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The talk behind content marketing is turning into cash as brands start to build the physical infrastructure and hire the talent to go ‘fully operational’ with in-house newsrooms. The potential for audience boredom is incredibly high.

newsroom, branded content

In a universe of stories, brands risk focusing only on themselves.

 

I’ve seen at least three brands recently unveil corporate plans for dedicated space of anything up to a couple of thousand square feet, complete with green-screen video studios, sound recording booths, video edit bays, press conference areas, interview booths – and all spare walls upholstered with plasma screens displaying real-time, data-and-analytics-driven content marketing dashboards. And the technology’s the affordable bit.

All newsrooms need warm bodies

All those very specialist chairs will need to be warmed by very specialist bottoms – journalists, community managers, producers, project managers, editors, sound mixers, social media strategists, graphic designers, public relations experts and more. None of these roles are traditionally considered part of a company’s marketing department, so they’ll be new hires, along with a shift of internal resources in the form of brand and product managers and other marketing co-ordinators, legal and corporate comms people who will also need to be stationed in these always-on newsrooms.

All newsroom, all the time.

Operationally, these plans also lay out rigorous daily schedules, including early morning ‘editorial meetings’, rapid-response content team huddles, mid-afternoon social scan reports and overnight ‘graveyard shift’ monitoring teams that look for spikes and opportunities in other timezones. Many of these newsrooms are slated to cover multiple markets (efficiencies of scale), which will stretch the news day even longer and also add in the issue of language and cultural relevance adaptations for the content as well.

Running a newsroom isn’t cheap – until you add up the alternative

newrooms, branded content

Newsrooms: lots of moving pieces.

As an economic response to the challenge of producing more content more cost-effectively, the in-house newsroom makes sense on paper. Lots of brands have spent the last couple of years adding up the bills they’re getting from various ad agencies, PR houses, design studios, video production shops and even the new crop of specialist white-label content marketing outfits and have been shocked by the grand total. In many cases, they’re paying for the inefficiency of making a high-concept, production-perfect, risk-minimised production model adapt to a fast-response, relevance-trumps-perfection world of news-based content. So the ops guys have got that part of right.

You think brands are self-centered now? Just wait till they build a newsroom!

I’m predicting a lot of these newsroom investments will result in a wave of incredibly tedious brand-centric content. Not because of the way they’re set up, but because of how they’ll be funded.

If they’re paid for with traditional marketing dollars, they are going to be measured by traditional marketing metrics. So the content produced by newsrooms is going to have to demonstrate that it can sell, almost directly, if the newsroom wants to stay in business. Simply put, whoever is paying of the production of the news (the brand) is going to demand that the news be all about them. Get ready for an onslaught of branded content, created by branded newsrooms, talking about the brand (and why & where you should buy it), all the branded time. Insert branded yawn.

newsrooms, branded content

Branded or not, news still needs to appeal to people who aren’t really paying attention.

 

Measure what’s important, not what’s measurable.

The one way I can see to keep the editorial shackles off these in-house newsrooms, (and, therefore, keeping them relevant to consumers), lies in the clever use of data & analytics to define and justify their role in the marketing mix. And plenty of firms are springing up to offer exactly this kind of data and analytics (Kissmetrics, Hubspot, SimplyCast, Salesforce and others), offering sophisticated metrics that uncover the ‘hidden effectiveness’ of content during all phases of the influence and purchase process.

For marketers that stick with simple ‘likes’ and ‘re-tweets’ as a measure of their content marketing effectiveness, I predict their in-house newsrooms, (one careful owner, very low miles, showroom condition), will end up getting auctioned off for cents on the dollar.

 

This post originally appeared on the Firebrand Talent blog.

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About the Author: Barrie Seppings blogs about making things better – for clients, brands, agencies and humans. He is currently Regional Creative Director at Ogilvy Singapore and he likes boards surf, skate and snow. Follow him on the Twitter, connect on LinkedIn, or add him on Google+

About the images: all photographs used with the permission of Martin Ollman Photography. Contact Martin directly for rights and commissions.

 

 

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Cannes jury reveals the impossible truth about winning a lion.

