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DMA Awards unplugged


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If you want to improve your chances of winning a DMA Award this year you should not miss this fun and engaging event. Our awards experts will talk with you in small groups and will cover everything from presenting your creative work to the categories you should be entering.

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DMA Awards unplugged

  1. 1. DMA Awards 2013 Find out more at Entries open: 04.07.13 Entry deadline: 06.09.13#dmaawards
  2. 2. Headline sponsors
  3. 3. Category sponsors and partners
  4. 4. Agenda 09.30am Registration and refreshments 10.00am Welcome Mark Runacus, Chief Strategy Officer, Karmarama and Chair of the DMA Awards Committee Categories overview: Which to enter and why Mark Runacus, Chief Strategy Officer, Karmarama and Chair of the DMA Awards Committee How best to present your results John Wallinger, Managing Director, The Marketing Planning Practice How best to present your strategy and creative Debi Bester, Founder, An Abundance Panel Q&A 11.30am End of workshop
  5. 5. About this workshop It’s interactive
  6. 6. What’s different for 2013? Stephen Poliakoff
  7. 7. What’s different for 2013? Category changes
  8. 8. DMA Big Difference Award
  9. 9. The basics Entry deadline: 6 September Earlybird: 1 August
  10. 10. The basics Sign off
  11. 11. The basics Work that ran until 31st July 2013
  12. 12. The basics Anonymity
  13. 13. The basics Online entry process
  14. 14. Behind the scenes
  15. 15. The DMAs 2013 Which category?
  16. 16. If it’s worth entering . . . • Is the piece or campaign exemplary? • Will it make a great case study? • If so, it’s almost certainly worth entering in more than one category
  17. 17. Category selection Sector Channel(s) Craft e.g.: Writing Design Strategy Technology Only one sector entry per piece Multiple entries permitted in relevant channels, especially digital Multiple entries permitted in relevant crafts Special e.g.: Integration Launch Creative solution Multiple entries permitted where relevant
  18. 18. Business sectors Only enter a piece or a campaign once in this section • 1 Automotive – Car sales, retention, motoring services, accessories. Automotive financial services should be in finance category. • 2 Travel and holidays – Business and consumer travel services, e.g. individual hotels, hotel chains, railways, ferries, cruise lines and travel companies.
  19. 19. Categories • 3 IT/Telecomms – Hardware, software, IT training. NOT web sites. Telecoms campaigns should promote the industry itself e.g. fixed lines, mobiles, broadband. Sales or leads. • 4 Retail – Online or offline shopping, catalogues • 5 Financial Services and Utilities – Consumer or business to business, inc banking, savings, loans, pensions, insurance
  20. 20. Categories • 6 Pharmaceutical – For campaigns promoting OTC products, healthcare or pharmaceutical products. • 7 Public Sector – Not For Profit, public organisations and charities • 8 Charity – For campaigns raising funds and support for charities. • 9 FMCG – Direct marketing used to promote FMCG to consumers
  21. 21. Categories • 10 Business to business – Only if not covered by any other category. • 11 Business to consumer – Only if not covered by any other category.
  22. 22. Digital If you’ve already made a Sector entry, you can enter again here, where relevant, multiple times • 12 Best use of e-mail – A single e-mail, a campaign or programme. NOT eCRM (separate category) • 13 Best use of eCRM – A digital customer relationship programme. • 14 Best digital destination – Excludes main brand and corporate websites, but CAN include micro-sites linked to the main site.
  23. 23. Digital – 15 Best use of mobile technology • Best use of mobile devices and/or mobile portals in a direct marketing campaign. E.g. mobile application, proximity-based campaign, mobile video, mobile TV ad.
  24. 24. Digital • 16 Best use of search, natural and paid – Search optimisation and search marketing to generate direct response. Organic search could include optimisation, link- building, content seeding (terms, phrases). Illegitimate or unethical search practices will be inadmissible. PPC entries could include creative bid management, creative integration with organic search
  25. 25. Digital • 17 Best use of social media for brand building – Excludes offline word of mouth – Obviously include brand metrics • 18 Best use of social media for customer acquisition – Excludes offline word of mouth – Include ROI metrics
  26. 26. Responsive communications If you’ve already made a Sector entry, you can enter again here • 19 Best online display advertising – For best use of online display ad formats to generate response. B2B or B2C. • 20 Best use of film and/or audio – Consumer or business. Primarily for response, or part of a wider campaign? • 21 Best print advertising including inserts – Selling off the page, generating enquiries via print ads, loose or bound inserts, wraps, mailing inserts.
