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By Steve Hall.

In 2021, harnessing the power of SEO is a necessity for all businesses, regardless of their size or industry. The Covid-19 pandemic demonstrated the power of the digital; companies that had a pre-established online presence found it far easier to navigate the challenges of lockdowns and border closures than those that didn’t.

SEO is quite a technical area of marketing, which is why many companies opt to outsource their SEO activities to external agencies. While this is a great strategy, there tends to be an enormous difference in the quality of work and results obtained between various SEO companies. So, how can you tell the good from the bad?

If you are searching for a team specializing in SEO in Melbourne, read on to discover what factors you should consider (and which agencies you should definitely steer clear of!)

What does an SEO agency do?

Before picking an SEO agency, it’s important that you understand their exact function.

SEO stands for ‘search engine optimisation’, which is the process of making improvements to your site to increase search engine visibility. When you search a term — known as a keyword — using a search engine, the engine will crawl through every page on the internet, taking into account a variety of factors to present the website they think best matches what you are looking for.

These factors can include:

  • How secure a website is
  • The page load speed
  • Whether or not a site is mobile friendly
  • ‘Crawlability’ — that is, whether or not the engine’s bots can access a page.
  • Analytics on user engagement
  • The presence of quality, keyword optimised content
  • Backlink profile.

It is the role of an SEO agency to put together a strategy that elevates your website to the top of the search engine results page, or SERP.

SEO is different to ‘pay per click’ advertising, or PPC, in that you cannot pay to have a site elevated to the top of organic search results. It takes insider knowledge, a strategic mindset, and hard work to get a website ranking for any one particular keyword. A good SEO agency understands this and knows that your end goal is to have more traffic to your site that results in increased profits.

How to choose an SEO agency

First up — why do I need an SEO agency?

While it’s true that there are some areas of SEO you can implement yourself, it really is a job best left to the professionals. By hiring a reputable SEO company in Australia, your company can focus on what they do best while benefiting from the experience and knowledge of SEO experts.

However, not all SEO agencies are created equal, and there are literally thousands of them out there. When deciding between agencies, consider the following key points:

1. Make sure they know what they’re talking about

One of the great things about SEO is the amount of resources there are out there. The SEO community is enormous and very willing to share their knowledge with newcomers.

The downside of this is that many agencies claim to be SEO experts when they only really have beginner knowledge. SEO is more of a science than an art and it takes extreme skill and patience to execute proven strategies.

That’s the other thing about SEO — it takes time. Don’t be fooled by any agency who promises quick results. In reality, it can take months to improve keyword ranking, particularly if you are operating by the SEO rules.

An agency that advertises lightning fast turnaround may be following ‘black-hat’ techniques. If Google, or any other search engines, catches on to the fact that you are trying to bend the rules, they can blacklist your website and send it plummeting to the bottom of the search rankings.

Be discerning about who you trust your website with and only work with agencies who have proven results and know what they’re talking about.

2. Understand your own goals

SEO is really just another form of marketing, and the end goal of any marketing strategy is to increase customer engagement (and profits). For most people, this will be their SEO goal.

However, amidst terms like ‘keyword ranking’ ‘traffic’ ‘lead generation’ and ‘page speed’, this goal can quickly get lost. Before meeting with an SEO agency, make sure you have sat down internally and discussed your future direction. If your goals line up with the expertise and strategies of your SEO agency, you are more likely to have a successful campaign and get a return on your marketing investment.

3. Ask for recommendations

When it comes time to pick an SEO agency, many people turn to Google. After all, a team that specialises in search engine ranking should occupy a top spot on the Google results page, right?

Well, not necessarily. A better strategy might be to ask for recommendations within your industry or from other similarly sized companies. There are many factors that go into a good SEO agency, and not all of them can be demonstrated through a quick Google search.

4. Communication is key

Finally, prioritise communication. Ideally, your SEO agency should report to you on a monthly basis. This report can include what kinds of on-page, technical, and off-page activities they have undertaken and what the results have been — increased keyword ranking, improved page speed, and more.

Whether these reports are accompanied by in-person (or virtual) meetings is up to you. However, when you’re trusting your website and search engine rankings with an external agency, more communication is always better than less.

Finding an SEO company in Australia is no easy task. Take your time, meet with agencies in-person, and ask all the questions you need so that you can be confident in your choice. Then sit back and let the SEO experts do the work for you!

By Steve Hall

Sourced from AdRANTS

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Agency mergers are a fact of life in the ad industry, but a badly managed process can wreck what was originally great about a business. We gather advice and wisdom from agency chiefs on navigating the M&A maze.

A smart merger or acquisition can take a business to the next level. But after the champagne’s been corked and the confetti swept aside, the hard work isn’t over.

To find out how best to dodge the pitfalls and potholes of the M&A road, we picked the brains of agency bosses at recently acquired or merged businesses.

For Lee Beattie, managing partner and chief executive officer of John Doe Group, a merger was the best way forward for her business, Glasgow-based Wire, to grow. ”We’d reached a point in Scotland where we had won all the best agency awards and we had what we considered the best clients.”

While she and business partner Pam Scobbie had seen success pitching to bigger clients down south, the lack of a London outpost was holding them back. ”It was really bloody difficult,” she says.

So, building on an existing relationship with fellow PR firm John Doe, they embarked on a merger to bring the two firms together. ”We wanted to be up for certain brands… and [John Doe managing director Magin Trewhella] wanted to grow the agency. It felt like a jigsaw puzzle coming together,” she says.

In an ideal world, Beattie says she and her three now-co-owners would have taken a week to sit down and ”bolt through all this stuff.” Instead, the process took a year, longer than is typical – there has been a pandemic to deal with, after all. The newly merged John Doe Group is now pitching for work with a combined headcount of 40, and just announced its first win as a combined enterprise with the Highland Spring account.

Nicolas Roope, co-founder of Poke, recalls its 2013 acquisition, and later merger with two other agencies, by Publicis. He and his partners wanted to continue to grow their business, but market conditions were hardening.

”We thrived in our first 10 years because the incumbents didn’t have a clue,” he says. ”But we got to the end of that period and thought that there probably wasn’t long left for agencies like us as independents. Scale was going to be a problem if we didn’t act.”

Poke shopped around for buyers for about a year before choosing the French conglomerate. ”A lot of the value we’d created at Poke was intangible. We wanted to find somewhere where they appreciated what we’d created. Arthur Sadoun [now chief executive of Publicis Groupe] was driving our acquisition… he was very ambitious, he understood the challenges their network faced – and he understood where we were coming from, the value we were bringing to the table.”

After the original sale in 2013, the company was bedded into the wider network over five years; Roope departed in 2018, after organising its merger as Publicis. Poke. ”It was a parting gift – figuring out how to strategically position this merger enterprise and create something new. But once that merger was completed… I didn’t really have a natural position to occupy, so that was the moment to step out.”

Without the hurdle of an acquisition to deal with, mergers between network agencies can generally proceed quicker. So when WPP decided to merge digital shop VML and storied ad agency Y&R in 2018, it moved fast. Planning for the consolidation began just two months before the merger was unveiled, according to global chief executive officer Jon Cook.

