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Size of Idea


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We all love talking about big ideas. But how big should it be? This presentation suggests a simple typology for sizing creative works and explain original approach to classifying ideas by storytelling and involvement.

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Strategy Deck
Ilya Petrov

Published in: Marketing
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Size of Idea

  1. 1. SIZE ooff IDEA Ilya Petrov for Strategy Deck v1
  2. 2. ILYA PETROV digital strategic planning director
  3. 3. STRATEGY DECK all strategy tools in one deck — in one free app
  4. 4. S 4 Activation M Campaign L Platform XL Brand 2 weeks 2-3 month 1-3 years 5+ years
  5. 5. 5 ACTIVATION
  6. 6. ACTIVATION 6 Def.: One-time peace of communications Background: Activations is activations. When you will create it you will know it. Activations are the atoms of communication universe. It responsible for delivering the right experience needed to change audience perception and behaviour. To achieve that start with choosing the right level of involvement. Right means exactly enough. The more complicated it will be the less people will participate. Watch out: IDEAS THAT IS TOO COMPLICATED will be interesting and convincing but will not attract enough audience to make visible impact on the business IDEAS IS TOO PLAIN will build awareness of your message but will not be convincing enough to change people behaviour
  7. 7. 7 CAMPAIGN
  8. 8. CAMPAIGNS 8 Def.: Communication efforts connected with one goal that last for a medium period Background: Different campaigns have different goals. Sometimes you need to shout out one simple message, sometime go deep into emotions or explanations. So, there is no single answer to the questions how to make all channels work together. There are several ways to approach it — from repeating the same message across different media to amplifying the story with every new touchpoint. Think with open mind and choose wisely. Watch out: IDEAS THAT IS TOO BIG will not be able to connect different peaces in one story IDEAS THAT IS TOO SMALL will not fit for all channels and will not last long enough
  9. 9. 9 INTEGRATION TYPES Replication Interpretation Amplification
  10. 10. REPLICATION 10 Def.: Copying one execution from the leading channel inline with media plan E.g.: E-Zone (Eclipse) WHAT Commercial about strangers having sex in the elevator because of Eclipse gum flavour was followed by the print representing key TV frame SO WHAT “Key visual” approach to advertising is still popular in 2014 and loved by media agencies especially cause repeating the same execution drives good ad recall
  11. 11. E-ZONE (ECLIPSE) 11 TV Print Refreshes relationship
  12. 12. INTERPRETATION 12 Def.: Creating separate executions based on the same idea for existed media plan E.g.: Unforgettable Kisses (Eclipse) WHAT Another Eclipse campaign connected intense gum flavour with kisses that will be remembered. Idea was recreated for every channel so we got pieces people didn’t link together even message and headline was the same. SO WHAT Interpretation is the famous 360 approach. It’s good not just copy idea but give a twist that amplifies specific power of each channel. Just don’t loose the campaign feeling. And if you do it right it will be rather amplification than interpretation
  14. 14. AMPLIFICATION 14 Def.: Idea that defines both executions and media connecting everything in a story E.g.: Expedition (Eclipse) WHAT Eclipse (Axe of gums) send ordinary Russian guy all over the world to fulfil his sexual fantasies. TV campaign was implemented as his video diaries, magazine ads — journey reports, website — personal blog SO WHAT Idea naturally leads to execution. Every channel gets addition role as a part of one story making media and message work together. The more contact points consumers will reach the brighter experience their will get
  15. 15. EXPEDITION (ECLIPSE) Homepage Interviews Guy goes around the world to fulfil his dreams Blog 15 Video diaries }
  16. 16. COLOR ELECTION (M&M’S) 16 Let’s elect the most popular M&M’s colour in the country } Video manifests Propaganda Black PR Online elections
  17. 17. 17 INTEGRATION TYPES Replication Interpretation Amplification Key-visual based Message based Story based
  18. 18. 18 PLATFORM
  19. 19. PLATFORM 19 Def.: Large idea that is able to create synergy among different advertising campaigns Background: Starting every new campaign from scratch sound like waste of resources and missed opportunities. Okay, you can feel long-term effect in growing brand value. But is there anything you can do more? Think about platform — something ideas, messages and icons that will travel across your communications from campaign to campaign and accumulate power of recognition and love. Media-wise good platforms could also accumulate audience so you will not need to pay twice for attracting the same people. Watch out: IDEAS THAT IS TOO BIG will not be able to create strong connection among campaigns IDEAS THAT IS TOO SMALL will not fit for all possible goals and will not work long enough
