Nov 28, 2011

What drives immediate and ongoing Word of Mouth?

Word of mouth (woM) affects diffusion and sales, but why are certain products talked about more than others, both right after consumers first experience them and in the months that follow? This article examines psychological drivers of immediate and ongoing WoM. The authors analyze a unique data set of everyday conversations for more than 300 products and conduct both a large field experiment across various cities and a controlled laboratory experiment with real conversations. The results indicate that more interesting products get more immediate WoM but, contrary to intuition, do not receive more ongoing WoM over multiple months or overall. in contrast, products that are cued more by the environment or are more publicly visible receive more WoM both right away and over time. Additional analyses demonstrate which promotional giveaways in WoM marketing campaigns are associated with increased WoM. Overall, the findings shed light on psychological drivers of WoM and provide insight into designing more effective WoM campaigns.

Keywords: word of mouth, buzz marketing, diffusion, product characteristics, social contagion, field experiment

Click here to read:  "What drives immediate and ongoing Word of Mouth?" by Jonah Berger and eric M. Schwartz*

Nov 27, 2011

7 Digital Trends You Should Know

Changes in the digital world of marketing keep coming fast and furious. As a marketer, it can be challenging to know which online trends are important and which are nothing but fads. One thing most marketers do know by now is that digital marketing is marketing -- in other words, with your audience having fully migrated online to search for suppliers, products, and services, digital marketing is the most effective way to connect with your prospects and customers.
Here, then, are seven digital trends worth paying attention to.

1. Online events
According to a recent GlobalSpec Marketing Trends Survey, 47% of industrial companies are increasing their spending on online events. Online events, sometimes called virtual events or online trade shows, are a trend made possible by high bandwidth availability and emerging technologies that allow media companies to produce and host highly interactive experiences. Online events targeted to your specific audience offer you an excellent opportunity to showcase your product line, build your brand reputation, provide content to your audience, and connect with prospects and customers. What’s more, you can do it all from the comfort and convenience of your desktop -- as can your audience.

2. Video
Video is experiencing a significant growth spurt. In fact, a high percentage of companies are increasing their spending on video, and it’s easy to see why. In the age of YouTube, videos are cheap to produce, and homemade production quality is not only acceptable, but cool. Also working in video’s favor is the fact that many people like to watch, not read. Looking for some good ideas for video? Try brief interviews with executives, conversations among product managers, product demonstrations, or on-site visits to customers where your products are being used.

3. Social Media
Although many companies have begun implementing social media, make sure you understand the specific reasons and goals for your own social media strategy. For example, the top reasons companies use social media for branding and lead-generation purposes, yet only 3 percent of companies state that social media is one of their top three sources for leads. At this point in the maturation of the social media market, increasing brand awareness and building relationships are the outcomes most effectively achieved. LinkedIn is the most popular social media platform for sectors such as the industrial industry, followed by Facebook and then Twitter.

4. Digital Content
A few years ago, everyone was saying “Content is King.” Well, in many ways, content still is king -- digital content -- as attested to by the huge growth of e-readers, the iPad and other devices for consuming digital content. And it’s not just Web pages. There are videos, Webinars, downloadable PDFs, e-books, interactive tools and more. Your customers and prospects are hungry for content to help them do their jobs and make better purchasing decisions. Your job is to create that content and get it to them in digital format.

5. Internet Banner Advertising
Internet banner advertising has become a strong value proposition for marketers because of the availability of highly targeted advertising networks that can place your ads on specific sites frequented by professionals in your industry. Online advertising networks also offer the convenience of reaching many sites with a single buy, helping you save time and make the most effective use of your budget. Banner ads are highly visual; they offer great branding opportunities and can drive qualified, targeted traffic to your Web site.

