by Michaela Sharp | Oct 1, 2026 | Blog, Dalilu Wire, Marketing, Media Buying, Media Planning
What a gas station stop reminded me about advertising, media and memory recall.
We were on our way to the lake when we stopped for gas. Nothing unusual about that. We have
made that drive many times, and a gas station somewhere along the highway in Northwestern Ontario is not exactly where I expect to find a marketing lesson.
But there it was: a little vintage red Ford truck.
It wasn’t advertising anything to me. There wasn’t a campaign behind it, a headline, a call to action or
a media plan. It was simply parked there, and I noticed it immediately.
The colour. The shape. The simplicity of it.
For somebody who has spent more than 25 years thinking about what makes people notice things,
that is difficult to ignore. Sometimes the best marketing lessons really do show up in unexpected
places.
Before people can remember us, they have to notice us.
And maybe that is partly why I keep noticing these things myself. Lately, I seem to be finding little
marketing and advertising lessons everywhere in places, objects and ordinary moments around
me. Heck, I might be doing exactly that right now.
Distinctiveness Comes First
We talk a lot about frequency in media. How many times should somebody see an ad? How much
reach do we need? How much frequency should we build before the campaign begins to wear out?
Those are important questions. I ask them constantly.
But frequency has to have something to work with.
That little red truck did not need five exposures before I noticed it. One was enough. It stood apart
from everything surrounding it.
That does not mean brands should abandon frequency. Quite the opposite. Repetition matters
because it helps reinforce something that has already begun forming in somebody’s memory. But
repetition cannot rescue something people barely noticed in the first place.
Good frequency should reinforce memory, not manufacture it from scratch.
That distinction matters. We can serve an ad eight times and technically achieve our frequency goal,
but if every exposure is visually interchangeable with everything else the audience is seeing, what
exactly are we reinforcing?
An impression count tells us an ad was delivered. It does not tell us whether anything stayed behind.
And Then There is the Colour
Imagine the exact same truck in black. Or white. Or silver. Colours we see on so many vehicles
today.
It would still be a beautiful old truck. But would I have noticed it in quite the same way?
Probably not.
And I definitely do not think I would be sitting on my couch late on a Wednesday evening writing an
article about it. I would probably be watching TV instead, not thinking about marketing at all.
The red separated the truck from everything around it. That is what distinctiveness can do for a brand too. It gives the eye somewhere to go and gives memory something to hold onto.
The truck was not trying to be subtle. And maybe that is part of why it worked on me.
Sometimes the Answer is Less
Advertising has a strange habit of accumulating things: one more benefit, one more offer, one more
feature, one more sentence, one more disclaimer.
Eventually, we have asked one piece of creative to do the work of an entire brochure. Then we
wonder why nothing stands out.
The truck was almost the opposite. There was not very much to process. Its colour and shape did
most of the work.
Creative does not always need more. Sometimes it needs room and boldness.
And that can be surprisingly hard for marketers. We get nervous about putting all of our gems in one
bold basket. We start thinking: what if this other idea works too? Maybe we should keep both. Or
three. Just in case.
Before long, instead of choosing the strongest idea, we are asking several ideas to compete inside
the same piece of creative.
Or worse, we introduce three, sometimes even more, different creative executions because none
of them feels bold enough to carry the campaign on its own.
And this is where I may sound a little critical.
I do wonder whether we have become more cautious about pushing creative boundaries. At least in
the market I work in, I see a lot of perfectly competent work that feels safe.
Maybe that is partly because making one strong choice feels risky. Sometimes it is simply easier to
play it safe. Safer work usually needs less defending, less explaining and less selling internally or to
the client.
But there is an irony in that.
If the idea is genuinely strong, clear and bold, maybe it should not need that much selling in the first
place. People should be able to see what makes it work.
And when we choose safety because it is easier to approve, we may also be choosing something
easier to ignore.
By trying not to make the wrong choice, we can end up avoiding a memorable one.
That, to me, is the bigger risk.
The Environment Did Half the Work
There was another reason the truck caught my attention: where it was.
Imagine that exact same truck parked at a vintage Ford show between twenty other beautifully
restored red trucks. Would it have stood out in the same way?
Probably not.
At that gas station, surrounded by ordinary vehicles, fuel pumps, highway signs, trees and the
scenery of Northwestern Ontario, it became the thing my eye went toward.
The truck had not changed. Its context had.
That is an important media-planning lesson.
Placement is not simply about finding somewhere an advertisement can appear. The environment
changes how the advertising is experienced.
A beautiful thirty-second video on a television screen in someone’s living room is experienced
differently from the same idea squeezed into a small placement somebody scrolls past on a phone. A
message encountered while somebody is actively looking for an answer behaves differently from a
message appearing while they are relaxing and watching entertainment.
Even excellent creative can struggle in the wrong environment.
Strong creative gives people something worth noticing. Media gives it the right place to be noticed.
That is why I have never thought of media planning as simply buying available inventory. It is about
choosing the environment where the message has the best chance to do its job.
We are choosing where an idea gets its chance.
And Then Frequency Gets to Do its Job
Which brings me back to frequency.
I am probably never going to stop talking about it.
Especially in digital media, I see campaigns spread so thinly across audiences, platforms and tactics that people may barely encounter the advertising before the campaign disappears.
One exposure is rarely enough to build memory recall.
But there is an important sequence here: first, give people something worth noticing. Then put it in an environment where it has a chance to be noticed. Then give people enough opportunities to encounter it again.
That is very different from simply delivering the same unremarkable impression over and over.
Frequency is not the idea. Frequency supports the idea.
