• Okay, back to it with communications planning. After this and then this.

    Once you know who your audience is you need to consider their relationship with the market, it's communications and your brand.

    What's their relationship with the product/service? What about the category? What are th issues that matter to them? How do they choose? You need to get off your chair, away from the office and do this properly. Go and meet them, so you can find out what really matters – how does the product/category etc actually fit into their lives. How are people really using it?

    In folklore, the cheeseburger was invented by JWT, although you can get they observed people making their own someplace.

    Ikea knew that people were retreating into the home as recession bit, and was being reappraised as a safe place rather than an investment as the housing market crashed.

     

     

    Pot Noodle found that it was an understandable weakness.

     

    I think this bit is crucial – there's too much advertising in all it's guides, too many products. If you're going to cut through, you need to be relevant in people's real lives. You're competing against all sorts of stuff people find more interesting – so it makes to find what they're really interested in and work back from there.

    Then you need to look at communications. What it everyone else doing? What are the rules? What can we challenge? If you've done the previous bit first, this should happen naturally. Once upon a time, all you had to do was look at what the category did and then do the opposite. That's how TBWA's Disruption worked and what HHCL used to base their thinking on. Problem these days, it that you can't assume the consumer's paying attention to anyone's work.

    But still, directly breaking the category's conventions can and still can be powerful.

    From Irn Bru poking fun at 1980 Coke's fresh faced teenagers.

     

     

    To Dove challenging the perfect models everyone else tended to use (this went deeper of course, turning the beauty industry into a monster in general).

     

     

    Finally, what's their relationship with the brand being advertised? How do they feel about it? How do we want to move the relationship on? It's very rare you ever need to re-cast a brand from scratch. But that said, it's amazing how many brands portray themselves as they want to be rather than how they actually are. Find out what positive associations people have, build on that. Pepsi will find it hard to not be about the youth generation, Sainsburys is about quality food etc.

    Topline, this will all help you decide what strategy will deliver the objectives with the audience. What is the course of consumer behaviour, opinion etc you want to influence or change. In essence, what do you want people to think, feel or do that they are not right now, and what you know about the brand, consumer, market and especially culture that will help solve th problem.

    Delve into the culture around the brand, delve into culture in the category – real culture, real lives. FInd the connection and bingo.

    So that brings you to the core question.

    What action to you want the target to take?

    Successful, persuasive communication ends up in a change in behaviour. Of course you want people to think and feel different, but in the end, you want them to act. Communications may well change how they feel but that's always in order for them to act differently than before..carefully looking at the decision making process should help you define what behaviour you want to change.

    Honda wanted people to test drive the cars, but they had to make the idea occur to them by making the brand interesting.

     

     

    That Pot Noodle example before was about increasing frequency by making revel in their guilty pleasure rather than feel bad about it.

    Lurpak wants people to take time over Saturday breakfast.

     

    In one of the most famous case studies ever, Porsche wanted non-Porsche drivers to respect the drivers a little more as driving enthusiasts rather than image conscious wankers – so that considerers wouldn't be put off.

    Porsche-ivory-tower
    Playstation wanted to move beyond their loyal, cult fanbase by getting more people join in, making the games a fun social thing for all, rather than a solitary pursuit.

     

    Morrisons wants new visitors by redefining the stores from cheap and old fashioned to th best place for fresh quality food.

     

    So, to recap. What's the objective? What audience is big enough and has the right interests and characteristics? Delve into the brand culture and the consumer culture – pinpoint what you want them do. What behavioural change can you influence that will deliver the results you want.

    Coming back to Sainsburys – if we can get every customer to spend one more pound with every visit we'll hit the numbers we need to.

    We want to change their behaviour from sleep shoppers – a boring routine in the store and a boring eating routine at home, to experimenters.

    The task for communcations is to encourage safe experimentation – 'Try something new today'.

    That's all for now, promise this will be finished this week….

     

  • Andrea's published her dissertation. It's on ghd, so naturally I'm interested. You should read it too.

    Andrea did work experience with me last year. She blew us away with her project on reducing teen smoking. She's graduating this year and you should be thinking about taking her on.

    Ideas pour out of her and she'll look at something in a way you simply haven't thought of (she makes good tea too).