6. Testing and Analytics
One major advantage of digital media is that it is easy to test and measure. A/B testing is becoming a popular way to optimize e-mail campaigns, Web pages and other online media. A/B testing basically means you split your list in two and send each list a slightly different version of what you’re testing, changing only one thing at a time and measuring what performs better. In addition, every company should be performing some type of Web site analytics such as measuring traffic, page popularity, and visitor behavior to help make informed decisions about optimizing your site.

7. Online Marketing Budgets
The top eight channels for increased marketing spend in 2011 are all online — from social media and SEO to Internet banner advertising networks, online newsletter sponsorships and more. In addition, according to GlobalSpec’s 2011 Industrial Marketing Trends Survey, companies spend an average of 38 percent of their marketing budget online and 50 percent report that online marketing is a larger percentage of their overall marketing budget this year than last year.  Online marketing should continue to take a bigger slice of the marketing budget in subsequent years, as more marketers experience the ROI associated with online programs and discover they can connect better with customers and prospects online.

article written by Chris Chariton

Nov 24, 2011

The Honda Experiment

Posted by Eliza Williams, 23 November 2011, 10:35

Wieden + Kennedy London's latest campaign for Honda, titled The Experiment, is an online game that asks players to create a chain reaction on screen by placing a set of pop-up windows in the correct sequence...
The campaign is reminiscent of the Honda Cog ad from 2003, where a series of car parts were used to create a giant Rube Goldberg-esque chain reaction, to emphasise the complex engineering inside the Honda Accord. Here, the audience become the engineers, and are encouraged to experiment with moving the pop-ups around the screen until the correct chain is achieved. The film below shows how it works:

There are six levels to the game, and when these are completed, players get the opportunity to create their own chains to challenge their friends with. The game is best played using either Google Chrome, Firefox or Safari browsers, and was created in collaboration with B-Reel, the production company behind the Wilderness Downtown site for Arcade Fire, which also had fun with pop-ups.

Play the game at, or find out more about it on the Honda bloghere. And if you want to find out more about how the campaign was made, simply watch the making-of film below:

Agency: Wieden + Kennedy London
Creatives: Lisa Jelliffe, Kirsten Rutherford
Producer: Dominic Tunon
Creative directors: Chris Groom, Sam Heath
Interactive creative directors: Gavin Gordon-Rogers, Andy Cameron
Designer: Chris Welsby
Creative technologist: Mike Tucker
Executive creative directors: Tony Davidson, Kim Papworth
Production company- B-Reel
Music: human

BGH Microwaves: Musical Microwaves

Are you sick and tired of hearing beeps everywhere, giving you orders. Time to wake-up; 2 secs to enter in the subway, time to eat, etc. 
Now with the BGH Microwaves you can get rid of the beeping noise, and listen to your favorite musics during your meals. The BGH produced a limited edition of microwave oven with a USB port, which permits to transfer your favorite musics to the microwave.

If this thing becomes a trend, I foresee a portable mp3 microwave player.


Del Campo Nazca Saatchi & Saatchi
BGH Microwaves
Executive Creative Director:
Maxi Itzkoff
Executive Creative Director:
Mariano Serkin
Creative Director:
Diego Medvedocky
Creative Director:
Ignacio Ferioli
Creative Team:
Guilherme Souza
Creative Team:
Breno Costa
Agency SISOMO Producer:
Camilo Rojas

Nov 22, 2011

Lagerhaus: Blog-Up Stores

Swedish interior design retailer Lagerhaus targeted six leading interior design bloggers to create buzz around the launch of its online store, and increase its number of Facebook fans in a campaign by Prime.
The retailer invited the bloggers to create their own 'pop up' stores, giving them access to a blog store widget to make it easy. The bloggers could customize their shop with their favorite products and embed it on their blog, thereby creating so-called 'Blog-Up Stores'. Bloggers could market the stores however they want, and could invite their readers along to meet them in person at the launch of the online store. As a result of the campaign, the brand's Facebook fans increased by 226%, interactions grew by 360% and the blog stores have become permanent distribution channels for the brand. - (via Creativity)

Creative/Project Manager:
Maria Larsson
Creative/Art Director:
Ebba Hultengren
Executive Creative Director:
Tom Beckman

Nov 21, 2011


«This year, Eurobest - one of the most important creativity Festival in Europe - will take place in Lisbon (Portugal). And to officially launch the "Young Creatives Integrated Competition", Fuel Lisbon, a Portuguese agency, created a viral featuring the top creative directors in the country as pop stars.

