Putting India to Work Legally free essay sample

In order to remain India’s largest employer, they had to keep up with the explosive growth and competition in the telecommunications, financial services, and retail sectors. 2. ) Going forward, TeamLease has faced a few challenges along the road. First, TeamLease decided to move from a decentralized to a centralized structure for operations, causing fear and resistance from clients who were afraid of the loss of personalized services and fear from TeamLease employees who disliked the idea of relocating. TeamLease also had a difficult time filling open positions. Many people were registered with the government-run employment exchanges and many of these people were not fully qualified for the job. TeamLease also tried to partner with training companies but there was no training company that would accept their concept of paying for their services only after their trainee has been placed with a job. They also took a big hit during the 2009 recession causing the open job market to drop dramatically and as well as a decrease in client support. We will write a custom essay sample on Putting India to Work Legally or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page . ) The competitors that worry me the most are Addeco and Randstad. Addeco seems to be the largest HR staffing service company followed by Randstad. Addeco is a major threat with over 33,000 employees and 5,500 branches, in over 60 countries. Randstad has 28,700 employees, 3,500 branches, in over 40 countries. TeamLease on the other hand has 75,000 employees in 600 branches. TeamLease may have more employees, but Randstad and Adecco seems to have more qualified employees and are more spread out worldwide. TeamLeast has the least amount of branches among its top competitors.I believe that TeamLease should put more money into staffing and training in order to have more suitable and a more experienced staff in order to maintain competitive advantage. They should also try to increase or spread out more of their branches to other countries. TeamLease should also put more effort into marketing and their advertising campaign. Last, they should consider offering employee incentives such as days off or bonuses’.

Free Essays on Hobbes Vs. Locke

â€Å"And in him consisteth the essence of the commonwealth, which (to define it) is one person, of whose acts a great multitude, by mutual covenants one with another, have made themselves every one the author, to the end he may use the strength and means of them all, as he shall think expedient, for their peace and common defense† (pg.109). What is a state of peace and harmony? Does it exist? People have been asking these questions for centuries, yet the answers still remain a mystery. Thomas Hobbs, however, believed in the possibility of such paradise on Earth. In his book, Leviathan, Hobbs conveys theory of achieving commodious living by creating a structure based on social contract and laws of nature. Hobbs argues that the only way to achieve true commonwealth is by establishing an absolute sovereignty. In this essay I will examine reasons why totalitarian power is not necessary, and in a certain extend threatening to maintain the laws of nature. Hobbs claims that in the state of nature human being would live in a state of war. All human beings are created the same, physically and psychologically: we have same capacity to learn from our experience and gain prudence and wisdom, as well as to kill each other. We have senses and passions, which overcome our reason, therefore when we develop same goals we become competitors to each other, therefore- enemies. Since by the law of nature we can do anything according to our judgment and reason, we will try to overcome or destroy each other. When people become competitors, it is, therefore, in their nature to seek to eliminate their enemy, using â€Å"all means we can to defend ourselves†(p.80). Consequently, even if we attain all that we need, we will always assume conflict, either in means of defending our lives from an enemy or in order to get rid of prospective danger of doing so. Therefore, we strive for peace. Hobbs draws inevitable laws of nature: to seek peace, pr... Free Essays on Hobbes Vs. Locke Free Essays on Hobbes Vs. Locke â€Å"And in him consisteth the essence of the commonwealth, which (to define it) is one person, of whose acts a great multitude, by mutual covenants one with another, have made themselves every one the author, to the end he may use the strength and means of them all, as he shall think expedient, for their peace and common defense† (pg.109). What is a state of peace and harmony? Does it exist? People have been asking these questions for centuries, yet the answers still remain a mystery. Thomas Hobbs, however, believed in the possibility of such paradise on Earth. In his book, Leviathan, Hobbs conveys theory of achieving commodious living by creating a structure based on social contract and laws of nature. Hobbs argues that the only way to achieve true commonwealth is by establishing an absolute sovereignty. In this essay I will examine reasons why totalitarian power is not necessary, and in a certain extend threatening to maintain the laws of nature. Hobbs claims that in the state of nature human being would live in a state of war. All human beings are created the same, physically and psychologically: we have same capacity to learn from our experience and gain prudence and wisdom, as well as to kill each other. We have senses and passions, which overcome our reason, therefore when we develop same goals we become competitors to each other, therefore- enemies. Since by the law of nature we can do anything according to our judgment and reason, we will try to overcome or destroy each other. When people become competitors, it is, therefore, in their nature to seek to eliminate their enemy, using â€Å"all means we can to defend ourselves†(p.80). Consequently, even if we attain all that we need, we will always assume conflict, either in means of defending our lives from an enemy or in order to get rid of prospective danger of doing so. Therefore, we strive for peace. Hobbs draws inevitable laws of nature: to seek peace, pr...

1948 by George Orwell

1948 by George Orwell Essay In 1948 Eric Blair, better known as George Orwell, wrote a book with chilling insights into the future, 1984. In that book he describes in detail how the government of Oceania manipulated the truth and regulated feelings and thoughts. An irrational future for society, perhaps not even today in the media there are ways of lying to us and making us think what they want by showing us what they want us to see. In 1984, Thought Police watch the people through telescreens, microphones and helicopters. Many people do not believe this will come true because they do not see it happening. However, it is entirely conceivable that the government could be watching us now. Perhaps, though only on a small scale. Internet surveillance is one of the hottest subjects within this notion, and some people are very good at it. The people watching probably would not go directly into your account, which would be as illegal as entering your private room without a warrant. However, they could easily watch the packets of information running through their systems and rebuild the your private E-mail, or newsgroup transactions, piecing those together can be detrimental to you, as well as legal for the watcher. In order to change the future and the present you do not need to own a time machine. You simply have to control the past. In 1984 the government, or â€Å"The Party,† controlled the past. They were able to destroy all proof that something did or did not happen. The Party† was able to destroy all of the references that something, even a person, ever existed. Although one may remember that person, they could never find proof that it was true. The most alarming part about this is that it is much easier to do it in the world today. Since most information is now kept on disk, and backed up onto even more magnetic media, one could simply destroy all areas where the data said that someone had existed. Talk about a missing person. Our government is taking steps towards this type of Orwellian society all the time. It is hard to believe, but just look at recent legislation. It first started with the advent of the Social Security System. We now are required to receive serial numbers before a certain age so that we can be catalogued for this service, which I might add we will probably never receive. This seemingly innocent indexing of people has turned into a major privacy crisis. Our Social Security number is now used for everything. When one goes to college they use their number there. When you apply for a credit card or any service like this you use this number. We now have problems with people looking up our credit history using this one number. They do not even need our permission. At the time it seemed like a great idea. Which is probably how we will be duped in the future. If it isn’t bad enough that they admit they want to catalogue their citizens, our government basically admits that they need to watch them as well. There was a bill sent through Congress, which would force telecommunication companies to place a chip called the Clipper Chip into all of their products. This chip would allow the government, with two electronic keys, to watch our telecommunication transactions. They also passed an act called Digital Telephony. This bill states that the government will give a certain amount of money to large telecommunication providers (telephone mostly) to rework their networks so that the government’s men can attach themselves and listen to our private conversations. Let me repeat myself here, they are using OUR money to watch us. It is great that they can catch a criminal easier but it is not worth it to loose that freedom and live in fear. READ: The Dream that Became the Demise EssayWhile we in the U. S. are busy at our jobs in the rat race, the government is pulling the wool over our eyes. They are working towards ways to keep us in line. I don’t know if there is a great conspiracy against us. All I know is that we are being taken as suckers, and pretty soon we will have no privacy to think of. We must work to stop the evolution of these and all other destruction of privacy. We cannot allow ourselves to lose what little freedom we have left, and most of all we must always be able to say that 2+2=4 and never have to utter that, we are the dead.

Movie review-Why We Fight Essay Example | Topics and Well Written Essays - 500 words

Movie review-Why We Fight - Essay Example of government must guard against the acquisition of influences that are unwarranted, whether asked or not asked by the industrial complex of the military. The capability of the disastrous rise of power that is misplaced exists and will always be there. The movie ‘Why We Fight’ is directed by Eugene Jarecki. It is a documentary movie of 2005 and it is about the military-industrial complex. The movie’s title refers to the World War II era that was commissioned by the U.S. Government so as to justify why they entered the war which was against the Axis Powers. In the movie, Eugene looks as to the reason why young people of America are sent to war. The movie also conveys the message that there is a change in portrayal of American war interference since World War II. It shows that America currently engages in good wars unlike in the past where there was military adventurism. It is in the interest of America’s self-serving corporate that there are more operations of wars. Being occupied with technologies of the military and actions are common American psyche features but the film focuses on anti-war efforts (Rollins, et al. 53). The movie follows a father who is still grieving after four years after the death of his son in New York on 9/11/2001. To any caring parent, a son’s death is normally an impactful and anger is a reaction that’s understandable. In the movie, the story line revolves around the father’s anger that shifts from those seen responsible for the attacks to those in high political offices who are responsible of manipulating the initial anger in support of war. The sentiments of the father later becomes far more noble. Being aware of the agony of losing a son, he can never wish it to an innocent person no matter how they are divided by the culture, geography or class. As mentioned in the movie, the attacks on 9/11/2001 were largely part a response to initial U.S. aggression to the Muslim-dominated Middle East and the Third World as a whole.

