IPA|ED:three, planning

Clive Woodward. Why every client should have one.

clive_woodward

“Integrated Communications are like weapons of mass destruction. Everyone knows they exist but no one has ever seen it done”
David Jones, writing in Contagious Magazine (Is your work Spongeworthy?)

“My role isn’t to do players’ jobs for them. My job is to ensure that every player
performs to their potential and as part of a team”.

Clive Woodward, BBC Interview

“A coach is not a teacher and does not necessarily know how to do things better than the coachee. A coach can observe patterns, set the stage for new actions and then work with the individual to put these new, more successful actions into place.” [1]

A whole new ball game

Media fragmentation; consumers with less time, little attention and no patience; an infinite amount of broadcast and on-demand content; digitisation rendering channels irrelevant [2]; technology to control and filter demanded content [3]…

The last decade has seen the emergence of a whole new ball game. The collective response of the communications industry has been twofold. Firstly, diversification into a multitude of different and varied operations [4]; secondly, generalisation …historically all props had to do was scrummage; now they expect themselves to run, catch, pass and lift in the lineout too!

With so many new players and such a new and more complicated ball game, how does a client – our bewildered [5] Chairperson – approach who decides tactics? Who does Communications Planning on a brand?

What’s the aim of the game?

What do we need someone to be in charge of? Jim Taylor defines Communications Planning
(CP) as [6]:

“The discipline of developing a holistic plan, across marketing and trade marketing functions … beyond simply selecting channels and allocating monies … defining the proposition … identifying the best consumers … creating a ‘big picture’ … weaving together every aspect of a brand’s communications” (Jim Taylor, Space Race).

Fundamentally CP is about uniting budgets, and subsequently allocating that unified budget across specialist disciplines, based on the extent to which each agency can deliver on their particular aspect of a holistic strategy; so CP is:

  • Establishing the match strategy
  • Deciding who – of the 22 man squad – is on the pitch at any one time
  • Ensuring that everyone plays as a coordinated team

Who’s in charge?

One of several different models is generally adopted. The client may opt to do it themselves, but clients are limited in what they can achieve without agencies [7]. The chairman has, at some point, to relinquish control to the team, generally via a lead or all-agency model [8]. However there are two key flaws to both.

One, individual agencies can never know enough about other disciplines to ensure CP they derive consider every perspective. It’s like asking prop-forward to plan a game strategy incorporating the nuances of the role of fly-half; the knowledge required is too broad and getting broader all of the time [9].

Two, Buckminster Fuller’s principle: “If all you have is a hammer, every problem looks like a nail” (as quoted in John Grant’s After Image). A player will never take
themselves off the pitch; the very concept that any one agency can comprehensively and without bias write CP that excludes themselves is fundamentally compromised.

A new Approach

Given this fact, its little wonder CP as a discipline hasn’t found momentum [10].

It’s time for a new approach…

The Chairperson lacks the resources to implement CP, but tasking any – or many – of the players to be in charge is flawed. Yet the pitch is packed with a team of talented and skilled individuals, many of whom excel in their individual positions. The client’s problem isn’t a lack of players; the client’s problem is lack of a structure to ensure that the positions all play as, and in the best interests of, a team.

What the chairperson needs …is a coach.

The Mantra of a Communications Planning Coach

  • Coach is not a communications planner; coach does not dictate a plan.
  • Coach facilitates the establishing of match strategy and negotiates who’s on the pitch at any given time.
  • Coach is independent and neutral.
  • Coach is ‘T-shaped’; with historical grounding in one area but with a broad extent of shallow knowledge across a range of disciplines.
  • Coach captures the Communications Plan without composing it.
  • Coach work alongside agencies, coordinating their collective input.
  • Coach is independent of execution, and remunerated by client based on an annual fee.
  • Coach comes from anywhere; from within the client, from an auditor, from a management consultant, or from agency holding companies.
  • Coach doesn’t set objectives but champions them once agreed.
  • Coach utilises a ‘Connections Wheel’ [1] ensuring no consumer touch point remains unexplored.
  • Coach’s success is measured by the collective success of the CP agencies.
  • Coach is mobile but operates a shared workspace available to all agencies.
  • Coach is gatekeeper to the unified budget.
  • Coach’s perspective is from the view of the entire team, thereby keeping an eye on competitor CP, as opposed to the most visible and measurable aspects of it.
  • Coach talks to the trade as well as consumer marketing.
  • Coach only expresses an opinion when they have to.
  • Coach highlights incongruities and abhors contradictions.
  • Coach maintains a position of independence by virtue of the fact that at no point will Coach ever step on the pitch; that’s the agencies’ territory; across which each position is free to play their own role by their own rules.