”We moved from conception to launch very quickly,” he tells The Drum. ”We announced we were going to merge at the start of the next year… which bought us some time. While everyone knows it happening, you still have a moment to breathe and put the infrastructure in place. It was a good lesson.”

Team journey

Mergers can rearrange the tectonic plates of a business, leading staff to fear that career trajectories are askew. Moving at speed meant Cook’s team could quickly address one of the biggest areas of concern: assuring the staff of both agencies that they still had a berth.

Transparency and timing are key, he says. ”I learned to be very transparent about what I knew. If you can identify why you’re doing this, what the new brand will be and why it will have value – and communicate that with complete confidence while at the same time being very clear about what you don’t yet know – people are generally going to understand.”

According to Stephen Maher, chair and chief executive officer of the freshly merged customer experience agency MBAstack (formed after MSQ acquired MBA), it’s important to ”reassure everyone that there aren’t going to be redundancies.”

”I just think you have to be upfront. We said that, fundamentally, nothing’s changing. It’ll be the same people, the same relationships and the same culture. There will be refinements, but there will also be more resources because we’ll have more people.”

Beattie advises: ”You have to talk to the team at the right time, when you’re certain that it is definitely going to happen and you can actually answer their questions. Everyone’s going be thinking: what does this mean for me? If you can’t answer that, you probably shouldn’t be having the conversation.”

Managing internal announcements is a little easier when staff number in the dozens. For VMLY&R, hundreds of agency leaders needed to be brought into the fold in advance. ”You need to make a judgement on how many people you need, and can trust, to get the right amount of work done before an announcement. If you have too few you’ll be ill-prepared when you announce. And if you have too many, you’ll run the risk of communications being leaked,” Cook warns.

As the agencies integrated together, Cook says that particular attention was given to managing staff concerns. ”I was sure people would see the value and the strategy in it. But I was nervous – would everybody be able to find their place in that new company? My ultimate fear was that someone would feel smaller as the company got bigger.

”We put a lot of work into making sure that no person felt smaller. We have a lot of people so I can’t say without exception, but I feel we’ve done a good job of making it so you get bigger as we get bigger,” he explains.

Still, some departures are to be expected. Between location changes and the transition to a larger organization, ”you’re going to lose a bunch of people,” says Roope.

He recalls that persuading Poke’s ”extraordinary, eccentric” team was tough. ”One of the biggest challenges of the whole thing is taking the team on the journey. You have to accept you’re moving into a new reality – you can’t take everything that you’ve built. For more seasoned staff who’ve seen these things before, they’ll know what’s coming. But it’s particularly acute people for who’ve been with you for a long time.

”There’s a lot of fear about the consequences of being acquired – did that mean we were going to be like every other Publicis agency?”

Despite occurring during a pandemic-fuelled recession, both the MBAstack and John Doe Group mergers were completed without redundancies. VMLY&R lost about 1% of its global headcount in the wake of the move, though Cook states this was due to ”natural efficiencies” rather than a concerted cost-cutting effort, and that its staff numbers have since grown anew.

Client confidence

Just as important is communicating a new consolidation to clients. A spokesperson for AKQA, which merged with Grey last year, tells The Drum: ”The key focus areas are our clients and employees. This is also in line with key decisions around communications and operations.

”Clients were consulted early in the process to gain their feedback and highlight the additional benefits of the businesses working more closely together.”

For Beattie, ”the important thing is: what does it mean for them? What are the benefits each client is going to get from the merger? Or is absolutely nothing going to change?”

Cook explains: ”It’s critical to reach a certain amount of your client base before it happens, so they have some trust, a heads-up and a feeling of ownership about the decision.”

He emphasizes the need ”to communicate clearly what you’re doing and why you’re doing it… to communicate that nothing of the goodness of your relationship will change or go away. And to communicate the new value of the bigger company.”

”Once those assurances are in place,” says Cook, ”client partners become start to become very interested in what new capability you have that can help them move their brand forward.”

Name games

When it comes to unveiling the new combined agency, language is important. A consolidated agency’s name can broadcast continuity – as in the case of double-barrelled monikers such as Wunderman Thompson – or a new start, as in the case of Superunion, which was formed from five older branding shops.

While VMLY&R’s acronym doesn’t quite roll off the tongue, Cook argues it was important to keep the identities of its constituent parts intact. ”We have a lot of letters. I’m the first one to make fun of our long name… but in exchange, you’re not losing the heritage of either of these two brands.

”There’s no way we wanted any part of the company to feel marginalized or lesser. It was too bad we didn’t merge with a company with some vowels, because we could have made a word out of it.”

Similarly at MBAstack, Maher says the name was settled after a collective decision to retain both brands. ”We felt it was the right thing for the market. And it sounds a bit better, with MBA first and Stack second.”

For Dentsu agency iProspect, which recently relaunched after absorbing Vizeum, a new handle wasn’t deemed necessary. Amanda Morrissey, global president of iProspect, explains: ”The reason for this is two-fold… firstly, and most crucially, we wanted to spend more of our time and energy on building solutions for our clients than building our own agency brand.

”Secondly, the iProspect brand name already has a huge global footprint and is universally synonymous with digital excellence that has performance at the centre. We therefore felt that keeping the name was the right thing to do, as so much of the brand notoriety is already in place.”

Culture clashes

Definitions of a successful merger also differ. For AKQA, it’s simple enough: ”Success of the collaboration is measured by the recognized increased opportunity for both our clients and employees.” Elsewhere, success isn’t so closely tied to balance sheets. Much of the post-merger work focuses on making sure the working cultures of each agency still exist in a meaningful way.

Maher admits it’s ”a journey not a destination,” and says MBAstack will likely take six months to knit together. The business has a new website in the works, and both the Stack and MBA teams will soon be moving to MSQ’s new offices in Covent Garden when lockdown subsides. ”It’s a work in progress. We’re going to keep evolving,” he says.

Roope says that the benefits of Poke’s sale to Publicis only were only illuminated when its team reluctantly moved from its Shoreditch base to bigger premises across London. ”It was only really when we stepped into the building that network started to pay… because we were much more integrated,” he says.

True success came, he says, when Poke began to influence the rest of Publicis’ operations. ”We brought fresh thinking, a different perspective when at the time it was a monoculture that was absolutely above-the-line. We weren’t the only catalyst in that, but it reinvigorated the London side of the network,” he says.

While merging two global giants together is a complex endeavour, Cook says he was confident of success just two months in. ”We gathered 200 of our top leaders to [VML headquarters] Kansas City, from all over the world. And you could just feel a sense of unity, a sense of pride. We knew this was going to work.” By the time the team touched down at Cannes the following summer, things were coming together and business had picked up, with a 14% increase in billings in the UK.

”Walking into Cannes, we already felt we had a swagger. We were getting recognition for the work for our clients that this new company had done… that was a good message that we’re doing what a great agency is supposed to do, and that’s great work.”

