JWT Planning Tools Book

worldmade planning tools by

Second Edition

Tools for JWT Welcome to the second edition of the JWT Planning Tools book. This new version contains all the Tools from the last edition – we haven’t retired any yet! – plus six new Tools that are focused on the Planning of more digital work. In tune with the Agency’s legacy as the University of Advertising, and with our worldmade philosophy, these tools are intended to improve our knowledge of how to make things for our Clients’ brands and thereby build their business. You will see how they are mapped onto the three parts of the Worldmade process. One of the new Tools – The Consumer Buying System – is actually the original invention of Stephen King (JWT’s Planning founder) back in the 1980s. Understanding the fundamentals of how people buy is ever more important in a digital age, when the purchase decision can be affected by so many new variables. The tools come in different shapes and sizes. Some are templates to guide thinking, some will help the planning process, and others provide reference or inspiration. All of them will help. Some are quick and easy in the way that they work, whilst others take time and effort. The little will give you a clue to how much effort you will have to put in. This new edition of JWT Planning Tools also coincides with the launch of a new website that contains all the tools and provides the chance to share, rate and comment upon them. I would really encourage everyone to get very involved with it so we all stay very connected to each other. You can access it at myjwt.com/planning-tools As ever, training on all these new Tools is available to you. There are dedicated JWT Planning Trainers somewhere near where you live! Just ask your local Head of Planning for details. Do try these Tools. Experiment, break old habits and use them to push hard for better, more digital, more contemporary work for our Clients’ brands. The JWT Worldwide Planning Council [email protected]

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The things inside Worldmade JWT Planning Tools A few final things

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5 9 161

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worldmade

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by

Worldmade manifesto Worldmade is our brand idea, our creative philosophy, and a description of who we are. If we were to have a slogan, Worldmade would be it. However, we are looking for more than conceptual solutions, and so Worldmade is also a thing. In this case it’s a label. As products, films, art, inventions have denotations of where they were made, Worldmade denotes something that was made by JWT. Worldmade is not just a statement of origin, it is a statement of how we at JWT approach strategy, ideas and the making of things. We make things inspired by the world. We find influence, interest and the spark of creativity in the many, various, predictable and unpredictable interactions that happen between the international people of JWT — that’s what makes us the extraordinary network of imagination that we are. Sometimes these things will be for, and inspired by, the world. At other times they will be things for one place infused with creativity from the world. Worldmade signifies a ‘go’ mentality. An approach to what we make that is rooted in great strategy and ideas, but also in agility, innovation and adventure. An approach that is happy to launch-andlearn, that abhors procrastination and delay. Worldmade also defines JWT as a company. We have been shaped by our international growth, and our desire to embrace the world. Today, we are 10,000 diverse individuals with an unrivalled breadth of experience and cultural fluency. Worldmade is a label of quality and inspiration and a demonstration of the world’s imagination poured into things of beauty and utility. This is the unique power we bring to clients and their brands, now and in the future. JWT in action.

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Worldmade process Our process is based on the belief that the best ideas for a modern world will come from the interaction of diverse international and technological skills, experiences and cultures. The process is designed to help you come up with great ideas that can turn into things that people can participate with. There are three parts to the process; Discover, Collision, Make. In the Discover part we are trying to gather insight and inspiration from the world. You should aim to explore as broadly as you can, to make the most original and interesting discoveries. In the Collision part we are trying to find the spark of creativity from the interaction of international and technological skills. You should aim for as much diversity as possible. You can’t collide on your own! In the Make part we are trying to turn ideas into real things that the world can interact with. You should aim to get things made. This is why we are here, after all! The process doesn’t have to be linear, you can start by making stuff if you like, but it’s also good if you follow the order of Discover, Collision, Make if that makes more sense for the project you are working on. The tools in this book are designed to help you build strategy and create ideas in this process. The tools have been mapped onto the 3 different parts of the process as a guide to where and when they should be used (on page 8 you will see the colour coding with reference to fig. 1). But please feel free to use them in the ways that are most helpful for you.

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F I G . 1 : WO R L D M A D E P RO C E S S

COLLISION Interaction creates ideas

DISCOVER What can we discover from the world

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MAKE Make things with a ‘go’ mentality

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JWT Planning Tools Name

Process

Question One The Consumer’s Buying System Net Brain Digital Profiler Brand Ladder Brand Toys Brand Difference Index Talking Heads Discovery Report Interaction Grid Host a Collision Brand Behaviour Tool Brand Sparks Cultural Archetypes Brand Idea Test Creative Brief The Value Exchanger Channel and Technology Plan Circle of Things Digital Ecosystem Tool 1-10 Scale Effects Roadmap

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Effort

Page

11 17 23 31 39 45 51 57 61 67 75 81 89 97 103 111 121 129 135 141 147 153

NEW!

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Question One F I G . 2 : D I S C OV E RY P L AC E S

Eg. How is the product used in other countries Eg. What country has the biggest fanbase?

BRAND

CONSUMER

Eg. Where in the world does the category not exist? CATEGORY

IDEAS

Eg. What endlines are used around the work?

COMMUNICATION

? ?

CLIENT

Eg. What nationality was the founder of the company?

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Question One

What is the main purpose of this tool? To identify original Discoveries that can feed into other parts of the process and help create inspiring Creative Briefs. Where in the process should this tool be used? This is primarily for the Discovery part however you can be thinking and doing this all of the time. Gathering Discoveries from the world is a part of the ongoing practice of Planning at JWT. How does this tool work? This tool is different from many of the others we have. It’s a question. It’s not an answer. Nor is it a manual. Ultimately therefore this tool is all about you and about how you choose to answer it. How to use this tool? It is as simple or as complex as you choose to make it. At its simplest it is about looking outside of what is familiar to you, your brand, and your client for inspiration. At its most complex it might mean doing several workstreams that can help answer the question of ‘What can we discover from the world?’ The important point is to try to do things differently in the hope of generating original thought. The more you look in different places for discoveries the more original your discoveries will be. Hence try and break the established habits you or the brand may have. Feel free to create new and different ways of answering this question. This is a new thing for JWT so feel free to innovate in how you choose to answer Question One. However, to get you started here are some thoughts about how you could do it. There are several places where you should look for your discoveries. You should explore what you can about the brand, the consumer, communication, the client and the category. But it doesn’t stop with these areas, you can extend your discoveries to anywhere that is interesting or appropriate. (See fig. 2)

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Question One

FIG. 3: THE HOUSE ANALOGY

OUTSIDE THE HOUSE: FRESH

IN THE HOUSE: FAMILIAR

We can think about looking at the ‘inside’ world of the brand differently or about looking outside of our familiar world:

FIG. 4

The Inside World

The world outside

The Audience

The world that surrounds and influences the audience (culture, trends, technology)

The Brand

What brands in other categories do and what we learn from that

The Category

How this category behaves in other countries, how brands there deal with the same problems we have

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Question One

Look to the world outside of your own country: —

Ask the network Ask Planners in other parts of the network who might work on similar brands or categories for how brands in their part of the world solve the kind of problems that you are facing.

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Identify the global innovators Brands don’t need to just look at themselves and their category for new learning. Often best practice in our industry might come from a brand that might be in a completely different category to our own. There probably isn’t a brand in the world that couldn’t learn something interesting from global leaders such as Google, Nike or Apple.

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Global trends Look at how global trends might affect your brand and category. Whilst not all of the world is equally developed, trends are travelling the planet at an ever increasing rate. These trends are increasingly global — what happens in one area of the world often spreads to other parts very quickly.

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Global Talking Heads Use the Talking Heads tool to try and generate ideas that can help you with people from outside your market.

Re-look at the familiar: —

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Re-Research Often you can generate original Discoveries just by changing the research process. Try innovating in your methodology, changing the questions you ask, and looking from a different angle. Our perceptions are often a matter of where we choose to look from so changing where we look from can change what we Discover. Re-discover Brands have now been around for a long time. Some have a history of

over 200 years. Often people forget why the brand was invented. Often we can learn amazing things from looking at when the brand was really hot. By looking into the past, at the ‘archaeology’ of the brand we can often re-discover things that are highly inspiring. —

Re-Articulation By using metaphors we can often express ‘known’ issues in a revealing new light. Try and re-articulate what your brand is or what it stands for in new and different ways.

This is by definition an incomplete list. Feel free to innovate and add to this list. Share what you discover about news ways to answer Question One with the rest of the network.

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Question One

E X A M P L E S O F H OW TO A P P ROAC H ANSWERING QUESTION ONE —

If you are working on a confectionery brand in Indonesia, talk to a team working on confectionery in another part of the JWT network — develop a generous sharing relationship with your compadres around the network. It is a great way of having an easily accessible source of inspiration.

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If you are trying to understand how your brand could use social media look at how the best brands in the world are harnessing social media to build their profile.

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JWT Intelligence generates a Global trends report as well as regular monthly updates that are available for viewing either on the Stephen King Library or JWTIntelligence.com — use these for inspiration.

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Boddingtons: Talking to brand lovers revealed the strong regional pride that drinkers from the brand’s home (Manchester) had for the brand. Their descriptions of what they loved of the brand were its extreme smoothness, using the word ‘creaminess’. This helped to inspire the idea of ‘The Cream of Manchester’.

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Nobody working on Johnnie Walker in 1999 knew why the brand had a striding man as its logo. Because this was invented in the 1920s everyone had forgotten and the striding man merely existed rather than having a reason to be a prominent part of the brand’s graphic identity. It was then discovered that the original reason to have a striding man on the bottle was because he was intended to communicate the ‘progressive’ nature of the brand — it was meant to appeal to men who were striding forth and achieving great things in life. This led to the identification of the brand idea that Johnnie Walker is all about ‘inspiring personal progress’ and the campaign idea of ‘Keep Walking’.

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Brand Toys is a tool that uses BrandZ and SocialMention research data to generate toylike imagery of what a brand is and stands for. This can help generate interesting conversations and discoveries about the personality and problems of brands.

Question One

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Question One

The Consumer’s Buying System

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The Consumer’s Buying System

What is the main purpose of this tool? Understanding how a brand is bought, used and bought again has always been a vital part of planning. In today’s technologically connected world, the buying process for most products and brands has become more complex. The idea of the Customer Journey is central to a lot of digital planning. Fortunately it is an idea and tool that has been part of JWT planning for over 30 years. Stephen King invented and published The Consumer’s Buying System. We are bringing it back as one of the key JWT planning tools because it is more important today than ever. As JWT planners we should all be using the same construct and language to understand and describe the journey to purchase, usage and repurchase. It may not seem ‘digital’, but as Stephen King wrote: “ The Consumer’s Buying System is the name we use to cover this total process of buying and using a brand – from the very first ideas about it, to the actual purchase, to using it and beginning the process of buying again. Since all marketing activities are aiming to reinforce or modify people’s sequences of ideas and actions, the buying system is really the starting point for all marketing and advertising planning.”

It is the foundation for all planning, on- or off-line. It is also a key component in another specifically digital planning tool: The Digital Ecosystem. The Consumer’s Buying System is a piece of JWT intellectual property. Invented by Stephen King, it is more important and relevant today than ever. You can find his original paper on the Stephen King Library. Where in the process should this tool be used? As Stephen King observed, this is a crucial starting point for any planning process. It is a core part of the Discovery stage. How does this tool work? The Consumer’s Buying System breaks the purchase journey into 6 key stages:

FIG. 5 TRIGGER

CONSIDER

EXPERIENCE

SEARCH

BUY

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CHOOSE

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The Consumer’s Buying System

The stages are: Trigger What is it that starts the buying cycle? It could be a life event, such as having a baby (for nappies), running out of something, feeling hungry, a birthday or something else entirely. They will differ by category and within purchasers of a single brand. Consider What are the options? How do they make a choice? What are the dimensions on which they will make a choice? The amount and type of consideration that people give to a purchase in a market depends on what their needs, wants and motivations are, as well as the number of options they face. Identify the needs, wants and motivations of your audience. In some categories the needs and wants are very functional (often healthcare), whilst in others they are much more emotionally based (fashion, hair-care or gift products). Some other categories such as snacks are often impulse-driven with very little consideration. Search Looking for information about the brand and its alternatives. How much new information or experience will be sought and how and where from? The extent of the search will vary hugely by category and participant. Is this something they’ve bought before many times? Is it a major purchase like a car or house? This is a stage that has been revolutionised by the internet. The accessibility of user reviews, pricing comparison and competitor information has made it much easier to search out much, much more information. However for a chocolate snack bar, there usually won’t be much search! Choose Making the choice about what to purchase. When people choose a brand it is their choice, but it will be influenced by a number of things. These will vary by category and purchaser. In many categories the retailer or salesman may have a big impact. They may not have made a final choice before going to the store to buy – often the case where deals are on offer at the point of purchase. Buy Actually buying the product or service. This can be in-store, on-line or on the telephone. It will vary hugely by market – and it may not be the purchase of the brand that they thought they had chosen. Often in mobile phones people will be persuaded by deals on offer in-store.

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The Consumer’s Buying System

One of the key roles communications can play, often overlooked, is to minimise switching away at point of purchase. Where retailers are very powerful, building the brand can help protect price and prevent switching away by the retailer. Experience The system does not end with purchase. The experience of using the product or service and the conversations that then take place are vital. Particularly in the digital world where reviews on Tripadvisor.com, for example, have become a vital part of the travel industry. What happens post-purchase? Is there a gap between purchase and experience? Are there post-purchase conversations? Is there an after-sales process (as with cars needing to be serviced)? Experience has become even more important in today’s world. Activities directed to making people become advocates for the brand are increasingly common and important.

The Buying System for different brands and different participants will be different. The system can be done for a brand or a particular set of participants. There may be differences between regular purchasers and first time buyers. In the examples below there are significant differences between a first time Smartphone purchaser and petrol/gasoline. PETROL/GASOLINE (Maingrade purchaser)

FIG. 6 TRIGGER Fuel warning light comes on.

EXPERIENCE Drive.

BUY Fill up. Pay.

CHOOSE Stop at first station. . Choose the pump handle for gasoline or diesel.

For these maingrade fuel purchasers there is no consideration or search. When they need petrol (triggered by the fuel warning light) they stop at the first petrol (gas) station they reach. This is very different to a first-time Smartphone purchaser. This high-priced and important purchase has many stages with a long and involved Search phase.

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The Consumer’s Buying System

MOBILE PHONE (First time Smartphone buyer) TRIGGER – Contract coming to an end – Lose/break phone – Exciting new phone launched

FIG. 7

CONSIDER Do I need to replace my current phone? Can I carry on with what I have now? Do I need apps?

EXPERIENCE 1st Week – learning the phone. 1st Month – Using and exploring. Showing to friends 1st year – Using and telling friends about it. BUY Go to phone store. Talk to staff. Choose deal & handset.

CHOOSE Choose a shortlist of potential phones.

SEARCH Ask friends. Research on-line. Visit stores to check tariffs, handle phone. Compare operators. Compare operating systems. Read magazines.

How to use this tool? This tool can be used at different levels, with different levels of data and precision. However it is most powerful and useful when used thoroughly. You need to use all the available research, and sometimes commission new research, to really understand how people buy, use and experience your brand. The first stage is to look at the top level of the system – as in the petrol/ gasoline example above. This establishes the general shape and nature of the system for your participants and brand. At this stage it is still important to be as specific as possible around the key behaviour. What is the specific trigger for purchasing? The differences may be small but important. The channels, messaging and technology may well be different depending on the answer. The next level is to identify the behaviours at each stage of the journey. These will be both off-line, such as visiting a store or car-dealer, reading a magazine, and on-line such as reviewing websites, visiting forums, social media or review sites like Tripadvisor.com in travel. The more detailed the understanding of the buying system and its dynamics, the greater will be the opportunity to identify where communications can best influence the purchase and repeat purchase of our brand. The Consumer’s Buying System is not a quick tool to use. It is a very powerful and fundamental piece of planning to do. Only when we understand how people choose, purchase and experience, can we create communications activity that delivers on the business problems.

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The Consumer’s Buying System

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The Consumer’s Buying System

Net Brain

FIG. 8: NET BRAIN EXAMPLE

THEME F

THEME C

THEME A

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THEME D

THEME E

THEME B

Net Brain

What is the main purpose of this tool? The Net Brain is a tool that informs a brand’s on-line content strategy.