And when the creative is distinctive, the message is clear and the environment makes sense,
repetition starts doing exactly what we want it to do: reinforcing memory.
The first encounter made that truck noticeable. Another encounter would make it more familiar. Another might make it easier to recall.
But none of those later encounters would matter very much if the first one had given me nothing worth remembering.
Maybe That is Why I Photographed the Truck
I did not know I was going to write about advertising when I pulled out my phone. I just liked the truck. Nobody asked for my attention. Nothing interrupted me. There was simply something distinctive enough in the environment that I wanted to look at it.
And maybe that says something about me too.
I pay a lot of attention to details. I notice colours, shapes, old buildings, signs, light, landscapes and tiny things other people might walk right past. I get inspired easily. I get in awe of things easily too. I often joke with my husband, Grant, that his world seems much simpler than mine. He can look at a place and just see the place.
Me? Oh boy.
My world is full of distractions. Beautiful distractions. Things that pull my eye, make me stop, make me wonder and make me think.
Sometimes it can be a little overwhelming, but I honestly would not want it any other way.
Because every once in a while, one of those distractions turns into an idea.
Or, apparently, an entire article about a little red truck at a gas station in Northwestern Ontario.
by Michaela Sharp | Sep 26, 2026 | Blog, Dalilu Wire, Digital, Media Planning
AI has changed the way we search, ask questions and make decisions. Now advertising is following us there and that creates a very interesting new place for media planners to work.
A note on timing: This article was written in September 2026. AI is evolving extraordinarily quickly, and some of the platforms, advertising options, usage numbers and capabilities mentioned here may look very different six or twelve months from now. Consider this a snapshot of where we are today.
If you are responsible for a media plan right now, you are probably hearing about AI from every direction. Your team is using it, your agency is talking about it, and someone has probably already asked whether your brand should be doing something with it.
Until recently, that conversation mostly belonged on the creative, productivity or technology side. Now it has entered media planning, because ChatGPT has advertising and that makes the conversation more interesting.
Not because every marketing director suddenly needs a ChatGPT campaign, but because another environment has opened up where people are asking questions, comparing options and trying to make decisions. That is usually where I start paying attention.
For us, this is no longer something to simply watch. We are already looking at where ChatGPT advertising can fit into media plans, especially as a lower-funnel tactic when the audience, message and level of investment make sense.
The strategic takeaway is simple: do not add ChatGPT because it is new. Add it when it gives the campaign access to a useful moment of intent that the current media mix may be missing.
There was a moment when ChatGPT felt like a novelty. People tried it, talked about it and wondered whether it would really become part of everyday life.
That moment is over. For many of us, ChatGPT is now simply another icon sitting on the phone or tablet right beside the other apps that quietly became part of our routine.
We ask it to rewrite an email, plan a trip, explain something we do not understand, compare products, help with a recipe, work through a purchase or brainstorm an idea. Sometimes we even use it to settle an argument at the kitchen table.
In other words, it has moved in. And whenever human behaviour changes, media eventually changes with it. Advertising has now followed us into ChatGPT.
This Is No Longer a Small Audience
The numbers tell the story rather quickly.

What I find particularly interesting is that this is not only a young-person story. Older adults are becoming part of the AI audience too.

You can easily imagine a grandmother asking ChatGPT to explain a term in simpler language, help her write a birthday message, compare winter boots, suggest what to cook with what she already has in the fridge, or explain how to change a setting on her phone.
For some people, this may simply feel friendlier than traditional search. Instead of typing a few words into Google, opening several websites, closing pop-ups and trying to figure out which answer actually applies, you can ask a question and keep the conversation going from there.
It does not replace human connection, of course, but it is changing how people interact with information.
Yes, I Hear the Concerns
AI will make us lazy thinkers. It is dangerous. We will rely on it too much. Yada, yada, yada.
Some of those concerns are absolutely fair. But from a marketing perspective, debating whether people should use AI is becoming less useful than understanding how they are using it.
The more interesting questions are what habits will stick, what people will start asking AI that they once asked Google, where product comparison will happen, and where decisions will begin. Those are media questions.
We Used to Search. Now We Ask.
For years, the pattern was fairly simple. If people wanted information, they searched. If they wanted inspiration, they scrolled. If they wanted entertainment, they watched. Now we are increasingly doing something slightly different: we are asking.
From a media-planning perspective, that difference matters. A search engine gives you results. A social feed gives you content. A conversation with AI gives you context.
What kind of flooring would work best in my basement?
Which accounting software makes sense for a small business?
Where should we go for a family vacation?
What should I look for when buying a new mattress?
Which vehicle would work for a family of five?
That person has already told the platform quite a lot about what they are trying to accomplish. They have intent, and intent is very interesting to advertisers.
ChatGPT Is Not the Only AI in the Room
Of course, ChatGPT is not the only AI platform people are using.
Google says the Gemini app passed 1 billion monthly users in August 2026. Claude is much smaller, but growing quickly, particularly among work and technical users. Similarweb also tracks Perplexity, Grok and Microsoft Copilot as part of an increasingly fragmented AI landscape.
In other words, this is not a one-platform story anymore.
People are beginning to develop preferences. Some use ChatGPT. Some use Gemini. Some use Claude for work. Others move between several tools depending on what they are trying to do.
And that matters for marketers because the AI audience is starting to spread across different environments, just as it did with search, social and streaming.
So Why ChatGPT?
Because this is where the media-planning opportunity becomes very tangible.
OpenAI now offers direct advertising inside ChatGPT, with ads appearing separately from the AI response for eligible users on the Free and Go plans. Canada is currently available for self-service advertising through OpenAI Ads Manager.
