Rules Of Brand Fiction from @BettyDraper and @Roger_Sterling
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"Rules of Brand Fiction from Twittering MadMen" panel given March 13, SXSW 2010 by Helen Klein Ross and Michael Bissell, with contribution from Ellen Mahoney.
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Rules Of Brand Fiction from @BettyDraper and @Roger_Sterling
- 1. session hashtag = sxswbf @BettyDraper aka @AdBroad @Roger_Sterling aka @Bissell
- 2. what is brand fiction? • participatory entertainment in service of a brand brandfictionfactory.com
- 3. brands used to tell stories that ended when the commercial was over image from AMC’s Mad Men website
- 4. invitation to participate = the new ad created by Deep Focus for AMC
- 5. brand fiction inspires consumers to fanatically spread the brand story proliferated by Deep Focus for AMC
- 6. participation=the new metric self-portrait as Mad Woman via MadMenYourself
- 7. gets results • 1 million unique visits • 600,000 avatars created, “advartising” • 3.3 million tuned-in to season premiere stats courtesy Ian Schafer, CEO Deep Focus
- 8. Mad Men on Twitter
- 9. TV characters began leading parallel lives in the twitterverse Paul Isakson
- 10. giving audience a new way to connect with the show
- 12. keeping up excitement between episodes, seasons
- 13. attracting new audience among potential fans around the world
- 14. remaining rigorously consistent with character
- 15. expanding to other social media channels brandfictionfactory.com
- 17. We began to create opportunities for deeper audience interaction brandfictionfactory.com
- 18. inviting others to become part of the fictional universe
- 19. enabling them to create stories of their own brandfictionfactory.com
- 20. fictional world was expanded by fan-invented characters Budd Caddell
- 21. this added dimension to the universe Sabina Maschi
- 22. extending it beyond the life of the show. David Benardo
- 23. We went on to play with the time-space continuum
- 25. “tweaser” timed for Season 3 premiere • an hour before Season 3 premiere • a twitter event titled “Mad Worlds Collide” • story: Mad Men on Twitter characters attend movie premiere of “It’s a Mad, Mad, Mad World” which premiered 1963 • inclusive concept designed to accommodate all who wanted to participate
- 26. we prepared the venue brandfictionfactory.com
- 28. We promoted event via tweets & blog brandfictionfactory.com
- 29. “sold” tickets
- 30. which allowed us to collect names and email of ardent fans
- 31. which provided eligibility for snazzy Mad Men-era prizes vintage Radio City Playbill copy of signed Mad Men script 1960s Radio City Music Hall Pin
- 32. As showtime approached, we drew up timeline so we could synchronize our (winding) watches
- 33. then launched our experimental improv theater
- 34. the audience had as much fun as we did. brandfictionfactory.com
- 35. we ensured the event endured beyond the fleeting life of search.twitter.com brandfictionfactory.com
- 36. the payoff • deepens audience engagement with show • builds new audience • goodwill for brand • keeps show alive between episodes, seasons • provides deeper profiles of most ardent supporters (stats of great interest to advertisers who no longer settle for age, income demo) brandfictionfactory.com
- 37. Mad Men on Twitter was first fan-based campaign recognized for its branding power
- 38. every brand has a story
- 39. stories add warmth to frozen dinners
- 40. and make drinking soda an even happier experience • coke happiness
- 41. just think if nescafe spots ran today brandfictionfactory.com foursquare | match.com | facebook | twitter | craigslist
- 42. so what are the rules of brand fiction?
- 43. 1. content is king • success depends on quality of creative • appoint a dedicated brand fiction manager • design a Brand Fiction Canon: • highly detailed account of characters, settings, vernacular rising from central story
- 44. 2. maintain continuity across platforms • it’s not an alternate universe, it’s one universe.
- 45. 3. be authentic—content must embody brand values brandfictionfactory.com
- 46. 4. be relevant to your audience • know your brand fans • what distinguishes your story from others in their minds? • consumer and programming insights enrich the experience • the medium changes the message
- 47. 5. share • let fans engage • respond, retweet, relationship
- 48. 6. don’t trust a zombie. your bot will show. brandfictionfactory.com
- 49. 7. Don’t dilute the brand brandfictionfactory.com
- 50. 7. Don’t dilute the brand
- 51. 8. campaign assessment or the Scheherazade factor • Monitoring • Engagement • Redirecting/Harnessing • Tracking • Archiving
- 52. 9. Don’t underestimate time/effort necessary for success. “The high-complexity nature of Digital programs makes it the most labor-intensive medium in the advertising industry.” --A Marketer's Guide to Understanding the Economics of Digital Compared to Traditional Advertising and Media Services report published 3/09 by The 4A’s aaaa.org
- 53. 10. Have fun Lady Gaga brand fiction by former creative writing student Stefani Germonatta
- 54. to speculate further… Helen Klein Ross helen@brandfictionfactory Michael Bissell bissell@ conquent.com
Editor's Notes
- Traditional ad campaigns abandoned audience they'd engaged with their content . Now goal is to leverage existing audience and grow a base that can be tapped into for future.
- The difference today isn’t the brand, it’s the consumer. Consumer expects to participate Social media isn’t just another platform to push a brand message
- by interacting with each other, we created and demonstrated rules of the universe
- sent out invites, gave them a hashtag, invited them to play
- the acceptance of the invite is the metric
- Fans didn’t have timeline, but they caught on
- contender with M&Ms and Travelzoo
- Creative must have a social component Think of brand story as participation not penetration
- STORY CAN start in a comic book and end up in a video game.
- content has to come out of DNA of brand. Characters and storylines must embody brand values
- At a time when many brands are stuck in experimentation mode in SM, Pepsi is redirecting it's budget to SM. A social marketing-centered program called Refresh Everywthing will direct $20 m to charities. Program bets on 4 big trends: crowdsourcing, doing good in the world, sharing and transparanecy. At a time when many brands are stuck in experimentation mode in SM, Pepsi is redirecting it's budget to SM. A social marketing-centered program called Refresh Everything is directing $20 m to charities. Program bets on 4 big trends: crowdsourcing, doing good in the world, sharing and transparanecy. important to note that Pepsi isn't only doing SM. SM is the blue that holds together a wider push that includes traditional campaign elements like print and TV.