  27. 27. Channels • 22 Best use of door drops – Best unaddressed direct marketing campaign delivered to residential households, Newshare, Solus, Royal Mail. • 23 Best use of direct mail – Campaigns of any volume posted to a UK address. – A single mailing or a campaign
  28. 28. Craft awards If you’ve already made a Sector and Channel entry, where relevant you can enter again here multiple times • 24 Best writing in any medium – Excellence in copywriting for direct marketing – 60% creativity 20% strategy 20% results • 25 Best design or art direction – Excellence in design and art direction for direct marketing, judged primarily on creativity – 60% creativity 20% strategy 20% results
  29. 29. Craft awards • 26 Best data strategy – Best use of data, analytics, targeting, proving the value of a direct marketing campaign, judged primarily on strategy and results – 40% results 40% strategy • 27 Best use of data in a digital campaign – Accessing a new digital data set – Use of digital insights – 40% results 40% strategy
  30. 30. Craft awards • 28 Best media strategy – Best use of media strategy, insight, analytics, or planning in creating, targeting and proving the value of a direct marketing campaign, judged primarily on strategy and results – 40% strategy 40% results • 29 Best brand building campaign – Best use of direct marketing to build brand awareness, perceptions and attitudes amongst prospects and customers in the long term
  31. 31. Craft awards • 30 Best customer acquisition campaign – An outstanding acquisition campaign, using direct marketing • 31 Best use of technology – Business or consumer, products or services, overall should demonstrate excellence in the use of any new technology – offline or online – delivering a direct marketing message
  32. 32. Craft awards • 32 Best customer journey – In a direct marketing campaign – Insights into key moments of truth for the consumer, how the campaign exploited them – How the entire journey brings to life the creative idea – Examples of online and offline touchpoints
  33. 33. Special awards Designed to award whole campaigns, you may enter work from other categories here again • 33 Best use of experiential – In a direct marketing campaign, at POS or in the field. • 34 Best integrated campaign – A direct marketing campaign using more than one medium (any combination of TV, press, radio, mail, digital) • 35 Best launch campaign – Direct marketing played a pivotal role in the launch strategy of a new product
  34. 34. Special awards • 36 Best creative solution or innovation – Excellence in creative thinking to solve a particular challenge in a direct marketing campaign, judged on the strength of the creative idea or innovation, with results to support.
  35. 35. Special awards • 37 Best loyalty programme or campaign – Direct marketing to build on-going relationships, build loyalty, and customer retention
  36. 36. D A T A | D I G I T A L | B R A N D DMA Awards Unplugged
  37. 37. D A T A | D I G I T A L | B R A N D The importance of results • In nearly all categories, results make up 1/3 of the scoring criteria • In the data categories, higher emphasis on results • Yet: • An entry can be marked-down or ignored, if the results are not presented correctly OR not at all Often hurried Difficult to interpret Different ways to show results
  38. 38. D A T A | D I G I T A L | B R A N D Confidentiality • All judges have signed confidentiality agreements not to disclose any details or results • Your clients have signed-off the entry
  39. 39. D A T A | D I G I T A L | B R A N D Be clear • In the main body of the entry, explain • How will you be measuring the campaign? • What behaviour you are trying to change? • ROI • Value of sales • Uplift against a control • Number of new registrations • Cost/response, cost/click • Click through rate • % increase in retention • Make sure that your results section is consistent with this
  40. 40. D A T A | D I G I T A L | B R A N D Don’t make us guess • What is the definition of success? • ‘Target was to reduce CPR to £1.16, achieved £0.95’ • Ideally, we need to be able to benchmark against previous activity • Avoid: ‘This campaign did better than expected’ ‘We achieved a 5% response rate, better than last year’ ‘We doubled the number of enquiries’
  41. 41. D A T A | D I G I T A L | B R A N D Real world numbers • We are bound by confidentiality agreements • So, wherever you can: • Use actual results, whether (£), response rates (%), ROI etc • Try to avoid ratios
  42. 42. D A T A | D I G I T A L | B R A N D Questions
  43. 43. The making of a winning entry: Strategy and Creative Debi Bester, Innovation Partner, An Abundance (And writer of 110 award-winning entry forms)
  44. 44. Awards
  45. 45. Entries
  46. 46. In recession-hit Britain, isn’t it time to rethink what it means to enter the DMA Awards?
  47. 47. After all, the DMAs aren’t fluffy or luvvy awards, they’re not about creativity for creativity’s sake. They have all the heritage and credentials of long years of being judged on strategy, creativity and results.
  48. 48. Every entry is a chance to demonstrate the difference you’ve made. To your clients’ business, their customers’ lives and communities, perhaps even the country.
  49. 49. Do what Mark Earls says we don’t do very well in our industry: Put together ‘the business case for ideas’
  50. 50. So let’s take apart a Grand Prix winning entry ...
  51. 51. Write a story that effectively communicates to the judges the background, development, execution and results of the campaign. To help judges assimilate the wealth of information quickly, make sure there is a clear narrative thread that holds it together. Your story should be told with a passion that proves the entry is worthy of recognition as a DMA winner. At the heart of every entry should be a compelling story.
  52. 52. Your first 90 words need to get every judge’s attention – and convince them they may be holding a winner in their hands.