Where in the process should this tool be used? This tool is to be used in the Discoveries phase because it brings a broad understanding of what people are finding interesting on the web. This then forms the basis for a more specific discussion around how a brand should engage those people. How does this tool work? It looks to bring judgements about on-line consumer behaviour to bear upon a brand’s on-line content strategy. The Net Brain tool works by creating an understanding of how people engage with a category on-line — what kind of content is most prevalent and therefore more relevant, and what kind of content is more niche and therefore much less interesting. This understanding then creates a much more informed debate about the different strategies that a brand could employ to create on-line content. How to use this tool? Beware, this tool is time intensive! Do not seek to complete it in an hour or two. It is something that requires a programme of work. But the effort is well worth it! You will obviously need web access, the faster the connection the better. So with time and web access, you may begin… The first part of this process is one of exploration and review of web content for the category that you believe your brand operates in. So if you are looking at Shell, then you will probably look at the category of energy. For Lux, beauty. For Ford, cars, etc. You will then look on the web at lot of different websites and analytics tools to review content that exists for that category. The diagram below shows the different areas to look at. It says you should look at how your category is searched, how it is represented in social networks, on video (or photo) sites, how it is written about in blogs, and how the brands themselves from that category are appearing.

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Net Brain

F I G . 9 : C AT E G O RY C O N T E N T R E V I E W

SEARCH (e.g. Google insights for search)

SOCIAL NETWORKS (e.g. Search facebook and Twitter)

BRANDS’ WEBSITES (e.g. www.alexa.com)

CATEGORY CONTENT REVIEW

BLOGS (e.g. Blogpulse)

VIDEO, PHOTOS (e.g. Search YouTube and Flickr)

Let’s look at the search area. Go to the website Google Insights for Search (www.google.com/ insights/search/). Type in the name of your category and you can see how much consumers are searching for the category. It will also tell you the trends over time and geography. Beware that this result depends solely upon the word(s) you use to define the category so you may want to experiment a bit with what you think people would use. (At least make sure you use consumer language, not marketing-speak e.g. ‘beauty products’, not ‘personal care products’).

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Net Brain

Your result suggests the level of interest in that category on-line. A high number of searches very probably suggests a more interesting category (on-line) than a low number of searches. It is worth comparing your category with others to see the relative scores. Below is a chart showing the result for two categories; hair (the blue line) and holidays (the red line). F I G . 1 0 : G O O G L E I N S I G H T S F O R S E A R C H C H A RT

You can see that hair is a higher interest category than even holidays, and becoming even more interesting over time. So you can safely assume that people are very engaged with the hair category on-line. And that means that on-line should play a very major role in how and where your brand appears and behaves. This is just one thing that you can learn from looking at the search behaviour of people for your brand’s category. If you keep exploring Google Insights for Search you will find more. This approach should be used for all the other areas too; social

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Net Brain

networks, videos/photos, blogs and brand websites. Use the analytics tools mentioned in the earlier diagram to explore your category’s content. You are aiming to categorise the content into a meaningful, but manageable number of themes; at least three, but no more. You won’t be able to categorise absolutely everything of course, so look for the main themes that you see. It doesn’t matter if you leave some things out. The next task is to understand how prevalent are the themes of content that you have found on the web. Suppose you were looking at the category of chocolate, you might find a huge amount of content that is about taste, and a small amount of content that is about health, and a tiny amount of content that is about ethical concern. You can then create a sense of which content areas are more important to people than others. The ‘taste’ theme is more important than the ‘ethical’ theme. This is a subjective judgement but it can have a quantitative component to it using the analytics functions you are using. You can then represent your categories and their relative prominence in the schema on page 23. The more prevalent, the bigger and closer they plot in the bubble-shapes to the brain. (See fig. 8) Here is an example of a Net Brain completed for the category of hair. FIG. 11: NET BRAIN FOR HAIR

NET BRAIN FOR HAIR

FUN

SALONS PEOPLE LIKE ME

PRODUCTS

CONNECTIONS HAIR LIKE MINE

HOW TO... TRENDS OCCASIONS

SOLUTIONS HAIR PROBLEMS

INSPIRATION STYLES MATCHING

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Net Brain

The hair example on the previous page shows that people are mostly interested in content on-line that is about ‘inspiration’ or ‘solutions’ because those are the biggest bubble-shapes nearest the brain. They want to consume content that helps them imagine new hair styles or looks, and they want to know how to solve the hair problems they have. Notice how people are not very interested in content about hair that is fun. Hair is serious business it seems! This analysis now tells any hair brand that the most natural place to engage someone on-line about hair is by creating some content that is about inspirations and solutions, and being near those kinds of environments. Equally it tells a hair brand that it would be unnatural to try to engage someone with something like a game when they are thinking about hair. That doesn’t mean it is wrong, it just means it is content that goes ‘against the grain’. So with this Net Brain for your category you can make some wellinformed judgements about the kind of on-line content strategy your brand should adopt. This is important because there can be no general rules about what kind of content is liked on the web; it varies by category. It is also valuable to avoid falling into the trap of choosing fashionable on-line content (e.g. defaulting to facebook) rather than relevant on-line content.

E X A M P L E D I S C OV E R I E S F RO M N E T B R A I N —

—

People looking at tea content on-line are mostly interested in the theme of ‘product detail’, and are only partially interested in content about ‘how to make great tea’. Community content (social media) is not relevant to people on-line who are interested in insurance.

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The most important theme of on-line content for an energy company is communitybased social media.

—

People looking at the category of washing machines on-line mostly want ‘product review’ content and ‘price comparison’ content. They don’t want ‘technical content’.

Net Brain

NOTES

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Net Brain

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Digital Profiler

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Digital Profiler

What is the main purpose of this tool? In our Discoveries we can too often focus on analogue or off-line. It’s where we tend to have more research, and to be more familiar. But if we are going to make things that are technologically connected we need to create new habits for ourselves. We need to make sure we get into the habit of understanding people and technology. We need to understand what technology they have access to (not everyone has an iPod, iPhone or iPad), how they feel about technology and what they actually do with it. This tool is to help create a richer and more robust Discovery Report, with Discoveries that are relevant and essential for the creation of digital things. Where in the process should this tool be used? This is a Discovery tool. It should be done before the Discovery Report. It will help ensure that when we go into Collision and Make we are working with Discoveries that will give us the spark and knowledge to create great digital ideas. How does this tool work? The tool gives you three categories to look in for Discoveries about your Participants. It asks specific questions about 3 distinct areas: Access, Attitudes and Behaviour. It also directs you to some of the data sources which can help you answer the questions.

FIG. 12

BEHAVIOUR What do I actually do?

ATTITUDES How do I feel about it?

ACCESS What can I do?

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Digital Profiler

There are specific questions to answer in each category which are outlined in the following section. Once you’ve answered the questions and recorded your Discoveries there is an optional second stage that looks at your Digital Profile at a higher level. The Digital Profiler can be used for different kinds of participants. You can do it for a country, a market or a specific sub-group of participants. The available data sources will vary depending on the level. For example, at a country or market level, TNS Digital Life is very useful. However it does not capture category or brand usage so it will be much more limited when looking at those levels. If you are profiling a more specific group you will probably have to work harder to find the data. How to use this tool? You need to use your available data sources to populate each of the three categories with Discoveries. Finding this data may not be easy but remember to think beyond just the client’s own research. Think of the JWT tools you have access to: TNS Digital life, Roper Reports, Sonar, BrandZ. Also use many of the free web-tools to interrogate what your audience is doing, talking about and uploading on-line. A list of these can be found on the SKL, but you should look to develop your own set that is appropriate for your region.

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Digital Profiler

The questions to ask and likely data sources where you might find the answers: FIG. 13

BEHAVIOUR What do I actually do?

ATTITUDES How do I feel about it?

ACCESS What can I do? START

What type of general activities do they engage in on-line and what is the frequency? What is the wider current digital zeitgeist? (Application, game, start-up, mobile, etc) What are the particular/ local websites, social networks and Internet services they use and what is the primary activity on these sites? How do they interact with brands and why? Industry/category insights?

TNS Section B Desk Research TNS Section B6 + Desk Research TNS Section 1 + Desk Research

How do they perceive technology and digital tools? Desk Research What is their current cultural zeitgeist? (Overall tone, socio-political landscape, popular culture themes and trends) What is the outlook on social networks and associated themes? Desk Research (Transparency, Sharing, Interacting with brands, etc) What are the key attitudinal trends and themes in the Desk Research industry/category?

What does ownership of technological devices look like? (Smart-phones, analog phones, computers, tablets, etc) What is the Internet usage across different devices? What is the Internet penetration in the target region? What (if any) are government rules and limitations?

TNS Media Section S TNS Media Section S Desk Research Desk Research

Start with Access and then work up to Attitudes and Behaviour. Answer as many of the questions as you can about your participants. The more general questions, such as those about the ‘cultural zeitgeist’ may seem very broad but are important because they ask you to think about what is going on generally in digital culture. Not just about your brand’s website or the category, but what your participants are involved with, talking about and doing more widely. Finding a way to connect your brand with what they are already interested in may be the source of a strong, engaging digital idea. Finally, these questions are not exhaustive. We cannot capture every question it is possible to answer. Use the questions as direction of where to look for digital Discoveries. Develop your own questions and feed them back to us. So we can all learn and develop this tool further. After collecting the data and answering the questions, you need to collect your discoveries for each category and record them on the template in the relevant section. You should find Discoveries at each level.

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Digital Profiler

Discoveries:

FIG. 14

BEHAVIOUR What do I actually do?

ATTITUDES How do I feel about it?

ACCESS What can I do? START

Here is an example of a completed set of questions from Bayer:

FIG. 15

The Digital Profiler for Argentina On-line activities and frequency: The most important activities on-line are email and social networking. Social Media is the most important activity to young adults (61%) and email with adults (40%) News and personal interests also are popular categories. Digital media consumption habits: On-line people are primarily turning to the brand’s website (24%) or recommended on a social network (20%) during the path to purchase. Interaction with category: People are currently mostly learning about OTC products offline with recommendations and advertising having the most influence. Only a small percentage of those on-line (less than 10%) are interacting with OTC brands on-line.

BEHAVIOUR

Comprehension of digital technologies: Since access to digital technologies is limited and web-enabled device adoption is low, comprehension is limited. Cultural attitude towards digital: Users may be unwilling to spend their limited amount of time interacting with friends, rather than brands. Attitudes towards OTC category on-line: On-line people are open to recommendations on websites and social networks over digital push comms such as display, but are currently not using these on-line channels for OTC awareness and research for purchase.

ATTITUDES

Internet Penetration is 66% of the total population. Usage spans social, info, transactional & entertainment purposes with 74% of young adults using the web and 63% of adults. Device ownership primarily consists of PC (81%) and mobile, non-smart phone (87%) Smartphones are few (15%) and tablets fewer (6%) Connectivity is through fixed line broadband (61%). Where: Primarily logging on from home (78%), then the internet café (25%) and some people from work (9%). Only a small population are logging on from their mobiles (6%) and of that mostly young adults.

ACCESS START

Source: Internet World Stats, Aug 2011; TNS Digital Life 2011, Nielsen, TGI 2011

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Digital Profiler

Here is an example for Brasil: Discoveries: Brasil

FIG. 16

BEHAVIOUR What do I actually do?

Brasilians do more of everything on-line than the global average. The biggest areas of heavy usage are social networking, news and multi-media. 50% talk about brands in social media. Social networking particularly heavy with 16-20 year olds.

ATTITUDES How do I feel about it?

Very engaged with digital (10th in world on TNS Digital Life ranking). Open to engaging with and talking about brands in social media – much more than global average. Aspirers not interested in using internet – despite high access.

ACCESS What can I do?

Internet penetration is high via PC. Lower incomes use LAN cafe (internet cafes). 58% use internet on daily basis. Mobile internet below global average but very strong amongst early adopters.

START

This example is taken largely from the TNS Digital Life Special Report on Brasil that was shared on the Stephen King Library earlier in 2012. As you can see, Brasil is very engaged in digital and particularly keen to engage with brands. This is a market where we should be looking to create ideas that harness these attitudes and the high levels of PC access. Mobile internet usage is not yet at the levels seen in Europe and the US and therefore we need to be careful about mass participation via mobile. At this point you can stop using the tool and transfer your new Discoveries to the Discovery Report. However if you are working with multiple audiences or markets there is another stage of the tool. The Shape of your Access/Attitudes & Behaviours This section of the tool is optional. It invites you to lift your sights from the specific questions about attitudes and behaviour to form an overall picture of your participants and their digital lives. You can think of your pyramid in a graphical way as well as boxes with questions in. The relative shapes of your pyramid will tell you something about your participants. Think about what it might mean.

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Digital Profiler

FIG. 17

A massively connected and digitally active audience like South Korea or digital youth in Japan

A high-access, broadband and advanced market but with limited attitudes and digital behaviour – like the Netherlands

An emerging market with restricted access, and therefore limited behaviour but strong, positive attitudes towards digital technology

The shape of your Digital Profiler can help provide general direction for the Collision and Make phases as well as being sources of Discovery in and of themselves. Narrow base: Any shape with a narrow base implies restricted access to technology. This will have direct implications for the technology we can use in creating our ideas and may entail distinct solutions. For example, in non-3G/low smartphone penetration categories, SMS may be a vital technology for interaction. Or in mobile-first internet markets where PC penetration is much lower, any platform must be designed around primary, frequent access being via mobile rather than PC or tablet. Narrowing top: Any shape with a narrowing top indicates that although your participants have access to technology, their actual behaviour and attitudes are more limited and functional. This would suggest that highengagement, high-touch platforms or ideas will be difficult to make successful and that functionality and targeted engagement is a better area for exploration. Square: A broad access, attitudinal and behavioural group. This participant group is ideal for a leading-edge, rich technological idea, possibly involving multiple platforms and deep engagement/ co-creation. These shape archetypes are not set in stone – there may be reasons why your brand or idea needs a different kind of solution. However, looking at the shape of your participants’ Digital Profile may be a source of useful Discoveries for your Discovery Report. Example: FIG. 18

Discoveries: Brasil

Brasil’s access is still slightly constrained, both amongst lower income groups and also with regard to mobile. However, with the exception of Aspirers, the attitudes and behaviour in digital are very positive. Brasilians want to do more on-line, and as mobile access grows they will do more in mobile too.

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Digital Profiler

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Digital Profiler

Brand Ladder

What value in life it is associated with? What kind of person it helps you be? How it helps you feel?

VALUE BASED USER BASED BENEFIT BASED

What it helps you do? What it’s for? How it’s made?

PRODUCT BASED

What it’s made of? Who makes it?

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Brand Ladder

What is the main purpose of this tool? The main purpose of the Brand Ladder is to structure an exploration of what a brand could become. Where in the process should this tool be used? This tool is to be used in the Discover part because it helps with the upstream positioning of a brand. How does this tool work? Brand Ladder depicts a scale of possibilities for a brand. That scale begins at the bottom with a corporate-based possibility. It then ascends in increasing degrees of ‘delivery’. The corporation delivers a product, the product delivers a benefit, the benefit delivers a userimage, and a user-image delivers values. It shows that any brand can be positioned using the kind of corporation that it is (eg. Virgin and Richard Branson), or using the product it makes (eg. Google’s Search Engine), or by the benefit it delivers (eg. Kit Kat’s break), or by the user image it projects (eg. Marlboro’s Cowboy), or by the values it represents (eg. Honda’s Power of Dreams). How to use this tool? Firstly, decide where your brand is currently positioned on the Ladder; look at its communication, or listen to its consumers talk about it, or read your client’s documents to decide. For example, if a brand talks about the ingredients that go into making it, then that brand is a product-based brand (perhaps the brand is simply schizophrenic in its positioning which may automatically tell you that it needs greater clarity and consistency).

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Brand Ladder

Here’s a Brand Ladder for Rolex: F I G . 1 9 : T H E RO L E X B R A N D L A D D E R

What value in life it is associated with? What kind of person it helps you be? How it helps you feel? What it helps you do?