Many people come to Cannes for the superstar keynote speakers. Sarah Jessica Parker and Kanye West made appearances this year while, crushingly, Aaron Sorkin cancelled at the last minute. Quite a few come to drink pink wine and trade gossip. And then there is a dedicated contingent who come for the awards, which is the reason Cannes exists in the first place.

This year, the organisers have provided a real treat specifically for people interested in trophies: a series of talks called “Jury Insights”.  Each day, the jury from the previous night’s ceremony open up and talk about how they chose the work they did and (crucially) why some very, very good work that teams spent months working very, very hard to bring to life, simply didn’t make the cut.

First cab off the awards rank was the Promo and Activation Jury, who revealed probably more than they should have about the grueling (at 3200 entries this year, you better believe it was grueling), task of sorting the storytelling wheat from the in-store sampling chaff.

Here’s their advice on the all-important case study video:

  • You’ve got 30, maybe 40 seconds to capture interest or you’re out.
  • Put the insight and idea in the first half, demonstrate craft and results in the second (or you’re out)
  • Don’t let your VO say: “And it worked!” (or you’re out)
  • Don’t let your VO say:  “Our brilliantly creative idea was…” (or you’re out) That’s for the jury to decide, not you.
  • Spend more time refining the clarity of the case study narrative before you worry about making it pretty.
  • But then spend plenty of time making it pretty (or you’re out)

The other thing that emerged from the session was the feeling that the thing that is really being judged are the judges themselves. They talked a lot about the scrutiny they felt their choices were under and even talked about the task as one of ‘curation’.

Judging the judges

The results for one category tend to get looked at as a whole and, because people are so interested in trends and patterns (shortcuts to meaning). As a result, the make-up of the group of awards can tend to skew individual decisions. If there are too many gongs going to tech-led ideas, for example, the judges felt it was important to balance it out with some decidedly analogue executions. Similarly with the mix of charity clients to big, corporate brands. And regions (can’t have too much from Brazil, for example). Not to mention holding companies or individual agency networks. And if your idea is an absolute screamer but happens to be very similar to another, completely unrelated piece of work from somewhere else on the globe (happens more than we care to admit), then both pieces cancel each other out and neither of you get a shiny statue.

BA, Cannes, Grand PrixFor the agencies and creatives that expend sweat and cash to enter, this information is fascinating, but ultimately of no use. It’s tempting to try to plot a contrarian approach (make your work deliberately analogue, for example), to improve your chances of standing out, but you can’t possibly know in advance if the top-flight entries in a category are heavy on digital or analogue.

A Cannes Lion has always been a hard thing to win. With the scrutiny of the jury and the swelling number of entries every year, it’s not going to get any easier. Except if you’re the genii behind something as jaw-droppingly good as the #lookup work for British Airways. Six lions and a Grand Prix for the team at Ogilvy London, led on the suit side by a good mate of mine, Chris Slough, shows that it’s not impossible, just really, really hard.

 

Barrie Seppings covered the CannesLions Festival of Creativity for Ogilvydo.com where you can catch all of the #OgilvyCannes coverage

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About the Author: Barrie Seppings blogs about making things better – for clients, brands, agencies and humans. He is currently Regional Creative Director at Ogilvy Singapore and he likes boards surf, skate and snow. Follow him on the Twitter, connect on LinkedIn, or add him on Google+

 

Adland is drowning under a tidal surge of narrative-driven jargon. Everyone is now a storyteller. Every post is now part of a conversation. I’ve railed against this before but it has been to so little effect, I’m starting to believe I’m the marketing equivalent of the guy who washes his car just before every rainstorm.

 

Storytelling, narrative

We’ve opened the storytelling geyser.

 

The Five Types of Brand Narrative (from simple to  complex).

Seeing as we’re all getting into brand storytelling (at least until we decide we’re getting into the next thing, like, say, artisanal persuasion), we might as well see if we can’t create some sort of order from the chaos.

The First Type: An experience.

This type of marketing is striving to generate a feeling, an emotional reaction. This is really in the realm of branding (more specifically, brand association) and tries to hard-wire a correlation between the appearance or suggestion of a brand and a positive firing of neuro-somethings in your lateral sub reptilian cortex. (I’m sure someone like Rory Sutherland knows the exact medical terminology). This type of communication is subliminal and, over time, the customer response becomes Pavlovian. Think: Reef footwear and girls’ butts. Mercedes and their door-closing thud. Apple and their polished aluminum. A local example here in Singapore is Ion shopping mall and their carefully calibrated scent, continually pumped through the walkways to simultaneously relax and energise the consumer.