  • I like the Adidas Originals stuff – it gets that a great brand needs a setting, a sense of place.

    It also gets the need for story.

    'The street where originality lives' ticks both boxes for me.

  • If you want to be more creative, you could wear black and the occasional ironic t-shirt, maybe say 'no' a lot and even make logos invisible to the naked eye.

    However, there are some psychological tricks you can employ instead.

    1. Introduce some greenery. Red agitates us, blue relaxes us, but green both calms and invigorates. Get a pot plant, write in green ink, if you're running a workshop, wear a green t-shirt.

    2. Do something else. The subconsious is very clever, you need to let it work.  Once you know what the task is, do a word puzzle, anagram or play  a bit of Sudoku. Then get back to it – your subconscious will have lots to tell you. On the other hand, if you hit a wall, just push it a little further, then do something completely different – stuff will just pop into your head and the subconscious carries on working.

    3. Lay down. The bits of the brain that do the creative bit actually work better when you're horizontal.

    4. Get into the frame of mind of someone else. Write down a day in the life of anyone creative, disruptive or anti- rules. A day in the life of a punk, an artist or a dancer. Your mind convinces itself it's brimming with ideas and creativity and off you go. Don't do this for a creative genius though – the mind get's intimidated and blocks – so no Da Vinci, Keats or Bono (just kidding about Bono). Or just ask yourself 'What would XX do?'.

    5. Get some modern art. If you have a poster of a number of arrows all pointing in the same direction, except for one, the brain reacts the rule breaking…sounds silly, but it's proven.

    6. Get interested.  Every day, find out why something is as it is – like why tihs snetece is rdaedlabe tohugh it is slpet worng. The brain get's stimulation and you have lots of stuff stored to connect to.

    Have a go, you never know.

  • I'm not the first to notice the importance of simplicity of course, but anyway…

    Just in case you thought talking or writing in big words and complex language makes you look clever, think again.

    Talk like a human, take the time to write less.

  • It's not hard to end up busy

    All those routines

    Grafting to pay the bills

    Maybe trying to do something better than last time or just hit a deadline

    Scurrying to do all the things you put of until later, but later is suddenly nowc dammit

    Yep, very busy, busy existing. But living? Hmmm

    I usually wake while the sun us still coming up. Tomorrow, I'm going to get up ten minutes earlier, drive a mile into the hills and just look at it. No reason, just want to remember I'm alive, I live in a beautiful part of the world and be grateful.

    Then I'll go swimming.

    Then I'll go to work.

  • Next on the self obsessed quest to write down one thing that went well yesterday..

    Everything's new when you start a job.When you present to a new client, it's not just them you're presenting to, you're being sized up by the new people you work with. A planner needs an account director to trust him/her, to feel comfortable putting you in front of their clients, I guess, in the end, they need to know you'll make them look good. It's not fair, but suits,clients and creatives can get along just fine without planners if they want. We have to earn our place in a room.

    And yesterday went fine. Both in terms of doing a double hander with the account directing person from work and discussion with the client. Not perfect, but okay. Felt like I'd be invited back.

    The day before, I was in charge of the cooking for Mothers Day. I bit off more than I could chew, deciding to cook three dishes I hadn't done before – proper Indian food, grinding spices, the lot. An hour before people arrived it was very apparent I needed to do at least three things at once. But we just about got there and everyone seemed to like it. Felt good to have managed it. Always a pleasure to see people enjoying the fruits of your labours, both from a vanity point of view and 'giving'.

    That'll do for self congratulation, now lets move on to counting some blessings…

  • Good riddance Duffy.

     

    Hello Marionettes. From taking a break from being what others want you to be, to taking a break from being serious. More importantly, from a trite, spiritual, worthy tone, to, well, lightening up. I suspect they were trying to do the same thing with Duffy – it's a complicated world, times are serious, escape it for a bit, but just shows how tone is at least important as message (and what the hell were those awful blue tights?)

     

     

  • So it's day two of the writing down things that went well thingy.

    Yesterday I had a  a really good conversation with a creative about some work and managed to not only have one or two ideas to build on his, he quite liked them too.

    Persuading creatives to let anyone esle have idead is always tricky, when you're new it's doubly so.