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BY JEFF BEER

Hundreds of women have shared horror stories, after brand strategist Zoe Scaman penned a letter exposing the sexual harassment and mistreatment she has endured in her two decades in the ad industry.

Twelve years ago, advertising and brand strategist Zoe Scaman was sexually assaulted by her boss after he followed her into a washroom stall on a work night out. The next morning, while sitting six feet away, he sent her an email suggesting she “forget about last night,” because he had a wife and kids, as if what happened was either consensual or mutual. It was neither. Scaman told a few people about it, but the general response was that she shouldn’t “kick up a fuss” because “it wasn’t worth it.” That same man went on to become a client at her next agency job, where she’d often hide and cry when he was in the building.

This is just one incident of many over the course of her career that Scaman details in a new essay. The founder of UK strategy studio Bodacious, has built a following on Twitter around her insights on consumer culture and brand strategy, and a resume that includes global advertising names like Droga5 and Universal McCann, as well as work on major brands like Adidas and Nike. On Sunday, she published the piece on her “Musings of a Wandering Mind” newsletter that has caused the ad industry to really sit up and take notice.

“Mad Men. Furious Women.” begins by chronicling a few of the incidents of sexual harassment, bullying, and gaslighting she has experienced over her 18-year career. The essay also includes a number of anonymous accounts from others. It paints a picture of an industry that sees itself as progressive and innovative, but still has a long way to go when it comes to the treatment of women in its ranks.

“We like to believe that misogyny and the mistreatment of women is a thing of the past, it is not,” she writes. “Instead it has morphed and evolved into something insidious; no longer overt and no longer a common occurrence carried out in public for all to see. Instead it’s moved behind the curtain where it operates in the shadows, in private messages, in whispered comments and in the deeply disturbing behaviour [SIC] many of us experience individually, quietly, and about which, due to fear of reproach or reprisal, we rarely share openly.”

The idea for the piece came out of a conversation with a fellow ad strategist she had just met, who made the move to London from New York. “Within a few minutes we were warning each other about who to avoid in the different markets, and sharing horror stories,” Scaman tells Fast Company. “At one point we both sat there and said, ‘Hold on a second, what are we doing?’ We were shocked at that behaviour, but it’s become so normalized for women, not just in advertising but most industries. I just found myself incensed that this had become normalized to the point where we didn’t question the fact we’re warning other women how to stay safe in their workplace.”

In late 2017, around the same time Hollywood was in the midst of its MeToo reckoning with allegations against Louis CK and Ashley Judd’s accusations against Harvey Weinstein, an anonymous Instagram account called Diet Madison Avenue began sharing accusations of sexual harassment and mistreatment in the ad industry. Diet Madison Avenue named names and called out executives who had recently been fired from major agencies. Former chief creative officer at The Martin Agency Joe Alexander sued both Diet Madison Avenue and his former employer, after he was fired following multiple sexual harassment complaints. The former suit was dismissed in 2020. Amid several other defamation suits, Diet Madison Avenue shut down its social accounts and website in May 2018.

Scaman sees these incidents as just the tip of the iceberg. The ad industry was long known as a fun time boys club, one that closely reflected the grab-ass banter and darker undertones of the fictional hit TV show Mad Men. That sexism was apparent in the work. Taglines like “Is it always illegal to kill a woman?”  and “Keep her where she belongs” were common in the 1960s, but still held a grip well into the 21st century.  In more recent years, many brands and advertisers have begun to use the language of empowerment in their pitches, giving a false impression that misogyny, gender pay gaps, and other sexist behaviour are relics of the past. In the last two days, Scaman has received hundreds of stories from women around the world, detailing their own traumatic experiences. Many others have taken to Twitter to retweet the newsletter and share stories.

“Nothing really happened after MeToo, a couple of heads rolled, but it was symbolic,” Scaman says. “No real policy changes were enacted. There were a lot of pledges, a lot of heartfelt open letters, conference panels, but nothing has really changed. I don’t think the men who have done stuff already are going to be held to account. I think they’ve gotten away with it.”

She hopes that by speaking out, she can help effect change that will move the industry forward. She’s encouraged by more stories being shared, and names being named, on industry message apps like Fishbowl. “Right now there is a culture of silence, fear, and shame that we need to break,” she says. Case in point: The call to name more names has actually been going on for years. Former advertising executive and Make Love Not Porn founder Cindy Gallop addressed this need in a 2017 industry conference keynote.

Outside of more women sharing their stories, Scaman says two major things need to happen. The first is that companies need to get rid of non-disclosure agreements. NDAs are legally binding documents many employers ask employees to sign when they take a job. They are essentially designed to prevent people from speaking out. Other female industry leaders, like Katherine Gordon, CEO of the 3% Movement, have also called for a ban on NDAs. Second, an independent organizations needs to be established on behalf of victims. Human Resources departments exist to protect companies not people, and can’t be fully trusted.

