Crowdsourcing Love and Chocolate

On February 14 of this year, Lacta chocolate discovered that love was in the air. And on the airwaves. And online.


Lacta - a Grecian chocolate company bought by Kraft Foods in the 1980s, and currently the top-selling chocolate brand in Greece - has made good use of interactive marketing in the past few years to promote love (and, by extension, chocolate). Lacta's most recent project climaxed on Valentine's Day 2010 with the premiere of a love story, brought to film by Lacta customers.

Creation of the 27-minute film, entitled "Love in Action," began in October 2009 with a television ad inviting viewers to submit their own real-life love stories on the Love in Action website, www.loveinaction.gr, for the chance to have their story made into a movie. According to an article this week by AdAge.com, the site received 1,307 submitted love stories.

Lacta, their marketing consultants at OgilvyOne Worldwide, and screenwriter George Kapoutzidis picked the winning story from the 1,307 entries.

In November 2009, Lacta issued another tv spot, asking the audience to view actors' screentests for the film (which were posted in full online), and to vote for the cast of the love story. These online audience members also chose the characters' names and clothing for the film.

In early February 2010, Lacta released a short trailer for "the love story we all turned into a movie."

Originally scheduled to release solely online on February 14, the "Love in Action" film also broadcast - at no cost to Lacta - as part of the Valentine's Day programming on Greece's leading tv station, MEGA Channel.

In March 2010, Lacta published a fourth and final tv commercial for the campaign, showing the film's ending and announcing that the film was based on a true love story.

(See the film and the entire campaign process at the Love in Action blog.)

And it seems that interactive romance stories work well for Greece's leading chocolate brand. In the quarter after the Love in Action campaign began, Lacta's sales were up 0.6% while the overall chocolate market was down.

This was not Lacta's first foray into interactive storytelling, either. In 2008, OgilvyOne had helped Lacta to release an online "choose-your-own-ending" love story, entitled "Love at First Site". Visitors made choices to move the story along to a happy (or unhappy) ending. Codes on wrappers of Lacta chocolate bars provided clues as to the right choices to make on the site.

Due to the success of the crowdsourced romance - according to AdAge, "Love in Action" was viewed by 12% of Greek television watchers, and was viewed 150,000 times during its first few weeks online - Lacta plans to create another interactive online love story based on one of the other 1,306 campaign entries.

Love, chocolate, and audience participation. Seems to be a winning combo for Lacta.

Permission to Buy Your Product

People need permission to buy your product.

Permission from themselves. Permission from their friends, family, religious communities, civic organizations, and sub-cultures. Permission from their peers, colleagues, coworkers, and superiors.

For most routine purchases, for purchases of well-respected brands, and for purchases that are considered to be a "reasonable" cost, this permission isn't usually a hang-up for consumers. Permission has already been granted, in the form of a generally accepted view that this is a "legitimate" purchase.

But for non-standard purchases, for large purchases, for purchases of little-known brands, and for purchases that carry a high "cost" (in terms of price, time, inconvenience, reputation, future success, etc.), permission from self or others isn't automatically guaranteed. And this permission is crucial; without it, the buyer feels like he or she must choose another brand, or abandon the purchase altogether.

Some examples:

• When a straight-A high school senior is considering an unheard-of college while his friends are applying to Ivy League schools, he needs permission to attend this obscure university. He needs permission from himself (that this school, though small, will provide him the best education he could find); permission from his friends (that they can accept that he has chosen an academically challenging college, although it does not have nearly the reputation of their own); and permission from future employers (that a degree from this university will enable him to get a good job in the future).


• When a mom is trying to take better care of the environment and beautify her home while being a good steward of the family's finances, she needs permission to buy the unfamiliar brand of weed killer that is 20% more expensive than the recognized brands but comes in the ergonomically-shaped green bottle with a name and package that sound environmentally friendly. If she is going to pay 20% extra for a brand she doesn't recognize, she first needs permission from herself and her family (by being sure that the product will work well and will be less harmful to the environment).


• When a husband wants to buy an expensive sports car, he needs permission from himself (that he deserves it, that the car is a good deal) and from his wife (that they have enough money to pay for the car, that the car gets good gas mileage, that the car will last the family a long time).

As a marketer, how do you provide this permission for consumers to buy your brand?

First, excellence. Second, communication.

The unknown university needs to be excellent in its academic quality, in the credentials of its professors, in the opportunities it provides to students, in the atmosphere on-campus, and in the success of its graduates. And it needs to communicate that excellence to prospective students, to the parents of prospective students, and to the general public.