Letting go

Agencies – as players on the pitch – need to let go of CP; which won’t be easy. But release brings freedom to do what they each do best; to play and perform in the knowledge that they’ll have a dedicated resource ready and willing to involve them and incorporate their ideas and recommendations into CP.

By letting go, agencies win for themselves the freedom to play their own game as part of a wider culture in which ideas can come from anywhere, and are communicated to everywhere, to the benefit of everyone on their team.

Q: What approach should a client take in terms of who does communications planning on a brand?
A: Hire their team a Coach. Fast.

Notes

[1] quote from The Complete Guide to Coaching at Work (Perry Zeus & Suzanne Skiffington)

[2] Once content is digitised, not only it can exist in any digital channel, but move seamlessly across channels. It is this intrinsic that led William Gibson
to first comment that “The remix is the very nature of digital” – ie digitisation of data and content facilitates transformation – remixing – of that content.

[3] Example of on demand include RSS (Really Simple Syndication) which automatically relays content deemed relevant to the consumer, and IPTV (Internet Protocol Television) – TV via broadband, which is currently seeing substantial investment by UK TV companies. To quote Rob Norman in his speech Do Different “In the final analysis the world has gone on demand. That puts it beyond our control”.

[4] And a lot of specialists there now are; WPP Group has 247 companies globally and 194 offices in the UK alone.  All companies relate to communications
services “Through our companies, WPP offers a comprehensive and, when appropriate, integrated range of communications services” source

[5] Reasons for clients outsourcing Communications Planning are varied and well documented. They can’t source quality talent, nor pay for them – their headcount doesn’t justify it. Nor can they justify the investment of purchasing and integrating all the systems and data they’d need to comprehensively implement CP internally, especially for what is essentially seen as a cost centre for the business. Plus they’d lack external benchmarks from other clients.

[6] It should be pointed out that there is still no agreed consensus on what the term actually means, tending to mean different things to different agencies and clients. The IPA defines it rather vaguely as “A holistic planning approach to engaging a brand’s audience to ensure greater effectiveness”.  Source: communication Strategy – A best practice guide to developing communication campaigns (IPA), but this could arguably apply to any disciple; to any player in the team

[7] A In a recent survey, 48% of Chairpersons stated their belief that they were best placed to be in charge of CP. Whereas 31% of clients hand over control
entirely – believing that one or more of their players are best placed to be incharge. 38% of clients and agencies prefer a lead-agency approach, with 50% preferring an all agency model (Source: A best practice guide to developing communication campaigns (IPA)

[8] 31% of clients hand over control entirely – believing that one or more of their players are best placed to be in charge. 38% of clients and agencies prefer a
lead-agency approach, with 50% preferring an all agency model (source: best practice guide – IPA)

[9] The requirements for Communications Planning set out by Jim Taylor’s in Space Race are multiple: “The discipline of developing a holistic plan, across marketing and trade marketing functions, that defines how a brand will communicate with consumers … beyond simply selecting channels and allocating monies … defining the proposition … identifying the best consumers … creating a ‘big picture’ … by weaving together every aspect of a brand’s communications”. It’s ambitious for a team of agencies let alone a single agency to accommodate each of these perspectives

[10] The lack of progress is noted by Tom Morton writing in Campaign; “Comms planning as a standalone department within agencies hasn’t
been a great success”
, one possible explanation is offered by John Grant in After Image who notes that “The in-fighting seems, if anything, to be pulling
some agencies and consultancies back from innovation, towards lowest common denominators”
.

[11] The Connections Wheel is a tool developed by TBWA, and described by Jean-Marie Dru in Beyond Disruption. I’m not suggesting that the Connections Wheel is the specific solution for every coach, but a tool that enables the Communications Planner Coach to ensure that all potential routes are covered
will be essential.