A month after from her business’ rebirth as John Doe Group, Beattie doesn’t yet have the privilege of hindsight. The teams of each agency were already well acquainted, with the merger built upon an existing relationship; the two businesses already shared client work. Having avoided a direct culture clash, she’s confident the consolidation has already begun to yield results and achieve their major goal – puncturing the London bubble.

”It’s definitely already working. We’ve just won our first new account. We’ve done more pitching in the last couple of months than I did in over the whole of last year.”

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Rarely a week goes by without an inspired billboard, bus-shelter poster or bus livery going ‘viral’ on social media. You’d almost think the work was made for that purpose. Social media’s provided somewhere for impactful out of home ads to further resonate but is the congratulatory feedback loop blinding marketers to the true value of the medium – reaching real people?

If you are in the smallish circle of social-media active marketers who gleefully share nice ads with captions like “clever that”, you’ll have noticed last week a clever exploding ‘dynamite’ Marmite ad, complete with a huge scattered lid, and a mocked-up ad for KitKat from One Minute Briefs contestant Sam Hennig, who was absolutely struck by the warm reception for his idea.

Both ads drove applause and debate. Only one ran in the real world.

Some onlookers questioned whether you even needed to run the physical OOH ad. Why not just mock it up and tweet it? More questioned whether the top of class OOH executions are supposed to reach real people – or merely awards juries.

In the last decade, the medium’s purpose has evolved, The Drum explores why.

Pain with gains

UK out of home ad spend was 61.5% of 2019 levels, even buoyed by a huge government comms drive, according to the IPA. Meanwhile, industry body Outsmart said the revenue decline in the first half of 2020 sat at 44.8% year-on-year. Lockdowns swallowed OOH footfall and strangled marketing budgets. Similarly, marketers were obsessed with finding at-home screens however they could.

Alistair MacCallum, chief executive of out-of-home specialist agency Kinetic Worldwide says footfall didn’t fall as low as many assumed. Only 30% of people could actually work from home, for example. “19 million people still went to work every day, 30% of school kids were still in school. Many of us went to supermarkets once or twice a day just to talk to someone.”

Not all regions locked down equally. Anonymised mobile data tracked population activity to offer helpful heat maps and work out worthwhile sites. Meanwhile, OOH networks worked to digitise their networks and buying platforms. Buyers can now run hyper-local campaigns within the hour without even lifting a phone. And digital out of home sites, have doubled in number in the last four years in the UK. They also account for a third of spend in the US. Marketers are also excited about the creative opportunities afforded by the outdoor screen.

There’s more incentive to show off, too. Over the last two decades, most people acquired phones, with cameras, linked to mass audiences through social media. People on ’active journeys’ could suddenly, and immediately, share good outdoor creative. In the moment they could be promoted to search a homepage or buy something. Some sites even had QR codes to encourage camera activity.

MacCallum says: “The role of out of home is far more multifaceted than it was. The ways you can utilize the channel is increasingly much more varied.”

Stunted growth

As we saw from last week’s examples, good OOH creative can inspire PR fame.

Real people engage with and share good OOH ads. They interact with said brand on social and even inspire earned media. If people are talking about a billboard, there’s a news story there.

MacCallum says: “There is no other channel that has the level of creativity and innovation. Nobody is taking pictures of banner ads are they?”

Kelly Taylor, head of new business and marketing at creative agency Creature, believes tighter budgets forced marketers to be more effective with the medium. But with the closure of the real world, marketers “finally grasped that social and digital are not add-ons to campaigns, but intrinsic parts of the comms, reach and amplification.“

Any outgoing’s on quality OOH would need to resonate beyond the street. Taylor says: “With the amount of time people are spending online up by 32mins compared to pre-lockdown, there are plenty of eyes looking for content to get them through the groundhog days. And OOH and social is the perfect pairing. Both rely on the ability to tell a story in a single impactful post and both want to grab as many eyes as possible.”

One example that cropped up several times was The Drum Out of Home Awards Grand Prix winner ’#MyHeroes’. It gave the public a platform to thank the NHS, bringing social content onto the big screens, and sometimes, back on to social.

It is a modern opportunity that understands that OOH, like memes have to resonate with a mass audience in a single frame. But Taylor warns: be wary of “viral success,“ and be wary of “brandter”.

“There’s a fine line between nurturing engagement and forcing it”, she says pointing to Marmite’s try-hard social team, which she says unfortunately “diminished the original work”.

An OOH campaign “must be able to work in isolation and deliver real results for the client to be successful, not just fame”.

BBC Creative’s award-winning Dracula placement evolves as day becomes night. It won headlines and drove a halo effect around a wider, multi-faceted campaign. It was more than a billboard.

Great ideas

Nick Ellis, creative partner and founder of brand agency Halo believes that OOH is the “pinnacle of the advertising craft, a single idea, executed with the acuity of message and creativity.” The best work is appreciated even outside of industry circles.

He talks up executions that create unmissable moments like Carlsberg’s beer tap billboard. Few people may have seen it in the flesh, but on social, we felt the reactions by proxy.

“These moments transcend what we expect from advertising. And advertising itself becomes art. Instead of being intrusive, it reaches people in a truly creative and disruptive way.“

McCann’s Fearless Girl may be the ultimate example, he says “part of the fabric of a city and a significant cultural moment”.

It is because the idea was executed in real life that it “gives the brand a tangible solidity in a way social channels can’t“.

Jay Young, head of creative solutions at Talon, says the “the world literally is your oyster with OOH. You’re not confined to a certain number of pixels on a page”.

He’s used to thinking outside the box with the medium. He says it is big, unskippable, and real. It has power. And impact. And it reaches 98% of the British public (usually).

Extra love on social or adds value and “boosts the credentials” of OOH. In another broadcast media, TV, extra reach is sometimes wrongly called waste. Young’s sector clearly has a form of that too now.

He’s not worried that marketers will be photoshopping up billboards any time soon.

“You really do need to create something in real life for it to achieve the ‘Wow, that’s clever’ moment and escape our industry echo-chamber. People care far more about things that actually happened. They want brands to be honest and authentic.“

To show the impact of great work, he referenced the reaction to his Pepsi Max ‘Unbelievable Bus Shelter‘ campaign (we‘ll allow it). He acknowledges that bespoke builds are “tricky” to get right. They have to be bold and impactful, and people need to live with them. More often than not, they‘re worth the sleepless nights.

“We’re not working on a closed movie set. We’re likely working on the side of a busy road, in the middle of the night with multiple stakeholders to please.”

This old-school movie magic might clash with the industry‘s new hope, a reinvention around real-time buying for a generation of marketers raised on Facebook ads rather than 48-sheets.

But even in DOOH, PR and reactive marketing could play a larger part.

Young says: “You can see a cultural moment blow up on Twitter at 9am. You‘ll get a reactive ad on DOOH across the country by the time you log off for the day. I still love the Specsavers campaign we ran in reaction to the Moonlight Oscars blunder. We could never have achieved the same impact with static OOH going live days later.”