That gives us something very practical to work with: not simply an AI platform to understand, but an actual media placement we can evaluate, plan, buy and measure.
And Now There Is an Ad
Advertising in ChatGPT is now available in Canada through OpenAI’s Ads Manager.
There is, however, an important distinction here: brands are not buying the answer.
Advertising does not change what ChatGPT tells you. Ads remain separate from ChatGPT’s responses and are clearly labelled as sponsored placements. A user asks a question, ChatGPT provides an answer, and when there is a relevant advertising opportunity, a sponsored placement can appear separately below the response.

This is the part I find particularly interesting as a media buyer. The message can appear while someone is already thinking about a subject, exploring options or moving toward a decision. That is very different from catching someone who simply happens to be scrolling through a feed.
Lower Funnel? Absolutely.
Would I consider ChatGPT advertising a lower-funnel tactic? Absolutely.
Not because every ChatGPT conversation ends in a purchase, but because many users arrive already looking for an answer, asking questions, comparing alternatives or trying to decide what to do next. That places the advertising opportunity much closer to the decision stage.
Someone watching television might notice your brand. Someone seeing your display ad might remember it. Someone asking AI to help compare options may already be several steps further along.
That does not mean ChatGPT belongs only at the very bottom of the funnel. It can certainly play a role in consideration too, but for the right client I see a particularly interesting opportunity between consideration and decision. And that is where this stops being just an interesting AI story and starts becoming a useful media-planning conversation.
So, Should It Be in Your Media Plan?
Maybe. And I mean that seriously.
The fact that a new tactic exists is never a good enough reason to buy it. The audience, objective, message and level of media investment all need to make sense. That is the part that often gets lost whenever a new advertising product launches.
New does not automatically mean useful. Useful means it solves something.
Maybe your client needs another lower-funnel layer. Maybe paid search is already doing a lot of heavy lifting and you want another environment where intent is present. Maybe your audience is actively using AI to compare options before making a purchase. Or maybe none of those things are true. That is why strategy still has to come first.
What I Would Be Watching
If I were sitting on the client side deciding whether this belongs in the plan, I would be watching more than impressions or clicks. I would want to understand what kinds of conversations create opportunities for the brand to appear, whether traffic behaves differently from traditional search or display traffic, and which products or services naturally fit this environment.
I would also want to see how ChatGPT works alongside the channels already doing the job. Because this is not about replacing Google, social or any other established channel. It is about adding another tool when that tool has a clear role.
Where We Go From Here
For Dalilu Communications, ChatGPT advertising is no longer something we are simply observing. We are ready to start incorporating it into media plans where the audience, objective, message and media investment make sense, particularly as a lower-funnel tactic for clients who want to reach people while they are asking questions, comparing options and moving closer to a decision.
I expect we will learn a lot as we start using it, and that is part of being early. You do not pretend to know everything about a new channel before the market has had time to mature. You understand what it can do, place it carefully, measure it properly and learn from what happens.
If you are a marketing director reading this and wondering whether ChatGPT advertising has a place in your own media mix, that is probably the right question.
Not: “Should we be doing AI?”
But: “Is our audience already using AI at a point where our brand could genuinely be useful?”
If the answer is yes, there may now be another place worth showing up. And if you would rather have someone else figure out where that place belongs in the media plan, well… that happens to be what we do.
Sources
Additional sources for new section: Google Gemini (Aug. 2026); OpenAI Ads / ChatGPT Ads availability (Sep. 2026); Anthropic on Claude ad-free positioning.
OpenAI — Expanding access to AI with ChatGPT ads — https://openai.com/index/expanding-access-to-ai-with-chatgpt-ads/
OpenAI Help Center — Ads in ChatGPT — https://help.openai.com/en/articles/20001047-ads-in-chatgpt
OpenAI Help Center — Ads Manager Availability — https://help.openai.com/en/articles/20001245-ads-manager-availability
Pew Research Center — Americans and AI 2026 — https://www.pewresearch.org/internet/2026/06/17/americans-and-ai-2026-chatbots-smart-devices-and-views-on-impact/
by Michaela Sharp | Sep 23, 2026 | Blog, Dalilu Wire, Digital, Media Buying, Media Planning
A reflection on programmatic advertising, hands-on media buying, and the learning mindset behind staying ahead of the curve.
Lately, I feel like I have been on one of those hockey-stick learning curves.
A very Canadian analogy, I know. You know the shape I mean. For a while the line barely moves. You are learning, experimenting, getting things wrong, trying again and wondering whether you are actually getting anywhere. Then something clicks. Suddenly the line shoots upward. I have been experiencing that again recently while learning video editing and experimenting with completely new ways of presenting business content. And this morning, Grant said something about us, as business owners, always trying to stay ahead of the curve. It made me think about how many times we have actually done this. One of the biggest examples for us was programmatic advertising.
And before I go any further, because I realize not everybody spends their days thinking about media buying, let me explain what I mean.Programmatic advertising is essentially a way of buying digital advertising through technology rather than negotiating every individual placement directly with a website or publisher. It allows advertisers to reach specific audiences across thousands of websites, apps, streaming environments and other digital spaces, often in real time. If you have ever been reading an article online and noticed a banner ad, watched a video with an ad before or during it, or used an app where advertising appeared, there is a good chance some of that advertising was purchased programmatically. That is the simple explanation.

The complicated part is how it is bought, where those ads actually appear, who is seeing them and whether anyone is paying enough attention to what happens after the campaign is turned on. And that is really what this story is about. Because when programmatic advertising first entered my world, I was fascinated by it. I was also suspicious of it.