On Tuesday, Scaman and a group of industry colleagues created a call to arms, warning past and would-be perpetrators that their behaviour will no longer be tolerated. It reads:

 

[Click to Expand]

Scaman has never pressed charges or sought official accountability from any of her past harassers. Since her essay was published and widely circulated, one of the men who harassed her emailed her. Her whole body went white hot, and she felt lightheaded and nauseous. “That is a fear and trauma response, still strong, years and years and years later,” she wrote on Twitter. “This is what it does to us.”

For those looking to contribute and help make the changes needed in the ad industry, Scaman suggests getting in touch with and helping organizations that work to support women in the ad industry, like The 3% ConferenceCreative EqualsTimeTo, and Women in Advertising and Communications, Leadership (WACL).

If you have experienced workplace abuse and would like to share your story, I will honour your anonymity. You can email me here or DM me on Twitter here.

Feature Image Credit:  iStock

BY JEFF BEER

Jeff Beer is a staff editor at Fast Company, covering advertising, marketing, and brand creativity. More

Sourced from Fast Company

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This is really all you need, check it out!

A podcast is one of the best ways that people can share their ideas, experiences, and views on a particular topic.

But many will wonder: What is a podcast? Here we go: It is about preparing content in audio format and it is posted on the open Internet or within certain platforms such as Spotify, Apple Podcast, Google Podcast, Ivoox, SoundCloud, among the most popular, so that the rest can listen to it. of people.

The word ” podcast ” comes from merging two words in English: “pod” (referring to a portable audio player) and ” broadcast ” (transmission or broadcast).

Make your voice heard

Sometimes the excuse for not starting our own podcast is that we have no experience or that we are not star experts in the field where we want to start; However, the idea of making our own podcast is that we reach our target audience, who may be interested in our ideas, and that we help them solve their most common problems.

For example, if you are a health professional, you can start sharing experiences and tips that help people control their weight, take care of their physical condition or tips to improve their well-being in general. You can do it using your own knowledge or you can have other guests, colleagues and specialists to help you develop the topic.

An important clarification: You don’t have to be a star to podcast. In fact, it is exactly the other way around. You will be recognized for your ideas as your audience begins to listen to you and grow with you, and become interested in your content.

The importance of personal branding

Another advantage of doing a podcast is that you will be aligning it with your personal branding strategy. As I always share, it is about reaching to develop it in the medium and long term, because it pays off to the extent that you can grow and share your ideas with an audience that will become faithful to your content; In the case of your audio content, they will not only listen to you or share and comment, but they can also subscribe to listen to your new episodes.

On another level, brands and products could be interested in what you share, generating income from your project.

4 simple steps to start your first podcast

Here are the basics you need to keep in mind when thinking about having your own podcast, in these 4 easy steps:

1. Define a topic and format: One of the most important things when starting a podcast is that you define what you want to talk about. Pick a topic that you are proficient and that you think will be useful to your audience. The most common formats are podcast with specific weekly topics, podcast with interviews, podcast with guests, or podcast with book and movie reviews related to your main topic. Although there are an infinity of themes. The duration is variable, from 5 or 10 minutes to programs of an hour or more. There is an audience for all tastes.

2. Define a publication schedule : It is important that you define the frequency in which you are going to launch each new episode. Will it be a weekly, biweekly or monthly podcast? Once you have established it, you should plan and research the topics that you are going to cover in each episode. Take the time to find sources, interviewees, or ideas that you want to implement in each episode.

When you feel ready, grab your phone (or hire a professional studio) and record your first episode. If you have the ability to edit audio, you can incorporate resources such as music, sound effects, pre-recorded voices and a large number of artistic elements that will give more body and appeal to your content. How to record? Many do it directly with the voice recorder built into the cell phone; others add an external microphone, and even get a more professional one and record on their computer.

3. Define the platforms where to post: It is undeniable that to have reach you will need to have a Spotify account for Podcasters. There are also other platforms in Spanish, as I mentioned above. And I suggest that you do not rule out local platforms and in your language, since the more you have a presence, the more viral your content could become, encompassing niche audiences and other broader ones, always depending on the topics you address.

4. Make it recurring and share it on your social networks: Now it’s time to share your podcast with the world. The first place where you should start sharing your episodes on all your social networks. If you have interviews, mention them with @ so they also help you spread the word. And remember to mention this new tactic of your Personal Brand in any other communication, for example, with a direct link on your website, or by recording yourself on video while you prepare the podcast and upload it to your YouTube channel. In other words, you do what is called “transmedia”, you take advantage of the synergy between one medium and the others. In a podcast your primary audience will be the people who already follow and know you, then new followers will come. Here the key is in the constancy, in how frequently you publish and generate loyalty and recommendations from your followers.

