Storytelling and TV Advertising (No Story, No Glory)

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This is a presentation which Alain Thys gave at the VTM TV Day in April 2011 to an audience of marketing and advertising professionals specialised in TV advertising.

Even though Alain is not a big fan of TV advertising, the main message of the speech was "if you want to do TV adverts, at least do them well".

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Copyright notice: All imagery has been selected from the Futurealb (purchased) image libraries or generally available promotional materials. If you somehow feel that your property rights have been violated, please get in touch and any misunderstandings will be addressed immediately.

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Storytelling and TV Advertising (No Story, No Glory)

  1. 1. Alain Thys<br />“No Story, No Glory”<br />FUTURELAB<br />
  2. 2. The $200 billion question<br />How do we go fromimposingourselvestobeing embraced?<br />FUTURELAB<br />(*) 2012 Global TV advertising forecast = $202bn, Zenith Optimedia December 2010<br />
  3. 3. Or being even more ambitious<br />Can we get peopletohit pauseinstead of fast forward<br />FUTURELAB<br />
  4. 4. #ChangeMarketing:<br />I don’t have all the answers, but I’mwillingto look forthem.<br />
  5. 5. FUTURELAB<br />5 Suggestions<br />from the world of storytelling<br />
  6. 6. FUTURELAB<br />Theywillrequireco-operation<br />Brands, agenciesand TV stations needtodevelop a new approach<br />
  7. 7. Orthodoxieswillneedtobechallenged<br />Especiallyiftheystopped making sense<br />FUTURELAB<br />
  8. 8. FUTURELAB<br />But considering the prize, the effort is worthit<br />Whatifconsumersembracedourmessageswillingly?<br />
  9. 9. FUTURELAB<br />Suggestion #1 <br />Take your time<br />
  10. 10. Let’s face it:<br />Only a genius <br />can tell a story <br />in 30 seconds <br />or less.<br />For Sale: Baby shoes, never worn<br />FUTURELAB<br />
  11. 11. http://www.angryalien.com/0604/titanicbunnies.html<br />Case: Titanic is a great story, but<br />It justisn’t the same in 30 seconds<br />FUTURELAB<br />
  12. 12. FUTURELAB<br />We will continue with this programme after these important messages.<br />Sowhy do we hurry? Where did the 30 second spot come from?<br />
  13. 13. FUTURELAB<br />Orthodoxy alert<br />Pat Weaver<br />& Leonard Lavin<br />
  14. 14. FUTURELAB<br />Orthodoxy alert<br />As advertising industrialised, the logic becameentrenched in the system<br />
  15. 15. Whatif?<br />The 30 second orthodoxy didn’texist?<br />You had the time you needed to tell the story?<br />http://www.youtube.com/watch?v=BMjoEFyWn8w<br />FUTURELAB<br />
  16. 16. Suggestion #1<br />Make sure you have the time you need to tell your story<br />FUTURELAB<br />
  17. 17. FUTURELAB<br />Suggestion#2 <br />Consider context<br />
  18. 18. Every storyteller asks:<br /><ul><li>Who is my audience ?
  19. 19. Why are they coming ?
  20. 20. What is on their mind ?</li></ul>FUTURELAB<br />
  21. 21. FUTURELAB<br />Ifyouforgettoaskthem, <br />Things go wrong<br />
  22. 22. FUTURELAB<br />“YEAEEEH!!”<br />Some time ago, my son and I had the house to ourselves<br />
  23. 23. Movie Night<br />Minimum effort, maximum explosions<br />Don’t worry Mrs. Thys, I’ll take care of your boys.<br />FUTURELAB<br />
  24. 24. FUTURELAB<br />We had it sorted<br />+<br />+<br />=<br />
  25. 25. On the edge of our seats<br />OMG Will’s in trouble, how will he EVER get out of thiscarchasealive???<br />FUTURELAB<br />
  26. 26. FUTURELAB<br />Time forsome important messages on the benefits of well-fitting female hygiene products.<br />
  27. 27. FUTURELAB<br />What’s wrong withthis picture?<br />+<br />+<br />+<br />Femalehygiene<br />Popcorn<br />Will Smith<br />2 guys<br />
  28. 28. Impact requires context<br />Yesterday’shomogeneousaudience has fragmentedintohundreds of subsets.<br />FUTURELAB<br />
  29. 29. Impact requires context<br />Today’sfragmentedaudiencemakes context more important than ever (Mediapost, March 2011)<br />Context effects are more pronounced for TV<br />Context effects more pronounced in interrupting than shoulder blocks<br />Positive valenced context improves ad effectiveness<br />Marketing Communications, A European Perspective 3rd Edition, P. De Pelsmacker; Maggie Geuens and Joeri Van den Bergh, FT Prentice-Hall, 2007, p. 247<br />FUTURELAB<br />
  30. 30. Someremarkablepractices<br />FUTURELAB<br />
  31. 31. Suggestion #2<br />Don’t just plan based on <br />(average) numbers.<br />Make sure your creativity matches <br />the context of the programme.<br />FUTURELAB<br />
  32. 32. FUTURELAB<br />Suggestion#3 <br />Be meaningful<br />
  33. 33. FUTURELAB<br />Orthodoxy alert:<br />Onceupon a time, advertising content matteredtous<br />
