The content conundrum

I was in Germany recently. My agency’s global network has a challenge shared by many media agencies, I suspect: how to formalise its development and distribution of content on behalf of its clients.

Content distribution is pretty much what we do already. Sure, the content we use and the channels available to us are proliferating at lightning speed, but the core principles of navigating a consumer towards a brand (as opposed to the way around) haven’t changed.

But media agencies developing content? Really?

Media agencies have for a while seen themselves as the angels on a client’s shoulder. We’ve been telling them the world has changed. That campaigns need to be more ‘engaging’ or three-dimensional.

All to easily we’ve probably characterised ad agencies as the devil on the other shoulder. They tempt the client with yet another expensive, short-shelf-life, we-open-on-a-beach-and-here’s-the-production-bill-thank-you ad production.

But, inevitably it’s that sort of agency, well-versed in production and selling things that need to be made, that are benefiting most from our sell. While media agencies talk in terms of potential, ad agencies go and make.

Increasingly, in a digitised, ‘social’ world, it feels like ideas are once again the currency of a successful agency.

Why?

Because advertising is based on interruption. Media facilitates this interruptionby allowing brands to buy their way in to people’s routines.

But interruption doesn’t work when the normal rules of intervention don’t apply. You can’t buy your way in to social media.

Mel the other week apologised to me from the stage for advocating great ideas that don’t need paid-for media.

But really I couldn’t agree with her more. I think if you have to resort to buying attention then you’ve failed.

So, paradoxically, while media agencies can tell clients about shift in traffic, or the increasing control consumers expect over their media, they’ve not always been able to articulate how a brand should respond.

Because developing social media strategies meant going without reach, frequency and other buyable metrics to cling onto. We often struggled to convert our expertise into much more than a strategy or ‘approach’. We’d end up with an empty vessel waiting for the actual idea that populates it and brings the approach to life. Our inexperience in helping clients visualise the actual content that would get made stopped us from benefiting from our own foresight

Now, I don’t believe for one moment that’s because media agencies aren’t capable of coming up with those ideas. But when you’ve grown up evidencing recommendations with promises of eyeballs and traffic it comes as a a surprise when clients, in the absence of being able to see the film/poster/message/game/competition/whatever,  don’t meet you halfway.

So media agencies are potentially just as disrupted as ad agencies nowadays. If we’re not buying the space, just what do we do? Put that way it’s easy to see why ad agencies, who have always created ‘content’ in its most obvious form, believe they have an equally central role to play in a new world unconfined by old-fashioned notions of 30″ or, if there’s lots of money, 60″ or, if  we’re feeling really brave, 90″.

But here’s the thing.

Ad agencies don’t make ads.

They might write them, and make their account man stand up and read out the scripts in order to sell them, but they don’t make ‘em.

They use, have always used, production houses, directors, etc to bring to life what clients have bought before it’s even made.

How about that, media people? Creating ideas powerful enough to make clients want to buy that they’ll pay you for no matter how they turn out, or how effective they are?

That’s what we need to get better at.

I’ll say, now, though, then I’m not particularly happy with the word ‘content’. It turns out to be incredibly difficult to define.

Try it.

I asked Twitter when I was in Germany debating this.

Stu said this

Pretty good.

Lisa said this, which I love.

I love it because Lisa is a journalist. In fact, she’s beauty and style editor at Marie Claire, so she knows a bit about turning ideas, trends, product, whatever, into content. It’s a helpful reminder that there’s a world of people and disciplines that do all this already.

Matt then said this.

Nice – utility, consumer value, etc

Liam got punchier, or more self-effacing anyway.

And after all this I realised something strange.

What media agencies currently sell – the box around content – is easy to describe, but on its own can’t sell a strategy because it’s so abstract.

What we want to sell – content that sits in the box – is quite an abstract thing to describe, but a relatively easy thing to sell.

For media agencies, it’s like content is negative space.

It’s what the eye is drawn to, but we’ve given more definition to what surrounds it.

Like this.