  53. 53. Category: Integrated What is wonderful about this work? Strategy: Turn RNLI from ‘least known charity among the youth’ to ‘one of the most talked about online in summer 08’... by discovering a higher purpose than sea rescue: their generation. After all, aren't our 470 young volunteers willing to risk their own lives to save others at sea? 1.Use an active voice – involve me in your problem 2. Give me a sense of scale – what’s the nature/size of the challenge? 3. Nod to the odds – impress upon me the barriers you had to overcome 4. Dislocate the obvious – hit me with the ingenuity of the ‘how’! 5. Put the ‘brand case’ to me – tell me why this brand can do this like no other
  54. 54. Category: Integrated What is wonderful about this work? Creativity: We sent unbranded 'Mystery Packages' to Britain’s 12 most popular young bloggers to open on their vlogs, challenging their viewers to speak up about WHO THEY REALLY ARE against a press which stereotypes them as a generation without values, views or a vision ... then we revealed WHO WE ARE. 1. Tell a story – beginning, middle and end fast! 2. Help me navigate – numbers, capitals, dots, alliteration to hold my attention and keep me reading 3. Make it contagious - use the ‘name of the campaign’ throughout 4. Draw me in and don’t let go - drama, momentum and tension
  55. 55. What did you learn about the target audience that informed the strategy, targeting, media or creativity? What insights did you identify about the customer, the brand, the business or the competitors that inspired your winning approach? How did you reframe an old problem in a new way? What new behaviour-changing tactics did you invent? The Strategy section is your chance to explain convincingly why you did what you did to make such a difference to your client’s business.
  56. 56. This is your big pitch – make the most of it. For complex campaigns some entrants choose to supply examples of the creative work in annotated presentations or in short films. But make sure supporting material is not overtly selling; it should simply keep to the facts. Remember: judges want to experience the work just as consumers did. The Creative section is your chance to make it easy for judges to see how the creative work worked, and go on the same journey you took consumers on.
  57. 57. In Strictly Come Dancing, you wouldn’t expect to win the waltz category by doing the cha-cha, would you? So don’t write one DMA entry and fling it into every category from copy to viral. Showcase how you rose to the unique challenges of every one of them ...
  58. 58. Category: Copy Creative strategy: What was your creative strategy? Our copy needed to be so compelling that with just 12 unbranded DM packs we would inspire a generation to speak up and out about who they really are. We weren’t paying for media so our value was in inspiration. We needed to seduce the bloggers so they would become our channels. But how do you do that with the generation that ‘doesn’t read’? By personalising the letter copy like never before with interesting and intriguing details about each blogger’s likes and dislikes, blog and bio, we developed a deep relationship that was key to encouraging their involvement. We quoted their videos. We name-checked their peers. We celebrated their pastimes. Most important of all, we earned their trust. They read their letters live from the salutation to the sign-off, to thousands of mesmerised viewers. In turn they electrified subscribers; the buzz swept through their social networks instantly, spreading beyond the UK. The question ‘Who are you?’ was a compelling driver: we asked them who they were - they responded by asking who we are?! Just the conversation starter we needed.
  59. 59. Category: Small Budget Media strategy: What was your approach to targeting/media? Think about the woman over 70 making a donation to the RNLI, wishing every last penny to go to saving lives at sea, and you’ll quickly realise a dilemma. It leaves scarce resources to create an impactful youth campaign focussing on generating long term support. So we had to make every penny work hard. Which meant no billboards, no TV ads, no expensive traditional media. In co-creation workshops, young people told us that video blogging really brings them together. As a community. Across the globe, in their bedrooms. We selected 12 top young vloggers in Britain as the spokespeople of a generation. And we put our hearts into making our mailings as powerful as we could. Instead of a mass of impersonal mailings, we spent our meagre budget on giving our 12 bloggers a moving, personal message tailored to each and every one of them, and the tools to rally their own mass audience through the medium they’ve made their own. Using our budget carefully not only made this activity cost-effective, it was respectful to the donors and demonstrated the values we shared with the youth. People and pennies over promotion. Truth over gloss. Facts over gush. We harnessed the power of both direct marketing and social networking to enter the bloggers' world. By speaking to them as real people, with honesty and respect, we inspired 11% of British 15-20 year olds to interact with the RNLI and their values.
  60. 60. And another thing ... Those extra information boxes aren’t just extra work – they’re precious minutes to give the judges the whole of your winning story.
  61. 61. Category: Integrated 8d) Creative strategy Other information about your strategic approach: What started as a campaign became a movement as the RNLI brand was given into the hands of young people online and shaped and shared by them. They created posters and T-shirts ... meanwhile we mashed all the content generated by them into "Who are you?", a film 'by the youth, for the youth, about the youth' which rebrands not only the RNLI in the eyes of the youth - but also the youth itself.
  62. 62. Winning is a team thing. So is entering ... Draw on the rich experience of the whole team to give your entry form its best chance of winning.
  63. 63. “I think we’ve sort of miss-sold creative thinking as this kind of magic dust mystery thing ... which we’re not prepared to explain to anyone; instead keeping it shrouded and secret. I don’t think that’s good enough anymore. The people who control the levers of power and budget tend to place great store in explicability. We need to prove the value of the imagination. - Rory Sutherland Vice Chairman, Ogilvy
  64. 64. 600 entries. 35 Golds. 1 Grand Prix. If your idea made a real difference in 2013, help the judges recognise the value it created – they want to celebrate excellence.
  65. 65. Thank you for attending Please visit for more information