The obscure "organic" weed killer needs to kill weeds effectively, and needs to do so with less environmental impact than the standard brands. And it needs to communicate to consumers - on its packaging, on its website, and in its advertising - exactly how its ingredients are better for the environment and how its performance compares to the leading brands.

The luxury sports car needs to provide an exceptional, enduring, and fuel-efficient driving experience. And it needs to communicate its performance, its ratings, its gas mileage, and its value through its marketing materials, advertising, and personal sales.

With your own brand - especially if you represent a new company, or a new product, or a new brand - be excellent, and communicate. Give people permission to buy your product.

The Art of Thoughtfulness

Most of the time, most people treat others only according to what is expected.

We are polite, but we're not caring. We're not rude, but we're not kind, either. We say "please" and "thank you" (maybe), but we don't show people how much we truly appreciate them.

And that's fine. We're not being rude, after all. No one expects anything more of us.

But in a world where avoiding rudeness is all that is required, a little thoughtfulness goes a long way.

• The college professor who remembers the name and one interesting fact about every student he meets - so that when they meet again, he can say, "Hello, Elizabeth! How's your little brother's baseball season going?" - is thoughtful.


• The woman who makes sure there are gluten-free foods available at her party when she invites her friend who has a gluten allergy, is thoughtful.


• The man who brings back a well-chosen souvenir from his Hawaiian vacation for his coworker who has always dreamed of going to Hawaii but has never been, is thoughtful.


• The girl who knows that her friend doesn't really care for birthday cake, and bakes her a birthday pie instead, is thoughtful.

Such acts of thoughtfulness are not required, or even expected. But they are very meaningful to the recipients.

Thoughtfulness requires a bit of extra work, and a bit of extra thinking. In particular, thoughtfulness requires that we think about the other person - what they like and dislike and need, rather than what is socially normal. It requires that we take time to listen, and to learn the people around us, and to look for ways to make their days brighter. It requires intentionality.

What would happen if marketers took the time to be thoughtful?

If we thought about what our customers need (or what we would need if we were in their shoes)? If we took time to listen to our customers and to find out their likes and dislikes? If we learned their wants, both on a collective level and on an individual level?

• Would we provide umbrella-drying racks inside our doors for rainy days?


• Would we provide hand lotion, in addition to soap, in our public restrooms, for the dry, chapped winter hands?


• Would we remember that Customer Tom's favorite band is Journey, and send him two tickets for a Journey concert near him to thank him for being a valued customer?


• Would we take note that Customer Julie tends to purchase a lot of Product X from us, and send her a coupon for a free unit of Product X on her birthday? (And a coupon for Product Y to Customer Bill, and a coupon for Product Z to Customer Myra?)

Again, these acts of thoughtfulness are not required. They are not even expected. And they require extra work, extra listening, extra thinking.

But who says that we should only do the expected? And who says that a little extra thoughtfulness isn't good for us?

Creating for Your Audience

Ad Age published a white paper this week called "Shiny New Things", exploring the influence of those customers known as the "early adopters".

The term "early adopters" was introduced in 1962 as the valued second category in Everett Rogers' diffusion of innovations theory. The theory asserts that all consumers can be grouped into one of five categories - innovators, early adopters, early majority, late majority, and laggards, consecutively - according to their willingness and quickness to adopt new ideas and products.


Rogers' diffusion of innovations curve. From the Wikimedia Commons.
For a good, brief online explanation of these five categories, I recommend ProvenModels.com/570.

Of these five categories, the early adopters are the consumers whom many marketers seek to impress when they release new products (hence the motivation behind Ad Age's white paper). Early adopters are revered as the consumers who can "make or break" a product's success. They are the ones who will tell the rest of the world whether the product is worth buying or not. They tell the world this by their words (increasingly so, in the days of social media), but also by their actions (are they seen actually wearing and using the new product or brand?). And they are the ones to whom the rest of the world listens.

(Of course, very few brands or products would do well to target the early adopters exclusively. As Seth Godin is quoted as saying in the Ad Age white paper [and in his blog], "if you want to stick around for a while, you need to make the difficult sales to the middle of the market or have a ready supply of new stuff ready to entertain the never-satisfied early adopters.")

The Ad Age white paper expanded on Rogers' theory by sharing findings from a study done for Serena Software that dissected the diffusion of innovations curve beyond its original five categories. The Serena Software study broke the "early adopters" segment into five micro-segments of its own by characteristic (rather than by adoption rate):

• Alphas - "These are the tech elite, immersed in technology. Alphas see technology as having a significant, positive impact on their lives and ability to communicate. At work, they are delegators, developing solutions to hand off."