In the spot, they all are singing a very popular Portuguese song, a sad tune that speaks about getting old and that time goes by. The pay-off explains all this sadness: "They can't enter anymore. Good for you".

The spot is all over the web, mostly in Facebook, where it has been shared more than 200 times in just one day.

On top of that, Fuel Digital is launching a Facebook app where you can play with the music, mixing all the creative directors voice and putting they to sing the blues in duets.

Eurobest will be held from 28 -- 30 November 2011, in Lisbon, Portugal.»

Title: 20 YEARS
Agency: Fuel Lisboa
Creative Director: Marcelo Lourenço / Pedro Bexiga
Copywriter: Andreia Ribeiro
Art Director: Ricardo Marques
Agency Producer: Pedro Silva
Director: Nuno Portimão
D.O.P.: Vitor Rebelo
Executive Producer: Alexandre Montenegro
Executive Producer: Sandra Sousa
Sound: Luis Motrena
Make Up: Cauê e Susana Correia
Production Company: Show Off
Post Production: 
Show Off
Sound Production: Indigo
Music: Manuel Faria / José Afonso
Song: "Vinte Anos" (José Cid / Tozé Brito) 
Singer: Sara Sezifredo 

Time to be creative...

Is there a time to be creative, can you control that appearance. Some creativity experts say that you can train your brain in order to better control the time of inspiration. I prefer to not control my inspiration and let it come when she wants, maybe because I spent some time "feeding" her (the soul of creativity) and my brain (the worker) with creative contents.

We can agree or disagree, if you can or not train your body to be creative, or if that training processes benefice your creativity.
As resource, time is important to the creative process. Because of the pressure involved in solving problems with a limit for it. But too much time can be also nocive, it can lead to procrastination.

And what happens when you have a client-agency relationship. Which side as the right opinion about the use of time?

The agencies ask for more time.

But do they really need it. 

Great Ideas Don't Take as Much Time as Many Ad Agencies Claim
The Myth of Time and the Creative Process

