September 2014 - c3centricity | c3centricity

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How to Innovate More Creatively

I was recently on a trip to the US; a transatlantic flight on a Boeing 747, my favourite airplane – apart from the Seneca II that I used to own. Anyway, the reason I love long-distance flights is because they cut us off from everyday life, although unfortunately no longer the phone nor web these days.

They therefore provide us with a very rare commodity; some precious thinking time. How do we ever get that otherwise? Speaking personally, my brain seems to be constantly under pressure from the challenges of work, family, friends – in a word, living – so I love it when I need to get on a flight, the longer the better.

I watched Transcendence on this flight; it’s about the moment when the human brain and technology become one. I love science fiction (SciFi), because it frees the mind to dream and to be far more creative than the “normal” working environment ever allows.

After the film and lunch were over, my mind turned – of course – to business and how I could set my past, current and future clients free too; how to make them more creative as well as more customer centric. So this is what I came up with, far above the clouds and worries of my everyday world.

The future is in our h ands

We are all wise after the event, but how do we become wise before it? In my opinion, by setting free our thoughts about the future and our creativity. Many companies have an innovation group, but rarely do they set them free, to think big, to think out of the box.

In fact in many cases, they are literally put in their own boxes, separated from the business for which they are supposed to be innovating. Whilst the intention of this separation may be laudable – it is claimed that it provides increased freedom  – it generally doesn’t work, because the group’s creativity is not grounded.

Despite their incredible creativity, even science fiction writers are grounded; their stories are based on facts, a progression from current actualities to future possibilities. I am not suggesting that innovation be limited to the mere renovation of today’s products and services, but rather that they be based upon a realistic progression of today’s realities, rather than pure hypothesis. In particular, they should be developed out of current sociatal trends, behaviors and needs.

Trend following isn’t creative

Are you following trends? Are you happy with the information you are getting from your supplier? We all love to look at new inventions and products from around the world, but just think about what useful and actionable information you are really getting.

I’m sorry to break the news to you, but you are almost certainly getting exactly the same suggestions as the tens, if not hundreds of other clients your supplier has. Reports aren’t generally personalized, or only minimally, so whatever ideas their reports might spark, are likely to be sparking in every one of your competitors minds too!

So if trend following won’t help your innovation, what will? My answer would be many things; isn’t that good to know?

Develop your trends into future scenarios

Trends do not provide you with a competitive advantage, especially for innovation, so you need to first turn them into future scenarios. There are (at least) two ways to do this.

Firstly you can combine the trends and form what are often referred to as axes of uncertainty. When crossed, these form four (or more) new worlds for you to then define, describe and develop. Your possible actions in each of these scenarios can then be identified, so your business is prepared for all major possible risks and opportunities.

“We must never be afraid to go too far, for truth lies beyond” Marcel Proust (>>Tweet this<<)

The second way is by identifying the major trends that may impact your business and then letting a Science Fiction writer describe the world that could develop. It is not so much a matter of being right as being provocative, the more the better. That’s why SciFi writers are amongst the best people to stretch our thinking. They have the creativity to go far beyond what most of us would think about, even when stretching our thinking. After all, the point of future scenarios is to prepare business for the future, not to predict it (>>Tweet this<<)

Visualise the future

Once you have developed your scenario – or two – you should visualise them to increases buy-in and sharing. This can be through a simple presentation, descriptive profiles or more exciting animations and videos.

Lowe’s has been one of the companies at the forefront of such visual development, using virtual reality to develop The Holoroom to show what SciFutures‘ science-fiction writers had developed. The room puts consumers into a new world where they can see their own new world, at least of their home after their planned renovation.

Other industries that are quickly developing new virtual worlds for customers include car and plane manufacturers showing future travel options. Car purchasers can also experience their new cars before actually buying them and can help in the development of cars that more perfectly meet their desires and needs.