Group and Teams Paper Essay Example | Topics and Well Written Essays - 750 words

Group and Teams Paper - Essay Example In this regard, the essay aims to proffer an explanation of the differences between a group and a team. Likewise, the importance of workplace diversity in an organization would be included and how it relates to team dynamics in the workplace and how it relates to team dynamics in the workplace. Differences Between Groups and Teams To distinguish between groups and teams, respective definitions are hereby noted. According to Martires and Fule (2004), a group is â€Å"a collection of people interacting with each other for fairly some time utilizing certain resources and methodologies to achieve common goals or interests† (p. 93). On the other hand, Clark (1997) defined a team as â€Å"a group of people coming together to collaborate. This collaboration is to reach a shared goal or task for which they hold themselves mutually accountable. A team is a group of people with a high degree of interdependence geared towards the achievement of a common goal or completion of a task rath er than just a group for administrative convenience† (par. 3). ... 1). Thereby, the role and participation of leaders and members in goals setting and decision- making differentiates one from the other. Further, the significant role that collaboration plays in a team separates it from a group. Importance of Workplace Diversity Greenberg (2006) defines diversity in the workplace as â€Å"the variety of differences between people in an organization†¦Diversity encompasses race, gender, ethnic group, age, personality, cognitive style, tenure, organizational function, education, background and more† (par. 1). The importance of workplace diversity is seen from the benefits accorded to both the employees and the organization. The research of Greenberg stipulates that diversity has the capacity for â€Å"increased adaptability, broader service range, variety of viewpoints, and more effective execution,† (pars. 4 – 6) among others. By supporting a diverse workforce, organizations foster a more balanced working environment as differe nt ideas, perspectives, and suggestions for strategies, problem-solving, and decision-making are readily available. Relation of Diversity to Team Dynamics in the Workplace Discoveries from diverse research indicate that diversity supports teambuilding and cohesion, increasing the dynamic interrelationships among teams within the organization. A study conducted by Davis and Bryant (2008) indicates that diverse teams surpass the performance of homogeneous teams in various aspects. The authors averred that â€Å"diverse environments also yield more effective collaboration and teamwork than homogenous teams. There are a variety of ways to solve a problem; leveraging the input of a diverse staff population helps organizations arrive at better decisions. You can’t underestimate the value of the creativity

The Decolonisation of Africa 1959-1964 Essay Example for Free

The Decolonisation of Africa 1959-1964 Essay To what extent was Britain able to retain control over decolonisation in Africa between 1959 and 1964? By 1959 decolonisation in British Africa was well under way, for example, the Gold Coast in West Africa had become independent in 1957, Nigeria and Sierra Leone were well on their way to independence, and agitation and advances towards independence were already taking place in Kenya and Tanganyika in Eastern Africa. By 1964 this had spread throughout Britain’s African territories and many more had either become independent or started their journey and development towards independence, as the â€Å"political face of the continent was transformed†[1]. This essay will examine what it was that led to this huge change in policy towards Africa, from a time at the beginning of the 1950s when no one expected any of Britain’s colonies to become independent within a generation, let alone within a decade, to a time in the mid-1960s when Britain’s colonial possessions in Africa were severely dwindling and there was a clear line of policy towards decolonisation there. Even in 1959, as Hemming recognises, â€Å"a conference of East African governors agreed that the likely timetable of independence would be: Tanganyika in 1970, Kenya in 1975 and Uganda somewhere between the two†[2]. In fact Tanganyika gained independence in 1961, Kenya in 1963 and Uganda in 1962. As Hemming identifies, â€Å"a fifteen year timetable had been reduced by 80 percent†[3]. This essay will look at such questions as: How can we judge if Britain was in control? ; Was Britain in control of the pace, or the actual process of events of how independence came about? ; Was Britain in control of who to transfer power to? This essay will attempt to answer these questions by examining all of the various problems, and pressures with which Britain was faced regarding its African colonies, which can been seen to have taken the control of decolonisation in Africa between 1959 and 1964 out of Britain’s hands. It will look at whether Britain really wanted to maintain control of its colonial territories, or whether, once Britain had decided not to keep its colonies, it actually did not want to remain in control of decolonisation in Africa. In some cases did it actually make it easier for Britain to allow control of African decolonisation **** out of its hands. This essay will examine whether it is certain that once the ‘wind of change’ of African nationalism began spreading through Africa, that Britain was not entirely in control, and, will examine the extent to which Britain did retain control, if it did at all. It will look at the pressures the British government had to deal with, for example, pressures from the UN to end British imperialism, pressures from the US, and pressures from other members of the Commonwealth, as well as from the rest of Europe. It will examine the strength of colonial nationalism and the extent to which this took the control of decolonisation in Africa away from Britain, or at least forced the British government to change and adapt its policy in order to cope and deal with this threat. This essay will look at pressures at home in Britain, from members of the government and those in opposition as well as British public opinion, and the extent to which this affected Britain’s policy over decolonisation. It will also look at the impact and influence that the process of decolonisation being pursued by other European imperial powers in Africa had on Britain’s decolonisation policy. It will look at how much the desire of Britain to maintain its role as a world power, and maintain, for example, the special relationship with America, and its position in the Commonwealth, had on British policy over decolonisation and whether this desire led to Britain pursuing a policy direction which it otherwise would not have done. Finally, having examined all these pressures and events which affected Britain’s decolonisation policy in Africa, this essay will attempt to examine to what extent Britain was, or was not, able to retain control over this process, and affect it in a way which was acceptable to Britain. It will then try and make an assessment, whether or not Britain did retain control over decolonisation in Africa in the period from 1959 to 1964, and, if Britain was in control, the extent of this control.

Washington D.C: Our Nation’s Capital :: History

Washington D.C: Our Nation’s Capital Although the entire world is familiar with the City of Washington as the United State’s capital, the city was nonexistent when we became a nation in 1789. Thanks to the brilliant design of the French born engineer, Pierre Charles L’Enfant and his assistants Benjamin Banneker and Andrew Ellicot, our capital city that was once a swamp now is beautiful with many different parks, gardens trees, tall buildings and wide avenues. Washington, District of Columbia named after Christopher Columbus, has played a unique role in the wars of our nation and has been dramatically affected by their awesome events. The battles, conflicts and politics of war have forever changed America. During the War of 1812, the British burned the newly-built capital; The Civil War transformed Washington District of Columbia (DC) from a sleepy Southern village into the powerful capital of a reunited nation. Through the course of World War II Washington became the nerve center of an unprecedented war effort and headquarters of the postwar free world. During and after the Civil War, thousands of slaves fled to Washington D.C., thinking that if they reached the capital, they would be safe and free. However, the government was totally unprepared for an influx of this magnitude. There was no place for them to live, very little food, and no employment. Sojourner Truth was a very inspirational woman who was a former slave that worked with th ese people trying to improve their living conditions and was later employed by the government’s Freedmen’s Bureau. Wonderful black people like Sojourner Truth and James Wormley who was a successful hotel owner, were a very essential component to black’s rise in DC. They gave hope to hopeless black people. Their lives demonstrated that black people could rise above the turmoil and uproar. Before our nation’s capital rested as Washington D.C it was located in New York City temporarily. A year later it was moved to Philadelphia, Pennsylvania. A fierce rivalry developed between the northern and southern states over the location; their economic interests were completely different. The states believed that the newly appointed city to be the nations capital would have more power over the remaining states, even congressmen were aware that the area receiving the capital would gain wealth and political influence. Some of the competing cities offered land and money as incentives. This discrepancy that was finally resolved by a political compromise.

Bystander Effect Essay

Introduction – This study researched the implications of the bystander effect when both gaze and no gaze methods were used. It tested this with woman to woman interaction only. The belief was that when gaze was held between the subject needing assistance and a random subject the expressed desire to help would raise. Methods Participants – For participants the study used one hundred and ten adult American women waiting alone at a bus stop in Staten Island, New York. Apparatus/Materials – two women dressed in plain clothes, a pocket full of change, and conducted at a bus stop. Procedures – Two women dressed in plain clothes or one woman alone approached a bus stop where a solitary other woman already was(the subject) one of the women had a cast on her dominant hand. The woman with the impairment reached into her pocket on the side of her casted hand with the opposite hand and attempted to draw coins from the pocket. Upon doing this she dropped the coins over the sidewalk. After the coins had fallen she either made eye contact with the subject or just proceeded to pick up the coins. If the subject assisted in picking up the coins or helped identify where the coins were she was considered helpful. IV – the woman dropping the coins DV – whether or not the subject assisted in picking up or finding the coins. Results – In the gaze versus no gaze condition with a companion 70% of the subjects assisted rather than 30% that assisted when no gaze was used. When no- gaze was used and tested alone versus with companion a significant difference was seen. 33% helped when the person in need of help was alone as opposed to 11% when with a companion. Discussion – this research shows that a subject can feel increased responsibility when someone else is in the vicinity and gaze is held rather than when the subject is alone and gaze is held versus gaze not being held. A possible answer for his is that when two or more people are around and someone in distress makes eye contact they are showing a distinct desire for that person rather than the other people around who they could ask for assistance. This makes a subject feel more responsible to help rather than if they would have not made eye contact because the distressee is asking indirectly for help. The difference in between look and non- look while alone was less significant because the bystander already seemingly had a sole responsibility to help and not expect someone else to and so looking at them wasn’t as much asking them specifically rather than a plea for help. Limitations – the person in need of help could be asking for different amount of help with just there facial expressions. Certain females may prefer other females more than others and be more inclined to help. Future Research – this study can be held again but rather than having solely female to female interaction, male to female and female to male interaction can be had.