A help for you: The best platforms to share your podcast

Once you have your first episode recorded and edited (which you can do directly from your phone with applications such as Mobile Podcaster or Dolby On, or in a professional studio) you must share it.

One of the best ways to quickly and professionally share your podcast across multiple platforms is through Anchor.fm. This website is one of the best options to upload your episodes on several other platforms at the same time, without having to do it manually on each of them. In addition, it is an official Spotify website.

Another of the most popular aggregators where you can upload your podcast to be shared automatically on multiple platforms is Spreaker.com. Here you will also have the option to have your podcast automatically uploaded to Google Podcast, iTunes, Deezer, Stitcher, Spotify, and so many more.

My final recommendation is that you cheer up. Record your first episode and then share it with the world. Your ideas and your experiences can help many if you dare to share them. Don’t keep them, amplify them!

Feature Image Credit: Kate Oseen vía Unsplash

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Sourced from Entrepreneur Europe

By Amelia Torode,

Presenter Vanessa Feltz’s BBC Radio London researcher messaged me last week asking whether I’d be happy to give an industry insider response on-air to the news that, in an effort to curb childhood obesity, the British government had enacted a new watershed TV and online ban on high fat, sugar and salt (HFSS) food advertising.

I’d seen the official industry response, and it had made me uneasy.

The Advertising Association declared themselves to be “dismayed” by the news. The Food and Drink Federation said that they were “disappointed …the proposals would make it difficult to advertise many products that have been carefully reformulated or created in smaller packaging. … Many food and drink companies won’t be able to advertise new product innovations … and larger food-on-the-go, pub and restaurant chains may not be able to tell their customers about their menus.”

Elsewhere, the IAB wrote that the ban “will create untold damage to the advertising industry” and that banning ads online will achieve “next to nothing in terms of reversing children’s obesity rates.” The News Media Association declared the ban “draconian.”

I am aware that I am in a position of privilege in so much as I work as an independent strategy consultant, so I’m not beholden to a global agency network and can consequentially give my opinion and not have toe the party line. But there comes a point when we all have to be honest about what we’re hearing and feeling.

At a fundamental level, we have to make a choice: either we believe advertising works or we don’t.

The moral issue

If we think advertising does work, then we probably shouldn’t be getting to upset about a pre-9 p.m. junk food advertising ban aimed at children. If, however, we believe that advertising doesn’t work then we’re probably in the wrong business.

When I posted about the HFSS ban on Twitter, the strategy community seemed divided and conflicted. I was warned about culture wars, told that “no government should be allowed to tell me what I can eat or drink,” that obesity has nothing to do with advertising. I had Jeremy Bullmore, author and former chairman of JWT London, quoted at me as saying, “Advertising’s role is to provide the best advice to clients to meet their business objectives. It has no remit to take a stance on issues.”

Really? I felt so sure this quote was not something Bullmore would actually say. So I emailed him, and he said the quote is fake.

“I’m pretty sure I’ve never written anything along those lines. It’s meaningless anyway since a company’s known stance on issues can help or impede the meeting of its business objectives,” he responded.

I have also heard a lot of anger at the perceived hypocrisy of our industry. Anger at (unnamed) IPA Effectiveness winners declaring at an ISBA conference that HFSS advertising had no significant effect on consumption.

HFSS food pun intended, our industry wants to have our delicious cake and eat it.

During Cannes Lions, when our industry is heartily patting each other on the back for the brilliance of our social purpose advertising campaigns that have apparently changed hearts and minds around the world, it just seems funny how advertising doesn’t do anything when it comes to HFSS.

Thank you for smoking

There’s a brilliant dark comedy Thank You for Smoking in which Aaron Eckhart, the lobbyist for Big Tobacco, tries to remain a role model for his 12-year-old son while simultaneously doing his job standing up for the cigarette industry. Spoiler alert: He fails.

The language that our industry is using around HFSS and children seems to be remarkably similar to the language the self-titled MOD (Merchants of Death) Squad tobacco, firearms and alcohol lobbyists use in this damning satire. It got me thinking about whether we use the same language back in 2003 when cigarette advertisements were finally banned.

Trying to understand from a client that was grappling with the new implications and impact of the ban, I spoke to Ross Farquhar, CMO of cult mochi ice cream brand Little Moons.

Ross and the Little Moons team worry this ban is devastating. “For a company like McDonald’s, Dominos or Unilever, they can side-step the ban because they can still run brand adverting that doesn’t show product. Our brand isn’t that widely known yet so we can’t do that.”

One of the loopholes would be that a company like McDonalds, so long as they didn’t show hamburgers, would be fine. In fact, they can actually advertise chicken nuggets as those fall within the acceptable HFSS range.