Constructing ‘experience’ marketing has traditionally been in the realm of sponsorships and activation, but within the digital world, the most adept practitioners now are probably UX and CX designers. If you are using mainly adverbs to describe your communication, your are probably building an experience.

message, broadcast, storytelling, brandsThe Second Type: A message.

This is a (usually) rational statement, expressed through language in a way that makes it easy for the audience to articulate back to you or, more encouragingly, to each other. That language can be textual (Think Nike and ‘Just do it’) or it can be visual (almost all car advertising; hotels, too). The message can be uplifting (Pedigree and their wonderful ‘We’re for dogs‘) or it can be really quite banal (Walmart’s Everyday low prices.) What’s important to note is that the reader has no role in this message, except to view it and understand it. We are not meant to construct our own meaning. In fact, quite the opposite. Traditionally, almost all advertising operated within this narrative type. Today, most of it still does. If you’re using mainly adjectives, you’re probably making a message.

 

The Third Type: A story.

This is a little more complex, a little messier. A story doesn’t have to necessarily be longer, but it should have some ups and downs. If not for the brand, then at least for the use-case of the product or, better still, for the audience. The ups-and-downs can be as simple as Vonnegut’s man in a hole, as formulaic as the classic 3 act structure or as sophisticated as Truby’s 22 steps, but it must have a range of action, both positive and negative. And this is why most brands can’t handle storytelling: they have no stomach for the negative, the ‘hole’ part of the Man In A Hole.

digital, technology, story, brands

Adding technology doesn’t always improve the story experience.

When you combine the Story format with digital media, all sorts of possibilities begin to emerge, but it’s important to remember that good stories are still linear, even when they are digital, or interactive (and these two things are not the same). If you want to dive into that distinction, the best explanation I’ve heard recently was from The Goggles, makers of Welcome To Pine Point, during their excellent session at SXSW.

Another realm in which technology is bringing new creative potential to traditional storytelling is the arena of Data Storytelling. Several interesting examples have emerged recently, although strictly speaking, these are stories told about data.

The key thing to remember about the Story format is that there is a range of action and emotion (including both positive and negative) and that the reader or audience is allowed some space to bring their own meaning or interpretation to the communication – another reason why some brands struggle to become true storytellers.

Even though stories may allow for some interaction (mainly in terms of navigation and pacing), they do not generally allow for user reaction and input. That belongs to…

The Fourth Type: A conversation.

The defining quality of a conversation is that it is two way. Back and forth. I say something, then you say something. Then I say something that is a reaction to that thing that you said.  Then you might have to abandon your script and think of something different to say that takes into account the thing that I just said.

Screen Shot 2014-05-20 at 9.38.29 AM

The question remains: why?

And this really freaks brands out. Social media is a good arena to pursue a conversation format, but it does not automatically follow that your communications will be a conversation just because it is deployed on social media.

The most common criticism levelled at brands every time they take to a new social platform is that they treat it as a broadcast medium. They talk but they don’t listen. Or they listen, but they don’t respond. Or they respond but show no evidence of having understood what they heard. Or, most egregiously, no interest in understanding what they heard. “Join the conversation” is the classic direct response CTA, only slightly updated for Twitter.

The other difficult thing about the conversation format is purely a practical matter: it doesn’t scale. Technology hasn’t really solved this issue (just made it slightly easier to manage), because it is not a technological problem – it’s an inherently human one. We know this from real life. A single conversation can hold about four or five active participants before it either breaks into smaller discussions (Think: dinner party) or comes under the control of an active manager (Think: office meeting).

We see this now with the increasing recognition of the importance of Community Managers in executing these types of communications programs, and the pursuit of chatbots or ‘Embodied Conversation Agents’ that trick users into believing they are talking with another person. We’ve had the low-tech version of this for some time now: call centre scripts. Airlines, hotels and telcos have recognised the real use-value of conversation formats and simply added social channels to their existing customer service infrastructure. And it appears to be working.

The Fifth Type: An education.