Innovating outside the box

In too many cases innovation is built upon reality and a company’s current offers, in other words are renovations not innovations, just a step change from what we have today. New products developed using scenario planning tend to be faster, clearer, more efficient, longer-lasting and overall more attractive.

Technology makes what was even unthinkable just a few months or years ago, a reality today or in the very near future. Everything is moving faster and faster, so businesses must do the same. As this is rarely possible, they must already think the unthinkable today, so that they are prepared when it actually happens tomorrow. (>>Tweet this<<)

Are you ready for the brave new world  that is estimated to be just ten, twenty or at most just thirty years from now? That’s when the point of singularity is estimated to arrive.

If you would like help in improving your own innovation process, or in developing a future scenario for your organisation, please let us know; we would be excited to inspire you.

C3Centricity used an image from Dreamstime in this post.

Should you Test your Advertising? If so, What, When and How?

 

One of my clients recently asked me a very interesting question, which I share here, as I am sure that you too have asked it from time to time. It was this: “Should I test my advertising and if so, when and how?”

Depending upon whether you work on the client side, in a media agency or are a creative in an ad agency, you will have certainly answered this in a different way. So let’s review all the pros and cons and decide what is right – for you – in different circumstances.

 

Should you test advertising?

If you work on the client side and ask your colleagues in an advertising agency, most of them would probably scream NO and that’s not surprising! Countless teams have suffered at the h ands of market research and the over-testing of their creative.

In the past sixty years or so, there have been many different metrics invented, with the intention of evaluating which of a client’s communication concepts would best meet their objectives. And that for me is one of the biggest challenges to ad. testing. Should you test a campaign or each individual ad? Should you test an ad built to increase awareness in the same way as one built for encouraging trial, purchase, repurchase, loyalty or advocacy? My answer would be a very Swiss “It depends”.

Firstly you have to be clear about why you are advertising in the first place, and what your campaign is trying to achieve. It still amazes me how many companies develop new campaigns simply because that’s what they do each year. Hopefully each new campaign has a link to the preceding one, but even that is not always obvious. Therefore start by being very clear with whom you want to communicate and why – and share that information with your ad agency.

 

When to test

A lot of companies have a st andard process of testing ads before airing. Whilst this could be admired, it often results in multiple ad developments. The feeling is that more is better. If you test two, three or more ads, you can then choose the winner to air. What’s wrong with that?

Well, in my opinion, quite a lot. You’ve just wasted a lot of time, money and energy in developing multiple ads, when you know you’ll most probably only use one in most cases. It’s time to think differently and spend your valuable resources more wisely. Once the ad agency has developed a number of campaign concepts or ideas that meet your carefully defined objectives, then that is a better time to test.

Don’t wait until you have gone further and produced animations, final prints or complete films before testing. If you wait until that late a stage in the development process, you are also more likely to designate a “winner” when in fact they could all be good – or bad! Working with concepts will help identify the real winning ideas you have, which can then be developed into a final version or two for copytesting – if you must, but more of that later. The earlier you test, the more resources your ad agency can concentrate on the most relevant concept(s), rather than diluting their efforts to give you the wide choice you usually dem and. No wonder ad agencies don’t like copytesting!

 

What to test

Another reason for testing concepts rather than finished ads, is to ensure that they can be turned into a campaign. I have witnessed many terrific, so called “big ideas” that were superb as they stood, but which it was impossible to visualise other than in the single form proposed. If you show your early work to consumers, they might even be inspired by the story of an idea and suggest other ways to show the concept you have developed and thus you get an indication of the campaignability of the idea.

For regional and global campaigns, there is often the added complication of the translation of the idea into other languages. There are many concepts in English that don’t or only poorly translate into other languages. English is a wonderful language that is particularly appropriate for advertising, because of the ability to make wordplays, or use idioms, acronyms, slang, compound words and other wonders of its grammar. In addition the English language is known for its extensive vocabulary, which is especially useful in advertising copy-writing. Whereas in another language you might only have one or two words to express a particular meaning, English may have five or six, each with subtle differences.  If you’d like to see some great examples of advertising messages “lost in translation” (>>Tweet this<<) check out this fun article from Business News Daily.