Standard
broadcasting, content creating, regulating, social networking, viewing

Kate Modern’s no-so-modern Commercial Model

Kate_modernBebo’s Kate Modern will end next month

on June 28th Bebo’s Kate Modern, the online drama broadcast by the social networking site, will ‘air’ for the last time.  the strategy of creating bespoke content for the SN is a solid one; it not only attracts and locks in new users, but adds value through interactivity with content to existing users.

however EQAL, who make the show (and formerly Lonely Girl 15) have suggested that in future they’d like to see more than the 1.5m views the average episode received.  doesn’t sound too bad to me…  whilst a quick scan of the Viral Video Chart  shows that the top 20 virals currently deliver anything between 30,000 and 3m views, a better comparison is with the ‘push’ model of broadcast television, in which an average digital channel would be happy to get 1.5m people to watch an episode.

but the more interesting observation is how Bebo applied such old-school thinking to the commercial model.  A spokeswoman for Bebo (quoted here) said the show was profitable
because of the sponsorship deals it put together with the likes of Orange, Toyota and Cadbury Creme Egg.  but this seems like a missed opportunity…

like any online site / brand, Bebo has to be clear about what it is.  Yahoo’s current woes stem from the fact that they don’t know what they are.  Google by comparison are quite clear.  they’re an advertising company.  Bebo would say that they are a social network, but it could be argued that by being seen to ‘create’ Kate Modern, they confuse this proposition.  they should be the third force of Anderson’s Long Tail – connecting source and demand, rather than part of the first – democratisation of production.

but perhaps the biggest opportunity is being missed by brands, who are contenting themselves with being attached to someone else’s content rather than producing their own.  its Orange, Toyota and Cadbury that should be making Kate Modern (or its strategic equivalent), and using Bebo as a distribution mechanism.

Bebo (or any social network) should be happy to filter content from elsewhere…  and benefit commercially from the audiences it attracts as a result…

Standard
advertising, viewing

The Lynx Effect: Changing a Business without Changing the Business

saw the Lynx 3 ad in the cinema last night.  you’ve got to give them credit…  how do you use communications to double the volume of consumption of your product?  well… you get people to use twice of much of it whenever they do use it.  shamelessly brilliant…

it follows on the heels of previous ads which have visually suggested using the spray all over one’s body – the same tactic being employed; get people to consume more whenever they do use it, increasing frequency of purchase as a result.

a simple communications solution to a key business challenge  …without any elaborate suggestions about how a client needs to fundamentally change their business.  like Lynx that regard…  refreshing!

Standard
content creating, converging, user-generating

When Boris, Ken and Brian met George, Zippy and Bungle

a lovely bit of remix for the London Mayor elections which sees Boris, Ken and Brian meet George, Zippy and Bungle.  brands need to learn to more easily move this quickly, attaching themselves where relevant to current events.  the edit quality on this is superb – check out Zippy’s look of horror when George makes his accusation…  Adland watch and learn…

Standard
regulating, user-generating

Williams on Mead: Taking Control of the Underground

Williamsso I saw the above LEP this morning at Leicester Square…

to CBS its vandalism
to some punters its a laugh
to others its just irrelevant
to a strategist its remix
and to the advertiser its an urgent re-post please

but what is it to the person who did it?

an opportunity to make a statement and express their bewilderment and frustration with corporate entertainment that lazily rechurns old ideas because people have stopped expecting to be surprised with new ones?

or a bit of a laugh.  a chance to raise a smile on the faces of the passers-by who get Williams instead of Mead.  to surprise and amuse a tired and commuting-weary audience?

whichever it is, its I suppose about control.  a conventional advertiser losing it and a renegade gaining it.  this of course is nothing new – Innocent launched a decade ago with underground LAP stickering (and it didn’t do them any harm!)…

debate aside.  it made me laugh.

Standard
advertising, branding, content creating, IPA|ED:five, user-generating

The Trampling by Brands of User-Generated Creativity; why we have to do better than this

Ann_summers_viral_academy
so if once is an incidence, twice is a co-incidence and three times is a theory, then I reckon we have a hypothesis on our hands.  I’ve now noticed three brands of late directly asking users to create adverts for them on the brands terms.

the first and loosest brief came from Ann Summers (above) and their viral academy.  they’re quite direct about it "we don’t retain a creative agency; instead we welcome ideas from talented creative people who contact us directly".  fair enough.  having had content independently submitted, they wanted to make sure it was more formalised.  but the brief remains loose…

"We expect most of the ideas to be for short films – like the ones you can find here  but we don’t want to limit you in any way. If you have a great idea for
a game, a song, a comic – anything at all – we’d love to hear it" [source]

much more recently I’ve come across a couple of examples that don’t show quite the same latitude in their briefs, or what they’re willing to accept.