Farquhar’s point was that for a company like Little Moons that has yet to break into the mass mainstream and doesn’t have the brand awareness has to talk about product, especially when it’s a Japanese product that is not very well known. Now they’ve lost that opportunity on television.

There are a number of other loopholes and exceptions. OOH advertising is still permitted; small- and mid-sized businesses with less than 250 employees will not be impacted by the ban. However, Little Moons produces all their ice cream in the U.K., so while they are a small company, their headcount takes them above the magical 249 number and they’re therefore applicable to the new ruling.

My overarching view remains the same. We have the most overweight children in all of Europe. It’s a health time bomb of epic proportions, and we need an honest approach to tackling it, of which advertising is a part. For our industry to deny that advertising can shape desire and prompt purchase is simply mealy-mouthed.

By Amelia Torode

Amelia Torode is a co-founder of The Fawnbrake Collective.

Sourced from ADWEEK

By Seth Price,

Search engine optimization can help the right customers find your company. Embrace it.

Feature Image Credit: Getty Images

By Seth Price,

Managing Partner of Price Benowitz LLP and Founder & CEO of BluShark Digital

Sourced from Inc.

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Jack Butcher spent 10 years working in advertising as a creative director for multi-billion dollar brands. And then he realized he was missing something: Freedom.

“So in search of freedom, I started my own advertising agency,” he wrote. “No fun, and even less freedom.”

After two years of working on his own agency, Butcher figured out that he needed a model that could scale infinitely. “The insight behind this transition? Productizing myself,” he said.

He pivoted to a business he called Visualize Value, which consists of a $1 million per year product business and a media platform with an audience of more than 500,000 people. (You may remember when Butcher illustrated a guest post I wrote for his website.)

Recently, Butcher participated in an hour-long, live “Ask Me Anything” with readers who are part of The Profile’s members-only Telegram chat. (To join, consider becoming a premium member here.)

Below are the highlights of his Q&A with the readers:

Q: Jack, you recently became a dad. How did you continue to consistently produce content without losing momentum even though (I assume) you had to make more time to spend with your new baby?

Butcher: I’ll start by saying my wife Celia is an incredible mum, so that definitely accounts for 90%. The other 10% I think comes down to a shift in priorities that a life event like that brings. It’s amazing what you’re actually capable of in five minutes if you literally only have five minutes. So you start to prioritize the things that have the maximum (or close to) amount of impact for time spent.

Q: To follow up, what things are maximum impact for you?

Making visuals or working on the systems in the back end of the business (email sequences, product updates, stuff that you can do once that works in perpetuity)

Q: I wanted to know if you were influenced by the Bauhaus movement or Japanese minimalism? Do you have an opinion on them?

Probably subconsciously yes. Not much of an academic so can’t credit as accurately as I’d like, but Swiss graphic design had a huge influence on me: Josef Müller-Brockman. Also product designers like German industrial designer Dieter Rams.

Q: You recently appeared on Jim O’Shaughnessy’s Infinite Loops. Which one of the question stumped you the most?

I can’t recall the exact set of questions he asked, but the hardest question to answer is always “What’s next?” I plan maybe two weeks out versus 10 years.

Q: How do you get ideas, and is there a reason you prefer to work in the short-term?

I think I just forged a preference for working under pressure in an agency environment, and the idea of “running out” of ideas is weirdly motivating. Each iteration of the business wasn’t planned in a traditional sense. It was more of an organic evolution, so I’ve stopped trying to predict those things and just lean into trusting the process and see where it ends up.

Q: Do you recall the moment that your visuals gained traction on Twitter? What was that feeling like? And how did you know that what you were working on was working?

I think it was a Nassim Taleb retweet that made me realize that this thing could work. I was new to Twitter and experiencing the power of network effects on that platform when it shifted something in my brain. I went all in after that.

Q: How did you decide to monetize your graphics after realizing there is a chance post-Naseem Taleb’s RT? How did you figure out the skill-market fit?

My background is in advertising, so I think I understood that the ability to capture attention organically is worth something. The first product took that idea and turned it into an education product “How to Visualize Value.”

Q: What advice or tips would you give to educators who are creating content to teach online when designing content to have maximum learning impact?

My personal approach is “principles first” — so understanding the building blocks of knowledge that are necessary for someone to practice something effectively, and introducing them one at a time.

Lots of online education teaches tactics first (or the memorization of something), which is much less effective than teaching someone the fundamentals and letting them figure it out for themselves.

It’s also about encouraging people to create things off the back of what they learn creates the best kind of feedback loop — “If you can’t explain it to a 5-year-old, you don’t understand it.”

Q: Have you thought about creating a book for toddlers or younger kids? Your graphics are exceptionally simple to understand, which is the best part of the creation.