Adertising Agencies

Table of Content Advertising3 Industry Snapshot4 Nature of the Industry5 Media7 In-film advertising9 Work Environment10 Personal characteristics11 Employment avenues12 Public service advertising12 Regulation13 Copyright14 Advertising Agency15 History of ad agency17 Advertising Process19 Typical work flow in agency19 Types of advertising agencies20 The functions of an advertising agency:23 The Benefits of Using an Advertising Agency23 Advertising Agency's Role24 Services offered by ad agency25 Departments & Personnel28 Account Services / Account Management28 Account planner / Director28 Account Supervisor29 Account executives29 Creative department30 Art Directors30 Copywriter31 Digital Studio34 DTP Artist34 Visualizer34 Media Department35 FUNCTIONS OF THE MEDIA DEPARTMENT35 Marketing Research Department37 Creative Services Department38 Event Management and Promotion department38 Traffic Manager (system administrator)38 Radio & TV Broadcast Production Department39 Print Production Department40 Agency Personnel41 Production Team41 Storyboard artist41 Graphic designer42 Advertising interns43 Job Positions and Earnings44 Agency Compensation45 Impact of technology on advertising46 Common software used by ad agency47 Adobe Photoshop48 QuarkXPress48 Autodesk Maya49 Adobe Flash50 CorelDRAW51 Computer-aided design (CAD)52 Famous advertising agencies in world53 Ogilvy & Mather India54 Overview54 Network55 Key people56 Services offered56 Major Clients57 Indian ad legends58 Large vs. Small Agencies62 Workforce for ad agency63 Study / Training & Advancement64 Courses / Institutions66 Future68 Outlook69 Myth: An agency always helps to sell a product70 Case study71 Advertising creative75 Conclusion76 Bibliography & Webliograpy77 Advertising Advertising, generally speaking, is the promotion of goods, services, companies and ideas, usually performed by an identified sponsor. Marketers see advertising as part of an overall promotional strategy. Other components of the promotional mix include publicity, public relations, personal selling, and sales promotion. Advertising involves the process where in a massage is designed so as to promote a product, a thought, an idea or even a service. The concept of advertising has assumed a dynamic form with the use of the various mediums of communication. From the newspaper, magazines, posters, neon and fluorescent signboards, billboards to the commercial on TV, laser shows to inflated high-rise figures and objects, advertising has come a long way. The work is formidable as it spearheads a process intended to attract, modify, change and influences public opinion. From the local business to multinational firm and all need to advertise. While politicians, social organizations, government special groups need to advertise their motto, national airlines, auto mobile manufactures, food and consumer goods manufacturers have to reach the consumer. Specialist products and services are often advertised through trade magazines and exhibitions. Lately mail-shots, handbill circulation, special offers have become very popular. There are still other ways of advertising. There are window displays, display on telephone directories, transit sign on buses, lamp posters, banners, etc. Advertising through the electronic media has been perhaps the most popular medium. Advertising, as an effective medium, uses a variety of techniques to create effective advertisements. A basic appeal is at the heart of advertising. Slogans and product characters are created to catch the attention of the viewers. Most winning advertisements would encompass factual information with emotional appeal. The advertising industry has three major sectors. †¢ Business or organization which wishes to advertise, †¢ Media which provides the medium for advertising and †¢ Ad-agency which creates the ad to suit the need of the firm. Ad agencies vary in the size and turnover. Nevertheless the process of creating an ad remains the same. The annual expenditure on the advertising has been to the tune of Rs 8000 crores and the figure could be higher. USA has projected media spending on advertising on the net to approximately $7700 by the turn of the century. The scope for advertising professionals certainly shows an upward trend. Industry Snapshot According the Advertising Age's 2002 Agency Report, the world's six largest advertising agencies accounted for over 65 percent of $39. 28 billion spent on advertising worldwide in 2001. But the advertising industry has suffered during the first years of the 2000s. The economy decline prior to and exacerbated by the terrorist attacks of September 11, 2001 has been sustained by the ongoing conflict with Iraq. As an indicator of the softened demand for advertising services, advertising agency employment fell to just over 180,000 in December 2002, down from an average employment of 194,400 in 2001 and 182,400 in 2002, representing the largest decline since 1991. Advertising agencies are primarily responsible for two functions. The first is the production of advertising materials in the form of written copy, art, graphics, audio, and video. The second is the strategic placement of the finished creative product in various media outlets, such as periodicals, newspapers, radio, and television. Advertising agencies can be found throughout the United States, with the greatest percentage located in large cities. Many have headquarters in New York and field offices in Chicago, Los Angeles, San Francisco, Atlanta, Detroit, and other major areas of commerce in order to be close to clients. Although the larger agencies are more frequently mentioned in the media and in trade publications, the industry is actually predominately comprised of smaller agencies, many with only one or two principals. Industry bservers credit lower overhead, diversified services, willingness to accommodate change, and an entrepreneurial attitude for the success of smaller, boutique agencies. As many clients have begun to focus on a variety of forms of marketing communications, advertising agencies have had to look beyond conventional media-based advertising. Advertising budgets reflect this shift, with additional dollars being earmarked for point-of-sale promotions, public relations, and a major entry in to the media mix—the Internet. Changing demographics and a savvy American consumer were the driving forces behind these alternative forms of marketing communications. Some industry leaders have projected that advertising agencies will need to augment their primary line of work and change their longstanding compensation system based on commissions. Realizing the need for â€Å"integrated marketing services,† many agencies have responded by offering public relations, direct mail, promotional, and Internet services. Nature of the Industry Firms in the advertising and public relations services industry prepare advertisements for other companies and organizations and design campaigns to promote the interests and image of their clients. This industry also includes media representatives—firms that sell advertising space for publications, radio, television, and the Internet; display advertisers—businesses engaged in creating and designing public display ads for use in shopping malls, on billboards, or in similar media; and direct mail advertisers. A firm that purchases advertising time (or space) from media outlets, thereafter reselling it to advertising agencies or individual companies directly, is considered a media buying agency. Divisions of companies that produce and place their own advertising are not considered part of this industry. Most advertising firms specialize in a particular market niche. Some companies produce and solicit outdoor advertising, such as billboards and electric displays. Others place ads in buses, subways, taxis, airports, and bus terminals. A small number of firms produce aerial advertising, while others distribute circulars, handbills, and free samples. Groups within agencies have been created to serve their clients’ electronic advertising needs on the Internet. Online advertisements link users to a company’s or product’s Web site, where information such as new product announcements, contests, and product catalogs appears, and from which purchases may be made. Some firms are not involved in the creation of ads at all; instead, they sell advertising time or space on radio and television stations or in publications. Because these firms do not produce advertising, their staffs are mostly sales workers. Companies often look to advertising as a way of boosting sales by increasing the public’s exposure to a product or service. Most companies do not have the staff with the necessary skills or experience to create effective advertisements; furthermore, many advertising campaigns are temporary, so employers would have difficulty maintaining their own advertising staff. Instead, companies commonly solicit bids from ad agencies to develop advertising for them. Next, ad agencies offering their services to the company often make presentations. After winning an account, various departments within an agency—such as creative, production, media, and research—work together to meet the client’s goal of increasing sales. Widespread public relations services firms can influence how businesses, governments, and institutions make decisions. Often working behind the scenes, these firms have a variety of functions. In general, firms in public relations services advise and implement public exposure strategies. Firms in public relations services offer one or more resources that clients cannot provide themselves. Usually this resource is expertise in the form of knowledge, experience, special skills, or creativity; but sometimes the resource is time or personnel that the client cannot spare. Clients of public relations firms include all types of businesses, institutions, trades, and public interest groups, and even high-profile individuals. Clients are large and small for-profit firms in the private sector; State, local, or Federal Governments; hospitals, universities, unions, and trade groups; and foreign governments or businesses. In an effort to attract and maintain clients, advertising and public relations services agencies are diversifying their services, offering advertising as well as public relations, sales, marketing, and interactive media services. Advertising and public relations service firms have found that highly creative work is particularly suitable for their services, resulting in a better product and increasing their clients' profitability. Media Commercial advertising media can include wall paintings, billboards , street furniture components, printed flyers, radio, cinema and television ads, web banners, web popups, skywriting, bus stop benches, magazines, newspapers, town criers, sides of buses, taxicab doors and roof mounts, musical stage shows, subway platforms and trains, elastic bands on disposable diapers, stickers on apples in supermarkets, the opening section of streaming audio and video, and the backs of event tickets and supermarket receipts. Any place an â€Å"identified† sponsor pays to deliver their message through a medium is advertising. Covert advertising embedded in other entertainment media is known as product placement. A more recent version of this is advertising in film, by having a main character use an item or other of a definite brand – an example is in the movie Minority Report, where Tom Cruise's character Tom Anderton owns a computer with the Nokia logo clearly written in the top corner, or his watch engraved with the Bulgari logo. The TV commercial is generally considered the most effective mass-market advertising format and this is reflected by the high prices TV networks charge for commercial airtime during popular TV events. Virtual advertisements may be inserted into regular television programming through computer graphics. It is typically inserted into otherwise blank backdrops or used to replace local billboards that are not relevant to the remote broadcast audience. More controversially, virtual billboards may be inserted into the background where none existing in real-life. Virtual product placement is also possible. Increasingly, other mediums such as those discussed below are overtaking television due to a shift towards consumer's usage of the Internet. Advertising on the World Wide Web is a recent phenomenon. Prices of Web-based advertising space are dependent on the â€Å"relevance† of the surrounding web content and the traffic that the website receives. E-mail advertising is another recent phenomenon. Unsolicited bulk E-mail advertising is known as â€Å"spam†. Profile of major advertising mediums MEDIUM |ADVANTAGES |LIMITATIONS | |Newspapers |Flexibility; timeliness; good local market coverage; |Short life; poor reproduction quality; small | | |broad acceptance; high believability. |pass along audience. | |Television |Combines sight, sound and motion; appealing to the |High absolute cost, high clutter, fleeting | | |senses; high attention; high reach. exposure, less audience selectivity | |Direct mail |Audience selectivity, flexibil ity, no ad competition |Relatively high cost, junk mail image. | | |within the same medium, personalization. | | |Radio |Mass use, high geographical and demographic |Audio presentation only; lower attention than | | |selectivity; low cost. |television; non standardized rate structure; | | | |fleeting exposure. |Magazines |High geographical and demographic selectivity; |Long ad purchase lead time; some waste | | |credibility and prestige; high quality reproduction, |circulation; no guarantee of position. | | |long life; good pass-along readership. | | |Outdoor |Flexibility; high repeat exposure; low cost; low |Limited audience selectivity; creative | | |competition. |limitation. | |Brouchers |Flexibility; full control; can dramatize message. Overproduction could lead to run away costs. | In-film advertising In-film advertising used to mean a couple of product billboards placed behind the hero's car, Till Taal came along. That's the film that put Coke — and product placements à ¢â‚¬â€ firmly in the plot. In-film advertising has only gathered more fans since. It's not just the colas, brands like Hero Honda, Bru, and Fair & Lovely have got into the act. It has become a well-thought out and legitimate part of a brand's marketing plan, and as the film industry gets more corporatised, it's likely to get more popular. This season's got a blockbuster hitting the screen, with all the attendant song, dance and scandal. Kaante stars Amitabh Bachchan, Sanjay Dutt, Sunil Shetty, Kumar Gaurav, Lucky Ali and Mahesh Manjrekar — and Thums Up. Coke's paid Sanjay Gupta, the film's producer, to feature the cola in some scenes — rumours put the figure at Rs 4 crore, but Coca-Cola, as well as the producer, say it isn't so — and it's also airing promos for the film that incorporate the Thums Up brand. Leo Entertainment, the film marketing division of Leo Burnett, is working with White Feather Productions in their marketing efforts. Work Environment Ad agencies are based within office settings. Accounts Executives, Account Planers, Media Executives, Art Directors and Copywriters spend most of their working time in agency office. Account Executives have to travel extensively, visiting clients and suppliers. While other staff, travel occasionally to attend meetings with clients, or visit locations during film production. Ad agencies are very busy places and often work is on till late hours. In 2004, workers in the industry averaged 33. 