Tag: Co-creation

Co-creationCollaborative business modelsCollaborative cultureInnovative cultureMarketing 3.0

Making collaboration efficient when face to face is not possible

As it has been explained in many posts, content and product co-creation is in the core of Marketing 3.0, though to leverage a significant share of the stakeholders’ creativity potential it is necessary to think of virtual co-creation methods, to complement co-creation workshops and other face to face activities. However, beyond the technological tools such as video-conference, it is necessary to know how to manage virtual co-creation. This article provides many clues to do so successfully.

Started as a simple experiment in social media, in 2010 composer and conductor Eric Whitacre called out to his online fans to record themselves singing “Sleep” by the British choir Polyphony and upload the result. Impressed by the result, he decided to push the concept to the next level by recording himself conducting ‘Lux Aurumque’, then asking fans to sing along to that. This way, the first Virtual Choir was created. The results of that experiment quickly became viral. Now with more than fifteen million views, the Virtual Choir phenomenon has reached all corners of the world, inspiring more and more singers to join each year.

Beyond its beauty and emotional impact, Virtual Choir also fascinated because its implications regarding the potential new uses for new communication technologies and as one of the first virtual experiences turned into something real. The Virtual Choir can also be considered as an important remainder for how businesses might overcome the challenges of virtuality to benefit from innovative and more efficient business processes, customer relationships or forms of production, from co-innovation and co-production to crowdsourcing, crowdfunding or open source.

Not even leaving the limits of a corporation or a company, working remotely can offer operational flexibility, happier employees and lower costs, but to team up virtually with colleagues and coworkers can also pose important challenges. As we know, truly efficient collaboration presents no few difficulties. Virtual collaboration raises even more added complications that require even more care. But as the concept of the extended enterprise becomes more common and most professionals can do their jobs from anywhere, the more critical becomes to get virtual teams right. But how?

Getting right four pillars for virtual collaboration

The answer is not easy. Different studies carried out during the last decade seem to conclude that most of virtual groups fail to satisfy the expectations of companies and their clients. In another study conducted by Deloitte some years ago most of CEO’s and other managers interviewed still considered face-to-face interaction much more productive that virtual communication, and nearly half of them admitted ignorance and confusion about collaboration technologies and their potential.

But some other experts consider is all about how these teams are managed. An Aon Consulting report found that dispersed teams, when run accordingly to this condition, could outperform those sharing the same office space (recording up to 43% higher efficiency). A study of 80 global software teams conducted by BCG and WHU-Otto Beisheim School of Management concluded that virtual teams can improve employee productivity when they are properly managed.

But, what do they mean by “properly managed” or “run accordingly to its virtual condition”? According to Keith Ferrazzi and based on his research and experience helping all sort of organizations as customers of his consulting firm, there are four critical elements to get right: right teams, right leadership, right technology and right touch points.

Size is important (the smaller, the better)

We have recently wrote in this blog about how important is to consider people mindset and attitude for working collaboratively beyond their professional knowledge and other skills. Ferrazzi agrees people should first of all be specially suited to work in virtual teams, backing for instance profiles with good communication skills or high emotional intelligence. But it is also equally important to put them into groups of the right size and implementing and clearly establishing and communicating the right roles for each one.

As we know, smaller groups facilitate collaboration. In the case of virtual teams, size should be even smaller than when face to face interaction is the norm (some studies suggest teams of 5-6 people and no more than 10 in any case). Team members reduce effort when they feel less responsible for output, but this fact can equally be applied to non-virtual teams. Collaboration between people not sharing a physical space should pay special attention to ensure inclusive communication, a quality harder to achieve the bigger the virtual group is.

Good leadership amplified

Managers can maximize the productivity of virtual teams also by developing the right leadership. Again, this is a quality to apply to every teamwork, no matter if virtual or not. But right leadership must be amplified in virtual ones. A study of different engineering groups concluded that the virtual teams that performed best were those with managers with previous experience in leading such work groups.