Marketers are giving real thought to optimising OOH creative based on location, time and the weather – there’s more opportunity for impact ahead. But they‘ll need to remember, real business outcomes are more important than LinkedIn shares.

 

Feature Image Credit: The Drum explores the relationship between social, PR and OOH. Above: Playstation‘s own OOH effort

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Google My Business is the home of your local online presence and the information hub for potential customers in your area. In this article, we fire through all the key steps of completing and optimising your profile to bring more customers to your business – both online and in store.

Make your NAP & business info 100% accurate

Accurate business information, especially your name, address and phone number (NAP), is one of the strongest signals in local search. So make sure your details are 100% accurate on your Google My Business page and that they match the business information you have listed on your website and third-party sites (directories, review sites, etc).

There are four pieces of basic business information that you need to specify right away:

  • Your business name
  • Your business category
  • Your business address
  • Your service area

You will have chosen a business category when you created or claimed your business in GMB but you can now add further categories to help Google show your listing to relevant searches with greater accuracy.

Provide opening times to encourage store visits

People searching for businesses in their local area might be looking for takeaways open late on a Sunday, shops that are still open on their way back from work or stores where they can look at a product before actually buying it. This means having accurate opening times on your GMB listings can win you customers.

Google My Business encourages you to add opening times to your listing and you absolutely should. Make sure you accurately fill these out and keep them up-to-date so people can always trust the information on your profile.

Capture web and phone leads from GMB

You can track phone calls from Google My Business by using a phone tracking service and entering your tracking code as your primary phone number.

Bonus tip: add your real phone number as an additional number and make sure it matches with the number you’ve got listed elsewhere (area code is important) to show Google that this is, in fact, your business number.

You can also track website visits from GMB by creating a UTM (Urchin tracking module) using Google Analytics Dev Tools.

Once you’re done, simply copy the URL and paste it into the website section of your Google My Business page.

Add products to your GMB profile

If you sell products online or in-store, you can add them to your Google My Business profile to drive in-store visits and clicks through to your website.

You need to name each product and select or create a new product category. You have the option of showing prices or price ranges for each product and you can add a product description, as well as an optional call-to-action button.

Make your business stand out with attributes

Attributes help users choose the ideal business for their needs and also increase the quality of leads you generate from Google My Business.

You can specify that your business has on-site parking or free wifi, for example, or show which Covid-19 measures you’re taking, such as staff wearing masks. You can also list services you provide, like free delivery, takeaways, in-store pickups and other options that could win the customer.

Optimise your business description?

Your business description is one of the few places in your GMB profile where you get to explain what makes your business unique. You get 750 characters to tell people why they should step through your door or buy from you over the other alternatives in the local area (if there are any).

The more competition you face, the more important your description could prove to be. Make sure you’re honest and try to focus on the characteristics of your business that appeal to your target customers.

You can find out what not to include in your business description on this Google My Business Help page.

Show the best of your business with quality photos

Google My Business allows you to upload images of your business and this is one of the most underutilised tools in GMB. These images, quite literally, shape the mental image users build about your business and you want to make sure these photos create the right impression.

Get yourself a professional photographer and upload high-quality images of the following:

  • Your business logo (this shows when you post a photo or reply to reviews, questions, etc)
  • Your GMB cover photo
  • Your exterior building
  • The interior of your business
  • Products/services
  • Covid-19 measures
  • Images showing the attributes in your profile

You can also upload videos to Google My Business so think hard about the kind of message you want to put across, such as your company’s history or a compilation of video reviews from a selection of happy customers. For more tips on optimising your Google My Business page, check out this video.

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SEO specialist at Vertical Leap

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We ask readers of The Drum from brands, agencies and everything in between for their advice on real problems facing today’s marketing practitioners.

Since the first lockdowns of last year, self-improvement projects have seen many of those liberated from their commute pick up new tricks. But while many were trying their hand at breadmaking or portrait-painting, time away from the hubbub of the office has made it harder to keep professional skills as sharp. And efforts to train and develop staff at agencies and brands face many more hurdles when delivered remotely.

So, with working-from-home the comfy default for many more months yet, how have marketing leaders worked to keep their team‘s skills from getting dull?

How do you solve a problem like staff skills going rusty away from the office?

Tamara Littleton, chief executive officer, The Social Element

When lockdown #1 first hit, we were all in ‘coping’ mode and learning took a backseat as we made sure morale and day-to-day work were sustained. As ‘temporary lockdown’ has transformed into a new way of life, we have made sure there’s still ways to learn.

One such route for us has been through virtual roleplay with actors so the team refresh their people skills in new and varying situations (we can all admit to feeling like we haven’t flexed this muscle enough). In this way, we try to create the elusive ‘osmosis’ learning so important in early careers simply by giving people practice.

Perri Grinberg, vice-president of human resources, Rapp

Agencies must advocate, and allow space for, self-guided learning, focused on industry and career related subjects that individual employees are most passionate about, and timed at their own pace.

Rapp has partnered with an online platform where our employees can access a variety of content from anywhere – flexibility has proven particularly valuable during this extended period of remote working. As a complement to this foundational layer of always-on, we’ve crafted content, personal training, or partnered with vendors and experts for webinars focused on development in areas such as DE&I and detecting and tackling unconscious bias, working remotely, empathetic leadership and overall wellbeing.

Feedback that we historically heard from our employees is that they want to attend training, but just don’t have the time. We’ve seen that, when the time is available, employees are more eager than ever to focus on their own development.

Victoria James, director, Great State

Apart from internal training around resilience, line management and productivity, we wanted to combat screen fatigue, which often leads to decreased mood and performance. So, we started learning book clubs with physical or audio copies. It’s a mix of individual offline learning with collaborative online discussions that focus on team building and workshop actions.

Our personal development projects programme consists of short learning projects with dedicated R&D time for each employee, who develops a presentation to showcase. Everyone has access to LinkedIn Learning and can work independently or with their line manager to set up their own learning path. We also improved our mentoring program by connecting people who wouldn’t necessarily work together and have an action learning project for a three-month period. Additionally, we focused on wellness, bringing in external experts to talk on a range of topics like childcare and mindfulness, available for one-to-one individual support if needed.

What have we learnt? Our company thrives on contact, collaboration and growth – a lot of which happened naturally when we were all together in an office – but lockdown made us think differently about learning. By investing in our employees’ progression and development, engagement and productivity have risen.

Cathy Butler, chief executive officer, Organic

One lesson learned while being remote is to over-communicate via online tools. Weekly all-staff meetings via Zoom, using Teams for fun/messaging and Miro for co-creating together were the best ways to create bonds that best captured the camaraderie of being in the office.

We know empathy is also incredibly important in business, so we launched ’Everyday Leadership’, our EQ-skills development program, back in February. Its value was proven in spades during the pandemic. We also learned that small discussions, via small break out rooms, are really effective. They ensure that people are engaged and able to ask questions.