8 hours per week, a little higher than the national average of 33. . Most employees in advertising and public relations services work in comfortable offices operating in a teamwork environment; however, long hours, including evenings and weekends, are common. There are fewer opportunities for part-time work than in many other industries; in 2004, 14 percent of advertising and public relations employees worked part time, compared with 16 percent of all workers. Work in advertising an d public relations is fast-paced and exciting, but it also can be stressful. Being creative on a tight schedule can be emotionally draining. Some workers, such as lobbyists, consultants, and public relations writers, frequently must meet deadlines and consequently may work long hours at times. Workers, whose services are billed hourly, such as advertising consultants and public relations specialists, are often under pressure to manage their time carefully. In addition, frequent meetings with clients and media representatives may involve substantial travel. Most firms encourage employees to attend employer-paid time-management classes, which help reduce the stress sometimes associated with working under strict time constraints. Also, with today’s hectic lifestyle, many firms in this industry offer or provide health facilities or clubs to help employees maintain good health. Personal characteristics People in the accounts or client servicing i. e. , the Account Executives, Director and planer need to be adept at negotiating. The ability to communicate easily is vital. They face the challenge of competing in the market with other agencies; hence need to have drive determination and tremendous physical and mental stamina. Sensitivity to consumer behavior, trends and human nature are important for success in advertising. They should be able to assimilate the client’s requirements and in a lucid style prepare briefs for other departments. The ability to get the work executed by all departments is specially required. The creative people need a good visual ability, languageartistic skill. Copywriter requires literary ability but an interest in commercial success which comes from understanding what motives the target audience is important. Writers must be able to work, to a strict brief, within restricted space and in limited time. Advertising must follow legal requirements and rules hence considerable creative self-discipline is needed. A feeling for words, economy of style and imagination is needed. The copywriter works with the art director, and the creative director. The work can be very frustrating particularly when an idea is rejected by the art director and amendments made by the creative director and the client. This can often restrict the imaginative capacity of the copywriter. The openness to stand criticism is absolutely essential. Media Executives, Planners and Executive directors with others in an integrated team. They should be able to interplant a great deal of information. Media buyers spend most of their time negotiating over the telephone to buy space or time. Attention to detail is needed for keeping to the budget allocated. Employment avenues The business of advertising has been growing in proportion to the national economy. Greater competition between domestic and multinational firms has spurred marketing and advertising efforts. Competition for these jobs is growing. Creative college graduates with communication skills will get the best jobs. Job opportunities are in advertising agencies, commercial radio and public, Multinational firms, advertising/PR department of organisations/business/government. Advertising agencies have the highest profile in a much larger advertising industry, composed of various media, advertisers, printers, photographers, typesetters, and others that act as suppliers to the industry. Accordingly, agencies attract most of the people who want to get into advertising. Generally speaking, an agency is not the place to start an advertising career until the candidate has acquired two sorts of knowledge not available in most academic institutions. First, an extremely good working knowledge of how a wide variety of businesses work is necessary, for agencies serve so many kinds of clients. Second, one must develop good interpersonal business skills to be successful in the agency industry, and these skills are usually developed only in on-the-job experiences. Public service advertising The same advertising techniques used to promote commercial goods and services can be used to inform, educate and motivate the public about non-commercial issues, such as AIDS, political ideology, energy conservation, religious recruitment, and deforestation. The Government of India has for a long time relied considerably on the talents of the Advertising Agency and the Advertising Agencies Association of India for social causes. Family Planning is the most successful campaign for a social cause by any advertising agency. Advertising, in its non-commercial guise, is a powerful educational tool capable of reaching and motivating large audiences. Regulation There have been increasing efforts to protect the public interest by regulating the content and the reach of advertising. Some examples are the ban on television tobacco advertising imposed in many countries. The general aim of such codes is to ensure that any advertising is legal, decent, honest and truthful. Some self-regulatory organizations are funded by the industry, but remain independent, with the intent of upholding the standards or codes. In India there is Advertising Agency’s Association of India (AAAI) that supervises the affairs of the industry. There is a body called Advertising Standards Council of India (ASCI), which looks at issues pertaining to regulation of advertising. The advertising of controversial products such as cigarettes and condoms is subject to government regulation in many countries. For instance, the tobacco industry is required by law in India and Pakistan to display statutory warnings cautioning consumers about the health hazards of their products. Some potential ETHICAL ISSUES often come under scrutiny form moral or ethical perspective and border on being regulated are mentioned here. The idea is to be more aware and sensitive to them looking at advertising. †¢ Untruthful and misleading claims made in the ads. Misrepresentation of facts or situations in the name of creative license. †¢ Obscenity and misuse of sex advertising. †¢ Advertising inducing children †¢ Advertising of products that are commonly assumed to have harmful effects like alcohol, cigarette, drugs, weapons, etc. †¢ Surrogate advertising with hinted or hidden message. †¢ Media issues like use of billboards and other outdoor advertising (f or traffic & safety reasons) †¢ Copyright, trademark and issues of making unfair competitive claims. †¢ Civil rights or rights of privacy or citizens Copyright Copyright is a set of exclusive rights regulating the use of a particular expression of an idea or information. At its most general, it is literally â€Å"the right to copy† an original creation. In most cases, these rights are of limited duration. Copyright may subsist in a wide range of creative, intellectual, or artistic forms or â€Å"works†. These include poems, plays, and other literary works, movies, choreographic works, musical compositions, audio recordings, paintings, drawings, sculptures, photographs, software, radio and television broadcasts of live and other performances, and, in some jurisdictions, industrial designs. Copyright law covers only the particular form or manner in which ideas or information have been manifested, the â€Å"form of material expression†. It is not designed or intended to cover the actual idea, concepts, facts, styles, or techniques which may be embodied in or represented by the copyright work. Several exclusive rights typically attach to the holder of a copyright: †¢ to produce copies or reproductions of the work and to sell those copies (including, typically, electronic copies) †¢ to import or export the work to create derivative works (works that adapt the original work) †¢ to perform or display the work publicly †¢ to sell or assign these rights to others Ad agency is supposed to follow the rules and regulations of copyright laws while creative ads for any product they must see that the concepts are not fully copied from somewhere else. Advertising Agency Getting the best out of advertising is a highly skilled job. It requires the inputs of e xperts in many different fields like writers, artists, photographers, designers, television production crews and many others. Even the biggest advertisers cannot afford to employ all these experts. Almost all advertising is therefore arranged through an advertising agency which provides the necessary skill to turn the message into a memorable and effective advertisement. Advertising has not only come to reflect pop culture but has also become an important element of economic growth. Today, every person connected with the Indian economy or public should be fully aware what advertising really is and why effective advertising campaigns can be performed by full-service advertising agencies. Advertising agency is one of the most important components of advertising industry. It has played a significant role in the development of modern advertising. The advertising agency has evolved to provide the specialized knowledge, skills and experience needed to produce effective advertising campaigns. It provides a quality range of service greater than any single advertiser could afford or would need to employ. An advertising agency is a firm that specializes in the creation, design and placement of advertisements, and in the planning and execution of promotional campaigns for products and services of their clients. The Association of Advertising Agencies of America (AAAA) defines advertising agency as â€Å"An independent business organization composed of creative and business people who develop, prepare and place advertising media for sellers seeking to find customers for their goods and services. † The glamour, the unlimited expense accounts, and the exhilarating lifestyle – all these popular portraits of life in the big-time advertising agency are misleading. Advertising is demanding, challenging, hard work. It is also interesting and fulfilling. Advertising requires a mix of personal abilities, considerable business skills, and an ability to work under pressure to meet deadlines. Compared to larger industries, there are never many entry-level positions open in advertising agencies (dozens rather than hundreds). And competition is stiff. The industry, however, is constantly on the look out for skilled, bright, articulate, creative and personable men and women with a well-rounded education and a good business sense. An advertising agency or ad agency is a service business dedicated to creating, planning and handling advertising (and sometimes other forms of promotion) for their clients. An ad agency is independent from the client and provides an outside point of view to the effort of selling the client's products or services. An agency can also handle overall marketing and branding strategies and sales promotions for its clients. Typical ad agency clients include businesses and corporations, non-profit organizations and government agencies. Agencies may be hired to produce single ads or, more commonly, ongoing series of related ads, called an advertising campaign. History of ad agency 1. Period of early growth 1841 – 1865. The first advertising agency on record in the US was Olney B. Palmer. In 1841, Palmer organized a newspaper advertising and subscription agency. By 1849 he had established offices in the cities of New York, Boston, Baltimore and Philadelphia. At this early fate, there were no directions of newspapers and no published rates for space to be sold to advertisers. Palmer acted as an informatory agent in these matters to prospective advertisers. In essence, he served as a salesman of space for publishers and they in turn, gave him a commission of 25% of such sales. The publishers found these methods of selling more effective than trying to sell direct and advertisers, wishing to reach more than one territory found value in such service. Completion increased, and the usual price cutting occurred. Success seemed to depend upon one’s ability to bargain with the publisher and advertiser. The natural result of this policy was a general reduction in profits to the agency; this led to a search for new competitive tools which would return a profit. 2. Wholesaling Period 1865 – 1880 George P. Rowell, who opened an agency in 1865, supplied the new competitive tool. Rowell contracted with 100 newspapers to sell him a column of space each week for a year. Throughout the wholesaling period, the agent continued as a seller of space for publishers. This took on different forms, one of which was the exclusive right to sell space in certain publishers. Thus, one agency developed a controlled list of religious papers, another a â€Å"List of Thirsty† household magazines. Any advertiser wishing to buy space in the controlled publications was forced to buy through the exclusive wholesaler for that paper. . Semi Service Period 1880 – 1917 The wholesaling phase of agency work was checked when publishers began to establish their own sales departments for selling space. Some of these departments sold direct to the advertiser, others to the general advertising agency. Thus, the agency was forced to turn its attention somewhat away from the particular function of s elling space for publisher and toward the function of buying space for the advertiser. Early in the semi service period agencies offered to write the copy for the advertiser, thus giving added weight to their claim of being servants of the advertiser. This concept of service was slow to develop; but in the early part of the 20th century, agencies began to emphasize strongly this â€Å"free† service. One agency in 1905 advertised that it paid $28,000 a year for a copywriter. These methods increased the agency business and forced most space sales to be made through them. 4. Service Period 1917 – Present By 1917 the idea of service had grown until not only was copywriting done for the advertiser but many other things as well. During the service period, many agencies have grown to the position of advertising and marketing counselors for advertiser. The service elements has modified the position of agencies to such a degree that radio and television, network and magazine publishers have come to depend upon them as the primary channel through which time and space are sold. Publishers claim to have had an important part in encouragements of agencies to provide extra service to the advertiser. By providing advertisers with the kind of assistance that will improve the effectiveness of advertising, more time and space naturally will be sold. Advertising Process When preparing your search proposal, you should take into account that the â€Å"lead-in† time needed to place an ad can vary anywhere from days to months depending on the publication. You should plan to have your ad approved and an estimate of the cost done at least one month prior to the date when you want the ad to be published. The advertising process for professional staff and faculty positions involves five basic steps: 1. Writing an Ad 2. Getting Approval for the Text of the Ad 3. Estimating the Cost of the Ad 4. Placing Ads & Posting Announcements 5. Paying for Ads Typical work flow in agency STAGE |WORK PERFORMED AT STAGE | |Briefing Stage |Briefing from the client | | |Internal briefing to the creative and media | | |Any research briefing if required | |Creation Stage |Ad campaign and media plan development | | |Internal review and finalization | | |Presentation to client and approvals | | |Any pre-testing if required | |Production Stage |Budget and estimate approv als | | |Production of ilm, press ads, collaterals | | |Media Scheduling and media booking | | |All release approvals for creative & media | |Post Production Stage |Material dispatch to media | | |Media release monitoring | | |Any post-testing if required | | |Billing and collection | Types of advertising agencies Ad agencies come in all sizes, from small one- or two-person shops to large multi-national, multi-agency conglomerates such as Omnicom Group, WPP Group, Interpublic Group of Companies and Havas. Some agencies specialize in particular types of advertising, such as print ads or television commercials. Other agencies, especially larger ones, produce work for many types of media. Lately, Search Engine Marketing (SEM) and Search Engine Optimization (SEO) firms have been classified by some as ‘agencies' due to the fact that they are creating media and implementing media purchases of text based (or image based in some instances of search marketing) ads. This relatively young industry has been slow to adopt the term ‘agency' however with the creation of ads (either text or image) and media purchases they do qualify technically as an ‘advertising agency' as well as recent studies suggest that both SEO and SEM are set to outpace magazine spending in the next 3-5 years. Not all advertising is created by agencies. Companies that create and plan their own advertising are said to do their work in house. Today selection of ad-agency is very difficult. The advertiser should make list of all possible agencies that can serve his purpose and the agency best qualified to provide required and effective services are selected. Some advertiser may select more than one advertising agency to handle effectively the various product lines. Following are major types of advertising agencies that are currently serving the advertising industry. Full Service Agencies A full service ad agency is one that provides a range of marketing services. A full services agency provides services that are directly related to advertising such as copywriting, artwork, production of ads, media planning etc. It also provides such services in respect of pricing, distribution, packaging, product design etc. Modular agencies A modular agency is a full service agency that sells its services on a piece meal basis. Thus an advertiser may commission an agency’s creative department to develop an ad campaign while obtaining other agency services elsewhere. Or, an advertiser may hire an agencies media department to plan and execute a program for advertising that another agency has developed. Fees are charged for actual work undertaken. In House agencies Those companies, which prefer to have closer control over advertising, have their own in-house agency. This type is owned completely by the advertiser. It performs almost all functions that an outside advertising agency would perform and that’s why some people refer to it as full-service advertising department of the advertiser. However, the difference between an in-house agency and an advertising department is that the in-house agency can undertake to serve several other clients, if the owner so desires, but an advertising department solely undertakes that work of its owner and not of outside clients. Secondly an advertising department may not be equipped the personnel and facilities, which an in-house agency would posses. In-house agency not only provides control over advertising schedule and costs, but also offers convenience for its owner, because it is just available in the same building as that of the head office of advertiser. Such in-house agency also benefits the owner as it can bring revenue through agency commission that are offered by the media and by way of fees that are collected from outside parties for undertaking their advertising work. Such revenue increases the funds and profits of the company. There is another version of in-house agency whereby advertiser handles the total agency functions by buying service unit to buy time, space and place the ads. Such an In-house agency is an administrative center (under the direction of an advertising director) that gathers and directs varying outside for its operation. Creative Boutiques These are shop agencies that provides only creative functions and not full-service. The specialized creative functions include copy writing, artwork and production of ads, they charge a fee or percentage of full service agencies, and as such most of them convert into a full service agency or merge with other agencies to provide a wide range of services. Mega agencies A significant of 1980’s is the development of mega agency. Agencies worldwide merge with each other serve their clients in much better way. It was in 1986, Saachi & Saachi, a London based agency who started the movement and at present it is the third largest agency network in the world. The Specialists Agency There are some agencies who undertake advertising work only in certain areas. there are agencies that specialize only in financial services or only in publicity or only in point-of-purchase material etc. for instance Soubhagya advertising agency concentrate on specialized in financial advertising. The functions of an advertising agency: †¢ To accelerate economic growth and create public awareness †¢ To provide a total, professional, experienced service which is very personal in its nature †¢ To take the advertiser's message and convert it into an effective and memorable communication The Benefits of Using an Advertising Agency †¢ Added Expertise †¢ Media Knowledge and Unbiased Advice †¢ Easier Administration †¢ Media Buying †¢ Quality Control †¢ Information †¢ Fending off the media †¢ And when things go wrong †¢ Cost Saving †¢ Time Saving Advertising Agency's Role Suppose you are a company with a product. It may be a totally new product. As a company with a product or service to sell, designing and making that item is only part of the battle. People are not going to beat a path to your door. You have to seek a channel of communication. Ad agency need to consider, for example: †¢ For whom is the product or service designed? †¢ Who would use it? Who is the â€Å"target group†? †¢ What's special about the product? In what way is it distinct? Unique? Different? †¢ What's its â€Å"position† in relation to other similar products? †¢ What do you want to convey to the public about y our product? †¢ How should your company contact the public? †¢ What medium should it use? Radio? TV? Newspapers? Magazines? Billboards? Bus/subway ads? Direct mail? etc. †¢ How extensive a region should your company try to cover? †¢ How often? Communication and marketing decisions involve specialized expertise. Many companies that design and produce products or offer services lack these specific capabilities. This is where advertising agencies fit in. Advertising agencies exist to help companies to communicate with the public, Market the company's product. [pic] The process of advertising involves considerable specialized knowledge and expertise †¢ about people – their interests, preferences, needs, wants, lifestyles, expectations †¢ about media – their reach, their effectiveness, their specific appeal †¢ about the company and its product – and about competing companies and their products Services offered by ad agency Total Advertising Services Strategic planning, creative development and media services for advertising, particularly in television, newspapers, magazines and radio; providing the best creative designed to capture the imagination of consumers Marketing Services Provision of a number of advertising related services, including sales promotion, market research, PR and event marketing. e-Solution Services e-solution services, including system integration services, e-business consulting and customer relationship management (CRM), Search Engine Marketing (SEM) and Search Engine Optimization (SEO) and e-promotions using the Internet and mobile. Content Business Sales of sponsorship, broadcasting and other rights, and the production and marketing of such media / content as sporting events, films, TV programs, animated content, music and other forms of entertainment. Integrated Media Services Bringing value to both clients and media-related companies by offering a wide range of media solution services Sales Promotion Providing comprehensive sales promotion planning designed to complement mass media and other activities Event Marketing Assisting clients by providing dynamic vehicles for their messages in the form of on-the-spot interactive communications Integrated Branding Services Assuring clients the highest quality of branding services for their communication needs Organization Structure The activities within an advertising agency are typically divided into 4 broad groups: account management, the creative department, media buying, and research. These divisions are usually physically separated, although all four areas work closely together to produce an advertising campaign in its entirety. Account managers usually have daily interaction with a counterpart at the client's office and coordinate the activities of the other departments according to the client's wishes. The creative department designs original themes or concepts for ads, while the media department places finished ads within the media in which they will receive the most exposure to a target audience. The research department provides data about consumers to help the agency and the client make informed advertising decisions. Recently added to advertising agencies' roster of services are public relations, direct marketing, and promotional services. Other activities that used to be completed by outside vendors, such as photography and high-tech print work, have been brought in-house in many agencies. ORGANIZATION CHART [pic] [pic] Departments & Personnel Account Services / Account Management The other major department in ad agencies is account services or account management. Account service employees work directly with clients and potential clients, soliciting business for the ad agency and determining what clients need and want the agency to do for them. They are also charged with understanding the client’s business situation and representing those needs within the agency, so that ads can be brought to bear on the correct problem. Account planner / Director The Account Planner is the main planning executive who works in partnership with the client on long-term account planning. He knows what is happening in the market place, the attitude of the consumer towards the client’s as well as the competitor’s brands. Account Planner Deals with senior members of the client organization. He is responsible for agency performance as a whole with limited involvement in routine agency projects. The Account Director is responsible for forward, long-term planning, deployment of agency personnel and overall account profitability. The account planner was originally employed to â€Å"represent the consumer† in the advertising i. e. , find the best way to pitch the clients products to people by better understanding them, what they want and how to talk to them. Planning's role has expanded considerably since it was originally introduced. Planners are now also brand strategists and, to a certain extent, media strategists – using consumer insights to understand where and how people are most receptive to certain messages. In many agencies, there is a dedicated media department and there are also some large and small agencies that exclusively handle media strategy and media buying. Account Supervisor A middle management position: he or she manages the account within a medium term perspective. This includes strategic planning, market analysis, competitive activity analysis, as well as recognizing and capitalizing on business building opportunities. Account executives Account executives represent their ad agency to their clients. They understand sales and advertising problems of the client and address the client’s need to the advertising approach. In advertising ‘The account’ is the client. The business of each client with the agency is referred to as an account. An ad agency handles assignments of a number of clients. A client’s business is assigned to a team of people from the ad agency with the Account Executive at the head of team. An account executive may be handling the business of number of non-competing clients at the same time. The Account Executive supervises his team of people drawn from all departments while planning, scheduling and executing the assignment. Before a campaign is launched research on the client’s business methods, the product to be advertised is made. With this background information there is a meeting of the creative media and marketing division along with members of the client’s team. The objective of this meeting is to define the nature and use of the product, and the target users as well as other competing brands. After all the information is assigned the agency team prepares a draft brief with recommendations. These are presented to the client by the Account Executive. The brief and budget are discussed and after finalization of work. The Account Executive motivates guides and coordinates the activities so that deadlines are met and the client’s expectations become a reality. He spends lot of time keeping the client updated on the progress. The Agency’s Director too has to be kept informed. This is done directly in smaller firms but in larger firms there may be an Account Planner or Director. The chief role of account executive is to extract the best possible work from the other departments of the agency. They are in daily touch with clients. Creative department The creative department is the people who create the actual ads – form the core of an advertising agency. Modern advertising agencies usually form their copywriters and art directors into creative teams. Creative teams may be permanent partnerships or formed on a project-by-project basis. The art director and copywriter report to a creative director, usually a creative employee with several years of experience. Although copywriters have the word â€Å"write† in their job title, and art directors have the word â€Å"art†, one does not necessarily write the words and the other draw the pictures; they both generate creative ideas to represent the proposition (the advertisement or campaign's key message). Creatives frequently work with outside design or production studios to develop and implement their ideas. Creative department consist of two key personnel i. e. art director and copywriters. These positions and ad agency is explained below. Art Directors Art Directors in Advertising aren't necessarily the head of an Art Department although the title may suggest it. They typically work in teams with a copywriter. Together the team works on a concept and design for commercials, print advertisements, and any other advertising medium. The art director is mostly responsible for the visual look and feel of the creative product as well as the concept. The Art Director ensures that the end product has the same look and feel as the original concept. The copywriter has ultimate responsibility for the product's verbal and textual content, and both are responsible for coming up with big, effective and persuasive ideas. Depending