Encouraging open dialogue, for instance, is particularly important in these cases. Leaders of dispersed groups in particular must push members to be frank with one another as the problems associated with lack of affinity are more common and severe for virtual teams. For similar reasons, virtual collaboration requires an extra effort fostering trust among co-workers. Ferrazzi mentions the case of a fully virtual organization that encourage new hires to offer video tours of their work spaces, allowing colleagues to mentally picturing their surroundings in later communications. Managers also push their team members to share personal news as a way to compensate the lack of the common chat about their lives that usually takes place sooner or later when a physical office is shared.

Special care is also recommended about clarifying goals and guidelines and establishing a common purpose or vision (explaining and repeating often the reason of working together and the benefits that will result of that). Particularly vital in the case of virtual teams are guidelines about interaction between members. For instance, multitasking on conference calls should be banned, as full attention is needed when using communication technologies that are not able to fully replace the subtle signals of personal interaction beyond a voice.

Not leaving it all to virtuality

Fostering touch points is also critical. Virtual teams should come together as often as possible. To do so, some specific stages of the working process are more important than others. Kickoff should be one of these for sure, using a first face to face meeting to star working in some of the key points mentioned (clarifying team goals or encouraging trust, for instance). If any proper project management establishes milestones, when dealing with virtual team leaders can leverage them to get people together for celebrating achievement of short-term goals or cracking problems.

And last but not least, efficient virtual collaboration also depends on using the right technology. According to Ferrazzi, even top-notch virtual teams can fail due to poor technology. In this case, recommendations are not so much about detailed features as about fulfilling general needs especially critical in the case virtual interactions. For instance, facilitating automatic transcriptions or records with a simple click, making easy to search for this content in a database or, while using the right tool for each mission, favor technologies that better help to reproduce face to face interaction (videoconferencing instead of a phone call, for example).

This post is from http://www.co-society.com/making-collaboration-efficient-face-face-possible/

Co-creationCulture changeInnovative culture

The kind of leadership that is music for our ears

Symphony orchestras are the paradigm of traditional autocratic driven organizations, where creativity is severely constrained, thus impeding the musicians to unfold their talent to the utmost. However, Chamber orchestras are a good example of how a smaller group of talented members can cooperate while having free reign to develop their creativity, under a very different leadership style. This article explains a case study that illustrates how Chamber orchestra leadership is appropriate for creative collaboration.

When cellist Julian Fifer graduated from her music studies in 1972, the prospect of becoming another member of a symphony orchestra seemed depressing in the extreme to her. Active in several movements of those counter-culture days and having tasted the freedom of playing chamber music, she was well aware that the role of the music director remained a bastion of totalitarianism and, as organizations go, few were more autocratic in structure than the traditional symphony orchestra.

So she decided to create Orpheus Orchestra as a co-operative 15-members ensemble. That was small enough to perform without a conductor. But it was precisely this innovative approach what attracted other talented like-minded musicians, as well as more concerts and gigs. Suddenly it was obvious that some hierarchy was necessary to reduce complexity and speed decision-making. But this leadership was not to be found by having a conductor, so a new collaboration methodology started to take place.

Today, this methodology is been dubbed as the “Orpheus process”, a process based in some elements that can inspire us when trying to establish a new more collaborative way to work together, the kind of methodology needed for a successful collaborative environment not just to work with some other companies but also internally within our own organization between different units, departments or roles.

The orchestra analogy is not trivial. It turns out orchestral musicians usually rank in the lowest levels of job satisfaction according to different studies on attitudes in the workforce (in one of these studies they even ranked below prison guards). Even under the most benign music director, the creative life of symphony orchestra players remains considerably constrained.