Teresa Fernandez-Ruiz, head of organisational development, Future

Agility and creativity are vital in this climate, where changes can be rapid and unexpected. Therefore, investing in our own talent has never been more important. We’ve created over 150 new roles across our editorial team and recently recruited 20 trainee news writers with no prior experience as part of our bespoke training programme.

The initiative needed quick restructuring when the first lockdown hit, from revamping day-long inductions into snappier half day meetings with plenty of breaks to introducing virtual icebreakers and breakout rooms to encourage online interaction. Supporting individuals to build a successful career in the digital media industry is vital, and ensuring new employees feel supported as well as learning the ropes remotely is crucial to our long-term success.

Sanka Kangudi, vice-president of talent experience and workplace innovation, Hivestack

Professional development is a top priority in the current climate due to its positive impact on employee attitude and wellbeing. I joined Hivestack after the first lockdown to ensure we continued to educate and motivate our staff as the business scaled globally.

With courses and events now online, training is more flexible and we can offer a variety of opportunities, whether through industry-led organisations or global online learning platforms. We always ask employees what they need and how they feel about these initiatives, to nurture a sense of trust and security. We encourage them to commit to individual learning goals and offer rewards to maintain motivation.

Amber R Zent, partner, vice-president and director of social media, Marcus Thomas

In the constantly evolving world of social media, it’s hard for even dedicated social practitioners to keep up. So each year we host a social media training event designed to share knowledge about what’s happening in the social space across our agency disciplines. We don’t expect everyone to become a social expert, but we believe fostering these exchanges makes the work better and makes us better counselors to our clients.

Due to coronavirus, we transitioned to a virtual bootcamp event where members of our social, analytics, media and production teams discussed everything from social commerce to virtual influencers in digestible 10-minute presentations – perfect for video conferences. This virtual format also allowed for easy recording and sharing of the information with our clients, so that they, too, could benefit directly from the valuable sessions.

Ginny Leigh Braun, director of creative operations, McKinney

When the virus hit, we were already remarkably busy, so adding an increased volume of work became a challenge for many employees and their families. Development opportunities needed to be frequently offered and bite-sized. Luckily, in 2019 we established a training series, ’Tap’, that allowed us to employ our amazing talent to host 30-minute trainings aimed at helping us better tap into agency resources across our North Carolina, New York and LA offices. Our teams adapted to new technology, honed skill sets, learned emerging trends and discovered more about their industry and company. These sessions are now an on-demand learning library and double as an orientation resource for new hires.

Sophie Vale, HR and talent director, Zeal Creative

When we set up in our home offices and kitchen tables, there were a few weeks where we all rode the wave of productivity. This was fantastic – no commute, no distractions, no conversations. Until we realised that conversations are the lifeblood of Zeal’s culture. Too much time alone means that work and effort may go unseen, and development appears to have been halted. As a leadership team, our focus quickly turned to not just maintaining the day-to-day, but working out how we drive forward, with three key themes.

We prioritised onboarding to make sure that everyone felt part of the real team from day one. Setting Zeal-ers up for success was even more important. We stayed closer to everyone, no matter their seniority. We scheduled meetings for them, entrusting the team to make them happen, and held regular check-ins. We’re also updating our up-front information, so that new starters can read everything about our culture and practices at their convenience.

Secondly, we overhauled our performance process – leaders now hold career conversations with their teams every 12 weeks. These are future focused, easy and quick to prepare. We then look at themes and individual needs to decide where to focus energy and development budget. Finally, we enlisted brilliant partners to work on our people’s mental toughness, giving them the tools they needed to thrive in lockdown and a post-coronavirus world. Through one-on-one sessions, workshops and action learning groups, individuals are held accountable to do, rather than just listen.

Ron Edwards, global head of commercial development, learning and development, Technicolor

To support development and enable remote learning, we launched virtual academies and provided cross training and upskilling across studios. We’ve re-engineered our onboarding courses to support learning from home so new hires can start practicing and working without having to be in a physical studio, and we now have an end-to-end remote learning and working culture globally.

Lessons we’ve learned along the way include recording live virtual sessions so people can review if needed or they missed a session in a series, and to ensure engagement and understanding by having instructors do virtual ‘rounds’ formally so questions get answered that might not get asked in a virtual class.

Tim Duncan, founder, TDC PR

Maintaining a training programme throughout lockdown has required both flexibility and creativity. For our juniors in particular, not being in the office has removed a whole layer of learning that would happen through osmosis – hearing the leadership team on the phone, wrestling with client challenges over a cuppa, all of which can’t be replicated over Slack or Zoom.

To compensate, we’ve created a much more fluid internal training system that can respond to on the ground needs on a week-to-week basis. Led by different team members each time, it’s also a great way to celebrate excellent work or insight within the company – if someone has done something well, why not share that knowledge immediately? This has helped plug the gap of informal office learning, and supports our existing investment in formal training programmes run by the likes of the PRCA.

Lori Meakin, founder, Joint

After those early weeks in survival mode, helping our people grow and thrive despite lockdown became essential. That meant adapting principles that drive our culture in ‘normal’ times.

Like pooling knowledge. From sharing tips on how to get the best out of Google hangouts when running a 25-person creative workshop, to sharing insights and inspiration.

Making time for learning and growing matters, so everyone should protect time in diaries to take advantage of webinars and formal training that’s shifted online.

Most of all, we keep encouraging different perspectives, actively working to avoid unconscious biases and grow diversity of thought and experience.

By

Sourced from The Drum

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Social media has been a key marketing channel since its conception and has increasingly played a role in how people shop. But up until now, shopping behaviour was limited to discovery and consideration, with purchase taking place off-platform on a brand or retailer website.

Today, social platforms look poised to ’close the loop’, meaning users will be able to browse, shop and purchase seamlessly and entirely within one connected social media experience. This development has the potential to fundamentally transform the way we buy online.

Welcome to the future of ‘social commerce’.

To better understand shopper behaviours, attitudes and beliefs in this space, we polled a nationally representative audience of UK shoppers, discovering that nearly two-in-three people would be more likely to purchase from a brand if they could browse and shop entirely within a social media platform.

From this, the evidence is clear: the winners of tomorrow will be the brands that embrace social commerce as a real tool for customer acquisition and retention. For those that fail to act, loss of market share could become a tangible concern. In a social world, learning how to navigate these waters is no longer just a ‘nice to have’.

The rise of social commerce

According to the latest research, social commerce is a market with a remarkable growth trajectory, with analysts projecting it could be worth $600bn in the next seven years.

As we’ve seen in the past year, Covid-19 has accelerated existing trends in shopper behaviour. The latest figures suggest an extra £5.3bn will be spent via e-commerce in the UK alone in 2020 as the fallout from the pandemic has forced more people online than ever before. Early figures suggest this behaviour is set to stay as we emerge from the pandemic.

Although shoppers are flocking online, social commerce is still a fairly nascent market in the UK and US. In fact, studies suggest that only 6% of UK consumers have purchased directly on a social platform, in part due to the lack of in-platform purchasing options in these markets.