What gets media agencies into the content conversation is, of course, ideas. Ideas give definition to content. They fuel what sort of content needs to get made. And ideas are what clients actually want.

More on that soon, hopefully.

Content, Context… and Alan Partridge

In my last post I mentioned that Behavioural Economics thinking can highlight the relative roles of content and context in decision-making.

If my emotional attachment to a brand or product is only as strong as its proximity to my immediate needs, then it becomes fairly straightforward to assume that context trumps content. To continue with the lager example, this might mean, for example, that the efficacy of a brand’s distribution strategy counts for more than the brand personality the latest advertising seeks to capture.

But there’s a cartographer’s library between the territory occupied by advertising, and the co-ordinates that represent the moment where I choose my lager at the bar. If there wasn’t, would I default to Peroni as soon as I see it on draft? I certainly don’t remember any Peroni advertising. What’s more, why would I somehow feel I’ve failed in my quest for confident connoisseurship whenever I find myself ordering a Foster’s?

So, having massively enjoyed, and been really rather impressed by, the Foster’s co-option of Alan Partridge, I wonder if I’ll be judging myself any less harshly next time.

What Fosters have done does progress the content/context debate a little. It has a new, if somewhat literal, take on what content might mean. It makes me think of the Medici model of branded content: benefactor declares his wishes, throws enough cash around to show he’s serious, and the artist does his bidding.

And, relief all round, it’s not shit.

Mainly, though, Foster’s have pretty much substitutes ‘advertising’ with ‘entertainment’. It might add utility, and it has produced something people will want to to share. Because it does Partridge so well, it might even fuel what Naked no doubt planned it would – blokey, competitive banter in the pub – and connect the brand’s content to the product’s context. However, you still get the feeling it’s started with the brand, and with what a bunch of marketers think their ‘consumers’ want.

And they might well be right.

I’d love to see more ideas, though, that had been generated from a buyer-centric, and not seller-centric, point of view. I can’t help feeling that, rather than finding new ways to make content that creates preference outside the context of decision-making, shouldn’t we getting more effective at connecting context to content? Can we identify what help people need to make decisions, then create a series of solutions from that insight.

In media planning, we often talk about context, but we’re fairly narrow in the way we apply it. That’s because we’re still bewitched by the premise of presumed receptiveness – once we acept the need to get a ‘message’ to people, we work out when and where are they most likely to want to hear it. Or rather, when are they least likely to have their defences up. This is entirely seller-centric, and so increasingly futile, I think.

Media agencies’ capitulation to this convention is understandable, I guess.  Whatever moments of optimum relevance or influence have been identified, we always need to revert instead to points when media actually allows for interventions. So, for ‘downtime’ read ‘magazine supplements’, or for ‘busy middle-class 35 yr olds’ read ‘commuter Outdoor’, for ‘family moments’ read ‘saturday night TV’.

It’s a depressingly narrow and reductive expression of what people are really like. And if ad agencies have been in charge of articulating brands, it’s unfortunate that media agencies have taken such little care of their custody of consumer insight the strategies to engage them.

Surely we’re beyond this now. Technology means that interactions with potential customers can cut across time and location with ease. Real-time data frees us from the need to second guess where people will be, and what they’ll be thinking when they’re there. And that data is getting ever richer. If search was about revealing what people were interested in, then facebook allowed us to see what people were thinking, and now foursquare/facebook places adds an extra layer of insight telling us where they are right now.

BJ Fogg defines technology’s capacity to change behaviour as the way it can restructure tasks, or make them easier. I think that’s a pretty useful, if ahead of its time, description of what apps are doing for us right now, but effectively chunking the internet down into task-specific platforms, which fulfil particular needs at any given time.

Which brings us back to the content with which we fill this contextual space. Meeting needs doesn’t preclude us from making compelling stuff fuelled by creative thinking. In fact, quite the opposite. Alongside the kind of intellectual property typified by Partridge, we can also think about other services, tools, products, events, transactional opportunities.

In short, ideas with genuine utility. If brands can harness this I think the real connection between context and content isn’t far away.

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