Now it gets really interesting. And complex. This format works best when the brand has some information, some knowledge, that the audience may find useful. It really works when it becomes clear to the audience that this information is going to improve their life, or enjoyment of it, in some way.

education, brand, narrative, storytelling

Transmit knowledge and you’ll power up a deeper appreciation of your message.

The educational format does require some investment, attention, persistence and generosity (a ‘pay-it-forward’ attitude is a big help) on the part of the brand, but it doesn’t have to be a huge production. Digital is also consistently throwing up incredibly useful and user-friendly formats for education formats (Think: Lowe’s 6 second hardware tips on Vine). It is important to remember that you are placing a huge burden on the audience (Learning new things is hard work), so you need get the value exchange right. The audience has to believe the knowledge gained is worth more than the time and effort required to acquire it (Think: IBM’s NextGen CIO, an MBA-level shortcourse that helps IT Managers move from the server room to the boardroom).

Ironically, education formats can be as broadcast-y as you like, but take a tip from the people who do education for real: try to incorporate some sort of student feedback and scoring, to complete the transfer of learning.

Before I step off, I want to point out that none of these types of communication have been classified as content.

That’s because they are all content. This term was useful when we were emerging from the “advertising and PR” era, but social (in particular), has rendered the term meaningless, beyond a technical distinction between the delivery mechanism (the TV slot, the Facebook feed, the smartphone, the shopping mall aisle) and the thing that goes in those spaces (the ad, the post, the app, the scent). Beyond that, I think the term is now too broad to be truly useful.

Add a comment below if you’d like to join the conversation 😉

 

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About the Author: Barrie Seppings blogs about making things better – for clients, brands, agencies and humans. He is currently Regional Creative Director at Ogilvy Singapore and he likes boards surf, skate and snow. Follow him on the Twitter, connect on LinkedIn, or add him on Google+

About the images: all photographs used with the permission of Martin Ollman Photography. Contact Martin directly for rights and commissions.

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The reason we struggle with insecurity, is because we compare our behind-the-scenes with everyone else’s highlight reel.”

Pastor Steven Furtick, from the excellent Atlantic article “Why Writers Are the Worst Procrastinators”

These are confusing times for brands, and the people charged with growing them. On the one hand, we need to ensure the ROI of everything, while on the other we must pursue constant innovation. We need to be open to new technologies, platforms and networks, but we can’t spread our investments too thinly. We’ve got to stay on brand and on message, but we also need to go viral.

These competing ambitions make it very difficult for marketers and agencies to make intelligent choices for their brands – but it is largely our own fault. As an industry, marketing is particularly susceptible to ‘the shiny new object’ syndrome and, after attending SXSW interactive in Austin, Texas last month, I’m predicting that we’re about to start chasing after two diametrically-opposed aims yet again.

Plug in to everything.

Many of the presenters and panelists gave compelling testimonial that technology might not quite be everywhere, but it soon will be. More to the point, they believe it should be. Once we work out how the make wearable computing look more like clothes and less like, well, wearable computing, it appears inevitable that we’ll all be individually wired up, all the time. The ‘quantifiable self’ movement was also highly visible, arguing that the responsibility for monitoring health will soon shift to the individual – and the battery of sensors and transmitters embedded in our bodies.

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data, story

Expect data everywhere.

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Our homes, shops, offices, cars and skies will be literally buzzing with input/output devices, WiFied to the max and constantly shipping information to the grid. For marketers, this new tide of data will start to drive the automation of more decisions and more executions – we’re practically already there with automated media buying exchanges and personalised recommendation engines.

Easily half of the conference seemed to be welcoming our new Big Data overlords and the relentless efficiency it will bring to our lives, ready or not.

But stay, y’know, kinda human.

The other half, however, were preoccupied with that most human of endeavours – storytelling. There were panels and presentations and seminars and workshops on Product Storytelling, Immersive Storytelling, Content Storytelling, Transmedia Storytelling and on and on it went. The unified message from this side of the house seemed to be: use your marketing to tell human stories to human customers in a human voice, you’ll be able to make your brand appear more, well, human.

I’m being flippant here but some of the storytelling advice was pretty solid: stick to a linear format, don’t be afraid of offering complexity to your audience and don’t try and chase out all the imperfections, visual or otherwise. Implicit in all this advice was the belief that storytelling is an inherently good way to go about marketing.