In more advanced countries like China, however, social commerce is an integral part of the online shopping experience. Tencent’s WeChat delivered $115bn in social commerce sales in 2019 alone, while Pinduoduo, a group-buying app where friends can purchase together on social media, has grown from an innovative startup to China’s second most valuable online retailer.

As US platforms look to replicate some of this functionality, China provides us with a model of how social will likely evolve for commerce in the west.

Shopper thinking will be crucial to navigate social commerce

Today, brands have more opportunities to interact with people than ever, across an increasing number of digital touchpoints. Digital and social platforms have succeeded at meeting new customer expectations, with values such as convenience, ease of use, customisation and control redefining the shopping experience.

It’s not surprising, then, that social media is uniquely positioned to deliver on these needs. Based on our research, however, social will remain a nuanced and highly intricate channel. Careful consideration of different shopper motivations and barriers, as well as brand experience across the shopper journey, will be key to maximising shoppability across brands’ social media channels.

Consumer behaviour in this channel is anything but homogenous; in fact, our research suggests adoption of social commerce will differ by age. Being able to buy within platform would encourage 75% of 21- to 34-year-olds to purchase with a brand, suggesting that demographic differences will necessitate careful persona planning.

Price also seems to be a determining factor in whether or not someone would purchase on social, with our research suggesting that big-ticket items such as travel and luxury are much less popular than more affordable items.

Different categories also differ in their appeal, with respondents ranking fashion, beauty, wellbeing and grocery as the categories they would most like to shop for on social.

Taken as a whole, these findings are representative of a shift towards social media as a new and growing e-commerce channel, but they also demonstrate a need for smart planning. For brands, understanding where, when and how to activate a social commerce strategy as part of a connected shopper experience will be key as we move into 2021.

Social platforms at different levels of readiness

Another consideration is that the platforms themselves are at different levels of ‘readiness’ when it comes to social commerce.

Instagram, for example, has beta-tested its Checkout feature, which allows users to search and shop directly within the app. The mass rollout of this feature will transform how people shop with brands online, making it more convenient to shop not only directly from a brand’s posts, but from influencer posts too. These platform changes will make the social shopping experience on Instagram feel effortless and seamless – all the way from discovery to purchase.

The rollout of Shops across Facebook, meanwhile, allows brands to create digital storefronts, with links to purchase products either on the retailer’s website or directly within Facebook itself.

Even YouTube and TikTok are experimenting with social commerce. YouTube Shopping allows customers to make purchases directly on-site by browsing through catalogues offered by sellers, while TikTok’s partnership with Shopify allows merchants to create and show shoppable content on the platform.

Even before these functionality considerations, each platform lends itself differently to the shopping experience and users’ openness to brand advertising. Instagram, for example, feels like a natural fit for commerce as its highly visual nature emulates a glossy magazine, where products feel native and premium.

This was validated in our research findings, which showed nearly half of all shoppers (45%) would prefer to shop on Instagram, with Facebook (41%) coming in a close second.

These two platforms appear, at the moment, to be far ahead in terms of delivering on shopper expectations, with YouTube (9%) and TikTok (5%) capturing a much smaller percentage of shopper interest.

The sophisticated targeting options available to brands through Facebook Advertising (which includes Instagram) and Google (YouTube) also present opportunities for personalisation and disruption along the shopper journey.

Moreover, social commerce is a particularly exciting development for brands that sell exclusively through retailers, since it presents an opportunity to provide shoppers with a more personalised experience (in lieu of a true direct-to-consumer offering).

We spoke with Joseph Harper, e-commerce marketing manager at Kellogg Company, who notes: “The way people shop in the future will be totally different – it will be completely interactive and personalised.

“We know that retailers are starting to see themselves as media platforms and media platforms are starting to see themselves as retailers. That, in essence, is the crux of social commerce.”

Creating a connected experience for consumers

For a marketing channel with considerable upside, social commerce looks set to have a significant impact on the way shoppers discover, browse and buy. E-commerce has already lowered the barriers to entry, enabling new digital startups to burst on to the scene while forcing legacy brands to rethink existing strategies.

Social looks set to do the same again, challenging traditional brand and retailer relationships and ways of marketing to consumers.

But for the forward-thinking brand, success will come from more than just taking advantage of new platform innovations. Brands need to build connected experiences across all touchpoints that deliver on the values of a new generation of shoppers.

Whether researching on Amazon, being inspired on Instagram, watching adverts on TV or unpacking an order at home, there’s an ever-expanding ecosystem of places shoppers can engage with brands.

Marketers need to focus on optimising the customer journey and include social commerce as a key touchpoint in this. In doing so, brands can take one step closer to delivering a truly connected omnichannel experience.

Feature Image Credit: Initials advise marketers to better optimise the customer journey using social commerce

By

Josh Tilley, senior strategist at Initials.

Sourced from The Drum

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Since being in digital I have seen a standard timeline for businesses developing their websites. Make a new one every four or five years to experience an evolutionary leap forwards.

Is this still the right thing to do given the technology and options available to us today?

Basically no, it was never a great option anyway. Building websites, in general, is a difficult task and these days, websites are key revenue drivers for businesses, making it increasingly risky if it goes wrong. I still see cases where organic rankings plummet and conversion rates drop after so much hope has been pinned on a new site launch. It’s an emotional rollercoaster of stress, a sense of achievement on launch day and then panic.

Nowadays there is so much more available to us to mitigate the risk of launching a new website. Yet it is still untapped and companies are reticent to make the additional investment which is a small percentage of the overall cost. We all need to feel we are getting a good deal right so its an element regularly dropped from proposals.

So how do we improve this gambling situation? We need to be able to see into the future and find out how a new site will perform on launch. Good news! We can! Well, sort of…

No, we don’t have a time machine… but we can pre-test a website to see how it performs before exposing it to our entire user base and business to the new unknown. In my experience a lot of stakeholders want to have input on designs and battle for site real estate, this then defines how the new website is designed, from internal opinion alone and HIPPOs. To avoid this trap there are two ways which can give unbiased insight:

User testing

User testing outside of your own web environment can give you a level of feedback and information you simply can’t get from internal stakeholders and outside help. Even as an experienced CRO I can’t tell you for sure which new design is going to be better than your current one. We have to ask user testers what they think.

There are various techniques such as preference tests where user testers will vote for their preferred version, this type of feedback is great at the design stage of a website build.

Another is a click test, this involves finding out what a user would click on first upon landing on the new design. This ensures users are engaging and clicking the call to action most relevant for the business.

One of my favourites is the five second flash test. Users are shown the new version for five seconds and then asked some non-leading open questions: “What does the company do?”, “What would you click on first?”, “Which page element stood out the most?”. The answers from this type of test tell us how scan readers interpret the new design. Businesses can also run this test on the current version and see how the answers compare.

Any of the above can settle design debates and give real information on what users will respond best to. Designs can be updated and retested until 90% of user testers prefer a version. Not so much a shot in the dark now.