There. I said it. CMOs? Ad managers? Perhaps you've suspected this. I can confirm it: Making ideas really doesn't take as long as you're told it does.
It's like I'm burning my Advertising Creative Union card by saying this, right? I mean, creative actually does take time -- and smarts, risk, effort, sleep deprivation, and extended bouts of weeping -- just not as long as some agenciesmake it take.
A few months ago I listened in on a conference call with one of our newly minted account managers as she negotiated campaign timing with a new client. Actually she wasn't really newly-minted. She'd worked for a few years at a creatively decent, but now deceased, agency. And every word she used, every number she referenced, each timeline, was designed to secure more time for campaign delivery.
So, I popped down afterwards to undo several years of very good, traditional account training.
Agencies (like her old one) have built up elaborate time, tracking and billing structures that David Ogilvy would still recognize -- structures designed before Internet speed, and turned into tradition with layers of process that . . . Slow. Things. Way. Down.
At the same time, creative people, even admirably busy ones, almost always put most of their actualwork-work nearer to Deadline Eve than to project initiation. I do it. Think. Get coffee. Think. Get panicky. Freak. Execute. That, too, is tradition.
So, if we all just agree that, today, technology lets us collaborate, create and execute far faster than those 80s-era agency structures can -- the ones where 90% of the creative portion of the effort happens in the last 72, 48, 12 or 4 hours anyway -- well, let's just go ahead and move that hunk of time closer to project's initiation.
Like, all the way closer.
Here in flyover land -- essentially advertising's nowhere -- speed is a requirement. We have to be faster to compete with bigger agencies. But it turns out the positive effects of this reality have piled up for us. So we've made it the rule. Or rather, the basis of our guiding principles, which we use to go about undoing all that excellent account training I mentioned.
Principle 1: The less time it's in our shop, the more profitable the effort. Seems strange to say in an industry with billable hours as a standard. But we've had projects that have celebrated birthdays. Not one of them has been profitable. Bill to a quote, deliver value, execute, delight your client. Repeat.
Principle 2: Speed reduces mootness. If we develop concepts before market conditions render the brief moot, it decreases the chances that the effort will die of irrelevance in six months because a client's competitor moved faster. Yet, some agencies act like clients' competitors never change. They do.
Principle 3: Speed helps your client-side partner be indispensable to her organization.Speed tends to delight her project team; executional alacrity helps that lead person keep (and excel in) her job, be assigned more things to execute, and (hell yes), make more work for us. Yet, culturally, agencies are full of creatives who think the client is the enemy. They're not.
Principle 4: Speed lets you avoid second-guessing a thing to oblivion. Almost all our most interesting projects could have been easily killed by a lot of debate. Creative inventions are always fragile, and proper scrutiny should kill the weakest -- absolutely. But you can always construct an argument that can kill even the most awesome ideas. Speed just reduces that opportunity. And yet, some agency creatives talk about working for months on things that are never produced. Somebody pays for that wasted effort.
Principle 5: Executing the fresh beats the hell out of executing the stale. I personally have the attention span of an Irish Setter. I'm easily bored, and always ready for the next thing -- a lot of creative people are. Execute before our minds wander. Executing ideas in the energy-glow of spontaneity, newness, and invention is, frankly, more fun. You can usually see it in the results. What was I saying? Oh…
Principle 6: Speed lets you collaborate with your client earlier. Speed makes you be decisive. Speed lets you be well on your way before another agency can get the job opened.
This may seem anti-creative to some. But I can report that nearly every really unusual, innovative or award-winning idea we've created over the last few years has coalesced within hours of setting our minds to it. The speed can be breathtaking, but the results can be, too.

Nov 17, 2011

Why Companies Should Invest in Google+ Brand Pages

Click here to find out more!
As the lines between search engine optimization and social media continue to blur and form one synergistic effort, it is critical that both small and large companies stay up to date with new opportunities for spreading brand awareness and connecting directly with their audiences. When Google makes a move in the social space, it's important to pay attention to, understand, and identify how the offering can and should be leveraged for your business.

With the recent announcement of Google+ brand pages, many people may be saying "My business is already active on Facebook and Twitter, why should I bother with yet another social media channel?" This is a valid question due to the amount of time and resources that are required to effectively manage each social media channel. At the surface, Google+ brand pages may seem like just another Facebook with a fraction of the user base. However, these are a few unique elements that you should consider before writing it off:

Smaller User Base
While it's true that Google+ does have a much smaller user base than Facebook (estimated at 40 million vs. 800 million), it doesn't necessarily mean you should ignore it and focus all of your efforts on Facebook. With fewer users, come less noise and more focus in the space. Facebook is packed full of updates from the recent integration of services like Spotify and The Washington Post, as well as games, "happy birthdays," and pictures of friends and family. Google+, on the other hand, seems to be driven more by content of a professional, informational, and industry-specific manner. Because of this, brands may be able to create a much more direct and personal relationship with their audiences.

Unique Functionality
Google+ offers very unique functionality with its ability to host "Hangouts," or live audio/video chats, between itself and its audience. Hangouts provide an opportunity to directly engage in discussions, receive immediate feedback, and/or provide exclusive content. One example of a brand already using Hangouts is The Black Eyed Peas, where they hosted a session backstage prior to one of their concerts. The Hangout allowed them to connect with their fans, give some inside information on the band, and thank their fans for their support.