• Accidental - "Not as comfortable with technology as Alphas, Accidentals still have a deep understanding of how technology can improve their lives. With a less direct approach at work, they consider technology a tool to solve problems, but not the key to everything."


• Practical - "Using all the technology that most other types are excited about, but they are less enthusiastic about the devices. They typically report to the Alphas and Accidentals at work, but are focused on implementation."


• Balanced - "Although similar to Accidentals, they do not place technology or work at the center of their lives. Approaching their jobs as a means to fund other things they enjoy, this group leads more relaxed lives than other types, and are hesitant to adopt emerging technology until they see how it relates to their personal lives. The most likely to be students and the least likely to be workaholics."


• Lite - "The most resistant to adopting new technologies before they are mainstream, they are less likely to take risks, actively solve problems or create efficiency. At work, they may adopt a new process once it is proven effective in another department. The most risk averse segment in relationship to technology, their work life, and at home."

These five micro-segments intrigue me. I want to discover how I can reach these customers - that is, how I can design products that fit their needs (rather than trying to convince them to buy a product that they really don't need - a much more difficult and much less honorable sell).

If I were to create a product with these five groups in mind, here are the steps (and priorities) that I would take:

1. Build for the Accidental. These are the consumers who see technology as tools, not as toys. Accidentals expect new technology to solve a problem. They will be my most valuable critics - the ones who tell me whether a new product is actually worth the materials from which it is made. They will tell me if a product actually meets a need in consumers' lives. If my product is going to be worthwhile, it needs to work for the Accidentals.


2. Support for the Practical. The Practicals are the ones who implement the technology, and are responsible for making sure that it works for their (or their organization's) needs. They use all the new technology, but they rarely get excited about it - they have to work around all the bugs, and make the solutions work for their supervisors or clients. Having technical support - especially, letting them tell me where all of the quirks and faulty solutions are, and then working my hardest to correct those things - will be key for these folks. The Practicals will be the ones who tell me how to make my product function the best.


3. Design for the Alphas. The Alphas get excited about technology, and are most likely to agree that technology has a positive impact on the world. If a new product has some new, better feature, and if some group of fanboys say that the product will be the next great thing, the Alphas will eagerly adopt the product, expecting great solutions. For this group, products should have good functionality, but also good form. Sleek design and intuitive user interface, added to great features, indicate quality to Alphas. If I care about design, I should design products that Alphas would be proud to carry.


4. Connect for the Balanced. These guys care about life, relationships, and well-being outside of work. They will adopt new technology if it improves the quality of their personal lives and social interactions. If my new product is a time pit or an end in itself, the Balanced won't accept it. My product should help them to simplify their lives, or connect with friends, or save time for the important things. If my product can possibly benefit people in a personal or social context, I should look to the Balanced to see how I can make it happen.

If I can create a product that meets these consumers' demands in terms of functionality, support, design, and connectedness, then I can sleep at night feeling that I've created a product worth buying. If my product satisfies the needs of these four micro-segments, and if the rest of my marketing mix can deliver my product to the world, then my product has a chance of being adopted by the other groups from Rogers' bell curve.

Can Social Save Chevrolet?

Several months ago, shortly after it was announced that GM would be selling Pontiac, my friend Savannah asked me to write about marketing strategies that GM could use in order to maintain market share after the divestiture.

Shamefully, I neglected to write such a blog post at that time.

However, many months later, General Motors (or Chevrolet, anyway) is making some marketing moves that give me some hope for the company: Chevy is one of the sponsors for the South by Southwest (SXSW) Festival in Austin, Texas, March 12-21, 2010.

SXSW is an annual pilgrimage for many in the music, film, and interactive media industries. The conference showcases the top talent and thought-leaders from each of these industries (the music side alone features nearly 2,000 musical acts), not to mention that it aggregates nearly 200,000 creative, innovative, artistic, tech-savvy, and entrepreneurial attendees into one city.

Chevrolet is using SXSW as an opportunity to test some new interactive and social media marketing initiatives:

• Gowalla couponing - When smartphone users check in via Gowalla at any of several locations in Austin during the conference, they will receive text messages with free offers from Chevrolet and SXSW. One such offer: a ride from the airport to downtown in (what else?) a new Chevrolet.


• QR & iReveal augmented reality - Chevy will be placing Quick Response (QR) codes on its vehicles that are on display at SXSW. When visitors photograph a QR code using their smartphones, a microsite opens that provides more information about the vehicle. Plus, a mobile application called Chevy iReveal allows users to view 3-D models of several Chevy vehicles.


