A few weeks ago I did a talk about the ‘Rebirth of Advertising‘ at TEDxLiege. Rebirth was the theme of the TEDx event that day and I wanted to bring a story that proves it is actually a great time to be in advertising today. That is if you don’t think about advertising as the intrusive, obnoxious thing that interrupts interesting experiences. Here’s how I define advertising:
“Advertising should be about enabling stories to be told. Whether those are brand stories, product stories, consumer stories, … Why would I listen to anyone if it they don’t have something interesting to say?”
Also when I started developing the talk I wanted it to have no advertising in it, I wanted it to excite people about a business I am excited about without showing entertaining work. You can see the 18′ talk in the video below.
Thanks to the team at Duval Guillaume for trying to push the boundaries of advertising every single day and special thanks to Mike Arauz (Undercurrent) whose thinking influenced me quite a bit lately. Thanks Mike!
A while ago 4 of the best comedians of all time met and talked about their profession, sharing a whole bunch of insites that are valuable for all of us. It’s impressive to see and hear how much preparation goes into a good standup comedy show and that it’s not because they make it look like they’re inventing the jokes on stage that they haven’t prepared it in the tiniest detail. Here’s what I believe strategists could learn from Louis CK, Ricky Gervais, Jerry Seinfeld and Chris Rock.
Find the unique human insights. Those things that we all recognise but that are often remain unsaid. When talking about how all 4 comedians find their jokes, they all make a reference to 2 very interesting things. First of all they don’t like ‘easy’ jokes. If you or I could have come up with the joke as well it’s probably not good enough. I like that. Secondly, while searching for their unique form of comedy they often get to human behavior that most of us recognize but don’t often talk about. At Duval Guillaume we search for what we call the ‘provocative insight’, those insights that are recognizable but often left unsaid. It’s there that we find a territory that will help us search for those creative ideas that will get people to talk about brands.
Keep a notebook with you all time, write down every little idea or piece of information, quote, … that you think has something of interest even if you don’t know what exactly what that something is when you write it down. Most comedians also develop their shows based on things they’ve read, heard, got annoyed by, … which eventually mixes up into a gread night out for all of us. Often in developing a good creative strategy it is about connecting the dots, it’s about making the connection between a piece of research, an article you’ve read somewhere, a drawing on the white board from another meeting, … Whether it’s a paper notebook or something else (I almost religiously chose for Evernote) write down everything that you thing sounds interesting when you hear it. You’ll find out later whether there is a use for it or not.
Talk about your ideas frequently with other people, also outside of the strategic department, also outside of the agency. By telling the idea you’ll find thing that don’t really sound right or still aren’t perfect match with your idea. And by the feedback, questions you’ll get you will refine your thoughts. Comedians will often try out their jokes (or partial jokes) on their friends, not only to see if they respond but ultimately to help develop the jokes. Jokes become better by sharing. It’s not that people will have to say whether they like the joke or not, it’s to see how they react so you can use that learning finetuning the joke. Same goes for strategy.
Deconstruct things / issues to the smallest little detail. While listening to Louis CK, Ricky Gervais, Jerry Seinfeld & Chris Rock I learned that they go to extreme lengths to tweak each joke in their show to the finest details. They say that it’s often the little things that make the greatest differences. The specific choice of words, the facial expressions, the posture on stage, … every little thing is tweaked to make sure it works perfectly. A strategy should be developed in the same way. It’s important the general vision of direction is the right one, but it are the little details that make it really come to life. Very often those little things are even more inspiring to creatives than the overarching thinking.
Know who you’re talking to and tweak your idea along the way. Even when you’ve done everything to prepare yourself, made sure that it will work every show is different, every audience is different. It’s a different city, another vibe, … but it’s important for comedians to ‘feel’ the room they’re performing in and add little tweaks to the show while they’re doing it. So apart from the obvious ‘hello city x’ which is different every time there will be more things that will need to be different every show. Of course when you’re a skilled comedian, it’s still you on stage so you can be agile throughout the show. Strategists need to apply that same agility. The strategy might look good on paper, allow it to evolve throughout the process. Maybe it’s the client that added a thought worth including or the creatives find ideas that will influence the strategy. None of that is bad as long as you focus on what the end result is so let it happen, tweak along the way.