Another creative use of Hangouts can be seen with Dell. Michael Dell mentioned the possibility that the company may soon leverage Hangouts as a place for face-to-face customer support and sales rather than requiring customers to call in.

Future Integration With Other Google Offerings
As Google continues its recent effort to unify its products and offerings, Google+ is ripe for deeper integration with services such as Google Places and Maps, Web and Image Search, and YouTube. Google has already begun this process in several ways. One of the most recent is the addition of Google +1s into Image Search.

This could become beneficial to increasing a brand's visibility, socially and via organic/image search, where the brand frequently post images to their Google+ brand page (such as artists or photographers who sell a product or service), and have an audience that is likely to share that content.
Ultimately, whether or not using Google+ brand pages is right for your business depends on your target audience and your level of creativity to use the service to its full potential. In most cases, businesses must fully understand what types of audiences they have, where they are spending their time online, and what types of content they want to consume from each service. Finding the right balance of social interaction and commercial promotion is critical in creating that connection, positively affecting other marketing initiatives such as SEO, and ultimately generating the next sale.

Are you using Google+ for your brand? If so, in what ways are you engaging your audience? And if not, why did you decide against it?

Crispin Sheridan - via Clickz

Bussiness Mouse, doing bussiness old-school style

Welcome to Impulse Investments, I'm Dave Business Mouse!'. Fresh from the makers of Modern Toss comes a new cartoon idiot in the form of a little mouse built for big business. Watch as he blunders his way through deal after deal at rapid pace. Expect hilarious, hurricane velocity, stylish animation from this inspiring but reckless mouse entrepreneur and his portfolio of business associates.

In the first über-sweary episode, Business of Leisure, BM encounters a budding entrepreneur with a keen nose for an idea.

Written & Directed by: Jon Link, Mick Bunnage
Producer: Jane Harrison
Voices: Julie Burchill, Emma Fryer, Mark Kempner, Lawry Lewin

Character Design & Backgrounds: Jon Link

Additional Artwork: Steve Campion, Charlie Evans

Animation: Le Singe Media

Supervising Animator: Tom Matuszewski

Animators: Robin Brindle, Jack Bonnington, Scott Weston

Editors: Rob Hill, Tom Matuszewski

Dubbing Mixer: Simon Couzens
Business Affairs: David Cuff

Nov 15, 2011

Hans Brinker Budget Advertising

Hans Brinker Budget Hotel, is a example of a coherent communication: «The Hans Brinker Budget Hotel has been proudly disappointing travellers for forty years. Boasting levels of comfort comparable to a minimum-security prison...». This line of communication of Hans Brinker Budget, a disruptive line, put them as one of the most famous Hostels in Amsterdam, if not the number one. 

And they now launched a new social media campaign:

Hans Brinker Budget Hotel Amsterdam asks you to advertise its luxurious, spacious, minimal designed rooms in a YouTube video. Just mention 'Hans Brinker Budget Hotel' and if your video hits a 1,000 views, you'll be rewarded with 10 euros.

Innovating keeping the line...

Agency: KesselsKramer

Brand Manual - Be Disruptive, By Differentiation , Thinking in the Positioning. All this in a coherent way. 

Nov 14, 2011

Meth Project goes digital

The Meth Project announced the launch of a new integrated campaign to reduce methamphetamine use.  Central to the campaign is—an  encyclopedic online source of information about Meth for teens—supported by new television, radio,  print, online, mobile, and social media campaigns. A web-centric social network built around the theme  “Ask,” the campaign challenges teens to consider what they know about Meth, and  equips them with facts, tools, and resources to understand the risks of the drug and to influence their peers.