on the competencies of each, they may share tasks that are traditionally designated for one or the other, for instance, an art director may suggest certain wording and a copywriter may suggest a certain aesthetic for a project. Art directors may also oversee a team of junior designers, image developers and production artists. In a smaller organization the art director may fill these roles as well. In a larger organization, art directors may oversee other art directors in a senior/junior art director relationship. Copywriter A copywriter is a person who writes text, or copy, for clients. Most copywriters work in advertising or marketing, producing copy that's intended to persuade a reader to buy a product or service or otherwise take action. Copywriting involves providing words, which are read or heard in advertisements. This may include slogans or jingles or detailed text for catalogues, brochures, leaflets and journals. Copywriting also takes the form of script for television and film commercial advertisement. Copywriters can contribute words and ideas to print ads, catalogs, billboards, commercials, brochures, postcards, online sites, e-mail, letters and other advertising media. Ultimately, the kinds of ads and media a copywriter will work in depend on his or her own inclination and what clients ask for. A copywriter often works as part of an advertising team. Agencies and advertising departments partner copywriters with art directors. The copywriter has ultimate responsibility for their ads verbal and textual content, the art director has ultimate responsibility for the visual look and appeal, and both are responsible for coming up with big, effective, persuasive ideas. Copywriter and visual art work go hand in hand and this is the work which goes on in the agency’s creative department. Briefs from the Account Executive outlining the target group for the advertisement and information about the product, followed by discussions with the account planner, along with research material, and perhaps a meeting with client put the creative department to work. The essential skill of the Copywriter lies in interpreting and understanding the mind and needs of the target audience and the characteristics of the product. They must identify what it is that would make people want or need the product being promoted. The Art Director and the Copywriter together then work on an idea that should catch the attention of the public and put the selling point of the product across; many ads are discarded, reincarnated and created. The final product is a team effort of the Copywriter and Art director with each other having suggested alterations to the other. The more successful creations are then shown to the creative director who in turn may suggest further modifications. Final drawings are then produced and shown to the client. Once the client accepts the concept and layout is modified and the details filled in. The design and copy is sent to the production team for typesetting, photographs and drawings for printed advertisements or filming for television commercials. Giants in the copywriting field include David Ogilvy, William Bernbach, Robert W. Bly and Leo Burnett. Many creative artists spent some of their career as copywriters before becoming famous for other things, including Dorothy L. Sayers, Joseph Heller, Terry Gilliam, Salman Rushdie, and Don DeLillo. Creative Department people need following attributes for this back-breaking job. †¢ A good psychologist. †¢ Willing and able to set high standards. †¢ An efficient administrator & Research minded †¢ Capable of strategic thinking – ‘positioning’ and all that. †¢ Equally good at package goods and other kinds of accounts †¢ Well versed in graphics and photography †¢ A hard worker and fast †¢ Slow to quarrel Prepared to share credit for good work, and accept blame for bad work †¢ A good presenter & good recruiter Creative Process Policy [pic] Digital Studio Often called the DTP section, this set of people work on the final artwor ks that are sent to the various publications for release. DTP Artist DTP Artist is Desk Top Publishing worker, a special name used in Advertising agencies, Publisher, Color separation, Printing and other related industries. A DTP Artist usually skilled in multiple computer design applications, such as QuarkXPress, Adobe Photoshop, Adobe Illustrator, CorelDraw, Adobe InDesign CS, and others. DTP Artist is formerly known as FA Artist (FA: Finishing Artwork), the name changed due to the digital revolution. DTP Artist is a common name used in India, Malaysia, Singapore and other countries. In America, advertising DTP associate is the term frequently used to describe graphic artists working for in-house art departments. American advertising agencies separate the role of graphic artists between art directors and production artists. Visualizer Visualizer is a position designed by Advertising agencies to assist Art directors, in producing quick & good quality artworks, for presentation (to please the clients). The salary of a Visualizer is very low, usually an average salary of a Visualizer is less than half, or sometimes quarter, of the salary of an Art Director. Visualizer is a special name used in advertising agencies in non-native English speaking countries, Malaysia, Singapore and others. Media Department Size and scale of the advertising is not important. What's in the mind is important. The big bucks are not being spent on production, they are being spent on broadcasting. The Media Department of an advertising agency is responsible for the planning and placement of advertising time and space. It is a function that in recent years has undergone considerable change. The proliferation of media forms and the escalating cost of media time have brought a new focus to the Agency Media Department. Media Executives The main task of the media executives is to place the advertisements where they will be seen by the right target audience keeping the budget in the mind. Hence this job requires planning, research and buying space in the press or time for commercial radio and television. In large agencies this task may be allocated to two or three different specialist. There may be a media planners and media buyers. In small agencies the task may be handled by the same person. FUNCTIONS OF THE MEDIA DEPARTMENT Media Planning The Media Department is responsible for the preparation and the actual presentation of the media plan. This department recommends media and media vehicles that in the agency's opinion best fulfill the client's marketing and advertising objectives. The recommendations are based on a careful assessment of the client's strategic requirements and the subsequent matching against these of the various available media forms. In the process there is great reliance on research and the known strengths and weaknesses of various media. Computer analysis is frequently used to sift through and compare all the media audience data that is available. The final media plan will present a carefully thought out recommendation that delivers the right target group, at the right time, in the right place, with the right number of messages. Media planners have access to up-to-date information about each advertising medium. This includes the relationship and circulation figures for news papers and magazines, viewing figures for different times of the day, listening audience figure for commercial radio stations etc. They are also aware of the various locations for hoarding and billboards. They are a vast array of choice. There are thousands of brands to advertise the work is challenging. It is though the selection of the right media that a good media department can save large advertisers money as well as give credibility. Media Buying Once a media plan has been approved by a client, it must then be purchased. The procedures for this vary according to the medium under consideration. In print media, for example, most purchases are made on the basis of rate cards issued by various newspapers or magazines. In broadcast, however, negotiation is involved. The objective of this negotiation is quite simple – to achieve maximum media efficiencies in obtaining the most for the least, or, in other words, the most audience for the least amount of money. Media buyers buy advertising time/space for the agency’s client. The work closely with the media planer if the two functions are carried out separately. Television and newspaper advertising are expensive. The media buyer’s expertise is in the negotiating the best possible deal for the client. The commercial breaks with the most viewers are the most expensive and so also the newspapers and magazines with the Media Estimating Every single purchase made by the Media Buyer must be recorded in advance of the actual running of the advertisement. This is to enable the agency to bill the client for monies spent on their behalf and to check the invoices submitted by the media. This document is called an estimate. Marketing Research Department Marketing research is three things: 1. The identification of information needs (i. e. defining the problem) 2. The systematic gathering, recording, analyzing and interpreting of data about problems relating to the marketing of goods and services (i. e. providing a solution to the problem) 3. The analysis and evaluation of action taken on the basis of information (i. e. monitoring and modifying the initial solution). The single most important reason then for doing marketing research is to guide the marketer in the analysis, planning, implementation and control of marketing and communications programs to satisfy both customer needs and organizational goals. It does this by providing decision-makers with information necessary to choose between alternative courses of action. While marketing research information can never eliminate all risk from decision making, good research can and should substantially reduce the odds of failure. In short, the essence of marketing research is â€Å"problem-solving†. Creative Services Department The creative services department may not be so well known, but its employees are the people who have contacts with the suppliers of various creative media. For example, they will be able to advise upon and negotiate with printers if an agency is producing flyers for a client. However, when dealing with the major media (broadcast media, outdoor, and the press), this work is usually outsourced to a media agency which can advise on media planning and is normally large enough to negotiate prices down further than a single agency or client can. In small agencies, employees may do both creative and account service work. Larger agencies attract people who specialize in one or the other, and indeed include a number of people in specialized positions: production work, [Internet] advertising, or research, for example. Event Management and Promotion department These are marketing support services which coordinate with external suppliers and use internal resources to implement the client's plans. The work here is coordination, with specific responsibilities being more specialized. Event management, an industry that is just taking off in India, plans, organizes and executes live events, which could include a brand/product launch, an exhibition, a concert or even a conference. Traffic Manager (system administrator) An often forgotten, but still important, department within an advertising agency is traffic. Typically headed by a traffic manager, this department is responsible for a number of things. First and foremost is increasing agency efficiency and profitability through the reduction of false job starts, inappropriate job initiation, incomplete information sharing, over- and under-cost estimation, and the need for media extensions. In small agencies without a dedicated traffic manager, one employee may be responsible for managing workflow, gathering cost estimates and answering the phone, for example. Large agencies may have a traffic department of ten or more employees. Radio & TV Broadcast Production Department The Broadcast Production department is responsible for making television and radio commercials to be aired across the country. Each project is different and the job demands both creative and administrative ability. The most successful people in Broadcast Production have strong aptitudes in both creative and administrative areas. This means that they should be active in creative spheres. They must also have a very high organizational ability as there are a myriad of details to attend to in any production. There are two basic classifications of jobs in Broadcast Production: †¢ Producer †¢ Production Co-ordinator and/or Traffic Co-ordinator The production team's main function is to purchase the services of the correct film or videotape Production Company and to administer and produce the TV commercial production on behalf of the advertising agency and the client. The Producer The Producer is responsible for supervising all aspects of a TV commercial production, from the selection of the production company through budgeting, scheduling, casting, locations, sets, music creation, production meetings, filming, editing, sound mixing, to the final approval of the finished commercial. This means that the Producer must be completely familiar with all aspects of the film and videotape process, including animation, live action, and stop motion. Production Co-ordinator The function of the Production Co-ordinator is to work with one or more Producers, providing administrative and creative support in such fields as budgeting, scheduling, producing production books, and auditioning talent. A Co-ordinator very often will handle revisions and adaptations of TV commercials with the production company. They may also have experience in Broadcast Traffic learning other rules on talent or how to â€Å"traffic† a complex television schedule. Print Production Department Print Production, more than any other agency department, relies on graphic art technology to help give birth to an ad. If there are to be no complications in the ad's delivery to the printed page, then strict technical rules must be followed. Of course, rules were made for valid reasons. An ad must obey that magazine's exact size and film requirements. To defy those specifications, even slightly, would make it incorrect and therefore not publishable. What Print Production People Do? Print production people: †¢ Meet deadlines. Publications insist on strict deadlines and it's crucial that production pay strict heed to them. †¢ Use sophisticated technology. To ensure that those deadlines are met, the Production Manager must possess a solid working know- ledge of the latest graphic art technology. As technology changes it is now imperative to be computer literate and understand their function. †¢ Co-ordinate and manage. The Print Production department's job is to ensure that print advertising is reproduced correctly whether in colour or in black and white. This means exact attention to detail and it is up to the Production Manager to provide the specifications to suppliers. †¢ Skills and training. What are the skills necessary to make it in Production? Technical art expertise and a willingness to keep abreast of new developments; an aesthetic feeling for some of the craftsmanship involved in the graphic arts; accounting and math skills; and a sharp eye for detail. Computer literacy and an understanding of systems is another necessary skill. Production skills aren't something that can be bought, nor are they something that can be learned overnight. It t