I had a baby recently and did not know that the black and white high contrast images were a cognitive development thing. I’m looking into it right now. (There’s also room for something for older children too I think).

Q: Have you built a personal brand for anyone using VV methodology and if so, was it as effective as doing it for a product or business?

There have been plenty of graduates of our courses that have built solid personal brands on the same principles that VV uses:

By

Sourced from INSIDER

By Phoebe Bain

Nandini Jammi and Claire Atkin are the cofounders of Check My Ads, which helps marketers keep their advertising away from fake news and the like.

ICYMI, Marketing Brew hosted a virtual event on Wednesday with the cofounders of Check My Ads, a consultancy that helps advertisers navigate the chaos (and danger) of the ad tech world.

  • Morning Brew’s B2B Executive Editor, Josh Sternberg, chatted with cofounders Nandini Jammi and Claire Atkin about where ads lost in the ad tech pipes actually land. Often, they end up alongside misinformation, fake news, and conspiracy theories.
  • That’s where Check My Ads comes in. Jammi and Atkin’s consultancy works with marketers, providing them brand safety training to help them steer their ads away from such content.

Watch the recording of the full event here, or read on for our three favorite quotes from the thirty minute conversation.

  • “We have yet to work with a brand that hasn’t been on some kind of disinformation [site].”—Atkin, on just how common it is for ads to get funneled into the worst places on the internet without marketers knowing it.
  • “Google, Criteo, OpenX, [and] Taboola are some of the biggest funders, monetizers of hate speech and disinformation. That’s something we have seen in our own work with clients, and it’s also something that I see as a disinformation researcher.”—Jammi, on which ad tech companies she and other anti-disinformation professionals believe to be the worst offenders.
  • “You cannot automate your way to brand safety.”—Atkin, on why all marketers should, quite literally, check their ads.—PB

By Phoebe Bain

Sourced from Marketing Brew

Want better results from your Instagram ads? Wondering how to optimize your top-performing Instagram ads?

In this article, you’ll find a comprehensive process to test your Instagram ads campaigns and scale your results.

Instagram Ads Are Different From Facebook Ads

Instagram may still have great (relative to Facebook) organic reach, but if you really want to scale, you need to reach people outside of your existing audience. How do you do that? Therein lie the art and the science (mostly the science) of Instagram ads.

Instagram is a unique platform for running ads for several reasons.

The most active demographic on Instagram has changed dramatically in the last 5 years. Five years ago, 45-year-olds were barely on Instagram and the under-25 crowd dominated the platform. Now, the under-25s are on TikTok and 45-year-olds are all over Instagram.

Aside from a massive demographic shift, user behaviour can make Instagram a challenging platform to convert buyers or leads—namely, people aren’t in the habit of clicking off of the platform. Organic content on Instagram almost always keeps people on the platform.

Sure, some accounts have 10,000+ followers and a swipe-up link on Stories. Sure, people can climb a mountain, cross a fjord, and hop on a zipline to get to an account’s “link in bio.” But that link-clicking behaviour happens on a minority of content on Instagram.

Ninety-nine percent of the organic content people engage with on Instagram keeps them on the platform. Conversely, on Facebook, Twitter, LinkedIn, and Pinterest, people regularly click off of the platform to read articles, explore products, or opt into free offers.

Instagram ads require different behaviour than organic content, and whenever you have this discrepancy, you’ll have a lower click-through rate. This is the challenge of Instagram.

Click HERE to read the remainder of the article

Sourced from Social Media Examiner

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It’s no secret that creating amazing customer experiences is a key component of all brands’ marketing strategies. If that’s not the case, then quite frankly you’re missing a trick. In 2021, where the majority of a customer’s interaction with a brand is online, customer experience (CX) becomes even more important. eMarketer’s 2021 Customer Experience report finds that 93% of US adults described themselves as very likely to make more purchases from companies across all industries that provided ‘very good’ CX. On top of this, the Global State of Customer Experience report tells us that three-quarters of consumers switch to a brand competitor after just one bad experience. In short, if you want to retain your customers and drive more sales, a positive customer experience is key.

Customer experience covers an extremely broad area, as it can be defined as every touchpoint that a customer has with your brand, from pre-purchase, to the purchase process (if they get that far) and consumption, to post-purchase interactions.

So, if you’re looking to improve your customer experience, where should you start?

Hit them in the feels

In my opinion, creating emotive experiences is one of the key considerations for driving exceptional CX. Customers respond well to brands when they feel heard and understood, or when they are surprised and delighted by the experience they have with a brand. A study conducted by Forrester and Focus Vision showed that the way customers feel during a brand experience (delight or disgust) has 1.5x more impact on the actions they take with that brand (for example, purchase) than the way they think about the brand (for example, it fitting in their with lifestyle). The study also found that increasing the average number of positive thoughts or feelings about a brand increases a customer’s likelihood to purchase in the next three months by 11%, and their likelihood to advocate for your brand by 15.4%.