Designed to spark exploration and engagement, brings to life the breadth of research on  the subject in a way that is highly interactive and accessible to young people. For instance, teens can 
take a normal beating heart to Meth-induced heart attack in the simulation “Heart in Overdrive,” learn 
how Meth rapidly changes a user’s appearance by pairing before and after photos in “Mug Shot Matchup,” dose a healthy brain with Meth to watch its effects, or experiment with the drug’s ingredients to see 
which ones explode or emit toxic gas.  Personal stories from users are told through videos, rich animations, and drawings as teens describe their experiences with Meth in poignant detail. also serves as a platform for teens to connect and share.  In the “Speak Up” section of 
the site, teens can post their own messages about Meth through artwork, videos, stories, and photos, as 
well as comment on other teen submissions.  “Take Action” provides ways for teens to get involved to 
prevent Meth use or find help, and showcases teen-led community action programs across the country.

Four Studio AKA Directors all took on the creation of Six films for the project by concentrating on personal stories by users. Uncompromising & uncomfortable to watch, each of the films has its own style, reflecting the personal recollections of addicts. In addition to these thought-provoking films, there are a series of stand alone Illustrations to accompany other stories of addiction & Radio audios that will be viewable on the Meth Project website.

Advertising Agency: Organic, USA
Chief Creative Officer: Conor Brady
Executive Creative Director: Brad Mancuso
Creative Director: Urs Ross
Associate Creative Director: Jola Hyjek
Art Directors: Tyler WarrenderMark Butorac
Copywriters: Fred AbercrombieBrian PikeLauren Tyrrell
Designer: David Paslay
Motion Design: Lorena Pazimo, Michael Whiteside, Bert Tam
Executive Producers: LauraLe WunschTom Hillebrand
Account Team: Andy McKinney, Jamie Shiembob
Group Director, Technology: Tom Tully
Technology Director: Dale Gillespie
Rich Media Architect: Jordan Gray, Clayton Gibb
Web Developers: Margaret Beck, Robert Watzke
Design & Animation: Studio AKA
Directors: Steve SmallKristian AndrewsGrant Orchard
Illustration: Margot Tsakiri-Scanatovits, Eamonn O'Neill, Gemma Mortlock, 
Cristobal Infante, Kristian Andrews
Animation: Margot Tsakiri-Scanatovits, Eamonn O'Neill, Kristian Andrews, 
Phil Warner, Eamonn O'Neill, Grant Orchard, David Prosser, Steve Small
Executive Producer: Sharon Titmarsh
Sound Design: Jeremiah Moore
Mix: Mark Pitchford, M Squared Studios

About the Meth Project
The Meth Project is a national non-profit organization headquartered in Palo Alto, California, aimed at 
significantly reducing Meth use through public service messaging, public policy, and community 
outreach.  Central to its integrated campaign is—a definitive source for information 
about Meth for teens.  The Montana Meth Project, Arizona Meth Project, Idaho Meth Project, Illinois 
Meth Project, Wyoming Meth Project, Colorado Meth Project, Hawaii Meth Project, Georgia Meth 
Project, and other state affiliates implement the Meth Project prevention programs in their respective 
states. The Meth Project is funded by a grant from the Thomas and Stacey Siebel Foundation.

Nov 12, 2011

Digital Storytelling: What Can Porn and Paula Deen Teach Us?

Meet your new executive producer: the audience.

Ninety-six percent of homes in the U.S. own a television. Yet, viewers are anything but couch potatoes. They not only control their media like never before, but they are a part of the action, either on-screen in the show or on-line—chatting, posting and poking about it.

The future of media turns out to be a return to the past. Think back to an age before mass media and subsequent fragmentation; we had one thing that we could rely on: the story.

We are inherently social animals. Even when we didn't have 140 character limitations and Skype, people communicated with each other far and wide along trade routes. We did it through storytelling—an endless telling and retelling of well-known stories—in a folk or oral tradition where the audiences were very much active participants in the narrative. There was no community without communication. No communication without community.

And that's where we find ourselves today. Only now, digital records that oral history. People are telling and re-telling the stories they find most compelling and valuable to them, constantly changing and commenting on them to suit their needs. Just think of all the celebrity faux-pas remix videos on YouTube. Think "The X Factor" auditions. Think improv in free Rap. Folk is rampant.