A/B testing

The other option is to start testing new designs and website experiences on the live website through A/B testing software. The software enables us to send a percentage of live traffic (usually 50/50) to a new version which is measured against the original. So let’s say designers have followed an internal brief, come up with a new homepage design and some stakeholders like it and some don’t, that’s normal. To find out if the new design really is better (and who is right) it can be tested against the original.

These rounds of testing can be done piece by piece on different layouts, images, fonts, branding, journeys and more. Gradually this gives valuable information on how users respond to the new design and importantly, to change.

Top tip

If you have a large user base and a high amount of returning visitors you can let them know that you will be launching a new website. Send them emails with a launch date combined with a promotion maybe.

One step further is to create a beta site and get feedback from users before the big switch is done. Companies like the BBC and Facebook regularly use this technique. It is a staple in the gaming industry, gamers are invited to use a beta version knowing it might break. Their reward for giving feedback is early access and feeling like a VIP, the game producers get free insight and debugging, win win.

Round up

Adding user testing and a/b testing does make a web build a more lengthy and expensive process. However, from experience, it is worth it. Web site changes can be vanity driven and a “need” to be done at a fast pace leading to errors. Going with a user led approach may be longer but it will help safeguard the business.

It’s also a mindset change, moving from completely changing a site every three to five years to constant tested small changes and evolution. An iterative tested approach removes stress, big lump sum costs and keeps websites up to date.

By

CRO consultant at Impression.

Sourced from The Drum

By 

n the last few years, podcasts have exploded – but you don’t need anyone to tell you that. Every man, his dog, and his competitor have launched a podcast recently, and it’s hard to know where to start.

Podcasting keeps making the headlines, too. Joe Rogan went viral when he signed an exclusive deal with Spotify, and the streaming platform doubled down when they also signed Michelle Obama. In fact, journalists actually listen to more and more podcasts now to source quotes from people for their stories, quotes that are out in the public domain. And to make the case for B2B, one statistic found that there are avid fans of business podcasts in a massive 13 million households.

Podcasts are ideal for brand awareness and managing your personal brand, in an on-the-go, busy lifestyle. How do you get yours noticed in a landscape where the top 0.1% most popular ones reign and the market becomes more saturated every day?

You don’t need to create your own show to thrive in podcast land

People, and brands, launch podcasts on social media almost daily.

While this should be rewarded, people only have so many hours a day to listen to podcasts and don’t always have time for new ones. Plus, you need a lot of spare cash for ads and need to be ready to make a big commitment, having people lined up ready to guest each week.

If you’re starting out, you should dip your toes into the water first. Podcasts are fantastic for small and medium-sized businesses and their executives to grow awareness. By taking part in podcasts and guesting on existing shows, you’ll get:

1. Free advertising/brand awareness

2. Likely a 15-30 second slot to plug yourself

3. To promote yourself as a thought leader

4. See how other people run podcasts, for future reference in case you set up your own later

5. An opportunity to network and connect with key influencers.

How do I become a guest on podcasts?

There’s so many of them out there, it can be easy to become a deer in headlights at the vast number of podcasts available, but it doesn’t need to be scary.

If you start your own podcast, you need to grow it from scratch, develop a long-term content strategy, and invest a lot of time and money. But if you start by guesting on others – they’ve already done the hard work for you!

Research relevant podcasts by searching key terms

As of January this year, there were more than 850,000 active podcasts. The easiest way to filter down to find podcasts that are right for you to be on, to get in front of your audience is by searching for the key terms on your podcast app of choice.

For instance, if you search ‘SaaS’ on Apple, Google, Acast, Spotify etc, it’ll show the shows which mention SaaS in previous episodes, or their titles. Search for your job title, or for your audience base. For example, if your core offering is smart pay solutions, you can search for:

  • Smart pay
  • Finance
  • Young people + money
  • Retail

There’s also nothing wrong with just searching for top podcasts in your industry on Google, too – but some of these lists may be outdated, and the devil moves quickly, but podcasts move quicker.

Look at their relevance, not popularity

With almost a million podcasts, it’s impossible for them all to have high listening figures – there’s only so many hours in a day. Many should look at the reviews and ratings on the podcast to see how popular it is.

But Megaphone collected data on the US iTunes store which found that 80% of podcasts have no rating listed. Think about podcasts in the same situation as a microwave – who actually leaves ratings? Usually it’s those who think it’s the best microwave they have ever bought and it’s life-changing, or those who actively hate it. The millions of people who bought the microwave and think it’s good won’t leave a review. The same can be applied to podcasts.

You don’t need to guest on a podcast with 100,000 weekly listeners. All you need to do is make sure that they’re relevant. Don’t feel like you can’t ask the host or organiser who their target audience is, just to be sure, as they’ll have more of that data than you will be able to see.

If you do want to see what Joe Public has to say about the podcast, you’ll have a better chance by searching the name of it on Twitter and LinkedIn, where people tend to post about things they enjoy that are relevant to them and to others in their industry. At Hallam, we noticed that The Goat Agency’s podcast, The 30,000ft View, was being spoken about a lot on Twitter, and so pitched Susan Hallam MBE in to speak on one of their next episodes – which they said yes to.

Identify your niche talking point

You want to be seen as the expert, and that won’t happen if you’re just repeating what everyone else is saying.

What can you tell their listeners that someone else can’t? Think of it like a speaking slot – what’s your podcast USP? To identify what your brand, and your people can talk about, answer the following questions which might help you to identify your key talking points:

Do you have any major thoughts or controversial opinions on recent news in your industry?

What are you doing about consumer behaviour changes? Can you offer your thoughts on this?

Everyone’s favourite phrase – digital transformation. What are you doing to cater to it in your industry?

Do you have any major company hacks that you can share which have helped you to become more productive/successful/happier?

Are there any new regulations you can comment on?

What do you see people doing all the time that is wrong or you don’t agree with?

Any cool customer data you can share?

Securing the spot

Search on Twitter. Set up an alert on ‘IfThisThenThat’ which will help you to get alerted every time someone includes the word ‘podcast’ with the hashtag #JournoRequest or #PRRequest. This will save you scanning thousands of tweets a day.

Once you know which podcasts you want to go on, reach out to them and ask. They’ll likely have a website with their contact information, or it will be on their social media. Explain why you like their podcast, and what you can offer to their audience.

Connect with podcast hosts on Twitter and LinkedIn, and follow them on Instagram and Twitter. If you start to interact with them and build up a relationship organically, you’ll likely be ahead of the pack when it comes to securing that coveted spot. Kieran S-Lawler, Head of Content and Social Media at Hallam, was being vocal on LinkedIn, and his connections at Pitch Consultants noticed him. As a result, they invited him onto their podcast.

Thought Leadership 2.0

We all want to be thought leaders, and get in front of our audience. Adding value to a podcast will have people searching for you and your brand after, and one guest appearance can easily turn into ten. Once people hear you on one relevant podcast, they might invite you on theirs.

Guesting on podcasts will allow you to broaden your brand and reach out and build your reputation on the topic in your industry, whether it’s digital marketing, SaaS, hair and beauty, or finance.