VALUE BASED

Rolex signifies achievement

USER BASED

Rolex wearers are successful people

BENEFIT BASED

Rolex watches make you feel special

PRODUCT BASED

Rolex makes expensive watches

CORPORATE BASED

Rolex comes from Switzerland

What it’s for? How it’s made? What it’s made of? Who makes it?

Next, move your brand up and down the Ladder and for each position decide what kind of brand it would become. So, if Kit Kat were to move up the Ladder to become a values-based brand then it would position itself as championing the need for humanity to rest. That would then change a lot of the way that brand behaves and communicates. This will allow you to develop several possibilities for what the brand could be. But how do you decide which one is right? Here are a few pointers: 1.

Find a gap in the market. Plot all the competitive brands on the Ladder. If you discover they are all at the bottom of the Ladder then it might be very valuable to choose your brand to be at the top. This would be particularly relevant if your brand has a problem with differentiation. Look at brands in the same sector but from different countries to see how else brands could be positioned.

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2.

Think about the rational and emotional sides of your brand. The top of the Ladder tends to invite more emotionally–based positionings (eg. Just Do It), and the bottom of the Ladder tends to invite more rationally-based positionings (eg. The World’s Local Bank). If your brand needs more emotion then you might want to consider a higher position, or if your brand needs more substance and credibility then it might need to be positioned lower.

Brand Ladder

3.

Think about the international needs of your brand. Brands positioned at the top of the Ladder tend to be based on more fundamental, human emotions. For example, the De Beers brand of diamonds is about love. This is particularly helpful when a brand needs to cross different markets and cultures because those higher emotions will exist everywhere. This is equally accurate for brands positioned at the bottom of the Ladder because what is true about their corporation will be true of it wherever it is. Brands positioned in the middle of the Ladder might struggle with their global relevance as the particular product benefits and user images in one country may not be the same as another. For example, the Rolex brand’s user image of being ‘successful’ is not always relevant in more innerdirected markets like the UK.

4.

Think about the need for ‘ownability’. Brands at the top of the Ladder are based on more generic things, and brands at the bottom of the Ladder are based on more bespoke things. For example, Budweiser is most credibly an American brand because that is its obvious provenance. It can justifiably own a position around that equity. If, however, Budweiser wanted to adopt a values-based position at the top of the Ladder about, say, ‘masculinity’ then it would be much harder to own that because many other beer brands could equally talk about ‘masculinity’. Some brands do manage to own positions at the top of the Ladder (e.g. Rolex and ‘success’) but it is a challenge to do so.

E X A M P L E D I S C OV E R I E S F RO M T H E B R A N D L A D D E R —

All telecom brands talk about the benefits of the service (e.g. price, speed) but none of them talk about who they are as a corporation.

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Lux could occupy a much higher position on the Ladder if it used the value of ‘beauty’, rather than just ‘cleansing’.

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Japanese bank brands position themselves at the bottom of the Ladder, but American banks position themselves at the top.

Brand Ladder

NOTES

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Brand Ladder

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Brand Toys

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Brand Toys

What is the main purpose of this tool? The main purpose of Brand Toys is as a data visualisation tool. But it can also inject fast but informed stimulus into thinking about brand strategy. Where in the process should this tool be used? This tool is to be used mainly in the Discover part because it is about top-line information about how a brand is perceived. How does this tool work? This tool works by making quantitative research data about brands very accessible; it is free, it takes seconds to access findings, it can be accessed from anywhere, it is visualised. The data is about the personality and on-line buzz about brands. Brand Toys draws data from Millward Brown’s Brandz study and from Social Mention (www.socialmention.com) and represents that data in the form of Toy figures. The physical characteristics of the Toy are determined by the data. All the brands are consistently created against the same design logic and so they are comparable with each other. It is these comparisons that provide the greatest value from this tool. The tool is particularly well suited to making geographical comparisons — how a brand varies across countries. How to use this tool? Brand Toys is not a tool for deep brand thinking, it is best used as a quick reference tool. It is a bit like www.brandtags.net or Wikipedia. Remember that the data behind it is very robust. Use it when you want to get a quick sense of a brand’s personality, or how it varies across countries, or how it compares with another brand. This can be useful for audiences that want a more entertaining representation for brands than just bar charts and spider-graphs. It can also create great visuals to represent brands that you can use to put in your presentations. Simply export your Toy as a pdf file or a jpeg file and put into your Powerpoint charts. Logon to www.brandtoys.com and read the ‘About’ section to see the design logic behind the Toys. Explore the tabs at the top of the page. You can find a brand and its Toy, you can compare Toys, you can look at a Toy from different countries…

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Brand Toys

E X A M P L E S F RO M B R A N D TOYS In the visuals below look at how McDonalds is a very consistent Toy across the world, but Burger King is inconsistent. This tells you that McDonalds is probably doing similarly well across the world, but that Burger King is having much more varied degrees of success. Does Burger King need more specific marketing for each country to react to the specific local issues? Should McDonalds run a global campaign given that it is so similarly successful everywhere?

F I G . 2 0 : L O C A L M C D O N A L D S TOYS 2 0 1 0

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Brand Toys

F I G . 2 1 : L O C A L B U R G E R K I N G TOYS 2 0 1 0

.

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Brand Toys

NOTES

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Brand Toys

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Brand Difference Index

P × C × U = x JWT PLANNING TOOLS

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Brand Difference Index

What is the main purpose of this tool? The main purpose of the Brand Difference Index is to inform and facilitate a discussion about the similarities and differences that exist within the international brands we work with. If we do this intelligently we will have a better idea of how similar or varied the work needs to be in different markets. Where in the process should this tool be used? This tool should be used in the Discover part of the process. When we are thinking about how our international brands communicate in different parts of the world, understanding how similar the brand is, or how many differences exist will help us to think about whether a single universal approach will work, or whether we need to be more flexible to take account of the differences that exist. You can use this tool on your own, with other people in the agency, or with your clients. It is particularly useful if you use this tool with people from the central or global parts of the agency or client, along with people from the regions or key markets at the same time. By doing this you will have a shared understanding of what the brand is like. How does this tool work? The Brand Difference Index is a mathematical equation in 3 parts. However, you should know right now that just because it’s mathematical doesn’t make it scientific. It is just a way to try to understand more about our international brands. It’s not necessarily the answer! How to use this tool? The three parts of the equation represent product range (P), consumers (or customers, or clients — C) and usage (U). For each of the parts we want to assign a number that represents the number of differences that exist in the world. So when we think about the P number for product range we want to understand how many differences there are in the product range around the world. If a brand has one range for large developed markets like the USA, and another for emerging markets like India then this would count as 2 different product ranges and the number would be 2. If a brand has a different range in all the markets that it does business in then this would mean lots of differences, maybe even 100s, and the number would be a high one. If a brand has the same product range all around the world then this would mean no differences and the number would be 1. Working this out gives us a numerical value that is the P number.

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Brand Difference Index

When we think about the C number we want to understand how many differences there are in the types of people, or consumer groups that use or participate with our brands. If a brand is primarily sold to old people in one country but young people in another (like whiskey in the UK vs China) then this would count as two different groups, and the number would be 2. If the brand is a mass market brand in one part of the world, a business person’s tool in another, and a trendy device for teenagers somewhere else (as often happens with mobile phones), then this would count as 3 different groups. If the brand is sold to the same types of people or consumer groups everywhere then this means there are no differences and the number would be 1. Working this out gives us a numerical value that is the C number. When we think about the U number we want to understand how many differences there are in the way that the brand is used. If the brand is used in one way by one group (for example business people use laptops for word processing, email and the internet) and in different way by another (teenagers use laptops for gaming), then this would count as two usages and the number would be 2. Some brands have many usages, and it is worth exploring them all. On the other hand if the brand is only ever used in one way, the number would be 1. Working this out gives us the U number. Once you have worked out the P number, the C number, and the U number, you simply multiply them together. If you get a high number, then your brand has a lot of difference. If you get a low number then your brand has few differences. Remember the number that you get is not an answer to what you should do, it simply helps you to understand your brand better. It is useful to compare the scores for your brand, its competitors and others. This can provide very useful context, and will help you understand your brand even better. If your brand has a high score then it is more likely that you will have to think hard about how you approach how it is marketed and communicated around the world. Often brands with high scores need to have lots of different campaigns to reflect the differences in the brand. It is unlikely that a brand with a high score will be successfully communicated with one campaign, and even less likely with one execution. If your brand has a low score then it is more likely that your approach to marketing and communications will be more similar than different internationally. Often brands with low scores can develop more consistent campaigns based on international similarities in the brand. It is sometimes the case that brands with low scores actually create inefficiencies by not leveraging the similarities. By calculating the Brand Difference Index you will be able to learn a lot more about how your brand operates around the world, what is different and what is the same. This is critical information for planning how to approach communicating the brand internationally. Remember

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Brand Difference Index

though, the number is not the answer! The numbers that you get are just ways to understand your brand, and should be used as information in the discussion and development of the things we make.

EXAMPLES OF THE BRAND DIFFERENCE INDEX —

iPods have 1 product range sold all over the world (P = 1), with the same mass audience (C = 1), and they’re used in the same way (U = 1). So the Brand Difference Index for iPod is 1 × 1 × 1 = 1. It’s not a surprise that the iPod marketing and advertising is very similar around the world.

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—

Ford has several different product ranges, with bigger cars and trucks sold in America, and smaller cars in Europe, and a combination in Asia (let’s say P = 3). Likewise there are several different consumer types that buy these different types of vehicles (let’s say C = 4). And of course, a truck is used differently to a small town car (let’s say U = 3). So the Brand Difference Index for Ford would be 3 × 4 × 3 = 36. It’s easy to understand why Ford has multiple campaigns in different parts of the world.

Brand Difference Index

NOTES

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Brand Difference Index

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Talking Heads

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Talking Heads

What is the main purpose of this tool? The main purpose of the Talking Heads tool is to help find and reach other planners whose knowledge in certain fields of expertise can be helpful to the project you’re working on. Where in the process should this tool be used? This tool will primarily be used in the Discover part of the process to enrich your knowledge for a brand idea, a campaign, a Creative Brief and general exploration. (It can also be used in the Collision part if you want to create some interaction without having to catch a flight!) How does this tool work? This tool is a web-based application that allows you to speak to other people around the world using your computer, just like Skype. It works via www.jwt.com. There are 2 one-time-only steps you’ll need to do in order to access the tool: 1. You will have to fill your enhanced profile in myjwt.com with all your expertise.

2.

You’ll have to install ‘wpp connect’ in your computer to have the software where virtual Talking Heads meetings will take place.

Once you have access to Talking Heads, you can create virtual meetings to connect with others easily. It’s really important that you enter your details in full so that we can make the most of the terrific Planning community that we have. If you haven’t done that, please do it now! It’s also really important that we all take part in sessions that we are invited to, so please, please be generous with your time. Being generous will not only help the person who organised the session, but will broaden your experience too.

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Talking Heads

How to use this tool? There will be detailed video-instructions provided that will explain the process and how to use the tool. These are also available on www. myjwt.com. But here’s a quick summary: —

Once you have entered your details and you have the software on your computer (or one nearby) there are four stages to setting up a Talking Heads session — create session, find participants, invite participants, and conduct session. All of this will be managed via the Talking Heads page on www.myjwt.com.

—

Once you have identified some people who you think can help (remember it’s only practical to invite up to 5 people at a time you will invite them via the software. If you are an invitee, you will receive an email with the details. Please take part. It will also appear in your electronic calendar.

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Creating a session will create a space in the system for you to manage and host the session itself. You have to do this to start it all off.

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You will then be able to search the Planning community according to their experience or skills and find some participants. You will have to think about the types of people you will want to talk to. Do you want someone from a specific country, specific sector expertise, or with specific skills in a particular area? Or do you just want a wide range of people?

With all the participants invited, all that is left is to conduct the session. You will do this using the WPP Connect videoconferencing software, but it will all be managed via the Talking Heads site. Once you’re live and connected it’s up to you!

—

If you are hosting a session, it’s a good idea to have planned what you are going to ask people, and how you want the session to work. That bit is your responsibility. If you are a participant, please give the session your attention and be as helpful, honest and informative as you can be.

Have fun.

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Talking Heads

NOTES

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Talking Heads

The Discovery Report

Project: Client:

e p o rt Discovery R

Contact:

Brand:

Job no:

Date:

(?)

erie rtant discov e most impo What are th

made? s we have (?) (?)

Discoveries

about:

Brand

(?)

Consumer:

Communic

(?)

ation:

(?)

Category:

(?)

Client:

Discoveries

(?)

to home from close

Discoveries

ay from far aw

g o interestin , but are to nt va le re iately seem not immed eries (may ov sc di rd Wildca

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t) to leave ou

The Discovery Report

What is the main purpose of this tool? The main purpose of the Discovery Report is to summarise the most salient, most provocative points that have arisen from the Discover part of the process. Where in the process should this tool be used? The Discovery Report is the bridge between Discover and Collision. It should contain the most interesting and relevant findings from the Discover part, and provide the key stimulus for Collision. It can also be a useful document for clients and agency alike as a milestone in the process, or as a valuable collection of learning and information. How does this tool work? The Discovery Report is essentially a template to house key findings and a prompt for any areas that might not have been covered off. It sets out to capture discoveries we have made about our brand and the world in which it exists. However, the report itself will only ever be as good as what we write in it, so please pay particular attention to the content that goes into it. How to use this tool? When you’re using this tool you will already have been through an intensive period of discovery. If you have used some of the other tools from the Discover part you will almost certainly have a lot of data and information. In fact you will have too much. You should use the Discovery Report to draw out the most important, provocative, original discoveries. There are some key headings to help organise the information. What are the most important discoveries we have made? In this space you should report only the most critical discoveries. These will not only be new news to people, but they should be the discoveries that will potentially have the most impact on our understanding and hence shape how we approach things from here on.

Discoveries from close to home In this space you should report discoveries that you have made that are in familiar areas. These will be from areas that are close to the existing world of the brand. They might be simple discoveries about competitor advertising, or a deeper discovery from the market that you are in.

Discoveries about: Brand, Consumer, Communication, Category, Client In these spaces you should report specific discoveries about the specific areas.

Discoveries from far away In this space you should report discoveries that you have made from new and surprising places. These might be from other countries

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The Discovery Report

where your brand, or other brands like it are used. Or they might be from other areas of expertise, for example learning from the technological world about how people participate more deeply in apps than they do in TV ads. Wildcard discoveries (may not immediately seem relevant, but are too interesting to leave out) In this space you can report

discoveries that you think are interesting, original and surprising, but on the face of it may not be relevant at the moment. Sometimes it is only later on in the process that things all start to make sense. This is your opportunity to report on anything that you think is really interesting and worth people knowing. Even if it seems a little bizarre. In fact bizarre is probably better!

You should recognise that The Discovery Report will go through several drafts. The first draft will most likely be too detailed. It’s not unusual for the first draft to be many pages long and most likely read like the definitive guide to any particular brand’s life. Refine it. Be ruthless with each draft so that it evolves from a retrospective ‘background document’ to a forward-thinking ‘Collision springboard’. You should aim for it to be no more than two or three pages and for it to be a stimulating read in itself. You can always keep all the other information in the appendix. It’s often a good idea to share it will other Planners before the Collision session to ensure you have been as ruthless in your editing and as forward-thinking in your analysis as you can be.

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The Discovery Report

EXAMPLES OF THE CONTENT O F T H E D I S C OV E RY R E P O RT —

What are the most important discoveries we have made? There is a significant uplift in soup sales on the very day the clocks go back to signify the start of winter.

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Discoveries about: Brand Jim Beam is the bourbon leader in markets where it launched before Jack Daniels.

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Discoveries about: Consumer There is a sharp peak in online banking activity on the third day of every month as customers check their balance after their ‘start of the month’ direct debits leave their accounts.

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Discoveries about: Communication In many Asian markets advertising is seen as a trusted form of communication.

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Discoveries about: Client The internal silos of a global client organisation can make it very hard to agree on a single campaign.

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Discoveries from close to home ‘Natural Beauty’ may be admired by mainstream shampoo buyers in your market but it’s far from being a look that they aspire to.

