Magic and Lies

These are interesting times, as the economy buckles and sways under the onslaught of rising debt and falling sales, the new economy, espoused by Wired magazine back at the turn of the century suddenly seems relevant again. As traditional companies fall by the wayside, a new breed of Digital Media Agency is poised to leapfrog the traditional PR practice and take the art of promotions into the 21st Century.

For traditional PR companies, the art of publicising a brand, be it a drink, a musician or a charity, is well established. Essentially, market research gives a picture of the current awareness of the brand and of the temperature of public opinion. This is compared to the desired state for the brand and a strategy is created that moves public opinion from the current position to the would-be position. At least, that’s the theory.

Most campaigns have a certain amount in common. Traditional media such as Print, Radio and Television are used to host advertising campaigns whilst promotional slots are arranged with ‘influencers’ appropriate to the desired brand. So an interview set up with Jonathan Ross for example on prime time BBC National Television will have a massive influence on the intended audience and will reinforce the effect of a straightforward advertising campaign.

Nowadays however things are changing. It’s hard to get a slot on the Jonathan Ross show and there are only a limited number of slots available in a season. Didn’t somebody say Facebook had over 300 million users? Hang on a minute! Jonathan Ross averages only 3.5 million…. and so logic being what it is, a new industry is born.

Given those figures, a digital media campaign ought to be able to deliver unprecedented conversion rates – shouldn’t it? Well a measure of caution may be appropriate – advocacy is often blinded by a fatal mixture of naivety and hope. There are a number of very significant factors, reducing the potential of digital campaigns to much more realistic figures. For example the degree to which a large audience might identify with the brand. Is it global or niche? Is it possible to correctly identify the location of the target audience? We know that Facebook tends to attract young professionals, creatives, writers and artists, that MySpace attracts a younger audience that is interested in music and movies but within those broad demographics, how easy is it to get to the target audience?

Let’s examine a case.

The movie ‘End of the Line‘ is a documentary which puts forward the idea that if current fishing practices are allowed t ocontinue unchecked, we may as a species succeed in turning our oceans into a primordial sludge supporting only single cell organisms – within our lifetimes. Apart from the compelling nature of the subject matter, a few things make this film especially interesting.

The film has now run for four weeks in the West End of London and has been picked up by cinemas around the country, with bookings until the end of September. The cause has been taken up by mainstream mass media - the Sun, Hello and Heat magazine,  as well as regional and local papers and the entire national press.

It has also engaged with the corporate world in ways no one can remember any other British film doing. The head of a major High Street presence, Pret a Manger, saw an early screening and changed his entire company’s policy on tuna.

Waitrose put backing into the making of the film and even Morrisons is now advertising some of its fish as line-caught.

The fact that the film has struck such a chord with the people and companies who have seen it has put the issues in the film on the political agenda, in ways they were not before.

This is remarkable stuff – and unprecedented for a documentary to cause this much of a ruckus. Here are some more facts.

1. Facebook profile - 4,596 fans
2. YouTube trailer – 41,566 views
3. Twitter page – 2,225 followers
4. Claim your Piece of Ocean Campaign

Notwithstanding the emotive content of the film and I’m quite sure it would have had a substantial impact in it’s own right. it has undoubtedly benefitted to some degree from a well orchestrated PR campaign based primarily on using Social Software to raise the profile of the film. How was this done?

The film was backed by a web site and merchandising, so far, so Web1.0, but where this movie moves away from the mainstream is in it’s espousal of Web2.0 sites such as Facebook, YouTube and Twitter and it’s innovative use of a web site hosted campaign that gives viewers a chance to make their presence felt. What is especially interesting is that Twitter was added almost as an afterthought – a fact which is reflected in the comparitively low number of followers.

It is possible to visualise a campaign, something like the figure here. Web1.0 technology, traditional media, funding etc all have a part to play.

The key to leveraging Web2.0 technology is in fostering a sense of community, and it is on Facebook and YouTube that viewers have the chance to make their opinions known.

It is this sense of involvement that encourages users to return and continue the conversation, and critically, to recommend the site to their friends. In this way, it is possible to encourage almost exponential growth for a message which has a universal meaning. It might be more difficult to stimulate the same degree of growth for a line of clothing or a CD, but the principle remains the same.

Twitter has a particular characteristic that gives it huge potential in this space, the character limit of 140 and the inclusion of a URL make it possible to attach a clickable link to an irresistable tag line. This is a very different notion to the idea of pirating the hash tag to insert a completely inappropriate advertisment into the trending topics. Retweets spread the link virally and the takeup, relying entirely on the suitability of the content to the task in hand could encourage users to self select – I’m reminded of a campaign that ran in the New Musical Express in the mid seventies, to promote the T. Rex album The Slider – the first few weeks a teaser campaign ran consisting of a small photograph printed on multiple pages – a rear view of Marc Bolan, unidentifiable except perhaps for the trademark curls. After a couple of pages, the photograph appeared with a caption, printed large across the photograph “Bolan’s Back”. The campaign scored a bullseye with the intended audience and the album was a substantial hit. In a sense, the same kind of opportunity is available with Twitter, a tag line, sufficiently intriuging to deliver the click through would serve to tickle the appetite of the target audience.  The beauty of Twitter is that the model dictates that anything resembling spam would die a death, Twitter depends on retweets to spread the message.

The key to success in harnessing the power of Web2.0 technology is to engage the audience with a strong message, and interesting content, to choreograph the interconnectivity of multiple forms of social media in a pattern that reinforces the message, keeps content fresh and encourages the audience to revisit and to pass the message on. Blogging, Web Sites with a high degree of interactivity, Facebook, Youtube and Flickr may all have a part to play.