Doritos_make_me_an_ad_2
first came ‘you make it, we play it’ from Doritos.  they’re getting a bit more specific about what they want…  it’s got to be – for example – exactly 29 secs in length.  a bit more specific then…

but any reservations that Doritos might be taking a slight advantage of consumers  was blown out of the water when I saw Armani’s brief at the weekend…

Armani_advertising_contest
the rules – downloaded from the Armani contest website, stipulate that:

"each creation must comprise:

  • a packshot of the Emporio Armani For Him and For Her
    fragrances: either the packshot found on the Site (which under no circumstance
    may be modified) or a packshot of these fragrances created by the entrant;
  • the two logos found on the Site: Emporio Armani and Get
    together;
  • The English signature “Emporio Armani, The two fragrances:
    Get together”,to the exclusion of any other"

I’m not quite sure slave labour is what Larry Lessig had in mind when he talked about a truce in the corporate | consumer creative pact.  and I’m as sure as hell that ordering an army of consumers to use a packshot, logo and tagline as stipulated by Armani when user-generating, wasn’t approaching what Gibson or Jenkins had in mind when they described a future vision of participatory culture and collective intelligence.

brands either embrace the user-generation on their terms, with all the diversity that comes with it.  or once again miss the boat because they applied a brand-centric old model to a consumer-centric new world.  we surely have to do better than this.

Standard
engaging, praising, viewing

“The one Cadbury’s didn’t want you to see”, that you really should see

discovered this courtesy of a post by Faris on TIGS.  wasn’t going to post about it but haven’t been able to get it out of my head.  it is so right in so many ways…  positioned as ‘the one Cadbury’s didn’t want you to see’, its a slow-mo version of the suicide cult which formed the climax of this year’s creme egg campaign.

its so totally mesmerising you forget your watching dozens of eggs get smashed to a pulp by their own personal wire on a spring.  and some delightful restraint at the end of the piece ensures that it only hints at it’s marketing origins.  just lovely.

Standard
broadcasting, converging, praising, viewing

Build then advertise it, and they will come: how the iPlayer delivers and relies on BBC’s platform-neutral offering

Iplayer
news that the BBC’s iPlayer delivered 42 million downloads in the first quarter of 2008 confirms the success of the BBC’s online offering [source: MediaWeek].  it doesn’t come as a surprise.  the player is simple to use and easy to navigate, and crucially the streaming option allows you to dip into programmes without the drawn-out drama of downloading and saving to your hard-drive.

it marks the most important of what is a range of moves to ensure platform neutrality of the BBC’s offering.  hot on the heels of it’s Virgin Media and iPhone deals comes the news that BBC will be joining forces with Wii to deliver it’s content on Nintendo’s home entertainment system.

the strategy is as spot on as you can get as we approach digital switch off.  Henry Jenkins in Convergence Culture introduced us to the notion that it’s not technology (and applications) that’s converging but rather content.  we’re consuming converged content on our terms across a range of platforms to suit our needs.  brands and other advertisers could learn a thing or two.

that said, you can sympathise with the criticisms of commercial broadcasters, especially those beyond page one of the EPG.  the BBC – despite the fallout of it’s current restructuring, has investment to spare in developing the iPlayer – it’s remit to digitise the nation being a keystone of it’s license fee settlement.  they are in an enviable position, being a broadcaster that knows what you have to do is one thing; having the investment to make it happen is quite another.

of course the other benefit of being a big broadcaster is being able to cross-promote your platforms.  the iPlayer is as reliant on the eyeballs delivered by it’s more established parent as the parent is on the 15-34 reach delivered by its new offspring.  and the BBC trumped it again here.  their penguin trailer on April 1st was just class.  enjoy.

Standard
CRM-ing, internet, selling

The Double-Edged Sword of Hoxton Hotel’s £1 Room Sale

Hoxton_hotel_2
so I’ve just bagged a room at the Hoxton Hotel  (the £17m establishment opened in 2006 by Pret founder Sinclair Beecham) in their sale…  a quarterly event which this time round offered 500 rooms at £1 and 500 rooms at £29 to the first to book them online from noon today.  the sale lasted 19 minutes.

as expected, online demand at the booking engine was high and much page refreshment was required before I finally got to the booking.  others didn’t make it…  a friend messaging online commented on the frustration being felt (and verbally articulated) around his office.

these frustrations were acknowledged by the Hotel’s General manager David Taylor, who in an online statement after the sale commented:

"The booking engine once again struggled to keep up with the huge
number of people trying to book rooms …  We are sorry if you were not successful, We are sorry of the booking engine stalled on you, We are sorry that not everyone could be a winner"

and that’s the problem with sales like this, the CRM fall-out can be painful.  the website experienced 500,000 hits in the 19 minute duration of the sale, with only 1,000 ‘winners’, that potentially leaves 499,000 disappointed potential customers.  but there’s a flipside…  boy is there a flipside.

using the lowest standard room rate of £59 as a base, the sale cost the Hotel £44,000 worth of income.  but to recoup this income Hoxton has (only) to sell 746 rooms it otherwise wouldn’t have done.  so of the half a million hits they received today, they only have to convert 0.0015% of them to get the money back.  which shouldn’t be too tall an order at all.

but money aside, the sale is delivering across a number of other key metrics.  I’m willing to bet the quarterly spikes in the below Google Trends result for ‘Hoxton Hotel’ is driven by their quarterly sales.Googletrends_hoxton_hotel

added to this increase in website traffic is the surge of new email addresses and mobile phone numbers to their database (I surprised myself at how much personal information I was happy to throw at the website when the clock was against me), and of course the word of mouth effect that this generates…  I found out about the sale from a friend, who found about it from his friend, who in turn found out about it from his girlfriend who was already on the database.

it’s one hell of a sales promotion that can generate this kind of response whilst almost certainly paying for itself…   a double edged sword it may be, but I’m sure it’s one that this Hotel is more than happy to wield.

Standard
broadcasting, content creating, internet, viewing

Balancing Individuality and Mass-Culture in the evolution of Content and it’s Consumers

Rocketboom describes itself as a three minute daily videoblog covering everything from top news stories to quirky internet culture.  alongside peers like Diggnation and BoingBoing, it’s one of a breed of short sharp audiovisual pieces made for peanuts and distributed for free via the internet.

in the emerging AV ecology, these elements stand out principally due to the consistency of their presence…  much internet AV content (the vast majority of YouTube‘s real estate for example) is what the Hollywood movie industry would call ‘nonrecurring phenomenon’ – the one off’s and unpredictable quirks that populate the long tail of internet content… everything from a crying Britney fan to the Star Wars kid.  it’s unfiltered, it’s popularity determined by the wisdom of the crowd.

Rocketboom and it’s peers are different.  they’re consistent in both their presence but also their point of view on what and how they aggregate content, and as such become destinations in themselves.  they’re building fan bases; aggregated audiences of subscribers …and it’s in doing so they are creating a new breed of media brand: a interim format between the long-form (TV) show and YouTube’s clip-culture.

it’s an interim format with dilemmas that in many ways mirror those of it’s principal audience of 16-24s.  a recent report by the future foundation’s nVision describes the contradiction in how this group – on the one hand – consumes and relies on mass culture, but on the other craves individualism and self-expression…

"One of the reasons behind this predilection for
mass culture is that young people have less experience when it comes to
consumption choices; they often use mass market products as a short cut to
quick and easy decisions.  They are also strongly driven by the desire to
fit in with their peers and choosing fashionable mass market products can be an
easy way of doing this.

 

Young consumers are also, conversely (and indeed perversely), keen to be seen
as individuals and consumption is a key way for them to express their
personality … In this context, while mainstream hits will continue to appeal to
young people, they might not always loom as impactfully  they used to do.
Marketing becomes harder, must become more individually focussed as a result."

(source nVision report, March 2008)

the parallels between the Rocketboom format and it’s audiences are startling  …a survey cited in a Guardian article by the recruitment company CareerBuilder
asked employers what
they thought the differences were between workers over and under 30
years old.  the main finding was that younger employees
communicate through technology rather than in person.  the same can be
said of Rocketboom; it’s a format that thrives on the back of the
technology to create and distribute cost-effectively…

both Rocketboom and it’s consumers define their individuality by seeking-out and adopting what’s different before anyone else…  but both – ironically – rely on conformity to mass-cultural rules and the credibility – through shared understanding of meaning – that it brings.  will one inevitably give way to the other?

it’s easy to forget how intertwined content and consumers are…  a generation of digital natives are, by virtue of their media consumption, determining the very nature of the media they consume.  and as this generation grows throughout the population, Rocketboom and it’s present and future peers will find themselves pulled into the mainstream along with them…
 

Standard