My Relationship With Programmatic Advertising Started With Suspicion
When programmatic advertising first started becoming part of the media world, I was still working at an agency as a media director. At that time, programmatic felt a little like a newborn trying to hold its head up.
Interesting. Full of potential. But still very wobbly.
As somebody who has always liked being hands-on with my media buys, I immediately had mixed feelings about it.
I loved the idea.
What I didn’t love was handing a major part of a client’s campaign to a third party and then waiting for somebody else to tell me what was happening. I wanted to understand it. More importantly, I wanted to run it myself. A couple of years later, Grant and I started Dalilu Communications, and suddenly that same question came back – only now it mattered even more. These were our clients. Our recommendations. Our reputation.
Then we were approached to work on a national campaign where programmatic advertising needed to be part of the media mix. We contracted two different vendors to run portions of the campaign. And that experience changed everything for me.
The Numbers Looked Fantastic. That Was the Problem.
On paper, the campaigns looked great. High click-through rates. Low CPMs. Lots of impressions. If you looked only at the report, you could easily conclude that the campaign was performing beautifully. But then I started looking at where the advertising was actually appearing and where some of the traffic was coming from. Back then, you could see much more of this information inside Google Analytics.
Oh, back in the days, how I loved that feature.
Today?
Different story.
Now we deal with privacy changes, modelling, estimates and much less visibility into some of the information we used to be able to dig into directly. But back to the story. When I looked at some of the placements and traffic patterns, I was appalled. Some of them simply didn’t make sense. So naturally, we started asking questions. Why were we appearing here? Why was this domain generating so much traffic? What was being optimized? What exactly were we buying?
The more questions we asked, the slower the answers became. Sometimes we received answers that technically contained words but somehow still didn’t answer the question. It felt a little like talking to customer service at a large department store. You know there is probably a logical explanation somewhere in the building, but nobody you are talking to seems able to give it to you. Eventually Grant and I looked at each other and basically said:
We can do this better.
And if we were going to recommend programmatic advertising to our clients, we wanted to understand exactly what we were recommending.
So We Learned How to Do It Ourselves
We found a programmatic platform headquartered in Chicago with Canadian connections and immediately started training. Within about a month, we were on a plane to Chicago to complete their certification program and become programmatic tactic certified professionals.

At the time, our children were still very young. Our youngest was only two. For me as a mom, leaving for four days was difficult. My parents don’t live in Canada, and we didn’t have grandparents available to simply move into the house for a few days and take over. We had to arrange childcare and trust that everything would be okay while we were gone. I remember being terrified about leaving. Professionally, however, it turned out to be one of the best decisions we ever made. Learning to run programmatic campaigns ourselves gave me two things I value enormously:
Freedom and confidence.
And something else happened that I don’t think I fully appreciated at the time. Running the campaigns myself began making me a better media planner.
Hands-On Learning Changes the Way You Think
There is something completely different about learning a media platform by actually working inside it every day.
You learn by doing. You learn what happens when you change a frequency cap. You see which domains behave strangely. You discover which audiences respond differently. You learn when a targeting strategy is too narrow and when it is far too loose. And you learn things about audiences that no textbook, presentation or vendor sales deck can really teach you.
Retargeting campaigns are a great example. By watching an audience over time, I can start seeing patterns in the types of websites and content that audience consumes. That knowledge doesn’t disappear when the campaign ends. Maybe months later I am planning a completely different campaign for another client trying to reach a similar audience. Now I have somewhere to start. I have learned something. Maybe I have discovered a group of domains frequently visited by that type of audience. Nobody handed me that list. Nobody sent me a PowerPoint saying, ‘Michaela, here are the websites you should buy.
I learned it through planning campaigns, buying the media, watching the behaviour and optimizing the campaigns myself. Then I carry that knowledge into the next strategy. That is where being both the media planner and the media buyer becomes incredibly valuable. One part of my work continuously teaches the other. Perhaps that is the VIP treatment our campaigns receive. Not because there is some secret formula available only to us.
It is simply because the person who developed the strategy is also looking at what is actually happening inside the campaign.
Creative and Media Cannot Live in Separate Rooms
Hands-on buying also changes the way you think about creative. Creative and media cannot live in two separate rooms. If a piece of creative is trying to communicate a lot of information, for example, perhaps the audience needs more opportunities to see it. A higher frequency might make sense. If the message is extremely simple, the answer might be completely different. There isn’t one magical frequency number that works for everything.
It depends.
What are we asking people to understand?
How complicated is the message?
How long is the campaign?
How large is the audience?
What other media are supporting it?
How many creative executions are running?
There are always variables. Because I both plan the media and operate campaigns, what I learn from one campaign feeds directly into the next media plan. That is probably the part I value most.
Planning defines what the campaign should accomplish.
Buying shows me what actually happens.
Optimization helps me understand why.
And the next plan becomes better because of everything I learned from the campaign before it.
Sometimes a Great CTR Is a Warning Sign
This is also why I don’t automatically celebrate when I see an unusually high click-through rate. Someone might look at the report and think: Fantastic! Look how many people clicked.
My reaction is often: Why?
And then I start investigating.
If I am running page-load tracking on the campaign landing page, I can compare ad clicks with the people who actually reached the website.
Where are those clicks coming from?
Are people really reaching the page?
Is one domain generating an unusually large percentage of the activity?
Does the behaviour actually make sense?
Sometimes a placement produces numbers that are simply too good to be true. And instead of celebrating it, I pause it.