Put the hours in. But that’s what you have to do in any job that you want to be successful in. Put the hours in, there’s no such thing as a free ride. I’ve blogged about this before and when you watch the video you’ll see that it’s a common element of success for all 4 comedians, they are all – still today – working very hard.
Watch the full ‘Talking Funny’ video to see for yourself how those 4 talented comedians look at their work:
“When is the last time you and your friends gathered around the television to watch a good game of pétanque? Right. Pétanque players, knitters, fishermen,… they don’t get the glory soccer players get. But wouldn’t it be nice if for once they got some more support? We asked 5 ordinary people if we could film them while going about their hobbies. They had no idea we were about to turn their quiet pastime into a crazy experience, just by adding zero each time.”
There was an interesting article in Slate a few weeks ago about the bias against creativity, about the fact that most people say they like creativity but that the truth is we really don’t. And since I work in a creative agency often presenting creative ideas to clients the theory based on a 2011 study used in this article makes a whole lot of sense to me.
“We think of creative people in a heroic manner, and we celebrate them, but the thing we celebrate is the after-effect,” says Barry Staw, a researcher at the University of California–Berkeley business school who specializes in creativity. Staw says most people are risk-averse. He refers to them as satisfiers. “As much as we celebrate independence in Western cultures, there is an awful lot of pressure to conform,” he says. Satisfiers avoid stirring things up, even if it means forsaking the truth or rejecting a good idea. Even people who say they are looking for creativity react negatively to creative ideas, as demonstrated in a 2011 study from the University of Pennsylvania. Uncertainty is an inherent part of new ideas, and it’s also something that most people would do almost anything to avoid. People’s partiality toward certainty biases them against creative ideas and can interfere with their ability to even recognize creative ideas .
Clients will come to us for creative tasks since that’s what we’re most known for. You can literally witness though how the creative ideas that were presented and liked by the clients will be softened once they start to move through the chain of command. That is if you allow that to happen, we’re quite protective on the essence of an idea to make sure that while we’re very open to tweak it we will make sure that that essential core idea is never lost.
Most people agree that what distinguishes those who become famously creative is their resilience. While creativity at times is very rewarding, it is not about happiness. Staw says a successful creative person is someone “who can survive conformity pressures and be impervious to social pressure.”
And of course I realize like anyone else that some creative ideas are just not good or are creative but not an answer to the question or briefing at hand. This is purely about ideas that are recognized as good and creative and how they are being judged during the decision process. This is about how people often reject creative ideas even when espousing creativity as a desired goal (as the research so eloquently puts it).
In terms of decision style, most people also fall short of the creative ideal. they are satisficers rather than searcher for the optimal or most desirable solution. They follow a number of energy-saving heuristics that generally lead to a set of systematic biases or inaccuracies in processing information. And, unless they are held accountable for their decision-making strategies, they tend to find the easy way out – either by not engaging in very careful thinking or by modeling their choices on the preferences of those who will be evaluating them.
Especially that last sentence is a problem I think. Not only in judging creativity by the way. When people make decision upon what they think someone else will probably think of it instead of what they think themselves sounds like a recipe for disaster to me. There’s a clear link with management style there as well. How much do you empower your own people? It seems that to enable creativity you need to do that.
Instead of issuing directives and policy statements and hoping that they will be obeyed, innovative firms must encourage disobedience. In fact, those in power should go so far as to encourage active opposition. Innovative organizations are those that harbor multiple perspectives and objectives, not simply a variety of views.
Last but not least, it’s also why creativity takes courage – dixit Henri Matisse. Definitely an interesting read, be sure to check the full article.
Coca-Cola’s Jonathan Mildenhall, responsible for global advertising strategy & content excellence, has his part in making sure Coca-Cola became the Cannes Advertiser of the year in 2013. His Content 2020 manifest (part 1 | part 2) which was shared at the Cannes Lions a few years ago inspired more than just the marketers at the Coca-Cola company. He has proven that creativity and commercial success go hand in hand, but also states that creativity belongs to all of us as you can read in this interesting interview:
The key to Coca-Cola’s change, says Mildenhall, was understanding that creativity is everyone’s responsibility and remit, individually and inside the organisation. “To change, Coke had to take creativity in the widest sense back from the agencies. It couldn’t belong only to the hairy elites of agency creative departments.”
