Relevance, Distinctiveness

DISTINCTIVE

CREDIBLE RELEVANT


Relevance and Credibility

The two boundaries we are examining in ‘Concept

Testing’

Relevance

broadly synonymous with desirability, and operates

at sector, or generic, level

Credibility

believability, operating on two possible levels

generic (sector), that such a product can exist;

brand level, that the particular brand in question

can be as suggested


Relevance and Credibility Example

Canned lager without the metallic taste

Canned lager with a fuller flavour

Canned lager with a bit more strength

Canned lager that gives you X-ray vision

Canned lager that has less gas

Canned lager that fits under the bed

Canned lager brewed specially for the can

Canned lager that refreshes more than others

Canned lager that’s for tall people

Canned lager that tastes like draught

Canned lager that’s not Australian Relevant? Credible?


Attributes

‘Actual’ ‘Associative’

Product What is it (sector)

What is it like … (user experience)*

What it’s made of

How it’s made

Who makes it

Where it’s made

Where it originates from

Philosophy/value cluster

Many attendant

images and

associations *

* Usually physical attributes


Attributes

‘Actual’ ‘Associative’

User Who uses it/buys it

How do they use it

Why they use it benefits

Many attendant

images and

associations §

Usage When it is used

Where it is used

With whom it is used

How are the users when they use it

Many attendant

images and

associations §

§ Projective technique territory!

Images, associations, stereotypes, anthropomorphisms, popular myths and

misconceptions, fantasies.

In short, the ‘left brain baggage’ that comes with each

‘actual’ attribute.


Position in the Cultural Register

What is the sector or brand’s position in the grand

sweep of things?

Its position will in part, determine how it may be

talked about (serious, ‘realistic’, light-hearted,

fantastical, etc.)

As a result of its associations, a brand or sector will

have upper and lower limits to its position.


Position in Cultural the Register

What is it ?

Whence it comes?

What’s it like?

How it features in phrases, quotations, stories,

songs, sayings, folklore

Put the brand in universal perspective


User Values, Product Values

Inner-directed

(product referential)

Outer-directed

(user or occasional-

referential)

Packaging updates are frequently done to increase

user-value levels.


Literal-ness

Figurative / Representational

Different product fields will show different

general conventions

Literal


Advertising Research

Creative Development Research Needs Sensitive

Tools...


Stages of Advertising Development

Strategy Development

Creative Development

Campaign Monitoring & Evaluation

THE BRIEF

THE ADVERTISING


Stages of Advertising

Development

Strategy Development Creative Development

Understand the Market

Users

Usage

Attitudes

Purchasing

The role of brands

Brand positionings

Brand Images

Advertising conventions

Packaging conventions

The Brand

The Experimental Advertising

The idea

The execution

The achieved communication

(The strategy)

The Strategy The Creative Brief

The Creative Response

The Advertising


Intended Message Synopsis (IMS)

Good as discipline

Not a ‘concept’ for showing in groups

Subject and predicate form

E.g. “Smash, the modern sensible convenience mash”.


Good Things to Identify Clearly

(By Interrogating the Ad)

Central Creative Idea

Story Line

Structure Creative Vehicle

Brand Role in Story

Viewer Relationship with Story

Brand Relationship with Viewer

Viewer Takeout (Received Message Synopsis)

Received Story Significance

Equate this with the Intended Takeout

(Intended Message Synopsis)


Vehicle (Central Creative Idea)

This is quite often a metaphor (extended into story

form) for the communicative content illustrating:

brand-derived benefits or

the ‘problem’ the brand is presented as solving

It most often works connotatively, and may also

convey secondary communications (some of which

of course may be unintended and unhelpful)


Isolate the Vehicle!

Good questions to ask when attempting to isolate

creative ideas are:

“What is the name of the activity?”

“Who is engaging in it?”

“Why?”


RECEIVED

MESSAGE

SYNOPSIS

(RMS)

EXECUTION

& EXECUTIONAL

DETAILS

Secondary communications tone, mood, feel, brand

‘attitude’ … Impact, memorability, involvement, humour,

longevity (wear-out) Usually works connotatively.

VEHICLE

(CENTRAL

CREATIVE IDEA)

The form in which the communicative content is conveyed.

This is, quite often, a metaphor (extended into story form)

for the communicative content, for brand derived

benefits or for the ‘problem’ the brand is indicated as

‘solving’. Works most often connotatively, and can also

convey secondary communications.

INTENDED

MESSAGE

SYNOPSIS

(COMMUNICATIVE

CONTENT)

What is indicated about the brand. Frequently denotive

(product sequence, end-line).

Connotive, Denotive Received Message

What the ad is required to convey What the viewer is

supposed to take out What the viewer is supposed to

think/feel about the brand

STRATEGY

(DETERMINED BY

AGENCY/CLIENT)


The Ad’s ‘Value Centre’ or Orientation

Product-centred

User values-centred

User Values I

shown user models

shown behaviour

shown usage environment

User Values II

shared (by ad structure)

brand-in-conspiracy model

often humour about user type, model types,

behaviour, advertising


Apparent Authorial Stance (The deep-structural relationship)

Perceived as sharing/ on a ‘level’ or

perceived as patronising

Good questions to ask are:

“What kind of people do you think wrote this

advertisement?”

“What do you think they think of the intended

viewers?”

“What would the viewers think of them if they met

socially?”

“How well do they understand the viewers?”


Valuing

The brand as ‘valued thing’

People’s relationship with it, either/both:

behaviourally

attitudinally

Is the brand seen to be ‘valued’?

when? where?

how? by whom?

why?

How do consumers feel about the people doing the ‘valuing’?

How do consumers feel about why they value it?

(Remember: Relevance, Credibility)


“Who?” is Asked by the Human Mind

Before “How?”

WHO? HOW?

IDENTITY

Person

Subject

Context

Environment

Situation

Surroundings

(LIKE I AM)

Attitude

Orientation

Demeanour

Belief

Opinion

Behaviour

DISPOSITION

(LIKE I FEEL)

EMOTIONS

FEELINGS


Relationship with Message or

Proposition (R.M.S.)

Adopted (internalised) proposition

vs

Perceived intention


Relationship with Creative Idea

(Viewer Relationship with Story)

Shared fantasy*

vs

Rejected reality

*Usually well cued early in ad

(Remember: Apparent Authorial Stance…)


Purpose of a Report

A record

A reference guide

The physical evidence of your skill

Marketing-friendly


Types of Report

Full written report with verbatims

Summary report

Slide document with annotations

Video report (filmed debrief or comprised of editing

from groups)

Management summary (1-5 pages)

Other methods will emerge as technology permits

multi-media reports


Guidelines on Report Writing

I. Introduction

Synopsis page with all key reference points

1.1 Background

1.2 Objectives and Action Standards

1.3 Sample

1.4 Approach / Methodology

1.5 Stimulus Materials


Guidelines on Report Writing (cont…)

II. Conclusions and Recommendations

2.1 Summary of Main Findings (optional)

2.2 Conclusions and Recommendations

III. Main Findings

3.1 Observation on the Sample

3.2 Numbers as dictated by objectives


INTERPRETING WHAT IT ALL ADDS UP TO

But what on earth do I do now? Thank you….. that was an

interesting presentation

CLIENT

And always remember…….

Analysis and report writing by ri

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