It means that we need brand stories that are not just compelling, but alive. Stories that are as dynamic as they are timeless, changing to greet contemporary audiences, and constantly being reinvented for and by new viewers. Like folklore, brands must tell stories that are colored by the audience, its participation, and its re-telling of the story. Simply, we must let go. And brand architecture and communications must be designed to nurture the age of freedom storytelling.

Pornography's digital story

The pornography industry is a great example of this folk revival. From wall paintings in Pompeii to 16th century books to VHS, porn is an industry that has adapted marvelously to new technologies and media innovations. And in more recent times, to digital. It draws on a basic, limited repertoire of timeless plot-lines, so to speak, but uses digital to make these stories alive for the audience. In other words, more social, living, and current than ever – despite the fact most watch home alone.

A big part of pornography's social dimension is to do with piracy. The media industry abhors piracy. Music, television, and gaming have invested millions in digital rights management, trying to shut it all down. Format innovations like HD DVD are driven by rights management issues more than story-telling.

The porn industry saw differently. In the 90s, it recognized that there was no stopping the free flow of content (fact: today, pornography constitutes an estimated 35% of all peer-to-peer sharing). Instead, this industry embraced piracy, made content easy to grab, and more content got shared. Why?

Because the creators viewed pirated content as sampling, not theft. Or maybe they just lost the DRM battle soonest! Either way, they realized that even with a free sample, an audience might still be enticed to pay for the full experience if you added enough extra value and convenience — especially if that experience was enhanced with social tools and deeper engagement. Ten years before networks like Twitter and Facebook existed, the porn industry set about creating closer connections and communities with its audience. They set up live video and live chat functionalities. They even got their stars to blog. In an age of free and on-demand, the more alive pornography became, it commanded a price tag.

Another force—the powerful rise of user generated content-- prompted pornography to move even faster to embrace digital folk. Porn became the new karaoke as user-generated content blurred the lines among recipient, participant, and content creator. And it was free. It became the jumping-off point for something else: niche-interest communities.

These content distributors sniffed out niche online audiences, feeding them custom content. As they fed and fed off these communities, they linked them to each other. One sub-interest led to another. Less about long tail; and more about long nose: sniff out small audiences, get fed, aggregate and feed them again. Critical mass media was born. It is in this highly inventive interplay of content and distribution strategies (or what we at Digitas dub "audience design") that the porn industry perhaps has most to teach us.

And then Paula…

That said, conservative-minded marketers (and I am one) should not despair. Pornography is not the only example you can lean on when crafting your own digital storytelling. For example, we used a lot of the same elements when creating "The Real Women of Philadelphia" campaign with Kraft and Eqal: social sharing, user-generated content, and niche communities. And at the heart of this program was the story of Paula Deen, the queen of home cooking.

Paula embodied the spirit of folk tradition and classic storytelling. She kicked off the campaign with videos and tweets that encouraged viewers to participate. She focused on the "how", with videos on how to set up your kitchen, how to put on your make-up for the camera, and more. Her voice encouraged home cooks across the country to submit their own recipe videos online.

And Paula didn't stop there. She began discussing the submissions on her blog on the Real Women site, and on social channels such as Twitter, Facebook, and YouTube. She didn't talk at these women; she bonded with them. The viewers weren't expected to sit back and merely; they received a personal invitation to participate—comment, share, and submit. This digital storytelling created a community, with 12,000 recipe videos and 25+ million views. It's also a community that spent money. Kraft's sales of Philadelphia Cream Cheese experienced their first big sales lift in five years.

Now there's a digital story that's compelling to everyone.

Mark Beeching is Worldwide Chief Creative Strategy Office for Digitas, responsible for its creative product and strategic planning. As the founder of The Third Act:, Digitas' content development unit, Mark is also charged with creating and driving the company's content strategy globally.

via Adage