In the same interview Mildenhall defines how he thinks of creative leadership, sharing his 9 principles on the topic:
Creative directors are the soul of the company or brand they lead
They amplify the creativity in everyone they work with
They distort reality and make the impossible seem possible
They are relentlessly optimistic, exuding positive, infectious energy
They create a culture of curiosity, never stop asking or learning, and have the best questions
They establish trust, honesty and belief by giving away credit
They make unpopular calls to do the right thing by the work
Last week I was in Portorož (Slovenia) to give a presentation at 20th edition of the Golden Drum Awards. To this creative audience I wanted to show that the necessity of building social currency for brands calls for bravery and creativity and as such is a great opportunity for the business that we are in.
We know that we have a lot less control of what is being told about a brand today. In the world where we control messaging we need great storytelling, but that alone isn’t enough anymore. We also need to make sure we try to influence the part where we have no control: “giving people a story to tell to each other”. We believe it’s key for brands to do both.
But too often today when you talk about influencing the uncontrolled part we end up quite immediately into social media content. When business discovered social media in 2005-2006 with blogging, it proved an interesting way to share opinion or backstages stories around a brand. In the better examples CEO’s would openly talk about their business once a week in a lengthy blogpost that would allow people to reply to. When LinkedIn but especially Facebook came along, more content (but smaller pieces) was needed for updates several times per week. And with Twitter brands are urged to posts several times a day. At the same time content became more visual, we all know (I hope) the importance of the visual web. This trend however has brands talk to us as we are all ignorant kids and to be honest, most ‘branded content’ is actually worse than the 30″ commercial that so many hate.
Managing the conversation is not the same as provoking the conversation. And we should have the tactical rules of social rule our decisions in developing content to provoke. We no only think you should provoke a conversation, it should result in a conversation worth remembering. As an example I give the campaign we created for ‘Stop The Traffik’. This campaign is approximately 2 years old and yet 1 month ago 2 million views were added to the video when Upworthy discovered it (again). And since the the conversation that came out of it is still as valid for the brand is it was at launch.
That brings us to social currency. You create that when you repeatedly created social objects. And as I’ve written before, with the social object, it’s not so much the object that is important as it is the conversations it triggered around it. My business card is a social object. Almost every time I hand it out people ask me what ‘Change Architect’ (my second role) means and by explaining that I already get a chance to explain why change is important for the agency and how that defines the work that we make.
So why then the necessity for bravery & creativity in building social currency? In my presentation I list 5 points:
Provocative insights
Surprise & entertain
Make it irreverent
Make it awesome
Let go
But remember, this is not a science so stay agile and adapt constantly while creating.
The big idea is dead. To quote Patricia McDonald in a recent Campaign article: “In recent years, the “big idea” has often seemed to epitomise everything wrong and backward-looking about our industry.” And that’s indeed true. In the traditional sense of a 360 campaign, the big idea was to be found in the 30″ commercial or a huge online activity and every other aspect of the campaign had to amplify that centre piece. The big idea was almost not much more than the ever so popular ‘key visual’, the one visual we can translate in all our media for one given campaign.
It’s good that we most brands start to work differently these days. It’s good that brands start to understand that this idea of a 360 campaign all built around the one big idea isn’t the right way to operate. But as Patricia also highlights in her article, that doesn’t mean we should start thinking small. And therefore the big idea is still very much needed, only we think about something completely different today when talking about a big idea than when we talked about it a few years ago.
Today (and as a matter of fact we believe for the last few years already), that big idea is more of a central thought, a thought that allows you to develop a creative platform in which several small & big creative ideas can be found. It’s a thought that is based on a strong insight and for which the creatives feel the potential, a thought that offers a fertile ground to start creating. Because let’s be honest, ideas can be small and very beautiful or extremely big, bold and complex. But the overarching thought can only be big. It’s linked to the brand’s raison d’être, the link with the purpose and therefore the relevance of the brand in people’s lives.
Once this ‘big idea’ is defined, once we all agree on what that central thought or creative platform is that a brand needs, the quest for the ‘key visual’ becomes less important. It’ll help them understand for instance in the case of Nike that Nike+ as well as ‘Find your greatness’ can be part of the same campaign. In the olden days that would have been near to impossible since they would both feel like big ideas in the classic definition.
So maybe we shouldn’t be using the phrase ‘big idea’ anymore knowing that it has for long meant something else, something that we feel isn’t right anymore today. But whatever the phrase you come up with, let’s all agree that we shouldn’t start thinking small all of a sudden.
