Notes On The Invitationinvitational Bulletin Checklist

These notes are a supplement to the material presented in this chapter. They are not a self-contained substitute for that material. This checklist (Figure 4.6) covers the creation, printing, and mailing of invitations. It does not concern itself with who is invited or why, except insofar as that information (#6—7) must be reflected in the invitation.

1. Event Budget OK. Invitations generally take up only a small portion of an event's total cost. Has that complete budget been approved, and does it include the number of invitations you plan to use (#14)? If either answer is no, get written approval (#3) before you continue.

2. Quotations. Allow a week to get cost quotations and whatever time is required for their approval. On budgeted projects, these quotations should not have to go back to management for another round.

3. Invitation budget. If the budget as a whole has not been approved, can you get approval on the invitation portion? Give the decision makers absolute deadlines beyond which invitations are useless.

4. Speaker(s). Arrangements for speakers or other attractions or entertainment must generally be made far in advance of an event. Who decides? Who follows up? What's the last possible moment for including changes in the invitation?

5. Free/charges. What's free, and what costs, if any, will be charged to the participants?

6—7. Audience. Identify the audience to whom you are mailing the invitation and the specific focus of the invitation—the benefits, to the audience, of attending.

8—9. Copy. Identify the writer and designer of the invitation. Who follows whom? Who must approve the copy? When must both be done?

10. New art. Will there be hard copy produced by the designer or desktop publishing system?

11. New Art OK. Approval of final art is the last chance to make changes before the production of disk for film. Give an extra copy to those who must approve the original, for their notes and comments.

12. Proof OK. Approval of proofs is a combined design and advertising function, even when both are carried out by the same person. Design makes sure that the work has the quality specified on the art. Advertising makes sure that everything that was on the original is on the proof and that the designer's instructions still make sense when seen in print. If you do both jobs, wear one hat at a time, but be sure that both get worn.

13. Printing OK. For routine jobs, most printers can be left to their own devices. For large, complicated, or otherwise critical projects, be at the printer to give on-press approval. You'll be so bored that it will be the perfect time to read the entire copy one more time . . . and actually call all the telephone numbers and check on the addresses. About 10 percent

INVITATION/INVITATIONAL BULLETIN CHECKLIST

ProjectTitle_ Date_

Project Description_ Project #

Checklist #

Overall Supervision By _ Deadline _

Budget _ Completion Date _ Start Up Date _

MANAGEMENT DECISIONS ASSIGNED TO DUE IN MUSTAPPROVE BYDATE IN INFOCOPYONLY SEEATTACHED

1. Event Budget OK ____________Mj__________________^H

2. Quotation ____________Bj_________________

3. Invitation Budget ____________Bj_________________

4. Speaker(s) ____________~Bj_________________

5. Free/Charge ____________BP_____________ZHj_____

CREATIVE DECISIONS

6.	Audience	■j		P	■i
T.	Focus	■j		P	■i
R.	Copy	■j		P	■i
9.	Design	■j		P	■s
10.	Disk or Final Art	■j		P	■i
11.	Disk or Final Art OK	■j		P	■i
12.	Proof OK	■i		i	■s
13.	Printing OK	■j		P
MECHANICAL DECISIONS 14. Quantity		_ _ P		P	Hj
15.	Mailing List	■j		P	■i
16.	Telephone List	■P		P	■j
1T.	Self-Mailer	■P		P	■i
1R.	Envelope Mailer	■P		P	■i
19.	Components	■P		P	■s
2O.	Size(s)	■P		P	■i
21.	Stock	■P		P	■i
22.	Stock Colors	■P		P	■j
23.	Printing Colors	■P		P	■i
24.	Out Date	■P		P	■i
2S.	In Date	■P		P	■j
26.	Phone Replies Due	■P		P	■i
2T.	Mail Class	■P		P	■i
2R.	Disk/Film Supplier	■P		P	■j
29.	Printer	■P		P	■i
3O.	Mailing Service	■P		P	■i
31.	Records/Reports	■P		P	■j
		■P		P	■i

Figure 4.6 The invitation/invitational bulletin checklist.

of the time, you'll be very glad you did! (I twice saved major projects by calling new toll-free numbers given to me by clients and about to be printed on every page of their catalogs, only to find them wrong.)

14. Quantity. The quantity is frequently more than the mailing list. Ask about nonmail distribution to staff and field workers and for last-minute follow-up.

Mailing list. Who supplies the list, contacts the sources on the list, and checks to make sure that it is reasonably accurate? When using outside lists, responses only, not the list as a whole, become your property for future use.

Telephone list. Will you phone, fax, or e-mail to issue invitations or as a reminder to those who accept? For initial invitations, what is involved in getting the phone numbers and in getting through to those you call? Test by actually trying to call a dozen potential guests before you commit yourself to getting results.

Mail format. If you are using a self-mailer, skip #18 and #19. If you are using an envelope, check with suppliers of envelopes regarding standard sizes and costs. It's seldom economical to customize envelopes for fewer than 10,000. Before you get too creative, check with the post office to make sure they'll accept the mail as designed. They almost always say yes, but check.

Components. Components include the invitation plus any other elements, such as RSVPs and reply envelopes. Don't be afraid to load up the invitation. If travel is involved, add a map. If the speaker is special, tell why. If the event is extraordinary, tell how. Use a separate invitation-size sheet for each of those items, and watch attendance soar! Size. Invitation sizes are determined by the envelope. If the quantity is large so that you will use a mailing service (see Chapter 16), check with them about the practicality of inserting the invitations into the envelopes by machine. The envelope design is critical. Do this before anything, including the mailing list and how it will be addressed, is ordered.

Stock/Color. Not every paper stock comes in every color, especially when you want to match or contrast an envelope. But you can often print the stock into the color you want. It costs practically nothing extra when that color is a tint of a darker ink used on the same page. Discuss this with your prepress firm and printer. You may be pleasantly surprised.

Printing colors. Use any color paper and ink you wish—as long as the message can be read. If printed in light pink and blue or similar tones, your project may well die before the very eyes of those too nearsighted to see it.

Out date. The mailing date should be determined by considering the audience to whom you are sending the invitations. How booked up do they get for the time involved? How willing are they to commit their time far in advance? If you're not sure and can't easily find out, telephone a few invitees and ask. They will thank you for your concern! In date. When must you have replies to permit final planning for the event? Telephone (#16) key prospects a few days before the deadline to reinvite them or to confirm their acceptance. There's nothing like an actual human voice to generate response.

Mail class. Most invitations are sent by first-class mail. Use a stamp or a printed permit that looks like a meter. For larger mailings, don't pre-

stamp the RSVP envelope. But just to play safe, test your level of response by adding a stamp to every tenth reply envelope. Let results guide future invitations.

28. Film supplier. For routine mailing pieces, your printer may wish to supply the film. Whether you agree or use a prepress firm, the proofing process (#12) is the same and is a production responsibility rather than an advertising decision. Where the two jobs are handled separately, thank those involved, and let them do their job.

29. Printer. Printing is also a production function. For major projects, insist on being kept informed. For others, let those doing the job do it without your help. If you are a printing novice, ask them to help you learn. Don't pretend to expertise you don't have: You do not have to know how to fix something to insist on its being done right.

30. Mailing service. Your direct mail production company works on a schedule, too. Don't surprise them with projects out of the blue, or you may be blue indeed when you get the bill. Usually, anything can be done if you are willing to spend the money. Just remember . . . it is your money. Plan, stay on schedule, and save.

31. Records/Reports. What records must be kept? By whom? What analyses of results done? What reports made and to whom?

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