Because great numbers don’t always mean great performance.
Sometimes they are a red flag. Imagine running a province-wide campaign and suddenly noticing an unusually high level of engagement coming from one tiny rural community in the middle of nowhere. Maybe the town has spectacular internet. Maybe everybody there happens to be incredibly enthusiastic about whatever we are advertising. Maybe there is a perfectly logical explanation. But my investigator’s instinct is still going to kick in. If a community of a few thousand people suddenly appears to be generating hundreds and hundreds of clicks, I want to know why.
There is something fishy in the data. Could it be legitimate? Sure. But that is exactly when the little red light in your head should come on. Don’t celebrate yet. Look.
Programmatic Impressions Are Not Garbage
Every once in a while, I hear someone say that programmatic impressions are garbage. Actually, let me be fair. I have heard one particularly loud voice saying it repeatedly. And I strongly disagree. Social media is an incredibly powerful advertising tool. We spend a ridiculous amount of time scrolling through social platforms and living inside our comfortable, beautifully curated little bubbles. But surely we still do other things online. We read articles, check the news, read entertainment stories, research things, visit websites, stream video, and yes, some of us play cute little games on our phones when nobody is watching.
So no.
Programmatic advertising is not garbage.
Badly managed programmatic advertising can absolutely be garbage.
There is a very important difference. If programmatic isn’t working well, perhaps the question shouldn’t automatically be whether programmatic itself is useless.
The first question should be:
How is it being used?
Media Works Better When It Works Together
There is another reason I don’t believe in dismissing programmatic in favour of social media.
Reach.
If your entire digital strategy exists on one or two social platforms, you are intentionally limiting your brand to those environments. You might reach a lot of people there. But those platforms still represent only one part of their overall media day. Someone might see your brand on social media in the morning. Later they read an article and encounter the campaign again. That evening they stream something. Perhaps the next morning they hear your radio commercial while driving. Then two days later they Google the product.
Which impression caused the conversion? Good luck answering that perfectly.
That is why I have always believed in looking at media holistically rather than constantly asking which single platform is the winner. The media can work together. Expanding across appropriate tactics can increase reach, build familiarity and may create a greater opportunity for conversion. You’ll notice I deliberately say may or can. I don’t say it will convert. Because media isn’t black and white. There are always variables.
The offer. The product. Creative. Competition. Timing. Budget. The website. The economy. The audience.
And probably another twenty things we haven’t even thought about.
That uncertainty is part of what keeps this job challenging.
And, most of the time, fun.
The Problem Is Often “Set It and Forget It”
If a programmatic campaign is launched with extremely loose targeting, no thoughtful domain strategy, very little optimization and nobody regularly reviewing where the budget is actually going, you can burn through an enormous number of impressions while accomplishing very little. Mobile games are a good example.
There is nothing inherently wrong with advertising inside a game if the audience and campaign make sense. But if an enormous percentage of your daily budget starts disappearing into gaming apps, questionable websites or placements producing suspicious amounts of activity, somebody should ask why. And this isn’t only a programmatic problem. I see the same mentality with Google Ads and other digital platforms.
Set it up. Turn it on. Come back later. Generate the report. Look at the numbers. Done.
Digital media shouldn’t be a set-it-and-forget-it product.
Someone needs to be looking under the hood.
Ask What You Are Actually Buying
This is one of the simplest things I wish more marketers and clients would do. Ask questions before committing to the buy. Not ridiculous questions. Not questions for the sake of proving that you know marketing terminology. Basic media-buying questions.
What CPM are we buying at?
How many impressions are included?
What frequency should we expect?
Where can the advertising appear?
What exactly are we optimizing toward?
Then, once the campaign is running, ask to see placement or domain reporting when it is available and relevant. Look at it. You don’t need to panic every time you see a website you have never heard of. We all visit strange corners of the internet. There will always be noise. Nobody is going to create a perfectly pristine internet. But patterns matter. CPM in particular still surprises me. We work in a relatively small market, and I regularly see proposals where people focus almost entirely on the total price without asking one of the most basic questions before committing: What am I actually getting for that money?
If someone tells you a digital campaign costs $10,000, the $10,000 alone tells you very little. The proposal will usually tell you the audience. It will usually tell you the geography. It will tell you the campaign dates. Those things are expected. But what about the actual media inventory? How many impressions does that investment buy? What is the CPM? That matters. A proper media plan should make those numbers clear enough that you can understand what is actually being purchased.
Ask Questions. But Don’t Destroy a Good Vendor.
There is another side to this conversation that I think is just as important. Ask questions.
Absolutely.
Hold your media partners accountable. But don’t make their lives miserable simply to prove that you are paying attention. A good vendor is incredibly valuable. If somebody is proactive, transparent, thoughtful and genuinely looking after your campaign, treat that person like the professional they are. And I say this knowing full well that I am one of those clients who asks a lot of questions. I know I can be tough. Probably very tough sometimes. And I am still learning to find the balance I am talking about.
But after doing this for as long as I have, I can usually tell the difference between somebody who has made a reasonable decision I happen to question and somebody who is giving me an answer because they haven’t actually been paying attention to the campaign. You see it in the numbers. You see it in the answers. You see it in how quickly someone understands what you are asking.
And perhaps this brings the whole story back to why Grant and I decided to bring programmatic buying in-house in the first place. We believed we could do a better job for our clients. There was also another very practical incentive. We own the company. If we don’t do good work, clients eventually don’t hire us. And if clients don’t hire us, there isn’t magically a paycheque arriving for Dalilu at the end of the month. That creates a particular kind of motivation. I am not saying that someone working for a salary doesn’t care about doing excellent work.