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Is it possible to pull together the threads of story and data for an experience that is accurate and human

Is it possible to pull together the threads of story and data for an experience that is accurate and human?

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 Am I the only one who sees a problem here?

Maybe it’s just a re-imagining of the old above-the-line vs below-the-line marketing split for a fully digitized age, but I believe there’s a real schism developing here. The choice appears to be between a marketing philosophy based on ensuring the absolute accuracy of everything (marketing by algorithm, if you will), and one based on overtly accentuating the human element of communication (artisanal marketing, to borrow an adjective from the hipsters).

Perhaps the answer is ‘yes’.

Yes to being both data-informed and also to being story-driven, which is to say human. Just as we have seen the rise of ‘Data Artists’ in the visual arts world, ‘Data Visualisers’ in the statistics world and, more recently ‘Data Journalists’ in the publishing world, perhaps marketing is about to make room for ‘Data Storytellers’.

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Data Storytelling: patterns stay in the background, humans take the stage.

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This industry needs another made-up job title like a brainstorm needs a ninja evangelist – or like we need brainstorms, for that matter. Real creativity, however, often comes from combining two previously unrelated ideas to develop a new approach and I see real potential in combining these two ascendant disciplines.  A mashup of data analysis and storytelling could result in a new type of communication approach, one that is both accurate and human – and creative in a way we’ve not seen before.

 

This post originally appeared on the Firebrand Talent blog.

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About the Author: Barrie Seppings blogs about making things better – for clients, brands, agencies and humans. He is currently Regional Creative Director at Ogilvy Singapore and he likes boards surf, skate and snow. Follow him on the Twitter, connect on LinkedIn, or add him on Google+

About the images: all photographs used with the permission of Martin Ollman Photography. Contact Martin directly for rights and commissions.

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No matter how commercial or  ‘mainstream’ people say SXSW has gotten, you can always rely on Bruce Sterling to keep it weird. He used his closing address to quietly scare everyone to death with his prediction for the future (ageing + urbanization + climate change = big problems), before announcing that he was giving up being a ‘science fiction writer’ to become a ‘science fiction maker’.

 

Sterling, SXSW, climate change

 

Along the way, he gave us an insightful, eclectic and rather foreboding list of people he believes should be at SXSW in the very near future:

Nathalie Kosciusko-Morizet: this French politician is educated, feminist, ambitious, environmental, vocal and extremely adept at turning social media visibility into public influence. Sadly, Sterling thinks these are also the reasons she has ‘almost no chance’ of winning the Parisian Mayoral Race.

Gianroberto Casaleggio: Italian web master for the ‘5 star Movement’ (M5S or MoVimento Cinque Stelle). An entrepreneur turned political activist, Sterling sees here an early prototype of what will happen “when smart, connected people with almost no political experience get into power – it’s not going to end well.”

Bruce Sterling, SXSW, climate change

Bruce Sterling has seen the future. It’s not pretty.

Barrett Brown: political writer and satirist, sometimes referred to as the unofficial spokesperson of hacktivist group ‘Anonymous’ and is currently facing 100 years in prison for sharing a link to document relating to the Stratfor email leak. “At the very least, send the guy some books.”

Cody Wilson: a right-wing and free-market anarchist who created Defense Distributed, an organization that created The Liberator, a fully-functioning 3D printable handgun, which has been downloaded 100,000 times. “Thanks to this guy, Austin now has gun stores that accept bitcoins.” 

Ross William Ulbricht: also known as “Dread Pirate Roberts”, the founder of Silk Road: the world’s largest online drugs market, operating on the deep web. “The dark side of all your 2.0 optimism.”

Texas Cryptologic Center: a wing of the NSA that doctors hardware for surveillance and “Answers, really, to no-one.”

Joint Threat Research Intelligence Group (JTRIG): a British government intelligence group that Sterling describes as secret police, agent provocateurs and disruptors of political discourse. “You may well be offered a job by these guys. Don’t accept it. You will not sleep well after this.”

Californians: in huge numbers, due to irrevocable water shortages caused by climate change. “They’ll be incredibly wealthy and they’ll need somewhere to run their tech businesses from. They’ll just move to established cities that have water and buy everything”. If that sounds far-fetched, Sterling reminded us of how California got started in the first place.

