The DMA Awards 2013 offer a platform for recognition in various marketing categories, with entries open from July 4 to September 6, 2013. The document outlines categories for awards, judging criteria emphasizing strategy, creativity, and results, as well as workshop details to assist participants in preparing compelling entries. It stresses the importance of demonstrating impactful outcomes and providing clear narratives in entries, along with guidelines for category selection and presentation.

1. DMA
Awards
2013
Find out more at
www.dmaawards.org.uk
Entries open:
04.07.13
Entry deadline:
06.09.13#dmaawards

2. Headline
sponsors

3. Category sponsors
and partners

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. About this workshop
It’s interactive

6. What’s different for 2013?
Stephen
Poliakoff

7. What’s different for 2013?
Category changes

8. DMA Big Difference Award

9. The basics
Entry deadline:
6 September
Earlybird: 1 August

10. The basics
Sign off

11. The basics
Work that ran until 31st July 2013

12. The basics
Anonymity

13. The basics
Online entry process

14. Behind the scenes

15. The DMAs 2013
Which category?

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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. Special awards
• 37 Best loyalty programme or campaign
– Direct marketing to build on-going
relationships, build loyalty, and customer
retention

36. D A T A | D I G I T A L | B R A N D
DMA Awards Unplugged

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. 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. 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. 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. 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. D A T A | D I G I T A L | B R A N D
Questions

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. Awards

46. Entries

48. In recession-hit Britain,
isn’t it time to rethink
what it means to enter
the DMA Awards?

49. 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.

50. 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.

51. Do what Mark Earls says we don’t do very well in our industry:
Put together ‘the business case for ideas’

52. So let’s take apart
a Grand Prix winning entry ...

53. 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.

54. Your first 90 words need to get
every judge’s attention –
and convince them they may be
holding a winner in their hands.

55. 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

56. 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

57. 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.

58. 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.

59. 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 ...

60. 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.

61. 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.

62. 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.

63. 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.

64. 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.

65. “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

66. 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.

67. Thank you for attending
Please visit
www.dmaawards.org.uk for
more information