 

How to test

Depending upon their “st andard” processes, most companies will tend to use the same methodology, with no regard for the reasons for doing so. Are you used to copytesting all your developments in order to pick the “winner”, or to get airing approved by management? Some clients I know must score in the “top quadrant” on the usual copytesting impact and persuasion metrics in order to use an ad, even though there are valid reasons to accept lower scores on one or other of the metrics, depending upon the campaign’s objectives.

Some of the best – and most useful – campaign testing I have ever seen, was done qualitatively. But that alone won’t work unless you then allow the creatives, market research and insight groups to discuss the results together – ALONE! It was exciting to share consumer opinions with the creatives and they found it equally stimulating to share their ideas and get feedback based on real consumer input. Whoever said that creatives don’t like testing are wrong; they just dislike judgemental, sometimes disrespectful and bl and numerical results with little if any depth of analysis.

A powerful testing methodology I have had the privilege to work with is the unique one proposed by PhaseOne. Their scientifically based, proprietary technique, is based on over thirty years experience of academic work  and real-world validation. Their knowledgebase includes an extensive foundation including analytics in human behaviour, anthropology, culture traits, entertainment, education, communications and marketing. This enables them to accurately explain how your target will react to your messages and even more importantly the reasons why, without actually speaking with consumers. In comparative testing versus st andard copytesting, their technique has been shown to give similar outcomes, but with greater depth and underst anding of the reasons why consumers react to an ad as they do and not just the what. If you’d like to hear more about this unique methodology, especially if you’re having trouble speaking with your own target customers due to legal or confidentiality issues, I’d be happy to share some case studies.

 

In summary when it comes to testing your advertising:

  1. Know with whom you want to communicate
  2. Know what your target audience wants to hear
  3. Know why you are communicating, what the message is that you want to send
  4. Know which concept(s) have the most resonance with both your target audience and objectives, and why
  5. Know how the concept(s) will develop into a campaign across media
  6. Know how you are going to communicate, the most relevant medium and channels for your target audience

Can you answer all six questions before pre-testing you own ads? If so, well done; if not, perhaps it’s time to review your testing process.

 

Where testing came from & where it’s going

In conclusion, a few words about the future of pre-testing. Although advertising testing supposedly started in the mid 1800’s, it was in the 1950’s that performance metrics became the holy grail of clients, ad agencies and media sellers alike. From Day-After-Recall, to persuasion, and br and linkage to moment-by-moment systems, it wasn’t until this decennie that the importance of emotional rather than rational responses to advertising gained support. Today, emotional analysis has become widely available and customers’ reaction to the ads are measured, usually on the six universal emotions (happiness, sadness, surprise, fear, disgust, anger) plus neutral. Whilst it’s still early days in underst anding the connection between emotional reactions and br and impact, things are moving fast. C³Centricity is now offering facial coding as part of its services, whether for adding to market research projects or for the development of original promotions and point-of-sale activities. One such case study is available for download on the C³Centricity Members area here. (Free to join)

Interestingly, when I was doing research for this post, almost all the more recent articles I found were about the testing of online advertising, comparing PPC and positioning, of the usual paid, earned and owned media. However, with around two-thirds of budgets still being on traditional media – at least for now –  and Statista showing that consumers still trust it more than new media,  it seemed appropriate for me to concentrate on that here and leave online for a future post.

Also, I have covered only pre-testing here, yet I know many companies who are satisfied with running only post-tests. They admit that it is because they never have enough time to pre-test their ads which, at least to me, highlights a clear lack of concept testing in the first place. Hopefully I have explained why I think it is important, no vital, for clients, media and ad agencies alike, to do more of it. At least it will provide more material for those development discussions – before it’s too late!

Do you agree? Have I forgotten something? Let me know, I’d love to hear what you think.

C³Centricity used an image from Dreamstime in this post

 

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