Mediaboss Marketing

Visible, a digital-only phone carrier brand from Verizon, is using experiential marketing to make in-person connections with potential customers. The company has found this increases the likelihood that people will consider switching phone carriers, said Minjae Ormes, its chief marketing officer.

People who were introduced to Visible as a brand [that way] were twice or three times more likely to convert, said Ormes. They would also open and engage with our emails or in conversation with the company for a full 90 days after they had the first experience. Because our consideration cycle is so long, its super important.

Typically, a person considering changing phone carriers can take months to mull that decision over while researching the company. That said, roughly 60 million people switch phone carriers each year, per the companys research, and Visible is looking to tap into that market. By using experiential marketing efforts, including pop-ups and activations at festivals like SXSW, Visible is increasing the likelihood that a person may switch to Visible, according to Ormes.

While experiential marketing represents a small portion of Visibles marketing budget its part of the 10% that it allocates for relationship-building activities the company said that a large driver behind its pop-ups and activations is that it doesnt own any physical storefronts.The other 90% of the budget is allocated to digital media, mostly toward social and video.

For its most recent experiential effort, Visible created an interactive tour of the mobile experience in real life in Denver called #Phonetopia that included a DM slide (where you landed in foam letters of D and M) and a GIF shop. Earlier this year, the company held other pop-ups in Los Angeles, Austin and Denver.

The point of the experiential marketing push is to make people feel like theres a human being behind the brand, said Orme, even if consumers arent able to connect with the brand in person in a physical store. The company is hoping that its focus on building relationships with its consumers through events will help it stand out in the category, which can often be focused on transactions and specific deal promotions in marketing.As previously reported by Digiday, the company has been watching direct-to-consumer brands like Glossier and Casper with the aim of being a lifestyle brand to build out a deeper relationship with its customers.

Weve tried to build a tactile, physical experience in which someone can meet our brand thats tangible, emotional and fun so that ultimately they will give us a chance in considering us in their wireless choices and actually switching, said Orme. Were trying to change the dynamic from being purely transactional, and we believe we can be more than just dollar signs. Were building relationships and serving as an extension of their [customers] communities.

That the company is looking to foster that connection with consumers with in-person experiences makes sense to brand consultant and co-founder of Metaforce Allen Adamson. You can spend a lot of money online and still be invisible, said Adamson. The benefit of mixing a little bit of real experiences in with digital advertising is that they can serve as a catalyst to get people to pay attention to you.

While the company doesnt have a permanent physical brick-and-mortar presence that could serve as the in-person experience of the brand rather than pop-ups, Adamson doesnt see that as necessary as most people dont care about the stores, said Adamson. If you can get [a network] for less, a lot of people will switch.

Excerpt from:
More likely to convert: Why digital-only phone carrier Visible is leaning into experiential marketing - Digiday

Date: December, 3, 2019Time: 2pm ESTRegister Now

Under PDGM, institutional referrals will be reimbursed at higher rates than community referrals, so now is the time to invest in your relationships with key people at hospitals, SNFs and LTCHs.

But just as there is competition for staff in the industry, there is competition for patients, especially ones that come from the more lucrative institutional side now. How do you differentiate your agency? How do you cultivate the right relationships? What marketing strategies work best to attract institutional referrals? What are other agencies doing that you are not?

Since most Home Health Agencies dont have the resources to hire a full time VP, Marketing to build their strategy were giving you two of them for a 60min webinar.

This webinar will cover: A review of the benchmark survey 2019 State of Institutional Marketing in Home Health Agencies. Leveraging Account Based Marketing, Solution Selling, Social Media, Content and more cutting edge business development techniques. Virginia Dannen, a business development manager at Optimal Home Health will share her top 3 strategies she uses to grow institutional referrals. Rachel, from Citadel Healthcare will share what institutions are looking for in home health agencies when choosing which ones to add to preferred lists and recommend to patients on discharge.

Once you register, you will receive a short survey about how you are currently marketing to institutions and questions around what you are looking to learn more about. The answers are completely anonymous and will be used to create the 2019 State of Institutional Marketing Benchmark Report as well as guide the content for this webinar.

This build your own webinar will be full of the content that you have told us you want to learn about. It will be like having your own VP, Marketing helping you create a strategy to win new referrals and grow business from existing institutional relationships.

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[Upcoming Webinar] Boost Your Agency's Institutional Referrals - Home Health Care News

The Drum Awards are gearing up for another round of recognising the very best the advertising, marketing, digital and media industries have to offer.

Jury alumni Cadi Jones, commercial director of Beeswax and Wayne Deakin, executive creative director at Huge joined The Drum Content Awards Grand Prix winner, Will Sansom, joint head of strategy of The Brooklyn Brothers at a breakfast panel session earlier this month to discuss what exactly makes an award-winning entry.

It takes time and great crafting when it comes to pulling in client data and distilling it into numbers that tell an amazing story, which gives insight but doesn't give away sensitive business details or information that is wrong.

Signing off sensitive data can also be a hard task to complete.