 

I travelled to Austin, Texas to cover SXSW 2014 for Ogilvydo, the digital magazine of thought leadership from Ogilvy & Mather.

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About the Author: Barrie Seppings blogs about making things better – for clients, brands, agencies and humans. He is currently Regional Creative Director at Ogilvy Singapore and he likes boards surf, skate and snow. Follow him on the Twitter, connect on LinkedIn, or add him on Google+

About the images: main photograph used with the permission of Martin Ollman Photography. Contact Martin directly for rights and commissions.

 

 

Transmedia? Interactive storytelling? Multimedia narratives? Whatever you call it, whichever technology you use, you have to start with the fundamental ingredient: a great story.  If you want to be as successful at telling it, follow these rules from The Goggles, self-described ‘old media guys’ and Interactive Directors of multi-award winning interactive documentary “Welcome to Pine Point”:

Keep it Linear

Humans have been trained, for thousands of years, to follow a linear storyline, so help them to understand yours by sticking (largely) to the formula. While digital does allow for a completely unstructured and non-linear format (and it’s good for deliberately non-linear experiences like games), your audience might find it overwhelming. Take their hand, guide them. Pine Point really only allowed users to go forward, or back.

The Goggles took 2 years and about $500k to build their 'online documentary'

The Goggles took 2 years and about $500k to build their ‘online documentary’

 

Make it Layered

Humans are also complex and, when they like you (or your story), they will want to get involved, to spend some time. This is where digital really works, allowing you to create little piles of detail and texture, within a ‘chapter’ or segment of your largely linear story. Pine Point lets users shuffle through a pile of photographs of characters featured in a chapter.

Strive to Remain Human

The Goggles believe another problem with digital is that it encourages us to make things that are too perfect – perfectly flat, straight, round, photoshopped, aligned and cropped. Life, and the people who live it, are not perfect so leave room for imperfections, for ragged edges, in a digital storytelling experience. The aesthetics of Pine Point are very handmade

‘Chasing the Sun’, ‘Touch’ and ‘The Ghosts in Our Machine’ are some of the upcoming ‘new media storytelling’ projects from The Goggles.

A version of this story originally appeared on Ogilvydo.com as part of the agency’s coverage of SXSW 2014.

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About the Author: Barrie Seppings blogs about making things better – for clients, brands, agencies and humans. He is currently Regional Creative Director at Ogilvy Singapore and he likes boards surf, skate and snow. Follow him on the Twitter, connect on LinkedIn, or add him on Google+

 

 

This week, I’m handing the w2fm keyboard over to Ogilvy Sydney Art Director Leisa Ilander who won this year’s GROWIE award and, therefore, a week with us in the Singapore office:

“I’m sitting in a small room with Barrie Seppings and two women infinitely smarter than I am. They’re talking about co-collaboration, startups and innovation and I’m quietly thinking to myself “this wasn’t in the brochure”…

singapore, growies, ogilvy

Singapore takes its architecture seriously.

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But come to think of it, I’m not certain what type of brochure I was reading. Winning a chance to work in the Ogilvy Singapore office for a week appeared to be welcome relief to what has been a hectic start to the year in Sydney.However during the week, as I’ve been welcomed into this incredibly (both literally and metaphorically) warm office, I’ve realised I may have to re-write that brochure.

Start by visiting the land of un-paralleled award opportunities

On my first day I wasn’t given one brief. I wasn’t given two. I was given twenty nine. Each, bar one, was from the “wall of opportunity”; a magical place where briefs are given a new chance; and where an IBM creative can have a crack at a brief for Castrol, The Red Cross or Coca-Cola; in the hope of producing an award-winning idea.

At first the competitive part of me stepped into overdrive – where do I begin; which do I tackle first; how many can I do in a week; breathe, Leisa, breathe. By the end of the week I realised how far I travel down this path is up to me, but the fact this path exists; breathing space outside of the routine, makes it a uniquely refreshing place to visit.

Discover innovation

By Wednesday I’d settled into my routine of walking the twenty odd minutes from my hotel to the office (something I’m told Singaporeans do NOT do, due to the heat), and was taken to my next sightseeing destination – the IBM Lab.