—

Discoveries from far away If you are working on a brand about ‘success’ in the West, you will know that it is an individualistic thing. But in the Far East it is much more about a community ambition, and what success means for us, not just for me. Wildcard discoveries Could be anything!

Discoveries about: Category ‘Cellphone Network A’ achieves over 70% more revenue per customer than ‘Cellphone Network B’ through their focus on mobile data transfer over calls.

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The Discovery Report

NOTES

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The Discovery Report

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Interaction Grid

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Interaction Grid

What is the main purpose of this tool? The Interaction Grid helps you define the different ways that your brand can interact with its participants digitally. It will help you determine what kinds of interaction are right for your brand, idea and audience. Where in the process should this tool be used? This tool can be used during Discovery and as a Collision tool. In Discovery, use it to look at your brand and your competitors’ brands’ interactions to find Discoveries. The differences between your brand and the competition, or the types of interaction that no-one is using, can be a rich source of opportunities. As part of a Collision, the Interaction Grid can be used to generate ideas of different kinds of interaction for your brand or idea. How does this tool work? The Interaction Grid is a simple tool that lets you map brand interactions on a grid.

HIGH TOUCH

FIG. 22

Create & share user generated video to web

Multi step transaction including credit card details

Ambassadorship

Enter address/age

Upload Invite friends to participate

Enter email address

Comment

Redeem coupon/loyalty Personalise

Share to web

PRIVATE

PUBLIC Play a game

Share with friends Download

Allow app access to facebook/Twitter

Click (2+ times) Click (1)

Like

Watch

LOW TOUCH

The x-axis goes from Private (or individual) interactions to Public (or collective/social) interactions between participant and brand.

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Interaction Grid

This is a scale, with very private things such as ‘entering your credit card details’ at one end, and very public things such as Twitter or ‘uploading a video of yourself to youtube’ which can be seen and accessed by the whole world. In between these two extremes are things like ‘sharing with friends’ or an email exchange. The y-axis goes from High Touch (high effort) to Low Touch (little effort) interactions. This is also a spectrum with ‘complicated multiple step processes’, or ‘making your own video’ at the high touch end and simply ‘watching a video’ or ‘rolling your cursor over an ad’ at the other. FIG. 23

HIGH TOUCH

DIRECT ENGAGEMENT Your brand and idea are asking for significant personal engagement, possibly including transactions and money. The level of personal engagement requires trust and responsibility. Does your brand have that trust? Does it want to build that kind of relationship? Good for service brands or brands that sell directly on-line.

PUBLICALLY ENGAGED Your brand is asking for high and public engagement from participants. It must offer high reward and be a brand or idea that participants are happy to be seen to be part of. If your brand is low interest or not aspirational consider if your idea fits. Good for big, talked-about brands that people want to engage with publicly.

PRIVATE

PUBLIC

SIMPLE INTERACTION Your brand and idea is asking for limited, private interaction, with very limited engagement with little at stake. Most content consumption, like watching video on youtube, fits here. For some private or specific brands this may be enough. However because it is private, generating reach and scale may require paid activity. Good for smaller brands or brands in categories that are more private and less suitable for ‘sharing’.

PUBLIC ACKNOWLEDGEMENT Your brand and idea is public and requires limited public interaction and engagement. It can offer lower rewards for such interaction. Is this level of interaction enough to meet and address your communications objectives? Is your idea engaging enough? Good for superficial, frequent interaction probably for mass but lower-interest brands.

LOW TOUCH

Each quadrant has different characteristics. This diagram summarises the nature of the interaction in each quadrant and what kinds of brands or ideas it might best fit. There isn’t an ‘ideal position’. Not all brands or ideas work the same way. This tool can help you work out where is best for brand and idea. It is also important to note that being in a single quadrant is not necessarily a good thing. Many brands need to offer a range of interactions to address a range of tasks or different participants. Many more people will just view content on youtube than will create and upload their own. However your brand may well want to ensure that both groups can interact with the brand. This tool is not science. There isn’t a mathematical formula for scoring where something sits on either scale. Use your judgement. Use your knowledge of the audience. Ask yourself, for them, how does this feel?

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Interaction Grid

How to use this tool? You can use this tool in two ways: 1.

As a Discovery tool – to help identify where your brand and brand idea are now and where they should be.

First of all map the current interactions of your brand and its competitors. You can do this quickly or very thoroughly depending on how much time you have. Focus on the main and most important interactions. The template is below.

FIG. 24

HIGH TOUCH

PRIVATE

PUBLIC

LOW TOUCH

The similarity or differences between your brand and its competitors can help you identify opportunities. These can be part of your Discovery Report. 2.

As a creative tool – use during Collision to force ideas within different quadrants.

In a Collision take your brand or idea (if you have one) and make people think of what the brand could do in each quadrant. You should be able to populate the whole grid with ideas. Many may not be right but it could open up a new way of thinking about your problem or how to engage your audience.

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Interaction Grid

Examples: Zyrtec is a hayfever medication in the US. JWT New York have developed a strong website (www.zyrtec.com) and app that provides reward and engagement for users and sufferers of hayfever. Zyrtec provides value beyond the pill with rewards, savings and perks. Registration is required to receive coupons, access exclusive content and redeem offers from retail partners. Participants return to the site post-purchase to unlock bigger rewards by inputting NDC codes found on Zyrtec bottles. The website provides a personalised experience with relevant content recommendations based on the visitor’s behaviour. You don’t have to do anything special other than use the site normally; we track what you’re clicking on to show you more of what you like in order to increase engagement and opinion of the brand. In terms of public engagement, participants provide product reviews and rate content on the website. Content may be shared in social outlets and site visitors may view product reviews and comments that have been created by others.

FIG. 25 HIGH TOUCH Sign up: provide name, email address, date of birth, zip code, create password, provide allergy medication history Redeem coupon Purchase product Redeem retail partner offer Enter code Sign-in Log in with facebook Connect Download allergy forecast app Receive email messaging

Post product reviews and comments Rate content Share content on facebook, Twitter, Google+ Send to a friend email

PRIVATE

PUBLIC

Get relevant content recommendations View all, recommended and popular slide shows, videos, quizzes, tips

LOW TOUCH

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Interaction Grid

HSBC sponsorship of The British & Irish Lions Rugby 2013

HSBC sponsors rugby as a means to help connect with their target audience around specific passions and interests. Whilst people are unlikely to engage and interact with HSBC products and services until a specific need arises, they do proactively interact and engage with sports-related content. This gives HSBC the permission to talk to and build a relationship with potential customers outside of specific products and services led conversations. The British & Irish Lions rugby tour only happens every four years. Making the squad is the pinnacle of any British or Irish rugby player’s career. Rugby fan interest in the Lions tour starts early with speculation over the coach, the players and which nationalities will be best represented. This excitement is continued into the matches themselves and then the post-mortem analysis of the outcomes. Following is an example of a completed Interaction grid used as a tool during the HSBC Lions Collision meeting to help stimulate ideas for how fans could be involved and engaged by HSBC in the run up to the event. HIGH TOUCH

News management tools eg Lions information blocker to stop you finding out the match score during the day so you can watch games played in the day later that day. On-line countdown calendar

FIG. 26

Fantasy Rugby Lions team game Blogger “report the Lions`’ competition “Guess the final squad line up” competition Create a Lions anthem

PRIVATE

PUBLIC

Lions news/ commentary on-line content aggregator

Display Lions avatar badge

Webisodes following Lion team progress

LOW TOUCH

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Interaction Grid

NOTES

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Interaction Grid

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Host a Collision

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Host a Collision

What is the main purpose of this tool? The main purpose of hosting a collision is to create ideas for things. In fact this is the only purpose of hosting a collision. Where in the process should this tool be used? This is the central bit of the Collision part of the process. If you are following the process in the conventional way Collision will happen after you have been through the Discover part of the process. However, the process is designed to be flexible, so you might be starting with a collision. This is OK. The only criteria for starting a collision is that you have a clear idea of the problem that you are trying to solve. You will need this to direct people’s imagination and ideas. A collision can be used to develop brand ideas, campaign ideas or individual things that form part of an existing idea. The only thing you need to do is be clear about what you are looking for at the start. How does this tool work? Hosting a collision works a bit like a brainstorm works. However, a collision is a specific JWT way to approach the generation of ideas that we believe will help you create more interesting ideas. How to use this tool? This part of the process is about finding the spark of creativity from the interaction of international and technological skills. Because of this, one of the most important things to think about is the people that you invite to a collision. This is absolutely critical. They are the people that will be coming up with the ideas! When you are thinking about who should join you in collision, you should aim for as much diversity as possible. The more diversity of international and technological skills that you get in one place, the more likely you are to get some interesting new ideas. Remember, you can’t collide on your own! To host a collision, there are 8 simple steps to follow: Step 1. Identify the problem This is the main focus point for the collision. It is important that this should be clearly defined and understood by all participants. Step 2. Identify the people you need These are the people who will collide — there should be a range of skills and experiences, and as diverse as possible. You should specifically consider the different international representation and different technological or experiential representation. The objective is to maximise diversity, but it is still possible to do it within your own office or team. You will also need to be clear on the team responsible for deciding on the output of the collision.

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Host a Collision

Step 3. Find the right place This is the place where the collision will happen. This should be a place where people are free to move and think, a place that encourages multiple and energetic interactions between people. A meeting room with table and chairs is unlikely to facilitate collision. Step 4. What have we discovered from the world? This is where our discoveries will be introduced. This should be inspiration from the world (via Question One and other tools) along with stimulus about brand, product, the market and the target participants. These can be introduced prior to the session or during, but ensure that all participants understand the key discoveries before or during colliding. If you are hosting a collision before you have been through the Discover part of the process, just include as much information as you can. Step 5. Collision This is how we will try to generate creative sparks. This will come from the interaction of people. You should try to maximise the diversity in who collides with whom. Put a shopper marketing expert with a young copywriter. Or an Asian Planner with a Brasilian creative technologist. You should try to keep the collisions short and intense. Even if they are only 5 minutes at a time. You might need a horn or a whistle to keep people moving. You should aim to have multiple collisions with as much variety as possible. You could even try colliding with non-language based outputs. Step 6. Capture the sparks This is where we capture the many and various ideas. You should not be afraid to capture all of them, even the most bizarre and curious. Try to think about the type of idea that you are capturing, and pay particular attention to the type of thing that the idea will lead to. You can use the Circle of Things tool to help organise how the ideas relate to the brand or campaign idea, the influence of the brand, the participants and each other. Step 7. Edit for ideas that make real things This is where we begin to make choices about what we want to make. We should pay specific attention to analysing what things the ideas will make, and we should value highly those ideas that will lead to making real things. You should use the 1–10 scale to help judge the ideas. You should spend some time on this in the session, but this can also continue afterwards. Step 8. The path to ‘go’ This is where we work out how to get things made. Always finish with a significant time spent on the path to ‘go’. You should begin to discuss feasibility and what you will need to do to get things made. You should identify and remove barriers. You should identify and recruit the people who will help you make things.

Do not end a collision without thinking specifically about how you are going to get things made.

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Host a Collision

E X A M P L E S O F T H E O U T P U T F RO M C O L L I S I O N —

The output from Collision can be virtually anything.

—

It can be big platform ideas like The Nightlife Exchange Project for Smirnoff.

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—

It can be small activation ideas, like having a survival kit for hungover rugby fans after HSBC has helped them celebrate at the Hong Kong Sevens.

—

It can be strategic ideas like how to approach marketing the brand of the USA by using tourists as ambassadors.

Host a Collision

NOTES

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Host a Collision

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Brand Behaviour Tool

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Brand Behaviour Tool

What is the main purpose of this tool? The world of digital technology has made it easier for brands to do much more than just communicate. The Brand Behaviour Tool helps you think about all the kinds of behaviour that your brand could do, not just the messaging of what it says. Where in the process should this tool be used? Brand Behaviour is a Collision tool. It will help you come up with ideas about the different behaviours that come from your brand and brand idea. How does this tool work? To be successful, brands should do more than just tell their audience about their product and its features. The tool shows the different types of things that brands can do. It starts with communication but then goes onto the other kinds of behaviour. Think about your brand and what it does as behaviour. It can communicate, provide services, give experiences and it can do good in the world. What could your brand do beyond just communicating? FIG. 27 COMMUNICATE Messaging Associations Presence PROVIDE SERVICES Customer service Information Education Reward Loyalty

BRAND IDEA

GIVE EXPERIENCES Product Content Games Events Co-Creation

DO GOOD Champion a cause or charity partner Create a movement Use your supply chain or distribution for good Drive consumer behaviour change Collaborate with competitors to change the market

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Brand Behaviour Tool

How to use this tool? This is a fairly simple tool to use. It doesn’t need lots of research and data. It needs you to know what your brand currently does and then directs you to think about what else it could do. Start with writing down what your brand currently does on the template. FIG. 28

COMMUNICATE

PROVIDE SERVICES

GIVE EXPERIENCES

BRAND IDEA

DO GOOD

In communications, think about its messaging, what associations it is looking to build and what kind of presence it is building through its activities. After you’ve identified what your brand currently does you are ready to brainstorm what it could do. This is best done in a Collision. The starting point should be the brand idea and how it can be reflected in services, experiences and doing good in the world. Encourage yourself to have ideas for: —

What kinds of service your brand could provide

—

How it could give experiences

—

How it could do good in the world

After generating your ideas, you need to go back to your brand idea and objectives and assess how the ideas you have come up. Do they come from the brand idea? Do they help solve the business problem?

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Brand Behaviour Tool

Examples: The following three cases highlight how brands have done more than communication. DTC– THE UNBREAKABLE KISS —

—

The Diamond Trading Company used the brand idea – a diamond is forever to create an experience that brought that idea to life through an unbreakable kiss that goes on for eternity

—

The films were shared on-line as short movies giving each couple a timeless reminder of their love

—

Media coverage was generated via celebrities and charitable donations to Elton John’s Aids Foundation

They created a stage in New York at Christmas where couples kissing had their kisses filmed in 360°

FIG. 29

COMMUNICATE

PROVIDE SERVICES

GIVE EXPERIENCES

BRAND IDEA A symbol of eternal love and commitment DO GOOD

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Brand Behaviour Tool

The whole case can be found on the Creative Showcase.

C O RO N A – T H E G A R B AG E H OT E L —

Corona beer’s brand idea is about the beach, but they used it beyond communicating

—

They combined Giving Experiences and Doing Good with their Garbage Hotel

—

—

Participants could stay in the hotel, conventional and social media told and shared the story with a much wider audience

—

Creating awareness and engagement for the brand and its cause

They built a hotel out of garbage that had been collected from beaches to highlight the cause of clean beaches

FIG. 30 COMMUNICATE

PROVIDE SERVICES

GIVE EXPERIENCES

BRAND IDEA Preserving Extraordinary Experience DO GOOD

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Brand Behaviour Tool

The whole case can be found on the Creative Showcase. The last example is Zyrtec’s website from New York, which is a great example of providing a service to your brand’s participants. Z Y RT E C – W E B / M O B I L E S E RV I C E F O R H AY F E V E R S U F F E R E R S —

Zyrtec is a leading brand of hayfever medicine available without prescription

—

They have created a powerful website that includes tools for hayfever sufferers

—

These include allergy forecasts, localised to your zip/postal code and a mobile app to give you up to date location specific information

—

Zyrtec has gone from just communicating its product and its benefits into providing a service for its participants

FIG. 31

FIG. 32 COMMUNICATE

PROVIDE SERVICES

GIVE EXPERIENCES

BRAND IDEA Love the air DO GOOD

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Brand Behaviour Tool

NOTES

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Brand Behaviour Tool

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Brand Sparks

O CC UPY TH MIN D OF E ANO THE R Wha t wo u l b ra n d i d Dala d Madon ea i La m na, Tr u m a , D o n a ld p, O Wi n f rey, M pra h That cher, a rg a ret Ga nd come hi u if giv p with en disco these verie T CO U R s. W O F LA

r idea u o y d D e f e n rt o f l a w ? u i n a c o wo u l d b e What al pieces ctu the f a ence you d of evi resent to p wo u l d o u r c a s e ? y ma ke

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Brand Sparks

What is the main purpose of this tool? The purpose of this tool is to stimulate fresh thinking, or to provide provocations to think about things in a different way. Where in the process should this tool be used? This tool is designed to work in the Collision part of the process. How does this tool work? The tool is a series of prompts that can be used any time during the Collision part to change the direction of thinking and idea generation. It adds fresh impetus and often takes a group outside the conventions of any given category in pursuit of new and interesting ideas. How to use this tool? This tool is there for you to use whenever you need it. Simply introduce the Brand Sparks into the discussion or thought process and see where the new line of thinking takes you. One of the most common uses will be in the midst of a Collision session, where lots of people are together generating ideas. It is often useful to think about how the discussions are going in the room (just like a moderator would), monitoring energy levels and originality of ideas. At some point the group will hit a dead end. They will have mined all the ideas they can think of. If you’re happy with the output, that you have truly great and diverse ideas, then wrap up the Collision. However, if you feel there is still space for more original thinking bring out the ‘Brand Sparks’. Randomly select one and use it as prompt to kick-start the thinking once more. However, you don’t have to wait until you’re in the Collision part of the process to use this tool. You can use these prompts at any time to inject a new angle into the thinking. The Brand Sparks are outlined on the following pages.