  34. 34. FUTURELAB<br />Today<br />The bath tub is full<br />
  35. 35. Image: (c) Adambooth<br />The commercial messages we oncewelcomed, lost their appeal.<br />Share of voice <br />has become<br />Share of noise<br />FUTURELAB<br />
  36. 36. Great storytellers continuouslyadapttheirmessage<br />As we move on andour interests change, so does their story<br />FUTURELAB<br />
  37. 37. If we risk tuning out, theydon’tshoutlouder<br />Theyanticipatewith plot-twists and different formats<br />Luke, I amyourfather.<br />FUTURELAB<br />
  38. 38. Don’tbe a GRP addict, yetfind new waystogiveyouradsmeaning<br />If I giveyou 30” of my life, what are youoffering me in return?<br />
  39. 39. Suggestion #3<br />Plan forreach, but aimfor impact.<br />Talk aboutthingsthat have real meaningtoyouraudience.<br />FUTURELAB<br />
  40. 40. FUTURELAB<br />Suggestion#4 <br />Invite the audience<br />
  41. 41. Great storytellers <br />Invite audiencestosit down and listen<br />FUTURELAB<br />
  42. 42. FUTURELAB<br />Advertisements<br />Tryto catch our attention whilewe’redoingsomethingelse<br />
  43. 43. Remember the soaps?<br />Invite audiences<br />tocome<br />to you<br />FUTURELAB<br />
  44. 44. Joinforceswithyouraudience’sfavourite storytellers<br />Encouragechannelstocome up withquality product shows<br />FUTURELAB<br />
  45. 45. Joinforceswithyouraudience’sfavourite storytellers<br />Consider product placement that fits the narrative<br />FUTURELAB<br />
  46. 46. Or invite themto listen to a story youcraftyourself<br />Leverage the webisode concept to digital TV<br />FUTURELAB<br />
  47. 47. Suggestion #4<br />Invite youraudiencetosit down<br />andgiveyoutheirundivided attention<br />FUTURELAB<br />
  48. 48. FUTURELAB<br />Suggestion#5 <br />Go Transmedia<br />
  49. 49. Every story seeksto share itself<br />Ifitdoesn’t spread, it’s dead (H.Jenkins)<br />FUTURELAB<br />
  50. 50. FUTURELAB<br />This is proven bydevelopments in social TV<br />Live televisionbringsuniteswholetribes on Twitter, Facebook, etc.<br />
  51. 51. Many brands wouldliketo center these conversations on them<br />Leveragepromoters, createpositive WOM, “buzz.<br />
  52. 52. But there’sjustsolittletotalk about<br />Whatcanyou say aboutthis?<br />http://www.youtube.com/watch?v=pnfHDp19k5s<br />FUTURELAB<br />
  53. 53. Media neutrality (simplified)<br />A single ideaiteratedacrossalltouchpoints<br />We allsee the same content = no conversationvalue<br />FUTURELAB<br />Source: http://farisyakob.typepad.com/blog/2006/10/transmedia_plan.html<br />
  54. 54. If you want me to talk about you.<br />Tell me a story<br />that makes my conversations more interesting<br />
  55. 55. Thisrequiresremarkable content<br />Considerthis classic from 2004<br />http://www.youtube.com/watch?v=toD0WzAbb3I<br />FUTURELAB<br />
  56. 56. But one story doesn’t cut it in the fragmentedmediascape<br />Transmedia storytellers create multiple entrypoints to the same story<br /><ul><li>Six seasons on TV (144 episodes)
  57. 57. Online & mobile episodes
  58. 58. Seasonprequels
  59. 59. 5 graphicnovels
  60. 60. Games (mobile, boardgame, online, trading card)
  61. 61. 11 Paperback novels
  62. 62. Series of companionbooks
  63. 63. Action figures
  64. 64. Feature film (upcoming)
  65. 65. Massive amounts of web & fan content</li></ul>FUTURELAB<br />
  66. 66. Transmedia planning (oversimplified)<br />Multiple representations of a story across≠ touchpoints<br />FUTURELAB<br />We canallsee different content and are part of the conversation<br />Source: http://farisyakob.typepad.com/blog/2006/10/transmedia_plan.html<br />
  67. 67. How Nokia gotits Emmy nomination<br />Imagineadding TV to the mix<br />FUTURELAB<br />
  68. 68. Suggestion #5<br />Use Transmedia planning to:<br /><ul><li>capture attention acrosschannels,
  69. 69. drive conversations,
  70. 70. make people part of the story</li></ul>FUTURELAB<br />
  71. 71. Summary<br /># 1 Take your time<br /># 2 Consider context<br /># 3 Be meaningful<br /># 4 Invite the audience<br /># 5 Go transmedia<br />FUTURELAB<br />
  72. 72. A finalthought<br />FUTURELAB<br />
  73. 73. A finalthought<br />Storytelling is a craft<br />“it takes 10,000 hours of practicetobecome a genius”<br />FUTURELAB<br />
  74. 74. FUTURELAB<br />Learnbydoing<br />Set up brand-agency-media dialogues<br />Experiment in story and medialabs<br />Involve architects/puppetmasters<br />Try out new planning systems<br />Call me <br />
  75. 75. FUTURELAB<br />Andaboveall, adopt a mindsettoonlycreateads<br />Thatyouraudiencewouldembrace<br />
  76. 76. Start a conversation<br />Alain Thys<br />www.futurelab.net <br />www.alainthys.com<br />Twitter: @FLB_alainthys<br />FUTURELAB<br />

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