Many of the best people I work with are employees of other companies and care tremendously. But ownership does change the equation. When your name, reputation and livelihood are tied directly to the work, you feel it differently. And maybe that is another reason I have always wanted to understand what is happening inside the campaigns rather than simply accepting the report. Still, balance matters. I have vendors I trust enormously because over time they have shown me that they care about our clients’ campaigns. Those relationships matter too.
Good media has always required judgement. Technology hasn’t changed that. If anything, technology has made judgement even more important.
Being Ahead of the Curve Doesn’t Mean Knowing Everything First
Thinking about all of this now, I don’t believe Grant and I have somehow been able to predict where advertising or technology is going. That isn’t what being ahead of the curve means to me. It means noticing that something is changing and becoming curious enough to start learning before you are forced to. Programmatic was one of those moments. Today, I find myself doing it again with video. AI is another obvious one. And I am sure there will be another one after that. The tools keep changing. The uncomfortable learning periods keep coming. And every time, at the beginning, it feels like I know absolutely nothing. The line barely moves.
I make mistakes. I Google things. I watch tutorials. I try something. I hate it. I redo it.
And then, without really noticing exactly when it happened, things start connecting.
The curve changes.
That might actually be the biggest lesson I have learned from trying to stay ahead of anything. You don’t need to know everything first. You just need to be willing to start learning while the line is still flat. Because if you keep going long enough, sometimes that learning curve starts to look very Canadian.
Like a hockey stick.
by Michaela Sharp | Sep 18, 2026 | Dalilu Wire, Digital, Marketing, Media Planning, Personal
When I began working in media more than 25 years ago, I could never have imagined where this career would take me.
Today, my work at Dalilu Communications spans traditional and digital media strategy, programmatic advertising and integrated campaigns. Somewhere along the way, I also added filming, video editing and figuring out what makes people stop scrolling on social media to the list.
Phew! Some days, I wonder what I will tackle next.
The media world has changed dramatically since I started, and in many ways, so have I.
Some of those changes came naturally. Others made me feel like a complete beginner again.
Looking back, I realize that staying relevant has never meant knowing everything or following every new trend. For me, it has meant being willing to learn, adapt and occasionally feel uncomfortable.
It has also meant recognizing that while the tools keep changing, many of the fundamentals do not.
The Questions That Still Matter
When I worked primarily in television media buying, we asked who we wanted to reach, when they were watching and how to use our clients’ available budgets effectively.
Today, we have far more platforms, formats and data, but we are still trying to understand people.
- Who are we speaking to?
- What matters to them?
- Where can we reach them organically?
- What do we hope they will think, feel or do?
The answers may lead us to television, social media, search, video or a combination of channels. But the starting point should not be the newest platform. It should be a clear understanding of the audience and the purpose behind the message.
My years in media have taught me an important lesson: new tools do not replace good thinking. They simply give us new ways to put it into practice.
Learning to Begin Again
Moving from Europe to Canada was one of the first times I had to learn how to carry my experience into a completely new environment.
I arrived with professional knowledge, but I did not yet know the Canadian media market. The companies and audiences were different, and the relationships I had built throughout my career had to be established again.
That experience taught me that having knowledge does not mean you have nothing left to learn.
Over time, I expanded beyond television into radio, print, out-of-home, digital advertising, search engine marketing, paid social media, programmatic media and campaign analytics.
With every new area, part of my previous experience remained useful, but I also had to ask questions, listen and accept that I would not understand everything immediately.
Starting again can be humbling. It can also remind us how capable we are of growing.
Building Something of Our Own
In 2015, after the birth of our third child, I was preparing to return from maternity leave. However, my employer could not offer me enough hours to meet our family’s needs. Around the same time, several former coworkers approached me and asked whether I would be willing to help them with their media planning.
Their questions made me realize that there might be an opportunity to build something of our own. I began thinking seriously about starting a company with my husband, Grant. It would mean giving him a fast-paced introduction to everything I had learned throughout my media career, but I knew he was more than capable. Grant is extremely bright, and I trusted that he would learn quickly.
Together, we founded Dalilu Communications. Starting the company gave us the opportunity to work more directly with clients and create greater flexibility for our family. It brought freedom, but it also brought uncertainty, responsibility and another long list of things for both of us to learn.
Why Clarity Matters
Most clients are not looking for more jargon. They are looking for clarity.
They want to understand where their money is going, why a particular approach makes sense and whether it is helping them move closer to their goals.
The media landscape may be more complicated than ever, but our responsibility should be to make marketing decisions easier to understand.
Seeing Marketing From the Creator’s Side
More recently, I challenged myself in a completely different way by becoming a content creator.
I now create content for Dalilu Adventures, Partridge Point and Mezi Javory. I film, edit, write narration with a help of AI, add subtitles and adapt stories for YouTube, Instagram, Facebook or TikTok.
Mezi Javory has become an especially meaningful project for me. Through this Czech-language channel, I share my life in Canada as a Czech immigrant, a woman over 50, a mother, a wife and a working professional.
I started with stories I wanted to tell. Then I had to learn how to tell them.
There have been many moments when the technology did not cooperate, an edit took much longer than expected or a video that required hours of work received very little attention. There have also been encouraging moments when a story connected with someone I had never met.
Creating content myself has helped me understand marketing from a different perspective.
Behind every short video is an idea, a series of decisions and often far more work than the viewer will ever see. Capturing attention matters, but building a genuine connection requires something more: consistency, authenticity and respect for the audience.