Deakin: Part of the trick is to start early. It's an opportunity for clients to get exposure themselves and a secret tool for brands to use to market themselves and their purpose.

Make sure you work with the client early on to give you the information familiar with them, rather than bringing it up the day before the entry deadline and asking for all their sensitive data. They've got to ask many stakeholders whereas if you prep them beforehand, it makes an easier conversation.

Jones: You can also think outside the box on data. From the entries that I've seen, the thing that people really don't like to share is how much they've spent. That's not necessarily the biggest thing we're looking for.

Could you show things in percentage terms? Can you show ranges? I love a graph. It doesn't have to have all of the data in that to show how effective it is. You can find ways of showing things and making it really clear of the impact you had without necessarily revealing the client's budget.

If there's any way you can get the client on board to share the budget and open up on that then do. But if you absolutely can't, it's not something we mark people down for. As long as there's some quantifiable progress against your objectives.

Sansom: Water Wipes are quite a young brand. We told them we wanted to tell the story of this campaign in the best way possible and the way to do that is to support it with data so we had evidence to back up our claims. We then showed them what we put in and asked if there was anything that they're not comfortable with but know that we've done this to tell the story of the campaign in the best way to represent the brand and what it's achieved in the best way. They were pretty good about it. But I know for every brand that is cool about it there's about 10 that are not happy with showing the results at all.

The Brooklyn Brothers recently won the Grand Prix and three other awards at The Drum Content Awards, for their work with baby wipes brand, Water Wipes. The panel explored the reasons why.

Sansom: We didn't have a process. A lot of bigger agencies do have dedicated teams, processes in place for doing this. We definitely didn't. The most important part of the process for us was making sure we carved out ample time to get the right people in the room looking at this. Looking at the quality of some of the case studies, the budget that goes into them this absolutely insane. We can't compete with that.

We were trying to communicate an emotive campaign through words on a page. It sounds trite and it is. We needed to fill a box with 200 words, communicating the emotion of a mum admitting on camera that she didn't connect with her baby in the first six months. That's the bit that hits you when you watch it, so how would you convey that to paper? That's just going to be flipped through. That was the biggest challenge for us.

For the judges, an award-winning submission can vary but at the end of the day, the narrative is key whether your entry is creative, digital or report based.

Deakin: Know the category you want to win. Know the story you want to win and make that as simple and easy around that category. Don't hedge your bets on other categories because that's harder.

Also, be simple and brutally honest with yourself. Understand the narrative that you're going to tell and really understand how does that narrative and how does that category collide together. Having people who can view it from an onlooker point of view is really important. We circulate in this little world where we look at ourselves, pat ourselves on the back and often you're talking to a very different group of people with jurors. The more human and simple it is, the more chance you have to win.

Jones: On the ad tech side of things, a lot of companies have very similar technologies. It's quite hard to call out the differences without going into really quite technical depth. In a room of judges, you might have those who are technically savvy and others who don't have that high level of understanding. You have to make it simple but really call out why it's different in plain language. Get your mum to read your submission, your other half or someone who doesn't work in the industry. If they don't understand and it's not clear enough, then work on the language until it is clear enough.

Sometimes entering multiple categories seems like the best approach, even if your report doesn't tick all the boxes. The more you enter, the more likely chance you have to win, right?

Jones: I don't mind seeing the same entry multiple times as long as it has been rewritten for that category. No copy and pasting. The objectives of each category are really quite different. I expect to see some difference in how that's tackled. But if you have one campaign that really corresponds accurately to three different awards, then go for it.

Deakin: Perhaps you're entering a social campaign. And you want to know what category to enter. Is it sort of a broad range digital category, is it social, is it writing for social etc. Where you have an award entry that can sort of tick a few boxes, that's fine. The thing I get annoyed about is repeated case studies that aren't tailored to each category. It's the same case study submitted across categories without considering which details are relevant to the category. It only ticks part of the box.

Think about why this is being entered into this category. What is the supporting material that might make the judge think they haven't shotgunned it into every category.

Sansom: It comes back to what's the story. What's the most interesting thing. If it's an interesting story in Print which is genuinely a different approach, then cool let's do it. But if it's an innovation in social that happened to have a print element, then don't enter it into Print because the judge is going to look at it and go, there's nothing interesting about that.

When you're entering awards there's stuff that you want to win like Integrated, the big shiny ones, there's stuff you probably stand a better chance of winning in because it's super niche and not many people will enter those and there's the stuff you will probably be able to win

You've got to be hard and honest with yourselves in terms of what sits in the middle of that. We were really hard on ourselves because fundamentally the work was a social campaign. It was all run on social, it was on YouTube and Facebook and Instagram. So it was inherently social content.

The Drum Awards 2020 programme is now open for entry. You can submit your work in various schemes covering marketing, search, digital advertising, creative and design. Make sure you submit your entries before December 12 for an early bird discounted rate.

See the original post here:
How to win The Drum Awards in 2020: start early and know your narrative - The Drum

As an MBA student, Wallace hopes to bridge gaps between artists and business, and help foster community fine arts appreciation, by combining marketing savvy with arts knowledge.