How Often To Post On Social Media According To 14 Studies

How Often To Post On Social Media According To 14 Studies Posting once  on social media every day will get you some engagement, shares, and traffic. Sure. But wouldnt scheduling two social media messages a day get you even bigger results? What about three? And  if you shared more messages every day to every social network, wouldnt that also get you even more results? How Often To Post On #SocialMedia? (Proven Research From 14 Studies)Lets just pause for a second because this is probably how youre feeling  right now: Those kind of questions bring you down the rabbit hole with the real question being this: How often to post on social media? As it turns out,  several studies have sought to answer that exact question, all with varying data. So we decided to compile the best of the best for you so you no longer have to think  about how often to post on social media while still getting all of the benefits of increased awareness, engagement, shares, and traffic. ...But First:  Set It  And Forget It With ReQueue  And Best Time Scheduling  In Your Favorite  Social Media  Calendar You don't even have to read this blog post. ReQueue is the magical social media schedule that fills itself. The more messages you add, the more gaps can intelligently fill for you. Keep your social schedule consistent and promote your best content MORE (and better) than ever before (without all the tedious work). For example, let's say you want to tweet 15 times a day  to your Twitter handle.  But you only have 5 tweets scheduled for today. When you add tweets to ReQueue, will intelligently  fill in the gaps with 10 additional tweets to hit your daily social media sharing frequency goal. That means you can set it and forget it with ReQueue. ReQueue automagically fills in  the gaps in your #SocialMedia posting schedule!With ReQueue, you can automatically reuse your best social messages and let intelligently: Fill your daily social schedule Keep it consistent Fill the gaps in your social schedule Keep your content front of mind with your audience Then, Best Time Scheduling takes all of those posts and schedules them at the right time to get the maximum number of eyeballs on your content. You don't even have to think about it. This is going to revolutionize the way you manage social media. ;) OK, now let's answer that question behind  how often to post on all of your social networks: About The 14 Social Media Frequency Studies... There's a lot of advice out there. So I've found the best data-driven information I could find to answer the question of how often to post on social media. I'll be referencing these sources throughout this post as a way to answer the posting frequency question for each specific social network: The social rules of Pinterest from  Ahalogy Research and tips compiled by  Buffer How often to post on social media by  Constant Contact Research and experience of optimum level of posting on social media from  DowSocial Industry benchmarks from  HubSpot The posting plan from  Localvox Expert Pinterest tips and data from  Michelle MacPhearson Suggested minimum and maxium number of times to post on social media per week from  Nulou Compiled research from  Quick Sprout Researched posting frequencies from  Mari Smith Insights from Neil Patel from Forbes General findings from Social Media Week Jay Baer's thoughts and insights from Convince And Convert Collected research from Adobe Each of the following sections will answer the posting frequency question, and includes  information on the best times to post on each network along with recommended amounts of social media content curation for each network. All of these suggestions are  based on deep research we've done for this post, along with these two: What 20 Studies Say About The Best Times To Post On Social Media How To Schedule Your Social Media Content Curation For Massive Growth Here we go. How Often Should A Business Post On Facebook? Answer: High: 2 posts per  day Low: 1 post per  day Recommended: 1 post per day Factor in the best times to post on Facebook: Post #1: 1–4 p.m. Factor in curation: Curate  or reshare a post every other day Ahalogy suggests that posting to Facebook no more than once a day is best or you'll start to feel spammy. Buffer says you can post to Facebook twice a day before likes and comments drop off. Constant Contact says to post on Facebook a minimum of three times per week while keeping your maximum posting frequency to 10 times per week. DowSocial says two Facebook posts per day  as a minimum works well for increasing your reach. They also suggest that sharing fewer posts and then promoting them is the best way they've seen to increase their engagement. Post to #Facebook once a day between 1–4 p.m.HubSpot's benchmarks suggest to post to Facebook a minimum of three times a week. They say to set your maximum number of Facebook posts to  10 times per week. LocalVox likes to post  once a day  to Facebook as a maximum while three times a week is their  suggested minimum. Nulou suggests  to post a minimum of three times a week to maintain your consistency while keeping your maximum number of Facebook posts to no more than 10 a week. Quick Sprout found that  Facebook pages with smaller amounts of followers should post about 16–30 times a month, or roughly  once every day or two. If you have a bigger fan base, Neil Patel suggests posting at least 31 times a month, which he says is about once or twice a day. Mari Smith recommends  5–6 Facebook posts per week. And some good advice: Skip weekdays if you have to, but not weekend days since Facebook users tend to be active on the weekends and in the evenings. Social Media Week recommends posting 5-10 times a week. That evens out to around one or two posts per business day. Adobe suggests posting 6-11 times per week. That's fairly consistent with what other studies suggest. Neil Patel makes another interesting point in his Forbes piece. If you have less than 10,000 followers, he says, you may want to post just once a day. That's because doubling your frequency may half your total clicks. Following his advice, wait until you have a bigger audience before increasing your schedule to twice a day. Recommended Reading: Facebook Marketing Strategy: Why You Need One (And How To Build It) How To Tell If Your Facebook Posting Frequency  Is Working Facebook has a handy analytics tool called Insights. Simply log in to your Facebook Business Page, click on Insights, and select Posts. From here, you can check out your posts' performance individually to see  when your engagement increases or decreases depending on how frequently you post. How Many Tweets Per Day For Business? Answer: High: 51 tweets per day Low: 1 tweet per day Recommended: 15 tweets per day Factor in the best times to tweet: Tweet #1: 2 a.m. Tweet #2: 3 a.m. Tweet #3: 6 a.m. Tweet #4: 7 a.m. Tweet #5: 9 a.m. Tweet #6: 10 a.m. Tweet #7: 11 a.m. Tweet #8:  12 p.m. Tweet #9:  1 p.m. Tweet #10:  2 p.m. Tweet #11:  3 p.m. Tweet #12:  5 p.m. Tweet #13: 6 p.m. Tweet #14:  9 p.m. Tweet #15:  10 p.m. Factor in curation: Retweet or curate about seven tweets a day Buffer says three tweets a day is the most you should share before engagement starts to drop off. Constant Contact recommends a minimum of five tweets per day while suggesting there is no maximum. DowSocial suggests tweeting  a minimum of six tweets per  day, and to do it daily. Since Twitter is a fast-paced network, they say that tweeting  about once an hour during business hours is a good guideline, coupled with engagement tweets. How many tweets should you send in one day? Data says 15...HubSpot's data is broken down by industry, which is an interesting thought. So industry voided, HubSpot suggests tweeting a minimum of five tweets  per day, while suggesting there is no daily maximum. LocalVox recommends tweeting a maximum of five tweets per  day while maintaining a minimum of five tweets a week. Nulou says to  tweet at least five times a week with no maximum. Quick Sprout found that the most retweets happen within an hour after tweeting, so a higher daily frequency is best. Start by tweeting 5–20 times every day. Writing for Forbes, Neil Patel suggests tweet frequency should be tied to your goals. If you want maximum engagement per tweet, aim for 1-5 tweets per day. However, if you want more total responses to your tweets overall, 50 tweets or more are acceptable. Mari Smith's sweet spot is between 6–7 tweets per day on weekdays, and 3–4 tweets a day on weekends. Abobe recommends just 3 tweets per day. For larger enterprises and major brands, this less is more approach may be the way to go. Social Media Week offers up a similar suggestion, stating that 3-5 tweets per day is the sweet spot. Recommended Reading: 15 Tactics To Boost Twitter Engagement Backed By Research How To Tell If Your Tweeting Frequency Is Working Twitter has a handy analytics feature to help you see which days are getting the most engagement. When you know how many tweets you've shared on certain days, you can easily correlate your frequency to engagement. Just log in to Twitter Analytics, navigate to Tweets, and check out the bar graph of dates coupled with the number of tweets that went out on those dates below. Hover on a bar for any specific date, and you'll see the number of tweets you shared that day. How Many Times To Pin On Pinterest Per Day? Answer: High: 30 Pins per day Low: 3 Pins per day Recommended: 11 Pins per day Factor in the best times to Pin: Pin #1: 2 a.m. Pin #2: 3 a.m. Pin #3: 4 a.m. Pin #4: 1 p.m. Pin #5: 2 p.m. Pin #6: 3 p.m. Pin #7: 4 p.m. Pin #8: 8 p.m. Pin #9: 9 p.m. Pin #10: 10 p.m. Pin #11: 11 p.m. Factor in curation: Repin or curate at least five pieces of content from others per day Some suggest sharing 80% of your Pins  from other  sources that your own blog, which would be about nine Pins out of your 11 Ahalogy sees the best results with 15–30 Pins per day  when spread out throughout the day. Buffer says the top brands have experience a ton of growth by Pinning more frequently. The magic number? Pin five times a day on Pinterest. Constant Contact says Pinning at least five times a day is a good minimum, while Pinning 10 times per day should be the most you Pin. Pin to #Pinterest 11 times per day.DowSocial suggests  Pinning  a minimum of three times per day to Pinterest.  