  20. 20. CHARACTERS 20 Def.: Heroes that represent brand values and personality in all communications E.g.: Spokecandies (M&M’s) WHAT Family of colourful candies with different characters playing in every M&M’s commercial SO WHAT Representing the main idea of colourful chocolate fun M&M’s heroes become a recognisable part of world culture amplifying brand advertising efforts
  21. 21. CONCEPT 21 Def.: Main brand promise recreated in a shape of something else E.g.: Axe Effect (Axe) WHAT Axe promises guys all girls will be hung up on them. To deliver that message brand creates the Axe Effect — powerful representation of dream product benefit SO WHAT Instead of looking for a new ways to approach product advertising Axe promotes how cool is Axe Effect meaning only one brand in the world could delver it
  22. 22. 22 BRAND
  23. 23. BRAND 23 Def.: Essential promise where product and future vision meet audience insights Background: Brand is a set of values, experiences, associations and knowledge connected with product or company through identity elements. There are always two brands — the ideal one on marketing papers and the real one in consumers heads. Even when you do nothing people are thinking something about you. Main goal of branding is to control this thoughts and shape it in the image that will be most attractive for potential target. Watch out: TARGETED TOO WIDTH it’s hard to become a strong brand staying relevant to everyone TARGETED TOO NARROW brand will possibly not be able to get enough fans to survive
  24. 24. 24 CARE GUIDE
  25. 25. 25 IDEAS TYPES Event Story World
  26. 26. EVENT 26 Def.: Something happening here and now E.g.: Facexel (Diesel) WHAT Diesel maked Facebook accessible from Excel interface to office workers staying safe while chatting with their friends SO WHAT Even it has some promotion, it’s still one event you could participate in. Even if you will use it forever it will stay a one-time thing in terms of communications
  27. 27. STORY Def.: Flow of connected events with trigger event, clear tension and closing 27 E.g.: Daily Twist (Oreo) WHAT Oreo posted new picture daily on their Facebook page describing one topic that was hot at the moment SO WHAT Something people could follow for a range of time. Even if there is no classical drama structure you have reason to wait for the next part of the campaign
  28. 28. WORLD 28 Def.: System of constants and rules where events and stories are happening E.g.: Dentists in orbit (Orbit) WHAT Orbit gum in Russia created a series of campaigns based on three characters of dentists traveling across the universe and fighting caries SO WHAT It’s a world were is no natural tension, but it gives you a possibility to create new story every time with separate goals and flow being in line with overall concept and accumulating power of awareness and fans love
  29. 29. 29 IDEAS TYPES Event Story World Activation Campaign Platform
  30. 30. 30 INVOLVEMENT TYPES Spectator Shadow Hero Creator
  31. 31. SPECTATOR 31 Def.: Person follows what we want to tell without any influence on the story E.g.: Epic split (Volvo) WHAT Volvo creates the series of videos with live testing of their trucks. Most famous one is about Jean-Claude Van Damme performing split on a two moving vehicles SO WHAT Even if videos are epic you can just watch them and that’s it
  32. 32. SHADOW Def.: Person has no influence but the story is personalised by some personal data 32 E.g.: Real Hero (Radiotjanst) WHAT Every TV owner in Sweden is obliged by law to register for billings. To promote that Radiotjanst launched campaign where everyone could became new hero of Sweden by integrating your photo inside the epic video SO WHAT The only thing you can do is watch this but it’s way more exciting cause content is personalised with your and your friends images
  33. 33. HERO 33 Def.: Person is involved into story and can affect events but not the over-all flow E.g.: Get the Glass (CMPB) WHAT California Milk Processor Board created the interactive board game “Get the Glass” (for those who was already familiar with “Got Milk” idea) where the results depended on your participation SO WHAT This campaign is not just fun to watch. You get the best experience by taking part in the action
  34. 34. CREATOR 34 Def.: Person co-creates the story with us and has huge influence on it E.g.: DEWmorcrazy (Mountain Dew) WHAT SO WHAT Instead of just brining new soda on the market Mountain Dew suggest their fans to create the drink of their dream — to choose colour and flavour of upcoming product Even main flow of campaign is still directed by brand consumers have great control on what is going on and take full part in shaping the story
  35. 35. 35 SO THAT’S IT. Ilya Petrov Strategy Deck