Driving emotive customer experiences doesn’t necessarily come easily. I believe there are three key considerations to keep in mind to achieve this:

  1. Empathize with your customers
  2. Surprise and delight your customers
  3. Make your customers feel unique

Empathize with your customers

The best customer experiences are born from an outside-in approach: listening to your customers and responding to their needs. Collecting data from your customers (including from social media comments and product reviews) is a great place to start. However, it’s not just about listening – it’s about hearing what your customers have to say and empathizing with them. Sometimes they will tell you something you don’t like, or something unexpected; adapting your strategy based on their genuine feedback is the way to win.

Bloom & Wild demonstrated a great example of this in 2019. Despite Mother’s Day being the busiest day of the year for florists, for some Bloom & Wild customers persistent email marketing reminding them of the occasion was upsetting. Bloom & Wild heard this and were mindful of the fact that Mother’s Day can be a difficult time for a variety of reasons. In response, Bloom & Wild adapted its CX, giving customers the chance to opt out of Mother’s Day-specific marketing, while still receiving the same offers and discounts. This resulted in 18,000 opt-outs of the Mother’s Day campaign, and over 1000 responses from customers to thank Bloom & Wild for its thoughtfulness – a perfect example of pivoting your CX through empathy.

Surprise and delight customers

Many brands now offer a similar standard of customer experience, especially digitally, in response to the Covid-19 pandemic. Driving joyful, unexpected experiences for your customer is a great way of standing out among competitors. No one particularly enjoys having to interact with brands, and contacting brands directly is typically out of necessity or to complain. Using a direct contact opportunity with your customer to surprise and delight them can tap into driving up their positive thoughts or feelings. As mentioned previously, this could increase the likelihood of future purchases and brand advocacy.

Octopus Energy have done a brilliant job here. Max McShane, head of digital, recently talked at Econsultancy Live about their focus on “outrageously good customer experiences”. Its strategy includes treating customers to personalized hold music based on the year they were born in a bid to up their positive feelings about the brand while they wait. This has worked wonders, with McShane claiming: “Every week we get a comment that says, ‘can you put me back on hold, I’m listening to an absolute banger.’” Identifying even the smallest moments where your brand can increase a customer’s positive feeling can be the difference between a good CX and a great one.

Make your customers feel unique

Staying on the theme of personalization, making your customer feel unique is another way of generating emotive customer experiences. Spotify has always done this well. Ever since it started creating its ‘Daily Mixes’ for its customers, personalization has been inherent to its CX. However, it took this up a notch recently by launching its ‘Only You’ campaign. This campaign uses your listening data to highlight the artists, songs, genres and listening patterns that are both unique and important to you. With this campaign, Spotify doesn’t just make the customer feel special – although it has done the same for everyone, there is novelty in the idea that this is ‘just for you’ – the content that comes with it is also very shareable. Spotify’s retention rate is also benefited by this unique customer experience, as the creation of ‘Only You’ playlists gives customers ready-made content that would be a lot effort to replicate on a competing music streaming service.

Key takeaways

  • The importance of great customer experience is not going away, so brands must ensure CX is considered as an integral part of their marketing strategy.
  • With that in mind, creating emotive customer experiences can be extremely powerful, especially as research has shown the effect positive customer feeling has on interactions with brands.
  • Collect as much data as you can that helps you to understand your customer’s needs and desires, and pivot your CX strategy accordingly.

If you are keen to explore how improved CX can drive growth in your business, then get in touch with Capgemini Invent.

Feature Image Credit: Capgemini Invent provides tips for marketers looking to improve their customer experience

By

Senior marketing consultant at Capgemini Invent.

Sourced from The Drum

By Mark Hamstra,

Executives from S’well, Jersey Mike’s, Verizon and Toshiba share insights on the seemingly questionable strategies that yielded tangible benefits for their companies and customers.

Counterintuitive tips to grow business:

  • During tough economic times, instead of slashing your budget, invest in your brand.
  • Give products away for free to build good will with consumers and summon buzz.
  • Recognize that an engaging customer experience can sometimes be delivered better virtually than in person.

In business, sometimes what at first might not appear to be the most logical course of action can in fact yield surprising benefits.

That’s what executives from S’well, Jersey Mike’s, Verizon and Toshiba Global Commerce Solutions discovered.

At S’well, a maker of sustainable, fashionable water bottles, giving the product away for free turned into a powerful tool to generate awareness and build the business. At Jersey Mike’s, investing in promotion and store remodels during the pandemic was a winning strategy for the sandwich chain. Verizon, meanwhile, discovered that in-person meetings are no longer necessary, and Toshiba believes that being memorable by making connections creates a more lasting impression than “doing something crazy.”