Sharing regularly, and curating others' content in your frequency mix, will help build engagement. Michelle MacPhearson says that 20–30 Pins per day is the sweet spot for visibility on Pinterest. Nulou recommends Pinning at least five times per day while keeping 10 Pins a day as your maximum. Quick Sprout agrees with Buffer, suggesting the best Pinning frequency is five Pins a day. Like Quick Sprout, Mari Smith suggests  the advice from Buffer to Pin five times per day. Adobe says "Pinterest users love lots of content," and recommends 4-10 Pins per day. Recommended Reading: The Ultimate Guide On How To Use Pinterest For Marketing How To Tell If Your Pinterest Pinning Frequency Is Working Pinterest has a  revealing analytics feature that helps you understand how your Pins are performing on a daily basis. Simply cruise to Pinterest Analytics and select the Profile option. Check out your Impressions to understand how your Pins performed on certain days of the week. You can also  export the data into a spreadsheet to read this like a true data nerd. How Often To Post On LinkedIn For Business? Answer: High: 1 post per day Low: 0  posts per day Recommended: 1 post per day Factor in the best times to post on LinkedIn: Post #1: 1o–11 a.m. Factor in curation: Curate or reshare a post every other day Buffer says 20 posts a month or posting once a day helps you reach 60% of your followers on LinkedIn. Constant Contact recommends posting on LinkedIn at least two times per week. Post a maximum of five times per week. DowSocial recommends sharing daily to LinkedIn, but doesn't provide a  solid number. They suggest that daily shares keep your followers in the loop, but not overwhelmed. Post to #LinkedIn once a day between 1o–11 a.m.HubSpot's benchmarks  recommend posting at least twice a week on LinkedIn, while your maximum posting frequency should be no more than five posts per  week. LocalVox says that once a day should be the most you share to LinkedIn. Post at least once a week to remain active. Nulou says to post to LinkedIn a minimum of two times a week to maintain consistency while five times a week should be your maximum number of posts. Quick Sprout cited LinkedIn's own recommendations for an ideal posting frequency of 20 times a month, which is about once every business day. Recommended Reading: Social Media Skills You Need To Have In 2017 How To Tell If Your LinkedIn Posting Frequency Is Working LinkedIn has  a sparse analytics feature that will help you see the engagement each of your messages attracts. You can use that as a starting point when you test your frequency to see how posting more or less impacts your engagement. Just navigate to  your Business Profile and select the Analytics tab to start your analysis. What Is The Ideal Google+ Posting Frequency? Answer: High: 3 posts per day Low: 0 posts per day Recommended: 2 posts per day Factor in the best times to post on Google+: Post #1: 9–11 a.m. Post #2 12–1 p.m. Factor in curation: Curate or reshare one post every day Buffer recommends posting consistently is the best approach for Google+, with three posts a day being the sweet spot. Constant Contact says to share on Google+ a minimum of three times a week while 10 times per week should be your maximum. DowSocial  likes to share to Google+ at least three times per day. Google+ shares can show in search results for your Google+ followers, so  sharing fresh content often can help  you get in front of more eyeballs. HubSpot found that  you should post to LinkedIn at least three times a week while posting 10 times should be your maximum. Post to #Google+ twice  a day at 9 a.m. and 12 p.m.  LocalVox suggests posting once a day to Google+ should be your maximum. Post at least three times a week. Nulou says to share a minimum of three times per week on Google+. Keep your maximum to 10 times a week. Quick Sprout  agrees with Buffer that the ideal posting frequency for Google+ is three posts per day. Mari Smith agrees with Buffer and Quick Sprout's findings that posting three times per day to Google+ is the way to go. Recommended Reading: How To Get More Traffic From Every Post (Plus How OkDork Grew Traffic 400% In 8 Months) How To Tell If Your Google+ Posting Frequency Is Working Like LinkedIn, Google+'s Insights feature leaves something to be desired to help you find the ideal daily posting frequency. However, you can use Insights to gauge your most successful days and review the number of posts you shared on those days. Cruise to your Google+ Business Profile, and go to the Insights feature. Click on Posts, and you'll see a graph of the popular days, followed by even more specific data related to the posts you've shared. How Often To Post On Instagram? Answer: High: 3 posts per day Low: 1 posts per day Recommended: 1–2 posts per day Factor in the best times to post on Instagram: Post #1:  8–9 a.m. Post #2: 2 a.m. Factor in curation: Curate and repurpose posts only when necessary (quotes, stats, facts), and always give credit Buffer says that major brands share on Instagram on average 1.5 times a day, but not more, so that's also what they suggest you do. DowSocial says to post to Instagram a minimum of three times per day. Since images are super sharable, posting a little more often would be fine, too. Adobe says your Instagram posting frequency should be consistent with your goals. They say some brands succeed with as many as 10 photos per day. That might work well if you're sharing photos from an event, for example. And on Forbes, Neil Patel says "posting frequency is not all that important for your Instagram marketing." Instead, what you should focus on is consistency. Whether you post once or twenty times per day, do your best to maintain that same cadence. Post to #Instagram 1–2 times a day at 8–9 a.m. and 2 a.m.How To Tell If Your Posting Frequency On Instagram Is Successful Iconosquare has an Instagram Analytics feature that will help you understand when to post.  Part of its functionality lets you export your data into a spreadsheet where you can see the time you posted and the engagement each post received. As you test your  posting frequency, that could be helpful to gauge your  engagement by day while analyzing the number of times you posted on Instagram. Recommended Reading: The Ultimate Guide On How To Use Instagram For Business How To  Put Your New Knowledge Into Action If this isn't the first post you've read coving the topic of how often to post on social media, then it's not the first time you've heard this: You should probably test your sharing frequency for your own audience. Yeah, yeah. So here are four methods you could try  to find the perfect social media  posting frequency for your following: Pick one study's suggestions and stick to 'em:  The 10 studies analyzed throughout this post all had different recommendations. You could find the one study that makes the most sense to you, then follow it from this point forward. Cherry pick the frequencies that make the most sense to you:  Since various studies offered a bunch of different ideas, you could grab the frequencies that seem like the obvious best choices  and create your own social media frequency guide. Test each frequency to find the ultimate best posting consistency: Run through each study's suggestions one after another,  compare your success, and finally use the advice that works best for your audience. Set up ReQueue  and Best Time Scheduling  in and automagically follow the best practice recommendations from this post:  You can  use to set up your daily, weekly, and  monthly shares to be whatever you want for all  of your social media accounts at the best time for your audience. Let me repeat that: You can customize to automatically fill up  your sharing schedule  at the best times  so you never have to worry about sharing more or how often to post on social media. Use any study's method you like- customize - add curated content along with your own, and forget about it. It's all possible with the latest feature in your marketing calendar: ReQueue. Then schedule those posts at the best time (automagically) with  Best Time Scheduling: Before we go, if you have any lingering questions, remember this quote from Jay Baer: The best social media publishing frequency is when it's worthwhile. Focus on value. Apply (and adjust) best practices as necessary. Enjoy greater social media success. It's that simple.