• "Chevrolet Volt Recharge Lounge" - Chevy provides a "charging station" for SXSW attendees near the northwest entrance to the Austin Convention Center. At the Lounge, visitors can recharge their electronic devices, grab a drink, receive a massage, and check out the 2011 Chevy Volt.


• "Catch a Chevy" - SXSW visitors can ride through the city of Austin in style, by hopping a ride on complimentary shuttles between several SXSW locations - in one of 14 Chevy vehicles, of course.


• "See the USA in a Chevrolet: A SXSW Road Trip" - teams from eight U.S. cities participate in an "Amazing Race"-style road-trip/scavenger-hunt to get to SXSW. Along the way, each team must complete 50 different "challenges" (all submitted by Chevy Twitter followers and Facebook fans). The winning team will be the one that completes the most challenges and interacts the most with their Twitter and other web communities.

Chevrolet seems to be putting forth a good effort to provide a fun experience for SXSW attendees and online participants. And, as Christopher Barger (GM's director of global communications and technology) was quoted in MediaPost's Marketing Daily, Chevy also hopes to use this opportunity to learn from the brilliant and connected visitors to the conference.

Of course, successfully [re-]building a brand requires more than an outstanding social media effort. The promotion that Chevrolet is doing at SXSW is just part of one of the "4P's" of marketing. The others - product, price, place - are just as important for creating what Barger calls "a better experience" for customers. Chevy needs to invest just as much - if not more - time in creating remarkable vehicles for their customers, as they do in creating a fun interactive marketing campaign.

Brands do not live by social media alone. But if Chevy can put the same amount of effort, service, and ingenuity into its products as it does into this promotion, I have reason to believe that this brand, indeed, will live.

How Clever Is Too Clever?

Marketers like to be clever in their communication.

When they develop brand messaging, or an advertising campaign, or a product name, they want to create something that (1) attracts attention, (2) reinforces the desired "personality" of their brand, and (3) sticks in peoples' minds.

Sometimes marketers muster all of their cleverness and creativity to produce marketing communications that truly get noticed, and truly stick, and truly remind people of the brand. When I think of successful marketing efforts, I think of brands and campaigns and slogans like these:

• Twizzlers. "Makes mouths happy."
  Did this slogan leave us with any doubt that Twizzlers were a delightful thing to eat?


• Fuddruckers.
  The name itself is so funny to say - and the selection of burgers and toppings so fun and delicious (ostrich burger with peanut butter, anyone?) - that this restaurant chain is pretty unforgettable.


• GEICO. "15 minutes could save you 15% or more on car insurance."
  After seeing that random, Australian-sounding gecko and hearing that slogan over and over and over again, who could forget that GEICO can save you money on car insurance?

When these brands and campaigns delight consumers and stay in their brains, the cleverness and creativity of their marketing teams has paid off.

But sometimes, cleverness actually sabotages the marketers' goals. A few examples:

• The Oneders.
  This was the original name of the band for whom Tom Hanks' character served as manager in the 1996 movie That Thing You Do. The band members tried to be clever with their name by replacing the "won" in "wonder" with the number "one." Unfortunately, their audiences didn't get it, pronouncing the name as "The Oh-NEED-ers" instead of as "The ONE-ders." Later in the movie, the band dropped the clever spelling and renamed themselves simply "The Wonders."


• The Brew.Net Internet Cafe
  This is the name of a coffee house in my town - a rather good one, actually - that offers free wi-fi (hence the allusions to both coffee and Internet in the name). But customers - and potential customers - never seem quite sure how to pronounce the name. Is it "The Brew Net" (sounds like "brunette")? Or "The Brew DOT Net" (sounds like a web URL)? Here again, cleverness obstructs customers' pronunciation. And if they can't pronounce it, how can they tell their friends about it?


• Super Bowl commercials - generally speaking.
  How many times do we see brilliant, extreme, hilarious Super Bowl commercials - ones that we share with our friends and laugh about for weeks - but which leave us with absolutely no recollection of which brand the commercial was promoting. Was that a Hyundai ad or a Nissan? Sprite or Sierra Mist? If the viewers can't remember the brand name, it doesn't matter how much they loved and laughed at the ad.

In marketing, clever can be good. Clever can make your brand surprising and remarkable and memorable. Or it can make your brand get lost in the confusion or hilarity of your messaging.

If you must be clever, make sure that your cleverness reinforces your brand, rather than distracting from it. A clever ad that leaves viewers without a clue about your brand is much less worthwhile and effective than a non-clever ad that clearly tells viewers who you are.