Here, executives from S’well, Jersey Mike’s, Verizon and Toshiba share how the companies took what otherwise might be viewed as conventional business wisdom, and turned it on its head to drive results.

 Headshot of Sarah Kauss, founder of S'well.
Sarah Kauss, founder and executive chairwoman of S’well. — S’well

S’well: Give your products away for free

Sarah Kauss, founder and executive chairwoman

When S’well was just starting out, I quickly learned the power of getting our bottles into the hands of as many people as possible—from retailers and conference attendees to media and influencers. By creating opportunities for people to experience the beauty of our products first-hand and be delighted by their performance, we generated a groundswell of buzz that delivered meaningful partnerships and sales opportunities.

[Read here on the difference between sales and marketing.]

 Headshot of Hoyt Jones, president of Jersey Mike's.
Hoyt Jones, president of Jersey Mike’s Franchise Systems. — Jersey Mike’s

Jersey Mike’s Franchise Systems: Instead of slashing your budget in tough times, invest

Hoyt Jones, president

Many companies cut their budgets when faced with a downturn, whether it’s a recession or unexpected event like a pandemic. At Jersey Mike’s, we do the opposite. We believe companies that continue to invest in their brands during tough times come out stronger as they remain top of mind. In March 2020, the world practically shut down due to COVID-19. To provide financial relief and support for customers during this difficult time, we made a big investment in advertising to let people know about promotions for 50% and 25% off subs, as well as free delivery services. We wanted our customers to know we were open and operating safely.

Helping our communities was a top priority, and we invested heavily in TV time to invite customers in to support Feeding America. Over two weekends [in April and November 2020], we donated 20% of sales, raising more than $4.5 million for the organization, providing 45 million meals. These were some of the busiest days in Jersey Mike’s history.

Another example of this counterintuitive approach is choosing to continue our program to retrofit all 2,000 locations across the country despite fewer customers coming into the physical space of our stores. This roughly $175 million investment includes a brand-new look, along with operational improvements like adding a second make line [a team of workers that prepares virtual orders] to accommodate heavier digital orders.

As states begin to reopen, our sales continue to grow, thanks to the awareness generated throughout the past year. As customers return to our restaurants, we hear how they love our new look.

We believe companies that continue to invest in their brands during tough times come out stronger as they remain top of mind.

Hoyt Jones, president, Jersey Mike’s

 Headshot of Wendy Taccetta, SVP at Verizon.
Wendy Taccetta, senior vice president for nationwide small business and channel chief, Verizon. — Verizon

Verizon: In-person isn’t necessarily personal — sometimes ‘we know each other better by engaging virtually’

Wendy Taccetta, senior vice president for nationwide small business and channel chief

What was counterintuitive three years ago is now table stakes. We always think that great customer experience has to be personal. And that’s true. But personal doesn’t always mean in person. In a lot of ways, we know each other better by engaging virtually.

The most common thing we hear from business owners is that they have to be available when the customer needs them. That used to mean sitting in the office so they could find you. Now it means having an application like One Talk [which Verizon developed so that companies] can find who is available to take the next customer call no matter where they are physically. [It’s part of] the Complete Business Bundle we created in January to specifically address the needs and challenges of small businesses.

[Also], having a simple video call is not enough anymore. Now, we need the ability to chat, share documents and collaborate with virtual whiteboards. We’re helping businesses explore the ways they can create a signature experience in person or virtually because they will both be part of our future.

 Headshot of Fredrik Carlegren, VP of marketing, Toshiba.
Fredrik Carlegren, vice president of marketing, Toshiba Global Commerce Solutions. — Toshiba

Toshiba Global Commerce Solutions: Take the ‘four Ps of marketing’ with a grain of salt

Fredrik Carlegren, vice president of marketing

Still to this day I hear references to the ‘four Ps of marketing,’ to which someone inevitably adds their own unique twist like, ‘Don’t forget that fifth P.’ Sure, there is relevance in the understanding of how product, place, price and promotion fit into the narrative of your business. But this all misses the point. Or perhaps stated differently, it ignores the more fundamental understanding that we are dealing with people, human beings. People that buy, that influence, that use. People who want to look good for their boss, have their own fears and aspirations and more. People who are skeptical, and others that are trusting.

[One takeaway is to] be memorable — but genuinely so.

‘Being memorable is easy—let’s do something really crazy,’ said someone, but not likely a serious marketer. They key is being genuine in this journey with you and your business fully and inextricably connected to your core mission and value, and by creating a deep connection between your brand and [your clients] and in how you strive to always put them first. You’ll be faced with numerous challenges large and small, expected and unexpected. Listen intently to the voice of your customer at every turn, then create the genuinely memorable experiences that will keep them coming back.