And although my imagination was not satisfied aesthetically (no scientists in lab coats doing experiments), our imaginations were ignited by the current projects demonstrated to us. Projects I’m sure the NDA would disapprove of sharing here, suffice to say we walked away with ideas for new campaigns outside of any currently briefed work. A trip I’d definitely be interested to replicate when I get back home. A similar one, I’m told, was where a boy and his atom originated.

singapore, ogilvy

But its not all glass and steel

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Don’t forget to see the outside world

Which brings me to my meeting with Bernice Ang and Grace Clapham. As anyone working on the IBM account would know, you need to have something between your ears to work on this client. In a job where we sell complex software and service solutions every day, you need to be able to comprehend a thing or two.

But as Barrie begins his interview I am completely overwhelmed. By their intelligence. By their ambition. And by their comprehension of something so completely out of our world.

Barrie is preparing his uniquely Asian-centric coverage of SXSW, and these two women are giving us a sneak peak into their talk Co-Creation by Design: Asia, Women & Innovation. And it’s incredibly enlightening. Not only in it’s content; but the action itself. To look outside of our agency and category bubble and to prepare ourselves for the future is not only relevant, but possibly crucial for our survival as thought-leaders and taste-makers.

These three things I’ve learnt from just a week working with Barrie and the IBM team in the Singapore office. I’d like to say a big thank you to everyone; I’ve thoroughly enjoyed re-writing the brochure with you.

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Leisa Ilander is an Art Director in Sydney, who always keeps her heels, head and standards high. You can follow her on twitter or connect via LinkedIn.

Most of the interesting work I’ve been pursuing for brands over the last couple of years was directly influenced by the things I learned at South By Southwest, where nerds are celebrities and everyone is trying to launch the next Twitter.

With over 800 scheduled sessions, there is a hell of a lot you can learn in 5 days, but for the sake of brevity, I boiled the findings from my last trip down to a seminar called 10 Things Agencies Can Learn From SXSW.

For me, the most valuable thing I took away was a framework of authenticity, content, relevance and utility as guiding principles for creative and strategic development.

2014: we’re back, baby.

SXSW, texas, Austin, BBQ, Salt Lick

The Salt Lick: the other reason Austin is famous.

Thanks to my friends over at Ogilvydo (the agency’s online magazine for thought-leadership), I am fortunate enough to be heading to Austin again, as part of a larger Ogilvy team bringing you trends and insights for brands, marketers and innovators. My particular focus will be on storytelling: how stories are originated, structured, produced, managed and distributed for brands and their audiences.

There are well over two dozen individual sessions, including a handful of long-form workshops dedicated just to this area and I’ll be doing my best to learn from them all. I’m also looking at startups and innovation culture, growth hacking and future publishing. Here’s my schedule of sessions I’m planning/hoping to attend – if you’ve got recommendations or suggestion I’d love to hear from you.

South By South East Asia: Is America’s biggest tech festival broadening its outlook?

SXSW tara talk

Living in an Asian Megacity is the mother of this particular invention

I spent yesterday afternoon interviewing regional analyst and trendwatcher Tara Hirebet, who is based here in Singapore and operates out of the local chapter of The HUB, a global network of co-working spaces for entrepreneurs, technologists and creatives.

If you’re looking for evidence that startup culture is alive and kicking in Asia, I recommend you start here: it was virtually standing room only on a Tuesday afternoon. Tara was selected to present at this year’s SXSW and I got a sneak preview of her session,  ‘How Overcrowded Asian Cities Inspire Innovation’, which is one of several this year with a distinctly Asian focus.

Another is ‘Co-Creation by Design: Asia, Women & Innovation’ from Singapore-based entrepreneurs Grace Clapham and Bernice Ang. Look for the interviews and previews on Ogilvydo in the next couple of weeks.

You look taller than your avatar

One of the real joys of these conferences is the chance to meet IRL the people that you’ve been reading, following, retweeting and upvoting. If you’re reading this and you’re heading to SXSW, give me a shout @BarrieSeppings

There will be no shortage of SXSW advice articles in the next few weeks (and they all say: stay hydrated, wear comfortable shoes and A.B.C.*), so I won’t add to the pile except to point to the web services I’m relying on to get me there and get me through it:

– hitting up Airbnb for accommodation (which always scarce)

– grooving to these Spotify playlists

– getting some “I met you at” cards from moo.com

– pre-registering for a bunch of events with rsvpster

– keeping Uber up my phone sleeve (taxis are also scarce)

– finding a few local spots via ATXThrillist, if the lanyard crowd gets all too much

Despite all the planning and preparation, I like to think that the random talks – and people – are often the best. It’s always good to have a plan, as long as you remember to stay open to possibilities.