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Brand Sparks

OCCUPY THE MIND OF ANOTHER

THE POWER OF INNOCENCE

What brand idea would Madonna, Dalai Lama, Donald Trump, Oprah Winfrey, Margaret Thatcher, Gandhi come up with if given these discoveries.

MIND BEND

Take your working brand idea and express it in the language of an 8 year old.

Take the brand idea thought and now reverse it.

STRETCH

AM AGAINST Take your potential brand idea and express it in the context of an opposite or an enemy.

CULTURAL COUNTERPOINT How could your brand idea be based on a counter point to current cultural sentiment?

LOGO MAGIC

CELEBRITY PARENTS

What can the logo tell us? Use the logo as a starting place for what the brand/product can be about.

COURT OF LAW Defend your idea in a court of law? What would be the factual pieces of evidence you would present to make your case?

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Take a compelling brand attribute and re express it as either – a philosophy, a mission, a value/ attitude/voice, a moment/occasion/ useage, a legend, a club/user imagery, a space/place/origin, a benefit, symbol/icon.

91

Who would be the celebrity parents of this brand and what would their brand idea be based on Discoveries.

Brand Sparks

SACRIFICE

THE ONE BIT What’s the one really good bit? In the product, in the brand history, in the consumer discovery, etc. It can be from anywhere, but there should be one really good bit. Then how can this shape your brand idea?

What are you prepared to sacrifice? Make a list of all the things you’ve got on the table and then start sacrificing them until you’ve only got one left.

HISTORY LESSON What’s in the history? There’s usually something there somewhere that’s worthwhile!

PICK YOUR ENEMY TV TIMES Imagine the brand as a TV channel. What are the programmes? Now how could this lead you to a brand idea?

Who or what in the world is this brand’s worse enemy?

MONEY, MONEY, MONEY What kind of brand would it be if you tripled its price?

SINS

FLICK THROUGH A MAGAZINE

Find a link between your brand and every one of the seven deadly sins.

Find a link with your brand every 5 pages. Write your brand ideas by making a link.

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CATEGORY SWITCH Put your brand in 3 other categories — ‘if this car was a laptop’, ‘if this car was a phone’, ‘if this car was a deodorant’ — and think of what its brand idea might be.

Brand Sparks

HOLLYWOOD ACTIVIST

Take the movie that is most loved by the audience for your brand and imagine your brand as a character in that movie.

If your brand were an activist, what would he/she be campaigning for?

OLYMPIC SPORT Which sport would your brand want to compete in most? Write your brand idea from this inspiration.

CONSTITUTION Take the first ten lines of the constitution of your country and think about what your brand could add to this.

COMEDIAN

HATE What does your audience hate? The things people hate can be great inspiration for brand ideas. Write a brand idea that fixes issues for people, adding to their lives.

Your brand is in the front row at a comedy club and the stand-up has decided that it is a good candidate for some comedy. How would the comedian make fun of the brand? Now turn this material into a brand idea.

STRANGE ATTRACTOR Look at the emotions that exist outside of your brand and its category. What happens if you introduce these new and different emotions into your brand? Write your brand idea.

This list of Brand Sparks is far from exhaustive. Feel free to add your own and share the ones that you’ve found most effective with the worldwide planning community.

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Brand Sparks

E X A M P L E S O F T H E WAY B R A N D S PA R K S CAN INSPIRE NEW THINKING Here are some examples of when the Brand Sparks tool has been used in the past to get the group to a new position: —

On Lean Cuisine using the Brand Spark ‘Occupying the mind of another’ Asking ‘what would Sarah Jessica Parker and the girls of Sex And The City do?’ led to reimagining the brand from being in the frozen diet food business to being in the beauty business.

—

On Macys using the Brand Spark ‘TV Times’ Macys would be NBC — An iconic, respected, popular entertainment anchor with original content that became ‘classics’ in the lives of middle Americans. This led to reimagining Macys not as simply a fashion retail brand, but an iconic American entertainment brand.

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—

On Bloomberg using the Brand Sparks ‘Reversal of Fortune’ This led to us expressing Bloomberg’s character of ‘challenging the status quo’ as ‘the power of unreasonable minds’ instead.

Brand Sparks

NOTES

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Brand Sparks

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Cultural Archetypes

MARIA S a o Pa u l o B ra s i l a , B ra si l. S h e is lo u a P o a S in M a ri a li ve s ss io n is sa v in g a p l a re r e h t te a ch e r, b u t th e a lwa y s lo o ks a e h S t. e n s to la p th e th in g s a n d trie f o le g n a l ta n re . e n v iro n m e st a in a ble fu tu su a r fo s n o m a ke d e ci si

ANDR EAS Dusse ldorf Germ a ny A n d re a H e i s s l i ve s i n D a n ind u e p e n d s s e l d o r f, G a re a l e ent m e i n d e d r m a n y. t i n i e s ye f o r d e t a t ar il wa y t t h i n g s t h a t s . H e a l wa c h i t e c t w i th hey d y m a ke s lo o k o. s for thing t s f unc tion t he he

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Cultural Archetypes

What is the main purpose of this tool? The main purpose of this tool is to gain perspectives from other cultures to inspire new thinking and ideas. Where in the process should this tool be used? The Cultural Archetypes tool should be used in the Collision part of the process. It provides a diversity of points of view that can catalyse creative thinking. You can use this tool in a session with lots of people, or you can use it as stimulus for your own thinking. It is particularly useful if you need to broaden the international inputs into the thinking. How does this tool work? This tool is a set of archetypes that have been designed to represent a point of view from different places in the world. They are not the only points of view you will get from a particular place, they’re just examples to provide an alternative perspective. These archetypes will help you to see the brand or problem through a different lens, and should help you create ideas based on this perspective. How to use this tool? The archetypes can be introduced whenever you like. Most often it will be used with collision participants to view the challenge before them through the eyes of people from different cultures. Doing this brings into play differently prioritised values which can encourage new and different responses to the task at hand. The different Cultural Archetypes are on the following pages.

MARIA Sao Paulo Brasil

ANDREAS Dusseldorf Germany

Maria lives in Sao Paulo, Brasil. She is a teacher, but her real passion is saving the planet. She always looks at the environmental angle of things and tries to make decisions for a sustainable future.

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Andreas lives in Dusseldorf, Germany. He is an independent minded architect with a real eye for details. He always looks for the tiniest things that make things function the way they do.

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Cultural Archetypes

TAI Shanghai China

OLIVIA London UK

Tai lives in Shanghai, China. He is an internet entrepreneur, and his drive for achievement is characteristic of many of his countrymen. He is always looking for the next thing that can make him more successful.

AKMAL Jakarta Indonesia

KYOKO Tokyo Japan

Akmal lives in Jakarta, Indonesia. He works hard as a porter, but struggles to support his family on a low wage. He is always looking for ways in which he can provide for his wife and two young sons.

Kyoko lives in Tokyo, Japan. She is a designer and loves anything new and quirky. She is always looking for the next big thing, especially if it’s weird and wacky.

KHALID Cairo Egypt

DEBBIE Boston USA

Khalid lives in Cairo, Egypt. He is a legal counsel, and adheres very closely to traditional values. He always looks at things in terms of how they relate to his culture.

NWAKE Lagos Nigeria

Debbie lives in Boston, USA. She is a full time Mum and believes her children can become anything they want to be. She is always looking at things for the opportunity they hold.

PENELOPE Barcelona Spain

Nwake lives just outside Lagos, Nigeria. He doesn’t have a job, but helps out where he can. He is always looking for an opportunity to change his life.

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Olivia lives in London, UK. She is a social worker who works with youth communities on how they can improve their futures. She is always looking for the good in people.

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Penelope lives in Barcelona, Spain. She is an artist with a modest gallery in a fashionable area of the city. She is always looking at the EIWXLIXMGZEPYISJXLMRKW½VWXERHJSVIQSWX

Cultural Archetypes

You can choose one of the archetypes at random, or you can choose one which represents a country that you are particularly interested in. Once you have selected one, start to think about the problem you are facing from their perspective. Ask yourself what would be important to them. What would motivate them to participate with your brand? What would be relevant or irrelevant to their lives and issues? This exercise is designed to stretch the thinking and our imagination so it’s OK if some of this feels a bit weird. Hopefully the weirder it feels the more original the ideas will be. Once you’ve spent time with one archetype, you can move on to another. And another. You can spend as much or as little time on each one. For the more adventurous, feel free to create your own Cultural Archetypes. Maybe there are some particular characteristics you have discovered that offer a surprising perspective. Or maybe there are some particular countries that you would like to include. The more you create the better and fresher your thinking will be. Remember you can pick up the archetypes whenever you want to think about things from an alternative angle.

E X A M P L E S O F H OW C U LT U R A L A R C H E T Y P E S C A N P ROV I D E A D I F F E R E N T P E R S P E C T I V E —

Young people from affluent families in emerging markets read about ‘street life’ but it doesn’t exist where they live. Developed markets can help us understand what elements we need to make to actualise it for clothes and shoe brands.

—

In a highly individualistic culture like Sweden, getting people to work together on a community project could derive inspiration from a collective culture like China or a Buddhist culture like Thailand.

—

A European concept of beauty may help change the notion of ‘healthy sun-tanned beauty’ in Australia and reduce damage to the skin and the incidence of skin cancer.

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—

The conservationists who have rallied to protect Brasil’s unique habitat could teach lowest-ranking Russia why and how environmental responsibility can be elevated in importance.

—

Embedded in the Japanese culture is a deep understanding of how to pleasure all the senses, yet hedonists around the world (and their brands) have virtually no knowledge or understanding of this.

—

French food culture may exert influence on the similarly obsessive Chinese food culture by providing both variety and refinement.

Cultural Archetypes

NOTES

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Cultural Archetypes

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Brand Idea Test NEW!

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Brand Idea Test

What is the main purpose of this tool? Brand ideas are bigger than just communications ideas or advertising; they should inform everything about the business. The Brand Idea Test can help you in two ways: a) to discover if your idea really is a brand idea, or something smaller. b) to work out how your brand idea can come to life beyond communications. This tool cannot help you come up with a brand idea, however. There isn’t a simple, or even a complex tool for that; it’s a creative process that will be different for every brand. Where in the process should this tool be used? This tool can be used as part of the Collision and Make phases of the Worldmade process. Used as part of a Collision, it can help test your ideas. In the Make phase it can be very useful to work through the implications of the brand idea across all areas of the business. How to use this tool? The Brand Idea Test is a simple grid that allows you to explore your idea in four quadrants. In each quadrant your brand idea should help inform how a company should behave and what a company should do.

Corporate strategy Acquisition/mergers Partnerships Recruitment & HR Internal communications Intranet

Internal

Corporate

Brand Idea

NPD R&D New service/app development Product production Sales staff

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Corporate communications PR Shareholder relations CSR Corporate website Corporate Twitter/Facebook

External Product advertising B2B marketing Customer marketing Shopper marketing Product website/online content Product Twitter/Facebook

Brand Idea Test

1) Corporate/External: How your company communicates and behaves at a corporate level. Think of the implication of your idea across PR, investor relations, CSR, corporate website and corporate reputation. 2) Product/External: The product communications and behaviour. This may be where you originally started? How you could communicate a product? But what does your idea mean for how an organisation should carry out B2B marketing, shopper marketing or trade/supplier? What are the implications for digital: website, social, content or app? Is there an eCRM programme that should exist? 3) Product/Internal: The NPD process, sales staff and customer service. What kinds of products should you develop in the future? How should you train your sales staff? How should your staff at the call centres answer the phone? What new services or apps should be developed? 4) Corporate/Internal: Corporate strategy, acquisitions/mergers, recruitment & HR. What kinds of people should the company hire? What kinds of values and behaviours should you encourage? What other kinds of businesses should you start or buy? What kinds of internal communications programme should be developed?

Work through each quadrant and see if your idea can drive change, or direction, in each one. If it can’t, and often it is in the corporate and internal areas where problems arise, then you have a communications idea, not a brand idea. The other use of this tool is to help guide brainstorming around your idea. Gather a group of people and work through each quadrant in turn until you have determined what your idea means for all areas of the business. Presenting the output to clients will help them see that they have a real, long-term brand idea, not just a new campaign.

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Brand Idea Test

Examples: The award-winning work from JWT Cheetham Bell for John West is a great example. John West is a 150 year old tinned fish business that is vertically integrated, owning its own trawlers and canning plants. Faced with a business under pressure from competition, increased costs and challenges on sustainability and fishing, JWT Cheetham Bell convinced the client to be bold, and created a new brand idea to drive business, communications and behaviour. The new brand idea was: Be The Future Of Fish. This idea was rooted in a fact about John West; they could trace every fish, in every can, back to the boat that caught it. They made this traceability the key proof point about their mission to be the future of fish. The idea was driven across their business, with proven business success.

Corporate

Staff communications, a pledge card and a new corporate manifesto launched to all staff

Internal

'SVTSVEXIGSQQMXQIRXSR½WLMRK practices in opinion former press and with NGOs

Be The Future Of Fish

External

Retailer roadshow NPD: New Pole & Line caught range of Tuna

Can-tracker website

TV Advertising

Product A fuller case study of this work can be found here: https://my.jwt.com/creative/showcase.xsp#4b0d8c9eb4ed9 JWT PLANNING TOOLS

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Brand Idea Test

Another example, from a very different category, is Forevermark; a business created by an idea for De Beers. De Beers/Diamond Trading Company and JWT together have largely created the modern, global diamond jewellery business over the last 50 years with the idea ‘a diamond is forever’. However the diamond business, and De Beers, is changing. They no longer control a substantial portion of the diamond market and they wanted to build their own brand within diamonds, not just the diamond category. The idea was to create Forevermark; diamonds with a unique inscription in the heart of the diamond. The inscription is a promise of quality, rarity and responsible sourcing. Forevermark started as a project in 2008 and is now the consumer facing brand of De Beers. It sells in China, Hong Kong, Japan, India and the USA and it continues to grow. However De Beers is not allowed to open Forevermark stores, so the brand has to sell through other jeweller partners. The brand idea for Forevermark is: ‘Ultimate Expression of a Promise.’ This idea is rooted in the product – the Forevermark inscription is our promise – the diamond is yours. This idea is being driven across the business. Externally, it is driving advertising, mobile apps and corporate communication for the Forevermark company, as part of the De Beers group of companies. There is also a programme of communications for jewellers about Forevermark and its promise. Internally, the idea of promise is driving new jewellery designs (this year’s is Cornerstones; where the ‘promise’ can be found in how you personalise the four cornerstones of the ring to reflect your relationship) as well as staff training on the importance of promises. In an increasingly competitive world, the Forevermark brand idea is helping to create the world’s first branded diamond business for De Beers.