It will also help you to increase your exposure and develop personal relationships, There may be an opportunity, should you eventually launch your own podcast, to invite them onto yours – with their raised following, you’re more likely to get a higher number of listeners.

Feature Image: Hallam comment on the growth of business podcasts and suggest that now might be the time to get in front of new listeners.

By .

Rebecca Peel is senior PR and content consultant at Hallam.

Sourced from The Drum

By Matt Lumb.

Imagine this: You step into an elevator and find yourself face-to-face with a potential client such as P&G. You have just a few floors to win their interest, just a few floors to make an impression and convince them you are worth a second look. Beyond your agency name, what would you tell them?

Some agencies want to showcase everything they do, hoping that something will stick. But my advice, after speaking to dozens of small agencies, is that you should focus on your “superpower”-that thing your agency does that it’s especially good at and that clearly differentiates it from other agencies. It’s your superpower that will be most memorable when being considered for a new project.

So how do you know if your agency has a superpower? Many small agencies tend to work incognito, like Clark Kent. So, to help you discover your superpower, I suggest looking in these five areas:

1. Your heritage story:

What premise was the agency founded on? What has been the heritage and history of the agency? What is the story behind the name of the agency? Any of these can give a prospective client insight into your philosophy and approach-and lead you to the answer of what sets you apart.

2. Your client base:

Do you attract a certain type of client or category? Some agencies have multiple clients in healthcare, food or beauty. These multiple projects demonstrate a proficiency that might be applicable to the new project. Or maybe your agency has developed a strength among a specific group of consumers, a geography or even a style of advertising. This by no means is designed to pigeonhole you into always working on that kind of project, but it can indicate where your superpower might be hiding. Many superpowers can translate into adjacent areas that clients may be looking for. Maybe you have a talent for dealing with taboo topics or new products, or maybe comedy is your preferred advertising tone.

3. Your best work:

What is some of your best work and who were the clients? When you showcase this work, what is it that makes it your best work? What are you most proud of? Is there a common thread?

4. Your people:

Look around your office at the people you have attracted. Is there something consistent in the interests, experience or skill sets of your team that can help you identify the agency’s superpower? Are you animal lovers, copywriters, fans of improv, foodies, musicians or escapees from big agencies? Do you tend to hire more makers, illustrators, writers or data analysts? Look around the office. What adorns the walls? Is there a clue to your superpower for potential clients to see?

5. Your products:

What are your clients willing to pay for? Is there a certain service or product that brings clients in the door? When you complete a project, what service gets the most praise? This may help you zero in on where your agency brings the most value.

These are a few tips for finding your superpower. Personally, I find it far more memorable and helpful to hear about an agency’s superpower as brands and clients are often looking for something specific versus an agency that can do everything. Those superpowers are often the best thing to showcase what you can do. So, what are yours? We only have a few floors, and we really want to know.

But please, leave the superhero costumes at home.

Feature Image Credit: Bruno Kelzer/Unsplash

By Matt Lumb.

Matt Lumb is vice president, Brand Building Integrated Communications department at The Procter & Gamble Company, an in-house strategy, production and communications consultancy, consisting of seasoned professionals. In his more than 25 years with P&G, Matt has worked on numerous global brands and his career has taken him from Australia to Asia and the U.S.A. View all articles by this author

Sourced from AdAge

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So you’re working from home, spending too much time on Zoom calls, feeling a bit frustrated and that normal creative business – design workshops, ideation sessions, design sprints – has had to pause. Time to think again. As someone who leads a remote-first agency that specialises in service design and UX as well as web application development, I know first hand that creativity and collaboration don’t just happen in person.

And I can unequivocally state that running design sprints and collaborating with clients is entirely possible, even when you’re 100% remote. It’s just different. A strong design process helps alongside a ‘design thinking’ mentality. So do the right tools and professional experience. But we all need a little fun, too, to create those creative sparks, so here are six exercises that we use with our clients to inspire our design process. See our seven creative exercises that we have been using before and during the pandemic to successfully deliver products and services to clients.

Goal visualisation

A good one to start with, usually at our kick-off workshop, is goal visualisation. In this, each participant takes a moment to think about the difference the project could make.

You can do this in lots of ways – sketching, keywords, bulleted lists or an inspiring piece of writing (I haven’t yet seen it done in interpretative dance, but that day may come). It shows each person’s perspective on what the project should achieve and helps get people excited about the project.

Stinky Fish

Great name, great exercise, especially for your kick-off workshop. In the Stinky Fish exercise, participants share any risks about going ahead with a project. (The idea is that if they’re not aired now, they might fester and become, you guessed it, stinky!)

Stinky Fish is a great way to confront any obstacles or concerns, bring them out into the open and address them. (It’s also an opportunity to check if there is indeed a good reason not to proceed.)

Crazy Eights

Crazy Eights is a fun, fast exercise that gets participants to sketch eight ideas in eight minutes. All they need is a piece of paper (that you can later hold up to your webcam) and a pen (if you’re doing this remotely, something bold, like a Sharpie, shows up well on-screen). Divide your sheet of paper into eight boxes, start the timer – and go!

Because of the time constraint, Crazy Eights is an excellent way to get people to capture their ideas without hesitation. There isn’t time for self-editing or shyness – it encourages everyone in the room to get stuck in right away!

Sketching exercises

Lots of people think they can’t draw and might find sketching intimidating. But everyone can, certainly well enough for UX design workshops. Sketching exercises are fun and by sharing their sketches onscreen with tools like Miro, reluctant participants can gain confidence in bringing their ideas to life whilst creating documentation that will help drive the project forward.

Ideas pitching

Ideas pitching gives each participant a chance to pitch their concepts and designs to the rest of the group. Participants can then vote on the best elements (using show of hands voting if you’re on Zoom), or converge solutions together or in pairs in Zoom breakout rooms.

Replay

And the last one is really handy too – a Replay exercise runs through the key goals from your kick-off workshop, or refreshes your team on the personas and scenarios that have been developed. It’s a fun and quick way to bring everyone up to speed, or to ensure they’re back on the same page – we often use it at the start of a workshop.

Remote working tools

Now that you have the seven excercises its time to ‘tool-up’! You can collaborate effectively, even if you’re working remotely, with a pen and a few sheets of paper. But there are more sophisticated tools, too. At Cyber-Duck, we use whiteboard apps like Miro and Mural to collate digital post-it notes, perform card sorting and more. Tools like Sketch Cloud and Invision help us walk clients through design prototypes and get feedback, while Airtable makes sharing research data easy. (Get a full rundown of all our favourite tools in our remote-first design sprints white paper – it’s free.)

Conclusion

We’ve successfully storyboarded, mapped personas, and developed service design blueprints, all remotely, all in collaboration with clients. That’s why I can reassure you, from a company that’s worked remote-first for some years now, that remote creative collaboration isn’t just possible – it can be really effective. You just need to have proven process, the right tools – and a good idea of what you’re doing.

By

Danny Bluestone, co-founder, Cyber-Duck

Sourced from The Drum