The arts and entertainment connect the world on a larger level, he says.

He enrolled in PLUs MBA program because he understood some aspects of an acting career such as auditions but not accounting, marketing and management theories.

Many artists could learn more about marketing, he says: As an actor, you need to know how to market yourself, especially in the digital age, whether through Instagram or another form of social media.

Hes learning more about marketing in his MBA program. With teammates, Wallace delves into case studies and learns about marketing tools. For the year-end project, his group is crafting a real-world marketing plan for a local telemedicine business. We find out where they could market better, different marketing avenues, and how to grow their marketing, he says.

The business world could learn from the arts when it comes to creativity and play, he says. Parts of the business world are taken a bit too seriously, and as entrepreneurs you need to find a way to be more free-spirited and foster creativity a bit. Creative energy can spur brilliant ideas, but its important to hold onto dreams and passions.

Resilience is a key arts strength that can support entrepreneurs, he notes. When he first got into acting he heard, Youll get a million nos before you get your first yes something true for entrepreneurs, too.

In the future, Wallace hopes to be an actor, musician and producer, and eventually start his own arts and entertainment business the next Disney, for example.

Hes participating in the schools business plan competition, creating an app that connects artists professionally. Like eHarmony for artists, he says so a singer can find a guitarist or a producer, for example.

Read more:
Josh Wallace: The Art of Business, The Business of Art | MarCom - Pacific Lutheran University

Every second, 5,787 tweets are published. Every minute, 300 hours of video are uploaded to YouTube. These are just two of the more popular social networks, and among these data points are the occasional references to a specific organization, its brands, and even customers or employees.

For many, these brands have a marketing, communications, or even customer service team dedicated to interacting with people on social channels to ensure their reputation remains intact and flag any concerns, too. However, as these platforms continue to grow, so does the abuse from threat actors, and marketing teams are not equipped to handle it.

There are several reasons for this: marketing-driven social platforms are not designed to monitor for cybersecurity risks, digital threats need a rapid response but there are a lot of false positives, and marketers are not trained against malicious social engineering like phishing attacks nor technical attacks that contain malicious code.

Not all digital risks are created equal. One day, a threat actor may target a brands employees and customers by impersonating said brand in an attempt to steal their credentials. The next day, an angry ex-employee could publish a threat against the company, and the day after a current employee could accidentally share private company data to a code repository.

Ultimately the most common cybersecurity and digital risks associated with social media are:

And, while marketing listening apps or software may pick some of these activities up, typically there is no process in place for handling them or they may not even be aware of what it is. Because of this, the threat is ignored or the response time is delayed. When this happens, the alert falls into a haystack and filtered out as it does not meet the goals of the marketing team.

New tweet about a product? Marketing has that covered. Someone is disparaging the brand due to a negative experience? Marketing can handle it. An angry person starts threatening an executive? Its something that happens hundreds of times a day on these unfiltered networks, and in many cases, they are laughed off and lost in the alert haystack.

Plain and simple, different teams have different priorities, and a security team has to clear hundreds if not thousands of social alerts to find validated digital risks.

According to a recent report, five times as many SOC analysts this year believe their primary job responsibility is focused on reducing the time it takes to investigate flagged alerts.

70% of respondents investigate 10+ alerts each day (up from 45% last year) while 78% state that it takes 10+ minutes to investigate each alert (up from 64% last year). In addition, false-positives remain a struggle, with nearly half of respondents reporting a false-positive rate of 50% or higher, almost identical to last year.

In total, thats about 15 minutes of wasted effort per false positive, and all of this effort adds up quickly. Now, its important to note that its not wasted effort, as all potentially malicious analysis is important in a process designed to find true threats; however, it is obviously an efficiency concern. Mix this in with a marketing team that is not equipped to handle these threats, and the review period is only extended further. Multiply it by the number of forums, blogs, social media sites, and the other social sites that get used by 42% of the global population each day, and you have a lot of false positives.

For teams with their own internal SOC, a simple process that results in social media managers quickly forwarding on suspicious alerts is a good first step, but ultimately security teams still need their own solutions.

The example above shows a representation of how PhishLabs handles social media threats. Our automated Digital Risk Protection platform constantly compiles data points from more than 6,300 social media sources, refines them and filters them, and then ultimately a threat analyst confirms the validity of the threat. Because of this approach, our partners receive none of the false positives and only intelligence around social media threats targeting their brand, customers, or users.

One of the largest hurdles a security team will face is the lack of time. In fact, around 49% of surveyed team members stated that time and a lack of skills available are the biggest barriers to threat hunting.

Lastly, security teams may also be great at creating and sharing memes, but the same argument can probably be made about not letting them run your social accounts, either.

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*** This is a Security Bloggers Network syndicated blog from The PhishLabs Blog authored by Elliot Volkman. Read the original post at: https://info.phishlabs.com/blog/marketing-teams-not-equipped-monitor-social-media-threats

Read more:
Marketing Teams Are Not Equipped to Monitor Social Media Threats - Security Boulevard