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Brand Idea Test

Corporate

OOH: Partnership

8VEMRMRK½PQWXSNI[IPPIVWERH staff highlighting the importance of promises Inscription in diamond Responsibly sourced

Internal

Ultimate Expression of a Promise

Bridal Print/POS

External

Promise app

Brand Film

New jewellery design: Cornerstones. The personalisation of the 4 Cornerstones of your relationship VI¾IGXMRK]SYVTVSQMWI

Product

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Design and emotive print

Brand Idea Test

NOTES

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Brand Idea Test

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Creative Brief

Project: Client:

Contact:

Brand:

 

ief Creative Br

Job no:

Date:

(?)

  Brand Idea

Discoverie

world s from the

(?)

Problem

(?)

Participan

ts

(?)

Task

(?)

Stimulus

(?)

Response

(?)

gy d Technolo Channel an

thinking

                             (?)  

                                         

                                                                       

ake we could m The things

e world Where in th

Budget

Timing Creative

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Approvals Mandatories

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Creative Brief

What is the main purpose of this tool? The main purpose of the Creative Brief is to direct and inspire creativity. Where in the process should this tool be used? The brief should be used at the end of the Collision phase and during the Make phase. It captures the decisions made during the Collision phase about what communication is needed, and then directs the creative development of those needs. How does this tool work? It provides a written record of what needs to be created and offers direction and inspiration for doing it. You should use the Creative Brief together with a Channel and Technology Plan. How to use this tool? No creative development should happen at JWT without this JWT Creative Brief. So do not use the client brief format, and do not use a different JWT Creative Brief format. There are no exceptions to this for any office otherwise we will be reducing our chances of working easily together as Network. Remember, you can have multiple Creative Briefs if you are developing work in specifically different channels. For example, you can have a social media Creative Brief and a separate PR Creative Brief and separate poster advertising Creative Brief. Alternatively you might want to brief lots of channels together as a campaign on one brief. Use the Channel and Technology Plan to help you think about what you need to achieve different things. This one Creative Brief format is to be used for briefing any channel; from a TV ad to a website. There are no other Creative Briefs for specific channels. Remember you can add attachments to the brief if you feel more detailed or specific information is needed. The Creative Brief has a full explanation of how to use it as part of the document. It is reproduced here. Creative Brief Notes: Brand Idea This should describe the idea for the brand. It will therefore be a short phrase or sentence. This is not an endline that may already exist for the brand. Neither is it the campaign idea that a brand may be employing. The Creative Brief is inviting work that will further develop the brand idea.

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Creative Brief

Discoveries from the world This describes the most inspiring things (facts, ideas, references…) you have discovered from looking in original places. These can come from other countries and cultures but also other ‘worlds’ from the category of the brand e.g. sport, fashion, science-fiction. Whatever it is, it should provoke a fresh way of thinking about the brand. Problem This should describe the problem that we intend to address. This should reference the business problem (e.g. defending a price rise, losing market share) but also be clear about the specific problem we are asking the things we make to solve (e.g. a brand being seen as old-fashioned, or no awareness of the diet variant). The ‘Task’ section below should link to this problem. Participants This section should describe the people (or person) we are designing for, and how they might participate in the things we are making. These will be the buyers or end users of the brand, product or thing — but they might also be employees, corporate decision makers, journalists, investors, etc., and there may be multiple groups. It should describe the experiences that have shaped their current relationship with the brand (e.g. personal use, the experience of others whose opinion they value) and what kind of new thing or experience would be required to change that relationship. It should also capture the broader patterns of their lives to help identify when, where and how we can engage them with that new thing. Task This should identify the specific tasks that we are looking to achieve with the things we make. The task described must have a logical link to the ‘Problem’ section on the brief. There can be as many tasks as are necessary, but each must be a realistic and important part of what we are trying to make. Different tasks may be assigned to different things in the ‘Channel and Technology Thinking’ section of the brief. Stimulus This pithily describes the inspiration for the things we want to make. It is the first half of the stimulus-response couplet. It is not ‘stimulus’ in the sense of ‘some interesting stuff that might lead somewhere’. It is also not the response, but should have an obvious link to the ‘Response’ section. If you are briefing advertising then this stimulus will be ONE thing (a bit like a traditional proposition). But this ‘Stimulus’ section is not limited to briefing just advertising. You can use this to brief any kind of thing e.g. a short film, an event, some PR, some rich on-line media. In these instances you may need to include more than one stimulus. For example, a brief for a website may need stimulus about product information, user reviews, and purchase information (obviously more information can be included in attachments). Response This should describe how we want the audience to respond to the things we make. It is the second half of the stimulus-response couplet. The response should be realistic and credible based on the role communication is designed to play. This is not a wish-list but it may contain a few things. This should be a short description of what experience the things we make

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Creative Brief

should deliver and how it will serve the needs of its participants (as well as those of the brand). The response experience could be anything that engages participants with the brand. It could be brand generated (e.g. advertising, PR, event, pop-up store, website, mobile app, facebook, You tube) or user generated (e.g. advocates in discussion forums, blogging, Twitter, Flickr). It can detail how they respond to the things immediately, but also what we are trying to do over the longer term. Channel and Technology Thinking This section should ensure that technology and channels are part of the early conversations in developing the things we want to make. Here you should write the thinking or the principles that could inspire new channels or uses of technology e.g. channels which are associated with success, location-based technology. You do not write executions of that thinking here; you put that in the ‘Things we could make’ section. It should include the best judgments we can make about what is helpful at this stage in the process. It is not a mandatory list, and should be revised iteratively as we progress to making things. Things we could make This question will strongly focus our minds on output. The section should state the things that are needed to be made as a result of this brief. Sometimes those ‘things’ will be advertising things, like a print ad. Sometimes they will be on-line things, like a website. But it can also include real things that need to be made — physical objects — like a book, or a chair, or a spoon. Include any mandatory things that have to be made (e.g. a TV ad), but also include your own specific suggestions that execute your thinking in the ‘Channel and Technology Thinking’ section (e.g. use Limousines as channel, make a Bluetooth service that sends passers-by a voucher). These are not mandatory but will be helpful. Where in the world This should list the geographies involved AND summarise the thinking about how we should tackle them. Is it one-size-fits-all? Or do we want different things for different clusters of countries? Timing/Making it happen It should include key timings, but should also be about the broader path to getting to ‘go’. This should include key obstacles and plans for how to overcome them. Budget & Creative Mandatories This should be absolute executional ‘must-haves’, not ‘would-be-goodto-haves’. Approvals Approval processes may vary around the world of JWT. But briefs should be approved by at least one person, other than the author, before creative development begins in earnest.

You can see four examples of best practice Creative Briefs over the following pages.

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Creative Brief

F I G . 3 3 : B I N G B E S T P R AC T I C E C R E AT I V E B R I E F

Client:

Microsoft

Project:

Brand:

Bing

Contact:

Date:

Job no:

Creative Brief Brand Idea

(?)

The Decision Aid.

Discoveries from the world People’s use of Google is more habitual than brushing their teeth. Google often retrieves unhelpful pages of irrelevant links. People are using search engines to help make decisions. Problem

(?)

Google is an ingrained habit that is very hard to break. Hence Microsoft has only a very small share of the search market.   (?) Participants Anyone with an important decision to make. They currently use Google as their default choice, but there is no sense that a choice is being made between search engines. People like Google, but have a more functional rather than emotional connection to it.  

Task

(?)

Surface the sense of dissatisfaction with Google. Convince people there is a real alternative.   Stimulus

(?)

Bing. Where smarter searches make smarter decisions. Response

(?)

Not all search engines are the same. Bing is for those searches where I want to get a head start on making an informed decision.   Channel and Technology thinking

(?)

Use channels and technologies that disrupt behaviour. Hijack the search process on Google.   The things we could make

(?)

Screen takeovers, rich media pop-‐ups, content for an entire ad break on TV.  

Where in the world US.   Timing

Budget

 

 

Creative Mandatories

Approvals

Use the line,’ Bing and decide’.

 

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Creative Brief

F I G . 3 4 : H E I N E K E N B E S T P R AC T I C E C R E AT I V E B R I E F

Client:

Heineken

Project:

Brand:

Heineken

Contact:

Date:

Job no:

Creative Brief Brand Idea

(?)

Made to Entertain

Discoveries from the world The world is in a deep recession, but in comparison Italy is in an even deeper one. Consumers will become enormously price sensitive in the coming months. Beer drinkers have a common understanding of how to behave with their male friends. Heineken is famous for sponsoring and providing entertainment eg Champions League, music gigs. Problem

(?)

Heineken’s premium price will come under great pressure as the recession bites. Drinkers will more than likely trade down to cheaper alternatives, especially at home.

Participants

(?)

Slightly older beer drinkers in Italy who have a longing to stay young and enjoy the entertaining camaraderie of the mates – the ‘Peter Pan Syndrome’. They are aware of the important ‘friendship rules’ that exist between them and their drinking buddies eg being not serious, being loyal, not being grown up, being carefree… Task

(?)

To add emotional value – bonding -‐ to the Heineken brand to make it seem worth its extra cost. Stimulus

(?)

Heineken champions the unwritten rules of beer drinking. Response

(?)

This brand reminds me of the importance of my friends and my love of leading a youthful, carefree life. I should stay true to my mates and the beer that entertains us.   Channel and Technology thinking

(?)

Consider channels that are in themselves entertaining. Can people experience entertainment and not just hear a message about it? Social media is a critical part of friendship. Consider technologies that enable entertainment to be shared.   The things we could make

(?)

A ‘beer drinking rules’ book. A telephone helpline for men who are deserting their friends. TV ads are compulsory.

Where in the world Italy Timing

Budget

 

 

Creative Mandatories

Approvals

Must use endline, “Made to Entertain’.

 

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Creative Brief

F I G . 3 5 : A L L E N ’ S B E S T P R AC T I C E C R E AT I V E B R I E F

Client:

Nestle

Project:

Brand:

Allen’s

Contact:

Date:

Job no:

Creative Brief Brand Idea

(?)

Allen’s makes smiles

Discoveries from the world Australia hasn’t actually entered into a recession and has a reasonably optimistic economic outlook, yet the Global Financial Crisis has set a serious tone in the brand communications landscape. People’s love of lollies is universally linked to childhood when they would bring sheer delight and unmitigated joy to any moment. Problem

(?)

The Jellies confectionary category is no longer defined by Allen’s, rather the introduction of The Natural Confectionary Company has given consumers a very rational ‘better for you’, ‘natural’ option, and Allen’s, lacking an effective ‘better for you’ option, hasn’t been competitive. Parents have become focused on a perceived healthier choice and forgotten about the impact the fun of lollies can have on both kids and adults alike. As such, we are witnessing the decline of a 120 year old Australian icon.

  Participants

(?)

Parents, mainly mums. She looks fondly upon her own childhood as being full of curious wonder and adventure, unlike the more restrictive and over-‐scheduled lives kids must live today. This is why she thinks it is important to provide opportunities to create and share in childlike delights like lollies with her kids and family. Task

(?)

Win the hearts of mums and kids alike by putting the fun, magic and smiles back into Allen’s jellies. Stimulus

(?)

Release the wonderment of childhood with the magic of Allen’s Response

(?)

With Allen’s I can create an outlet for fun and joy my kids need for their happiness and wellbeing.   Channel and Technology thinking

(?)

Channels to entertain and entertaining channels. Must be able to tell the brand story to reignite people’s love of Allen’s.

  The things we could make

(?)

Large-‐scale childhood nostalgia event, with associated filmic content. Street artists. TV is mandatory. Where in the world

Australia Timing

Budget

 

 

Creative Mandatories

Approvals

 

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Creative Brief

F I G . 3 6 : C O C A - C O L A B E S T P R AC T I C E C R E AT I V E B R I E F

Client:

Coca Cola

Project:

Brand:

Coca Cola

Contact:

Date:

World Cup Song

Job no:

Creative Brief Brand Idea

(?)

Happiness

Discoveries from the world Every four years the world unites to celebrate not only football but the coming together of different nations. At least that’s how some countries face it... Brasilians, however, see it in a more intimate way: the team’s matches are bank holidays – the country literally stops to get together and support them. E.g., São Paulo, one the cities with heaviest traffic in the world looks like this: youtube.com/watch?v=FpPJ3yxijzk. Brasilians cease facing football simply as a sport or the love for a team/player. It becomes the main content for everything: Carnival, soaps, songs, talk shows… it transcends everything to rise as the focus of all conversations. Problem

(?)

During the World Cup there is also another championship going on: the World Cup of brands – dozens compete for a place in the consumers’ hearts through football. There is huge clutter and similarity in how brands speak about football.     Participants

(?)

Football-‐loving Brasilians – teens in reality or at heart. Mainly from lower income class, football is already their lens through which they live their life. Being part of Brasil’s winning and massive crowd of supporters makes them proud – it’s their main patriotic expression.

 

Task

(?)

Find a unique way for Coca Cola to speak about football during this World Cup. Turn Coca Cola’s jingle into the most memorable World Cup song in Brasil.   Stimulus

(?)

Coca-­Cola’s song helps you celebrate in the World Cup Response

(?)

People will sing the song during the World Cup games.   Channel and Technology thinking

(?)

To make the music as whole part of the participants’ ‘football life’.   The things we could make

(?)

A football chants app for smart phones. A soundtrack to the football TV show.  

Where in the world Brasil   Timing

Budget

 

 

Creative Mandatories

Approvals

Must use endline “Celebrate in your own way”

 

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Creative Brief

NOTES

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Creative Brief

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The Value Exchanger

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The Value Exchanger

What is the main purpose of this tool? This tool is to help you understand and design the value exchange your brand offers to its participants for their engagement and participation. At its simplest this means that participants get a greater reward than the effort or input that we ask of them. This positive value exchange makes it much more likely that your activity will be successful because it is more likely that our participants will actually participate! Where in the process should this tool be used? This tool can be used during Collision and Make. In Collision, thinking in terms of a value exchange can help open up new ideas. In Make, this tool should be used to evaluate what we are asking participants to do and what we are offering in return. Helping us be confident that our idea will work. How does this tool work? Any engagement between a brand and participants is a value exchange. What they get for what they give or do. From the experience of the product for the price they pay, to watching, commenting on or even uploading on-line video, they are all an exchange of value. Successful brands are generous; they offer a positive value exchange. Participants are fairly or generously rewarded for what we ask them to do. They are not asked for more than they will get back.

WHAT PARTICIPANTS PUT IN

WHAT PARTICIPANTS GET OUT

Effort required for participation Reward of participation

FIG. 37

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The Value Exchanger

The tool takes you through a number of steps to understand your brand’s value exchange; the effort required from participants and the reward they get. How to use this tool? To use this tool is a 5 step process that involves working out what you are asking of your participants and what they get in return: Step 1: Define the effort you are asking of your participants Write down what you are asking your participants to do. Be specific.

The template for you to fill in is below: WHAT PARTICIPANTS PUT IN

WHAT PARTICIPANTS GET OUT

Effort: What you are asking them to do

Reward: What they get for participating

FIG. 38 Step 2: Decide if this effort is High, Medium or Low To decide whether what you are asking of your participants is High, Medium or Low in terms of Effort, use the Scale of Effort: FIG. 39

SCALE OF EFFORT LOW Like

MEDIUM Simple game

HIGH Multi-step alternate reality game

SIMPLE

COMPLEX Watch

Comment

Make & share content

RECEPTION

CREATION Read

Publish behaviour

Sharing invite friends

PRIVATE

PUBLIC Click

Comment

QUICK

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TIMECONSUMING

123

The Value Exchanger

The main dimensions for effort are: complexity, level of creation required, degree of public audience and time needed. This is not definitive, and you should use your judgement and knowledge of your market and your participants to adjust the levels. For example, some younger groups will be much happier sharing personal information than some older, lessdigitally native groups. The effort of participation will exist on a number of dimensions that will define whether they are high, medium or low. The scale shows the different dimensions and provides examples of actions and interactions that fall under each level. Step 3: Define the rewards that participants get from this idea/activity After evaluating the effort, it is time to define and write down the reward you are offering participants. What do they actually get? Step 4: Decide if the level of reward is High, Medium or Low Determine the value of the reward. Rewards can vary widely, however the Scale of Reward captures the main dimensions that they can be assessed on: Utility, Entertainment, Social Kudos (meaning gaining social recognition), and Financial or material gain.