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* Always Be Charging

SXSW Interactive runs from March 7 to 11.

Tara Hirebet is an Asian Trend & Innovation Consultant & Ex-Head of Asia Pacific, trendwatching.com. She will be delivering “How Overcrowded Asian Cities Inspire Innovation” on Monday March 10 at SXSW, Austin, Texas.

Ogilvydo will be covering SXSW Interactive 2014, focusing on trends and insights for brands, marketers and innovators.

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About the Author: Barrie Seppings blogs about making things better – for clients, brands, agencies and humans. He is currently Regional Creative Director at Ogilvy Singapore and he likes boards surf, skate and snow. Follow him on the Twitter, connect on LinkedIn, or add him on Google+

Even then, they are still kind of dopey. Ok, dopey is a bit harsh. At best, they are an imprecise measure of a spectacularly subjective quality, which is, ironically, ‘quality’. At worst, they can totally warp an agency’s culture and turn relatively normal people into career dickheads. Irregardless, it was welcome news to learn that both our China team and our Sydney team were handed silver trophies from the DMA Echo Awards last week.

When we’re talking about demand generation in particular, the Echos are the creative awards you want to win, because of the fairly significant and reasonably rigorous effectiveness component of the judging criteria. The work has to be good, it has to be real and it has to have worked.

What was really interesting was that the two pieces of work were for the same client, reaching the same (basic) audience, entered in the same awards category to produce the same awards result: silver. But the 2 pieces are radically different from each other – in form, strategy and tone.

The Ogilvy China team produced a branded content film called Parallel Paths for the Notes productivity suite, which told the story of two young and hungry salesmen climbing the corporate ladder, and let the Lotus information flow naturally throughout the story. This piece picked up a similar coloured trophy from Spikes just a few weeks earlier.

The Sydney team were tasked with convincing CIOs to outsource parts of the workload and resources they would normally consider to be the domain of ‘their department’. The approach here was to appeal to the audience as people, not roles, and draw a parallel (see what I did there?) with their own workloads – in this case, mowing the lawn.

DMA echo, award, Ogilvy Sydney

It’s hard to ignore the fact that someone just sent you a load of grass.

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The “Grass Pack’ as it became known is particularly interesting, as it’s almost retro in execution: a completely analogue, dimensional mailer. It was particularly effective, I believe, because of the contrarian approach the team took to delivery. The average IT manager’s inbox is overflowing with messages, while their in-office pigeon holes would be lucky to see more than the occasional leaflet. If you want to stand out, move away from the crowd, which is part of the reason why a piece of artificial turf outperformed a dozen email campaigns, combined.

I don’t like to say “I told you so”.

I love to say it. Which is why I’m going to point out that I called Direct Mail “The comeback kid” a couple of years ago, and I think the assertion is still valid. There are a lot of fundamental disciplines that classic DM can offer to digital campaign planning (the importance of the list, the creative opportunities of segmentation and personalisation, the advantage of perceived value versus actual cost and so on).

But if you treat the desk space (rather than the desktop) as media space, the reach and frequency of creative mail can be spectacular, especially if you are selling into a ‘buying cell’ of multiple stakeholders and decision-makers.

I don’t think these pieces are good because they won (I think they are good and they won). We’ve had other great pieces struggle in award shows this year, I believe, partly because the complexity of the solution slowed them down. We’ve even had pieces rejected by awards show entry co-ordinators for being in the wrong category, only to be rejected again in the categories suggested to us by those same co-ordinators, again for being in the wrong category. At that point, you know it’s time to walk away from that particular casino.

Again, congrats to our China team for creating entertainment from email software and to our Sydney team for cleverly moving against the herd.

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About the Author: Barrie Seppings blogs about making things better – for clients, brands, agencies and humans. He is currently Regional Creative Director at Ogilvy Singapore and he likes boards surf, skate and snow. Follow him on the Twitter, connect on LinkedIn, or add him on Google+

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