By Mark Hamstra

Sourced from CO

CO— aims to bring you inspiration from leading respected experts. However, before making any business decision, you should consult a professional who can advise you based on your individual situation.

“Get yourself an Ocean Galaxy Light” is the equivalent of tweeting “wow, this blew up, check out my Soundcloud”. But does it work?

Brands often ask the people marketing their content to make it “go viral”.

This, unsurprisingly, is no easy task – there’s a reason you don’t regularly see “Persil Non-Bio” trending on Twitter. However, brands have cottoned on to a new strategy that basically involves riding the coattails of something that’s already gone viral. That strategy is called “piggybacking”.

When a tweet goes viral, you’ll often see the original user tweets again, plugging whatever they want to plug (“wow this blew up! Check out my Soundcloud”). Now, though, you may see an advert for the kind of tat usually sold in a high street gadget shop, like star light projectors and slime.

Companies are approaching ordinary people on Twitter who just happen to have gone viral, and offering them cash or commission in exchange for the opportunity to piggyback their temporary Twitter fame. It always seems to be the same few companies, but what they offer to users in exchange for advertising space varies.

The legality of this practice is questionable, with online advertising regulations varying wildly across the world, but none of these tweets are marked as an advertisement. So are these viral tweeters actually getting paid? And if so, how much?

A huge star light projector, called Ocean Galaxy Light, is one of the products most frequently advertised using this method; @shaggavelli was offered £15 through Paypal to post two pre-written tweets about it. Vir Guards, which makes face masks, also offered £15. Standardized, an anime merchandise site, offered him a code through which he’d get a small commission. However, a month after his viral tweet, he’s yet to make any money from the link. “I’ve heard they sometimes give the person £5 first, then give commission, but personally I didn’t receive that treatment,” he said.

Some tweeters are offered promo work off the back of one viral tweet. Others do it more regularly. @engxl had already worked with brands when one messaged him about piggybacking off his tweet about an extremely magical old lady. Unlike others on Twitter, he was able to negotiate for more money and time limits.

Slime Clean is a gooey substance that you roll over a dusty keyboard or grimy car interior to pick up dirt. @enyxl was offered $20 (£15.50) to tweet about the product and leave the tweet up for 24 hours, but because he’d done promos with the Slime Clean representative before, “I asked him for $25 [£19.30], since I knew the tweet was gaining a lot of traction.” Slime Clean agreed and paid him through Paypal.

“If he wants it to be there for another 24 hours, it would be another $25,” @enyxl explained. “Galaxy Light approached me from their official Twitter account and asked what my price was to promote. Since I had already done one for $25, I asked for $30 [£23.15], and they paid me through Cash App. They never mentioned anything about recurring days, so I have an alarm set for when to delete the tweets unless I get compensated again.”

Pay-outs differ between users, with some getting more than others. @putinaspliff was also offered advertisements for Vir Guards and Ocean Galaxy Light for his viral tweet. But despite having around the same metrics as @shaggavelli when the ads went live, with roughly the same number of likes and retweets, he was offered substantially less by one of the brands. Why this was is hard to say, but it could simply be the brand testing just how little they can get away with paying.

Most users make a little money after firing off viral tweets – but those tweets aren’t specifically designed to appeal to advertisers. This is where the micro-influencer makes their entrance.

Unlike others I spoke to, @titanbaddie – real name, Sisa – is a pro. He regularly works with brands and has standards in place for the minimum he’ll accept. “My standard is $30 a tweet, but I’m adaptable depending on how big the brand is, and the expectations,” he says. “For example, I have brands that will pay me weekly fees to interact with their accounts, and those are normally brands that are trying to build online traction. Normally, when it’s a product, you’re paid per post, and normally when you [make] viral content they’ll reach out to you.”

Sisa explained that there’s a growing influencer culture in South Africa, where he’s getting work. At the moment it’s a new industry, and relatively unregulated, meaning influencers can make decent money if they work for it.

“I only recently started accepting promo offers from SA, because I just joined a promo team, but on some campaigns I’ve done before it can be anything from R250 (£11) a week to R2,000 (£95) for three posts, depending on how big the brand is and how long you work for them. I’ve been very lucky, in that I work with more international businesses and forums, so on an average week now I make about $200 (£154) from viral attachment tweets and paid posts.”

While there are clearly ways to make money from viral tweets, for the average joe who just happens to have blown up, it’s not going to be a big earner. As for the products themselves, I can’t find anyone who has actually tried them. Aside from one tweet from a parent whose kids enjoyed the Galaxy Lights, no one seems to be buying them. As for Slime Clean, the majority of tweets about it seem to be asking one question: how on earth are you supposed to clean the slime?

By Bethany Fulton

@bkafulton

Sourced from VICE