FIG. 40 SCALE OF REWARD LOW Make something a little easier

MEDIUM Good app vs mobile web-browser

HIGH Able to do something never done before

USEFUL Email joke

Fun video on youtube

Content/ programming

ENTERTAINING Something you’re seen to like

Content you share widely

Social fame

SOCIAL KUDOS

Coupon

Free downloads

Big prize

FINANCIAL/ MATERIAL GAIN

Judging the scale of reward is largely subjective, but the harder and more honest you are with yourself about the reward we are offering, the more accurate will be the evaluation of the exchange.

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The Value Exchanger

Step 5: Map out the value exchange and identify if it is positive, flat or negative Look at the balance between reward and effort. Is it balanced in the participants’ favour? (Hint: it needs to be positive!) Successful brands and digital activity are generous, we should be creating ideas with a positive value exchange. If it is then you have a good chance of success.

Example 1: SMIRNOFF NIGHTLIFE EXCHANGE FIG. 41

SMIRNOFF NIGHTLIFE EXCHANGE

Effort: What you are asking them to do

Reward: What they get for participating

Suggest nightlife events in their city/country. Vote on others’ suggestions on facebook

The chance to attend an amazing, once in a lifetime, party where another city’s nightlife is transferred to their city

The Smirnoff Nightlife Exchange, available on the Creative Showcase, is an excellent example of a positive value exchange. In return for posting suggestions of the best of their city’s nightlife on Smirnoff’s facebook page, they get the chance to attend a great party where the best of another city’s nightlife is brought to them. For those who didn’t get to attend the major event, there are still rewards in the form of suggestions for their nightlife, smaller Smirnoff sponsored nights and listings and content around fashion, music and venues. The effort of participation is low to medium whilst the rewards vary from Very High (an amazing world-class party) to medium. Which helps explain its success and why it is an ongoing part of Smirnoff’s activity.

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The Value Exchanger

Example 2: American Express at SXSW12 FIG. 42

AMERICAN EXPRESS AT SXSW FESTIVAL 2012

Effort: What you are asking them to do

Reward: What they get for participating

Sync Amex card with Twitter Tweet promotional hashtag Exclusive discounts and offers eg. Entrance to exclusive Jay Z concert at SXSW12

SXSW (South by Southwest) is the premier technology, media and music festival in Texas. At this year’s there was an innovative promotion from American Express enabling cardmembers to turn customised Twitter hashtags into savings via sync.americanexpress.com. Promoted with the tagline “Sync. Tweet. Save.” the social marketing promotion is the most direct use of Twitter to date by a brand that creates a real utility for customers in the form of couponless savings loaded directly to their synced cards and automatically delivered in a credit statement. The consumer effort required to sync your card with Twitter is quite high, not least due to potential consumer privacy concerns of sharing your personal data over social networks. However, the Jay-Z promotion at SXSW12 was the hottest ticket of the event, targeted to a community of early adopters. So this had great potential to be very successful. Negative Value Exchanges The examples above are all cases where there is a positive value exchange. You will probably know examples from your own market or region where the value exchange has been negative. Where people have had to do a lot for very little reward. This tool helps make sure that we don’t produce those kinds of ideas!

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The Value Exchanger

NOTES

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The Value Exchanger

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Channel and Technology Plan

Client: Brand: Date:

Project: Contact:

lan Technology P Channel and

Job no:

Brand: Brand

Brand idea: Br

re

name goes he

and idea goes

here

es here

paign idea go

ea: Cam Campaign id

re

re

Tasks:

Task goes he

re Task goes he

Task goes he

re

Participants:

Channel / Technology strategy:

go Participants

here

nology Channel/tech goes here

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strategy

gy nology strate

Channel/tech goes here

here

go Participants

gy

nology strate

Channel/tech goes here

re

re

Things:

go he Participants

Things go he

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re Things go he

Things go he

Channel and Technology Plan

What is the main purpose of this tool? The main purpose of the Channel and Technology Plan is to help define the strategy for the different types of things that we need to make. It will help you understand the tasks we have to achieve and organise the things in terms of where they appear and the role they should play. Where in the process should this tool be used? This tool should be used at the end of the Collision part and during the Make part. You will probably find that as you go through the Make part, your Channel and Technology Plan will evolve as you begin to actually make things. The Channel and Technology Plan is primarily for the agency to help develop all the things we need to make, but it can also be a valuable tool to use with clients to discuss the shape of the campaign. How does this tool work? This tool works by providing a template to map the flow of an idea. It’s a ‘task-driven’ template, and the tool is built upon the key tasks we have to address for an idea to deliver its objectives. It will both inspire the development of new assets and identify where you might need more. The Channel and Technology Plan should be used together with the Creative Brief. How to use this tool? You use this tool as a way to capture your strategic thinking about Channels and Technology. You should always have some thinking about this every time that you write a Creative Brief. Early on in the development you will have hypotheses about how to deliver your idea. You should capture these using this tool, even though you know that they are going to change later. The tool then provides a structure to outline how your idea will be delivered. Brand This is where you write the brand name. Brand Idea This should describe the idea for the brand. It will therefore be a short phrase or sentence. This is not an endline that may already exist for the brand. Neither is it the campaign idea that a brand may be employing.

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Channel and Technology Plan

Campaign Idea This should describe the Campaign Idea that the Channel and Technology Plan is about. As you are developing the work, you may not know for sure what the Campaign Idea is. This is OK. You can put in something that is work in progress. Tasks This is where the thinking about Channels and Technology should begin. You should outline the tasks that you believe are necessary for your Campaign Idea to work. Think about the key barriers that you have to overcome in order to achieve your brand objectives. Write them down. It is likely there will be several. This will include things like raising awareness, creating a direct behavioural response, building an experience or motivating the trade and so on. When you are defining the tasks try to be as specific as possible about what it is that you are trying to achieve. This part of the tool will specifically drive the channels and technology that you decide to use. It’s probably the most important bit to get right. Participants This is where you identify the key audience or audiences that the tasks need to address. This should relate to the audience that you have defined in the Creative Brief. However you should think specifically in this section about the details of your audience. It may be the case that you have several tasks to achieve with the same audience, but more and more commonly we will actually have different tasks for different audience subgroups. In this section this is where you can create further subgroups, if they are important for specific tasks. For example ‘digital opinion leaders’ can be critical in shaping mainstream beliefs. Or trade buyers often dictate shelf space for mainstream products. Channel and Technology Strategy This is where we identify the channels and the technologies that will be most appropriate for this task with this audience. You should think specifically here about how you think the actual things we make will work. How will people participate with them, and how will that help us achieve the tasks identified? What are we using these channels or technologies for? You may need to challenge yourself, the team and the client about why you are making some choices? You might find that an unexpected option is a better solution to the task, than the one you first thought of. Things This is where we capture the actual things we will need in order to implement the plan and make the idea work. This might be as simple as a list of advertising you need. However, this is more and more unlikely as brands are using much more than advertising to engage with people in different ways. You can also include things like online participation strategies, brand partnerships, or sponsorships. Use the Circle of Things to help you consider all the options.

Once completed, the Channel and Technology Plan will provide a comprehensive roadmap for how the idea will work, and the things you need to make to bring it to reality.

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Channel and Technology Plan

This tool is most potent when the selections we make are either fuelled or supported by data, e.g. TGI, Chorus, IPA Touchpoints. It can be be completed in isolation or in collaboration with media partners. It is not, however, a media plan. On the other hand, the absence of a data source shouldn’t prevent the development of a Channel and Technology Plan. This is not an excuse! At its most basic it will be a valuable tool in guiding creative development. Once you have completed the plan, review vertically, down through each task stream, to check the logic is flawless. A good, well-thought out plan should represent a water-tight piece of logic and provide a perfect framework to review and guide ongoing creative development and present work to clients. Finally, don’t be afraid to evolve it as creative work begins to emerge. Creative development and channel and technology thinking will always work in partnership with each other. One will inform the development of the other. The more that this happens the better things are likely to be. Just make sure that when you settle on a plan do a final check that the logic remains watertight. FIG. 43: SMIRNOFF CHANNEL AND TECHNOLOGY PLAN Client:

Project:

Brand:

Contact:

Date:

Job no:

Channel and Technology Plan Brand: Smirnoff

Brand idea: The Champion of one of a kind experience/Be there

Campaign idea: Nightlife Exchange Project Tasks:

Build excitement about nightlife experiences

Build a community of party goers

Deliver a one of a kind night on a global scale

Participants:

21 – 45 vodka drinkers

21 – 30 year olds looking for original experiences

Party goers, style leaders and the trade

Channel / Technology strategy:

9WI½PQXSGIPIFrate past experiences and events

Use facebook as a hub for interaction, news and live streaming

Party curators, live events

Things:

TV spot, youtube strategy for online distribution

facebook page, consumer competitions, regular news updates, live streaming technology

Party curators, live events

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NOTES

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Circle of Things

MORE REAL WORLD Activation

Action

NIGHTLIFE EXCHANGE PROJECT

Transmission

Interaction

User Generated

PARTICIPANTS

BRAND

Product

Word of mouth Dialogue

MORE VIRTUAL WORLD

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Circle of Things

What is the main purpose of this tool? The main purpose of the Circle of Things is to organise and understand the things that we make, based on our ideas. It will help us to see the different types of things that our ideas can turn into, and how they relate to the brand and its participants. Where in the process should this tool be used? The Circle of Things is relatively versatile, and can be used in several parts of the process. The most obvious place to use this tool is in the Make part. Here it is a tool that can be used to arrange all the things that have been made for a brand (or a specific campaign idea or initiative for a brand). It is a good way of presenting examples or case histories of our work, our competitors, or just interesting brands. It can also be used during the Collision part of the process. At the start of the collision The Circle of Things can be used as a prompt to help people think about the different types of thing that it is possible to make. Later on in the Collision part, once ideas for things start to emerge, The Circle of Things can be used to collect and organise the variety of ideas and things that appear. The Circle of Things is an important tool for the agency because it will help us understand all the different types of things that can be made for a brand to help connect with participants. In particular it will help us understand the non-traditional things that we should perhaps be doing more of. It is also a useful tool for conversations with clients about great case histories and the things that we make together for our brands. How does this tool work? The Circle of Things is a circle that describes the relationship between a brand, its participants and our ideas. Inside the circle there are spaces which allow us to organise different things around a central idea. The spaces within the circle represent different types of things. These spaces are arranged according to how much influence the brand has, how much influence the participants have, or where the brand and participants meet on equal terms. How to use this tool? The left hand side of the circle is the brand side. This is the side where the brand has the most influence over the things that are made. For example this is where things like advertising or PR messages exist. Messages which are completely controlled by the brand and transmitted (in broadcast, narrowcast, or however might be chosen) to the participants. The right hand side is the participant side. This is the side where the

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Circle of Things

participants have most influence over the things that are made. For example user-generated films that include brands like the famous Mentos and Coke experiments. Here the brand has no control over the content or distribution of things. There is a further dimension to help understand the different types of things. The spaces around the top of the circle are more real world things, like products or events. The spaces around the bottom of the circle are more virtual world things, like websites or on-line discussion forums. But remember all the things are very likely to interact with each other, and the different spaces are just there to help understand the different types of things. Below are some short descriptions of the spaces inside the circle. Starting with Idea in the middle, then out to Transmission and moving clockwise… Idea This is where you write the central idea. This can be a brand idea or a campaign idea. This idea will be the inspiration for all of the things collected in the circle. Transmission The things that are completely controlled by the brand and simply transmitted to participants on the brand’s terms. This would include things like advertising, PR, or an email campaign. Product The tangible things that the brand creates based on the idea, but are created to be used by participants. This might be as simple as a branded keyring, or pen, or maybe a full scale product like The Kit Kat Chair. Activation The things that are largely off-line experience based, designed by the brand, but experienced by participants in their life. This might be simple retail promotion, or as grand as the Red Bull Air Race. Action The things that are led by participants but with some influence from the brand. This might be party organisers for mother and baby products, or using sports stars as

part of sponsorship deals. User-generated The things that are entirely controlled by the participants. This might be content created and posted on YouTube, or even new uses for brands like Coke and Mentos. Word of mouth The things that are primarily virtual and participant generated, but may have some influence from the brand. This might be a blogger outreach programme or more conventional word of mouth seeded with opinion formers. Dialogue The things in the virtual world where the brand and participants can interact on equal terms. This might be a LinkedIn discussion forum, or perhaps a brand like Smirnoff that uses facebook as a live hub for its on-line presence. Interaction The on-line things that are primarily influenced by the brand. This might be a website where the content is brand generated, but is used as participants wish, or an app that the brand creates and is downloaded by participants.

Remember these spaces are just guides to help organise different

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Circle of Things

types of things, and you should feel free to move things around in a way that makes sense. Even the discussion about where things should be placed will be a useful exercise. If you want to add another layer to the discussion you can begin to talk about which of the spaces is the most important for your brand, or the campaign under discussion Example of a Circle of Things Here is an example from the Smirnoff Nightlife Exchange Project. Not all Circles of Things will be so full.

F I G . 4 4 : S M I R N O F F N I G H T L I F E E X C H A N G E P RO J E C T

MORE REAL WORLD Activation

Product

BRAND

Country Cocktails

Action

Container Crates

MTV

Local curators

Hype Films

Transmission

City announcements Facebook posts/pics

User Generated

Ads

PARTICIPANTS

Events

Call for ideas

Interaction

Blogs

Facebook ‘hub’

Word of mouth

Ideas shared

Dialogue

MORE VIRTUAL WORLD

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Circle of Things

NOTES

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Circle of Things

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Digital Ecosystem Tool

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Digital Ecosystem Tool

What is the main purpose of this tool? The Digital Ecosystem tool enables planners to understand how their brand’s activity works across channels and is connected across the entire customer journey in the most effective way. It also helps planners to identify potential gaps in the campaign architecture and rectify these prior to the start of any new activity. Where in the process should this tool be used? This is a tool for the Make stage of the Worldmade process. It is best used once the initial big digital idea(s) has been conceptualised and approved. It helps define how those digital ideas will be supported within the wider communications architecture. This tool is related to another tool, the Channel & Technology plan. It is more detailed and comes later in the process, and helps determine how the whole communications programme works together. How does this tool work? The Digital Ecosystem tool starts with another tool, the Consumer’s Buying System. If you haven’t already done this at the Discovery stage, you need to do it now. Please look it up on the Worldmade Planning Tools website on myjwt.com. FIG. 45

DIGITAL ECOSYSTEM TOOL TRIGGER

CONSIDER

SEARCH

CHOOSE

BUY

EXPERIENCE

PAID

OWNED

EARNED

The Digital Ecosystem tool uses two axes to map the ecosystem. The first of these is the Consumer’s Buying System. The second is the simple distinction between Paid (bought on- and off-line advertising, sponsorships), Owned (websites, apps, owned events and in-store/ point of purchase) and Earned Media (word of mouth, shared content, comments, user-generated content).

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Digital Ecosystem Tool

Between these two dimensions you need to map your activity, and most importantly, how the activity joins up. The arrows between the pieces of activity are the crucial element. The arrows between activity ensure that you are building a system – that there is a flow from one piece of activity to another and that that activity helps move the participants across the different stages of the Consumer’s Buying System. How to use this tool? Start with the Consumer’s Buying System as the organising framework for ecosytem planning. If you don’t already have one you will need to build one. The blank template is here: TRIGGER

FIG. 46

CONSIDER

SEARCH

CHOOSE

BUY

EXPERIENCE

PAID

OWNED

EARNED

1.

Map all your planned digital activity along the customer journey across earned, owned and paid categories. This may be simple or, if you have a complex activation with multiple phases across different platforms, it may be very complicated. The thinking you may not have done already is to map the activity against the stages of the Consumer’s Buying System. Please note that some elements, such as a major website or facebook page will function across multiple stages of the Consumer’s Buying System.You can see this in the Brand USA example overleaf with the discoveramerica.com site.

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2.

After the digital activity, map any planned off-line activity which should drive on-line (eg TV ad with facebook URL) or any off-line behaviour that will be the outcome of on-line activity (eg. on-line brochure request) into the journey.

3.