This experience has also reminded me that learning does not always feel graceful. Sometimes it involves experimenting, making mistakes and being willing to publish something before it feels perfect.
The Value of Experience and Curiosity
There is sometimes an assumption that experience and innovation are opposites. That people with long careers become set in their ways while new ideas belong to younger generations.
I do not believe that has to be true.
Experience helps us recognize patterns, anticipate challenges and ask better questions. Curiosity prevents that experience from becoming a limitation.
The two belong together.
Staying relevant does not require chasing every trend or pretending to be an expert on every platform. It requires paying attention to what is changing, remembering what still matters and being willing to adjust.
Now that I am over 50, I see my age and experience as advantages. I have decades of knowledge to draw from when clients invite us to partner with them on exciting projects. At the same time, I know that experience alone is not enough. We must remain open to new ideas, new technology and new ways of thinking.
At this stage of my life, I do not find myself counting down to retirement or imagining the day when I will stop doing what I do. I simply keep moving forward working, learning and embracing the experiences that come with each new project.
For me, making the most of this stage of life means continuing to grow rather than stepping back. Staying curious, remaining relevant and never assuming that I have learned everything are key. I may have many years of experience behind me, but I am still excited about what I have yet to discover.
After more than 25 years in media, these are the lessons I keep returning to:
- Strategy should come before tactics.
- Understanding people, matters more than mastering any single platform.
- Experience becomes more valuable when it remains flexible.
- Feeling like a beginner is not a weakness; it is often a sign that we are growing.
- We are never too experienced, or too old to learn something new.
- Staying relevant begins with staying curious.
When I began my career, I could not have predicted the media landscape we have today. I certainly cannot predict what it will look like ten years from now.
But perhaps predicting every change is not necessary.
What matters is remaining willing to listen, learn and adapt. When we do that, our experience does not become outdated. It becomes the foundation that helps us take the next step even when that step leads somewhere we never expected.
by Michaela Sharp | Sep 18, 2026 | Dalilu Wire, Marketing, Media Planning
A media plan should do more than list channels, dates and budgets.
It should connect strategy with execution, help everyone involved understand the campaign and make the next steps clear. A client should be able to see where the budget is going. A media buyer should know what needs to be booked. A designer should be able to identify the required creative assets. A campaign manager should understand the timing, responsibilities and reporting expectations.
When this information is organized effectively, the plan may appear simple. That simplicity, however, should not be mistaken for a lack of strategic thinking.
The real test of a media plan is not how impressive it looks when presented. It is how useful it remains once the work begins.
A media plan should be a working document
Some media plans function primarily as presentation documents. They describe the strategy, introduce the selected channels and explain why the recommendations make sense. That information is important, but it may not be enough to guide the campaign through execution.
Once a campaign is approved, practical questions begin to appear. If the answers are scattered across presentations, spreadsheets, emails and meeting notes, the media plan may be creating more work than it prevents.
A useful plan brings the essential information together and becomes a reliable reference throughout the campaign.
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What needs to be booked and when each tactic will run
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Which creative assets are required and when they are due
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How the budget is divided
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Which markets and audiences are being targeted
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What will be needed for reporting
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Where changes and approvals will be recorded
Problem 1: Strategy and execution are separated
A written strategy may explain why certain channels were selected, while a separate spreadsheet lists costs and dates. Creative requirements may be sent by email, and later changes may live in meeting notes. Each document may be accurate, but the people responsible for the campaign must piece the information together themselves.
A better approach is to create one central planning document that connects the strategic recommendation with the details required for execution. Not every explanation needs to fit into one chart, but the central plan should show how the major decisions connect.
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Campaign objective and intended audience
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The role of each media tactic
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Campaign dates and budget allocations
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Markets, targeting and placement details
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Creative requirements and deadlines
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Responsibilities and important campaign notes
Problem 2: The plan makes sense only to its creator
Media planners work with campaign charts regularly. Their structure, abbreviations and colour coding may feel completely natural to the person who created them. Other readers may review only a few media plans each year.
When a client or colleague asks about information already contained in the plan, it is easy to assume they did not read it carefully. Repeated questions, however, may indicate that the information is not as easy to find or interpret as intended.
Review the plan from the perspective of someone encountering it for the first time. A walkthrough may still be valuable, but the document should not depend completely on its creator to make sense.
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Explain abbreviations
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Make important numbers easy to locate
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Distinguish proposed activity from confirmed activity
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Use colour and formatting consistently
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Make revisions visible
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Ensure each person can find information relevant to their role
Problem 3: Responsibilities are implied rather than assigned
A media plan may show what needs to happen without identifying who is responsible for making it happen. Everyone may assume that someone else is confirming the booking, supplying the creative, approving the copy or checking the tracking setup. The missing task often becomes visible only when a deadline is approaching.
Connect important actions with clear ownership. A few clearly labelled columns can prevent uncertainty and unnecessary follow-up without turning the media plan into an elaborate project-management system.
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What is needed
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Who is responsible
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When it is due
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Whether it has been completed
Problem 4: Creative requirements are added too late
A campaign may be strategically sound and properly budgeted but still encounter delays because creative requirements were not considered early enough. Ad sizes, video lengths, file formats, copy limits and platform specifications affect production timelines.
Include creative requirements as soon as the tactic is added to the plan. If specifications frequently change, link to the current source rather than copying information that may become outdated. The goal is to make the requirement easy to access when it is needed.
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Required assets and formats
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Copy and technical requirements
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Submission and approval deadlines
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A current production-guidelines link
Problem 5: The budget is present but difficult to follow
A spreadsheet may contain every cost while still making it difficult to understand the overall investment. Readers should not need to perform their own calculations to determine how much is allocated to each channel, market or campaign phase.