I’ve been a close witness to some of the impact short-form video has had on campaigns I was involved in. Small campaigns like the launch of IKKI.be (which most of you will be unfamiliar with) where the video was responsible for creating so much buzz within the target audience that we had reached the platform sign-up target within days instead of months. Or campaigns where the video travelled the world such as we experienced with “Bikers” for Carlsberg or “Push to add drama” for TNT.
All of these (and other) cases made me get a firm believe in short-form video used within online communication strategies. Fast Company believes the same – read “Why Short-Form Video is the Future of Marketing” – where they highlight some key reasons why that is the case:
More and more users are consuming their video entertainment online
Marketers are using video to engage with social media audiences
Barriers to entry are low
Quality is expanding quickly
There are plenty of avenues for dissemination
All true, but apart from the 3rd point, all of these are mostly observations of what is happening and not really reasons of why it is happening. So I agree, but I think they are missing the point a bit.
Video is a very rich audiovisual experience but it allows brands as well to keep control of the story in a time there’s no more control. You can craft a message in such a way (editing, music, …) that you get the maximum effect and when people share it they share it generally for the full 100%. So basically if you’re doing a good job, people will share your video content adding comments etc so taking over control – but not over the message, because when it is consumed again, it will be again exactly how you as a producer crafted it in the first place. That is what makes it very powerful for online communication, the combination of this fact with the knowledge that more and more people consume online video entertainment.
This doesn’t mean video should always be the center piece of your communication online, but try to get video in that communication in some form as much as you can. It’s pretty powerful.
I just finished reading Steve Jobs’ biography. It took me a while to read it but I’m happy I bought it. I wasn’t all that sure in advance, and not because I used to work at Microsoft once, but because I just didn’t want to read a book about how great everything at Apple really is thanks to the genius etc etc.
It’s not at all like that. The book manages to give a very real – at least it feels that way – image of Steve Jobs and very human, much more human than how your regular fanboy will be talking about him. And that made it interesting. You get a better idea of how he really was, about the things that made him great, about the people that have been his mentor, about how he often wasn’t really such a nice person, about the genius, …
I made quite a few notes while reading the book, notes about things and ideas that I recognized or that I should look into a bit more. One of those things was the Apple Marketing Philosophy that was written down by Mike Markkula. Short but crystal clear.
Empathy – that intimate connection with the feelings of the consumer to truly understand their needs better than any other company
Focus – eliminate all of the unimportant opportunities in order to do the best job possible
Impute – a company should convey its values in everything it does, from packaging to marketing because ‘people do judge a book by its cover’
You should read the book. Seriously. Not because you want to find out what an epic genius Steve was or anything like that – but because just like Steve you should steal from the best, see things with new eyes, work hard to make them different and don’t stop until they’re perfect. Respect.
About a week ago I did a presentation at an event in Charleroi called “Stratégies Gagnantes” (which means as much as ‘Winning Strategies’) together with other speakers such as Michael Cawly (COO Ryanair), Nathalie Klein (Director Consumer Insights Coca-Cola), …I was asked to present about what I thought would contribute most towards winning strategies from a marketing point of view. This based on my experience in digital and specifically as Head of Digital at Duval Guillaume Modem, the agency I work for in Antwerp.
The topic I chose to talk about was ‘agile’, more specifically ‘agile planning’. We all know by now the world is changing, and it’s changing fast. So I didn’t want to go in to much about that, but instead focus on how we need to rethink the way we plan to cope with a situation that is always ‘in motion’. It was an easy choice to make since I’ve been fascinated about agile and about how we should use this thinking (that originates from the agile software development) into our business, into the way we think about planning for the future. Neil Perkin has written quite a few good posts about ‘agile thinking’ as key for anybody who wants to be more future proof. I’ve used some of his thoughts in this presentation.
In the presentation bring forward 4 ideas that need to be considered when thinking about introducing agile planning to your organisation:
Ideas from anywhere: get out of the organization silos – idea generation happens best when people across all business lines get together
Plan for the unknown: imagine what would be possible instead of solely relying on what you can deduct from past experience
Measure to improve: instead of measure to report – make sure you get the learnings when you can still adapt
Budget for change: make sure there’s time and money to make the change happen
'Cross The Breeze 