Work out the participant flow through the ecosystem and show them with arrows between the different activities. This phase is the most important. It is how participants flow from one activity to another. It is important to remember that in most cases there may be several ways for a participant to enter the

Digital Ecosystem Tool

ecosystem. They are unlikely to all follow the same route. 4.

When you have mapped your activity and the flows between them you will have your draft ecosystem. It may be great first time. Or it may not. What you may find is that some of your activity does not join up; there may be gaps. Or we may not be clinching the deal in terms of purchase or experience. All the activity may be at the Trigger/Consider phases. If this

Examples

isn’t a deliberate choice you will most probably have to plan and create some more activity to fill the gaps and to help complete the ecosystem. These may be small fixes (for example some extra banners or elements on a website) or major changes (eg. a post-purchase loyalty scheme). This is where the Ecosystem Tool is most useful. Have we designed a complete ecosystem or just a few elements of one? Good digital ideas are an ecosystem that flows across the Consumer’s Buying System.

FIG. 47

The J&J Muppets Band-Aid app is a recent initiative from New York that has a fairly straightforward ecosystem. The new augmented reality app was supported through PR and social media including an on-line film hosted on youtube and facebook.

FIG. 48

J&J BAND-AID MUPPETS AR APP TRIGGER

PAID

CONSIDER

SEARCH

CHOOSE

BUY

EXPERIENCE

Advertorial PR

On Pack signage

OWNED

Mobile Augmented Reality App Web film (facebook, youtube, Twitter)

EARNED

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144

Digital Ecosystem Tool

The social coverage, accelerated with paid PR is intended to drive product purchase and app downloads. The Buying System for this product is not the same as for regular Band-Aid. The aim is for news of the Augmented Reality kids plasters to act as the trigger for purchase rather than having an accident or running out. Therefore the Buying System is focused on the Trigger, Choose, Buy and Experience stages, whilst Search is limited since the product is available in the regular Band-Aid distribution points. Brand USA: FIG. 49 LOYALTY LOOP

BRAND USA LAUNCH CAMPAIGN TRIGGER

PAID

CONSIDER

On-line Advertising Launch TV – Anthem :60 – “See It” “Hear It” “Taste It”: 15s

OWNED

SEARCH Search Terms – US travel (generic) – Campaign-related – Co-Op related

DiscoverAmerica.com – Explore 250 Experience – Download Song – Build Suitcase – Co-Op offers

CHOOSE

BUY

Co-Op/DMO Banners

Co-Op Owned sites

YouTube

EARNED

EXPERIENCE

facebook.com

Foreign press coverage US press coverage

Social advocates

The Brand USA ecosystem is much more complex, which fits with such a large and multi-layered campaign. The core elements to note are the mix of paid activity, including TV, on-line advertising and Paid search. Also the ‘loyalty loop’ using owned and social media to ensure that post-purchase people become more likely to purchase another holiday to the USA. Finally, the discoveramerica.com website plays a vital role across much of the buying system.

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Digital Ecosystem Tool

NOTES

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Digital Ecosystem Tool

The 1 – 10 Scale

0 9 10 0 8 0 0007 6 5 4 3 21

G N I T A ECLASS B D L RO LEDT LEAD O W WM A RIR K ING NE N O R V A T CR IVE P OW A R M EDPED I N G T DWB I E CT NT AO AMRAINABL ST G G E EFING U L rands. ard for b d n a t s en er seth s a new nryevbe e ings v a st h This setmpete ve le e p th s ewoith p g w o in Thsisoco h h t t g me is one of ill rle cipatdin inarveetnpa rtigs It ’s This theebes wop thin ldn.dPe n .und. or eTfow raaro a b in th e r e h t h e is e h b People thin it will make th s nw s. ctin are ay star ting an oIt tegyraisw vatto Tldhm itoxin in with ivefind i r s aou e ndnew t w h a m e s.a great i T h n p t ways to m le fa g h us o d par f w an i ticip t t s ate it, and it will tlhcliinen hiell th an eod, gwith in e g s p t bbr w eP s e e g m o me asthould ca. nPisepigs PeoaTkhin do isgthin p at tentio the bra w nd. le b lgre icreipw kilin oanrpttefor il l pw nw ar tic a s flofitereleeaTlnw t otitteihh t e ip n. r i l d e n a w d g i t h p lo a opkferefo rd atTm . Peis o anh it. Tahtee aliand r d h m t d o c b h k r e w e a i o i inled antgecaituset hinegllsmy s tinllyfrpew It wiknI edPttehiw oahm llt’ds owoTiis ayao yo r hbar, sabnuot f that, ade plhlein n a l n . d s h g s lsrnfetcoahedu anbbrd wamoisbmew pyou bdt.h re duttacnndill atheltiolhlofiionk g inygakritnircibpreaaenndem are . o beauc nhlieodualldolgm sinin nuinldgfor s ow te w ad betiv kealiygs p heoaggisvntitoest iddnit’btveeyyoouur tbaorlfl aboith eit. rheomnehm arvy ond yadnad, ut i do t teelyr etonooch eatm es oavffo yrely’slp weasbsterqduiaeotebrred.inourte. t, no im d mreyo teanick leye. ary th iatk. apdueutr bodf , tlhy. Itn m in Tinhg . Pat rarnes e is ad i g fo is saosa eoopn .do. ucrlien e. r a r n le Yo ce t ny t odw w u’ds br f th ichill an in . d. g

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The 1 – 10 Scale

What is the main purpose of this tool? The main purpose of the 1 – 10 scale is to judge the work we create — the things we make. It was originally conceived as a tool to support the Agency’s Time Philosophy — a way of assessing the amount of Time someone would spend with an idea — but we don’t use it like that anymore. Instead, we now use this scale to judge our things by how much people will participate with them. Where in the process should this tool be used? This tool will mostly be used in the Make part of the process. It will help to evaluate things as they are being developed. You can use this tool on your own, or just in the agency, or with clients, to discuss and evaluate the potential things we could possibly make, and distinguish the ones we really should make from the ones we really should not. It will also be used to evaluate the things we have already made, or the things that have been made by our competitors, or even others in different categories. We can use it to make judgements about these things and how we think they will work, or are working out in the real world. How does this tool work? This tool is a scale from 1 to 10. Where 1 is the worst and represents a thing that really shouldn’t have been made and is likely to actually damage the brand it was made for, and 10 is a world beating thing that people truly participate with and does great things for the brand (and even the agency!) How to use this tool? The different numbers on the scale represent different levels of participation and quality of the things we are evaluating. Each number has a name, for example 7 is classified as INNOVATIVE. And each number also has a description that explains the level of participation that equates with that score. The name and the description are there to help decide which score should be awarded.

01 02 JWT PLANNING TOOLS

DAMAGING

WASTEFUL

This thing shouldn’t have been made. It’s damaging to the brand, the client and the agency’s reputation. You’d be better off making a sandwich.

This thing is a waste of resources and is poorly made. People will actively avoid it. This sort of thing does nothing for any brand.

148

The 1 – 10 Scale

03 04 BORING

PREDICTABLE

This kind of thing is out of date. People will find it very ordinary and will lose interest quickly. It is unlikely to help your brand.

This kind of thing has been made before. People already know all about it, and will be looking beyond your brand almost immediately.

05 06 COMPETENT

REWARDING

This thing is interesting and well made. People will appreciate it, but there are not that many ways to participate with it. It will do something for your brand, but could have done more.

This thing will get some attention. People can participate with it. They will feel rewarded because of that, and it will enhance your brand.

07 08 JWT PLANNING TOOLS

INNOVATIVE

MARKET LEADING

This thing is innovative and a great example of the things we should be making. People will participate with it and look for more things like this from your brand.

This is one of the best things around. People are starting to find new ways to participate with it, and it will do great things for the brand.

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The 1 – 10 Scale

09 10 WORLD CLASS

WORLD BEATING

This competes with the very best things in the world. People are participating with it in many ways. It will make the brand, client and us famous.

This sets a new standard for brands. It’s something people have never seen before and will reinvent how the world interacts with the brand.

When you are looking at some work, or a thing that we are thinking of making, or one that has already been made, think about how you believe people will participate with it. Think about how much they will get from it, and what else they might be able to do with it. If you think that people will be able to participate with it in many ways, or in just one way, but very deeply, or over a long period of time, then you should award a high score. How high is up to you. If you think that people will not really be able to participate very much, or will quickly move on to the next thing, then you should award a low score. Don’t be afraid to be honest. This scale can then be used to judge the things we make. It can work in lots of different ways. The most obvious way in which the 1 – 10 scale works is that it provides the framework for the Creative Council to evaluate all the agency’s work. Each quarter all the things we’ve made are awarded a score by the Creative Council, which helps us understand how well we are all doing. However, the 1 – 10 scale is not exclusive to the creative community and can, and should, be used by everyone to discuss the things we make. It’s there so we have a common language to talk about the things we make, and so that we judge our work in the same way. Most of all it’s there to be used, so have fun!

N OT E You will find the most recent examples of how the Worldwide Creative Council have used this tool on the showcase on www.myjwt.com.

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The 1 – 10 Scale

NOTES

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The 1 – 10 Scale

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Effects Roadmap

Campaign:

Client:

Contact:

Brand:

Job no:

Date:

Effects Roadmap Measured by:

Business Effects

Behavioural Effects

Attitudinal Effects

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Effects Roadmap

What is the main purpose of this tool? The main purpose of the Effects Roadmap is to map the effect of the things we make. It is a model of how we believe our activity will provide a financial benefit for our clients and their brands, and it is also the structure by which we will measure the effects. Where in the process should this tool be used? Measuring the effect of the things we make is an ongoing activity, so the Effects Roadmap tool can be used throughout the process. However, you have to start somewhere, so the best place to start is towards the end of the Make part of the process…just as it turns into the Discover part again. How does this tool work? This tool is a format to guide your thinking. The starting point of the thinking and the roadmap is our activity — the things we make. The end point is some financial benefit to our client’s business. The tool helps you map out the steps between these two points — the way the things we make can create the effect. How to use this tool? Using this tool does take some effort, but it will be one of the most valuable things you can do as a Planner. So please take the time to think about it carefully and then work through each of the stages to build the roadmap with data. The Effects Roadmap has two parts; on the left side, starting from communications, plot the steps and effects you need to achieve in order to reach the end ‘profit’ effect. In the right hand column, plan what data you are going to gather and how you are going to gather it in order to measure whether each step on the tool has or hasn’t happened. It’s probably worth saying now, you should prepare for quite a lot of effort in gathering the data. It is often harder to get it all together than it is to work out what the effect is! You will almost certainly find that you will need to amend the Roadmap as you go. New data sources will become available, or unplanned effects may happen. This is not a problem. In fact you should plan for some unplanned effects and build them in as you go. In building your model it is easier to start from the bottom — or the profit — and work you way back:

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Effects Roadmap

1.

Business effects How will the campaign provide your client with a stronger business? Will it increase revenue (such as increasing sales volume), increase margin (maintain sales volume with a price increase), decrease costs (encourage people to behave differently such as buy on-line), etc. Remember that, at a minimum, the client money spent creating the work or things that run in the world must be exceeded by the profit generated by that work. Otherwise the client might as well have put their money in the bank to get interest on it. Also remember that not all effects have to be about growth. Stemming a decline or maintenance of a strong position are equally valid.

2.

Behavioural effects The way we want people to act differently; such as recommend, trial a product, visit a showroom, etc. Bear in mind both the on and off line behaviours that might be important.

3.

Attitudinal effects The way we want people to think or feel differently; perceive the brand differently, imagery, consideration, affinity, etc.

4.

Communication effects Direct impact of the communications such as awareness, recognition, participation, etc.

F I G . 5 0 : E X A M P L E S T E P S O N T H E E F F E C T S ROA D M A P

Some example steps you might use include: Communication ENGAGE WITH effects CONTENT

CREATE AWARENESS

COMMUNICATE XXXXX

Attitudinal effects

Behavioural effects

Business effects

BE SEEN AS XXXXX

MORE DIFFERENTIATED

INCREASE BRAND APPEAL

INCREASE CONSIDERATION

EXCITE THE TRADE

CUSTOMER SATISFACTION

DRIVE TRIAL

RECOMMEND TO OTHERS

SHARE WITH OTHERS

BUY MORE OFTEN

BLOG ABOUT

INCREASE DISTRIBUTION

NEW USAGE OCCASIONS

VISIT SHOWROOM

INCREASE SALES VALUE

SLOW SHARE DECLINE

INCREASE SALES VOLUME

MANTAIN SHARE LEADERSHIP

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Once you have constructed a roadmap the next step is to find ways to measure the effects at each step. You may have to start by auditing what data is actually available. It is common that you may have to spend some time in the client’s organisation hunting for what information they have. It is nearly always the case that you will find something useful. In some cases you may want to set up some new research in order to measure the effects you are planning for. This might be something ongoing to measure overall brand and communications, or you might want to test something that is very specific to what you have made. Be creative about how you are measuring. Sales and tracking studies are an obvious source of data, but you can often also measure paid, owned and earned media in real time (video views, facebook likes, Twitter comments, blog posts, clickthroughs, time spent, etc.). Search through the multiple public data sources that you can find on the internet. Annual reports for example often have lots of useful information. —

Think about all the ways the communications could provide an effect For example, HSBC and The World’s Local Bank was designed to give a sense of size, scale and stability and expertise while at the same time developing brand values people could associate with. As a result of these attitudes HSBC could attract new customers while building greater loyalty amongst existing customers, impacting on increased revenue.

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Try to think about secondary audiences such as employees, the trade, etc. The model for Kit Kat brand communications might be to drive saliency, create brand appeal for consumers and excitement in the trade and increase the likelihood of consumers looking for Kit Kat in front of shelf when making an impulse purchase.

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Set objectives that will stretch the brand Try to set objectives for each of the steps. Evidence shows that those brands that set stretching objectives are more likely to be effective than those who don’t.

Once you have built your roadmap and gathered some data DON’T STOP. The Effects Roadmap is an ongoing tool. You can refine and develop your model, it will improve it, and you will learn more about what is happening. You can see examples of Effects Roadmaps in the following pages.

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Effects Roadmap

F I G . 5 1 : H S B C E F F E C T S ROA D M A P Client:

HSBC

Brand: Date:

Campaign: Contact:

15th July 2011

Job no:

HSBC Effects Roadmap

Communication Effects Attitudinal Effects

‡ Brand tracking

Awareness of campaign

Image of expertise

Image of scale, size and stability

Brand I trust

Values of diversity

Brand that shares my values

Attract new customers

Increase loyalty

Increase revenue

Business Effects

Behavioural Effects

Measured by:

Communications

‡ Brand tracking ‡ Analyst comments ‡ Annual reports

‡ Brand tracking

‡ Customer satisfaction ‡ Recommendation

‡ Average product cross-sale ‡ Market share by deposits

Pro½t

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Effects Roadmap

F I G . 5 2 : K I T K AT E F F E C T S ROA D M A P Client:

Kit Kat

Brand: Date:

Campaign: Contact:

15th July 2011

Job no:

Business Effects

Behavioural Effects

Attitudinal Effects

Communication Effects

Kit Kat Effects Roadmap Measured by:

Communications

‡ Communications tracking ‡ Shares, views, time spent

Create saliency

Increase brand appeal

Excite the trade

‡ Brand measures ‡ Likes, shares

Look for Kit Kat in impulse purchases

Increase quality distribution

‡ Distribution measures ‡ Sales team feedback

Increase frequency of purchase

Increase sales

‡ Rate of sale

‡ Share of market - volume

Pro½t

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Effects Roadmap

NOTES

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Effects Roadmap

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A few final things We very much hope that the tools in the book prove useful to you in your pursuit of great strategies and ideas. And ultimately useful in turning these into things we make. If you are able to use these tools it will help JWT be more Worldmade, and will help us develop more distinctive things. These books will evolve over time. If you have any ideas for tools, we would very much like to hear them to incorporate into future editions. Please also share your experiences of the tools in action. In particular, please share your examples. If we can gather more examples from our wide and varied network, our individual and collective knowledge will grow exponentially. You can do this by sending them to [email protected]. Lastly, these tools should help make the planning we do more interesting and more fun. Now go visit the tools on-line, www.myjwt.com/planning-tools

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