Organize the budget so readers can move easily between details and the complete picture. The figures should also reconcile before the plan is distributed.
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Cost by media tactic, market or campaign period
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Fees and taxes
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Subtotals and total campaign investment
Problem 6: Changes are difficult to identify
Media plans rarely remain completely unchanged. Inventory may become unavailable, dates may move, budgets may be adjusted and new opportunities may appear. Without clear version control, different people may begin working from different plans.
When a revised plan is distributed, indicate what changed. Do not expect readers to compare two detailed documents line by line to discover the difference.
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Creation date and last-updated date
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Version number or status
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Proposed, approved, booked or completed status
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Notes explaining significant changes
Problem 7: The plan ends at approval
The planning document is often treated as finished once the campaign launches. Months later, someone must compare the original recommendation with what was delivered and how it performed. If the plan does not preserve the necessary context, reporting and invoice reconciliation become more difficult.
Build the plan with the complete campaign cycle in mind: Plan. Execute. Optimize. Review. The plan does not need to contain the complete final report, but it should provide a reliable foundation for creating it.
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Original and revised budgets
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Planned and actual campaign dates
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Booked placements and delivery expectations
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Performance and optimization notes
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Final costs and invoice references
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Explanations for major changes
How much information is enough?
A media plan can also become difficult to use when it contains too much information. The objective is not to place every available detail into one document. It is to include the information people need to make decisions and complete their responsibilities.
Information should be included because it improves execution, not because it demonstrates how much the planner knows.
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Who needs this information?
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What will they do with it?
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When will they need it?
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Does it belong in the central plan, an attachment or a linked resource?
A practical media-plan checklist
Strategy
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Is the objective clear?
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Is the intended audience identified?
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Does each tactic have a defined role?
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Can readers understand how the recommendation supports the objective?
Budget and timing
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Are costs easy to locate and understand?
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Do the details match the total?
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Are campaign, booking, creative and approval dates shown?
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Are dependencies between tasks visible?
Execution
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Does each important action have an owner?
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Are creative requirements accessible?
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Can every participant find what they need?
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Is the current status of each tactic clear?
Document management
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Is the current version clearly identified?
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Are significant revisions explained?
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Is there one recognized source of current information?
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Will the plan still support reporting and reconciliation later?
Simplicity is an outcome
A one-page media plan can contain the result of hours of research, comparison, calculation and decision-making. Its purpose is not to display all that effort. Its purpose is to translate the work into something other people can understand and use.
A clear plan reduces uncertainty. It connects the people responsible for strategy, buying, creative production, campaign management and approval. It also helps identify missing information before that information becomes a problem.
The complexity has not disappeared. It has been organized. That is what a useful media plan should actually do.
by Michaela Sharp | Sep 18, 2026 | Dalilu Wire, Marketing, Media Planning
I have always liked taking photos whenever I can, especially when we travel. During a recent visit with family in the Czech Republic, I took the kids and my husband Grant to a museum we all became very fond of and came home with far too many photos. Looking through them later, I started noticing how many of the displays echoed ideas I think about every day in marketing.
Museum/Family Story
What pulls us in?
When we first arrived at the museum, we walked in together.
That lasted about five minutes.
As soon as we entered the first exhibit, we all started drifting in different directions. One of the kids would stop at something on one side of the room, someone else would disappear around the corner, and I would usually find myself somewhere in between, taking photos.
Every so often, we would find each other again. Someone would call the others over because they had found something interesting, learned something unexpected, or simply seen something they thought the rest of us needed to see. Sometimes whatever they had found was compelling enough that the rest of us would leave what we were looking at and gather around it together.
I did not think much about that at the time. But when I looked through my photographs later, I started wondering why certain things had pulled us in while others had not.
In a museum, there is a lot to look at, but your attention does not move randomly from one object to the next. Certain things catch you first. Sometimes it is the lighting. Sometimes it is the amount of space around an object. Sometimes it is simply where something has been positioned in relation to everything else around it.
Someone has already made decisions about what deserves attention first, what should support it and what can wait quietly in the background until you are ready to notice it.
That made me think about advertising.
When everything starts to feel important
When we work closely with a brand, it is very easy for everything to start feeling important. The offer matters, the product benefit matters, the logo matters, the call to action matters and the supporting information matters too. Of course it does.
But the audience does not experience those things from inside the business. They may see the ad for only a few seconds, perhaps while doing something else entirely and they have to work out very quickly where to look and what matters.
“Communication becomes easier to follow when everything is not given the same weight. The audience needs a clear place to begin.”
I think that is what the museum made so visible to me.
A display does not necessarily need less information. It needs some sense of order. Your eye lands somewhere first, and from there the rest of the story has a chance to unfold.
Distinctiveness plays a role in that too. It is not always about being louder or more dramatic than everything around you. Sometimes it is simply about creating a clear enough cue that the eye knows where to land.
Where should the audience begin?
The same principle carries into media planning. Not every channel needs to carry the entire campaign. One may introduce the idea, another may build familiarity, while another may reach someone when they are ready to act. When every tactic is expected to do everything, the plan can become just as difficult to follow as creative where everything is competing for attention at once.
Looking back, I find it interesting that we all entered the museum together and almost immediately went our separate ways. Our attention took us in different directions. But every so often, something was strong enough to pull us back together.
And perhaps that is the more interesting question for marketers. Not simply, “Did they see it?” But: Was there something there worth stopping for or even calling someone else over to see?