So we have this contradictory context between the need for passion/creativity and systems based on a hierarchical organizations designed to suppress both for the better good of “efficiency”. A contradiction that can also be applied to the most important kind of employees organizations need today and will crave for even more in the future, the kind of employees less possible to be replaced by a robot or a software, the ones adding their passion and creativity as key competitive elements for certain business activities, the ones therefore who will most likely experience a disconnect between their passion for their chosen field and their creative impulses, and not having those things engaged within the fixed, subservient roles of their workplace.

Innovation and collaboration are some of such key business activities. We all already know great ideas don’t depend on hierarchy or seniority, they don’t depend on a pyramidal organization but on a network of enough passionate and creative participants engaged in solving a challenge and, willing to put an important part of their egos aside during the process.

In summary, the process of an orchestra without a conductor producing wonderful music offers a metaphor for us to gain some insights as to how we can improve our process and methodologies for collaboration and co-innovation…

Size matters. Four or five people can easily discuss matters as equals. Some kind of leadership is necessary when bigger groups not just make collaboration more complex, but create a chaos in which it is also more difficult for each member of the group to have a meaningful impact.

Leaderships can be occasional. The Orpheus Orchestra works with occasional leaderships restrained to a particular project. They devised a system of rotating leadership revolving around a “core” of musicians elected for each piece by the musicians themselves, and a concertmaster (chosen for each piece by a committee of orchestra members) that has special responsibilities, as bringing focus and shape to the musical interpretation.

Leaderships are not about “all or nothing”. At the Orpheus Orchestra some teams form and disband from project to project, but others are longer range and involve larger artistic and administrative duties. Contrary to most of orchestras, they do not have a single artistic director but three coordinators (elected by members) who develop different roles usually hold by just one person.

Absolute power is bad even for the leader. There is a benefit in sharing power. To be leader all the time could be terribly stressful (therefore not good for taking the right decisions). By rotating between numerous positions, members of the Orpheus Orchestra can use a wide range of their talents and pursue different interest in addition to the highly specialization of playing their instruments.

Success is the best antidote for deniers. “At the beginning, there were probably only a couple of nuts in the orchestra who would consider that we could ever do a Beethoven symphony without a conductor. After 10 or 12 years, there may have been a few more people who thought we might have been able to tackle it”, explained violinist Ronnie Bauch, one of the first members of the Orpheus Orchestra.

What You Can Learn About Collaboration and Leadership From a Chamber Orchestra

This blogpost is from  http://www.co-society.com/kind-leadership-music-ears

Business trendsCo-creationCollaborative cultureInnovationInnovative culture

Teaming up with customers & fans to co-innovate

As explained many times in this blog, engaging customers and turning them into fans, contributors and brand ambassadors is one of the key success factors of destinations 3.0. One recent case within the entertainment sector showcases how co-innovation with fans can lead to fruitful results.

Even if the concept of costumer centric business is still often more of a marketing trick or organizational aspiration than a reality, increasing competition is making brands truly getting closer to customers. Some others are even going further: they are putting them at the heart of business decision-making.

When it comes to innovation they’re even asking them for help with the process, not just simply using them to provide insight. Consumer-led creativity does exist. Consumers are a huge and largely untapped source of creativity and innovation. Customers are already creating value and solving problems without any encouragement from commercial organizations. Why not trying to tap into it?

Co-creation workshops can help businesses pool ideas from participants and turn these insights into tangible prototypes that can be evaluated in real time. We could recently prove it once more when asked by F.C. Barcelona to lead its first co-creation workshop with members of the football club in order to work together in a process of proposals and ideas. Using the context of the recent Mobile World Congress, fifty F.C. Barcelona supporters between 18 and 40 years gathered in a workshop named ‘Smart & Mobile Connection Future’ to propose ideas linked to technological applications that could facilitate the living and sensing of everything the sport club is offering to its members, supporters and fans in the stadium and sports events.

After a few speeches introducing the vision, mission and methodology of the workshop by some innovation experts, the supporters were divided into small groups to encourage their participation, which resulted in a great deal of ideas related to the use of new technologies in the Stadium and the sporting events. Contributions and needs identified were numerous. For instance, it was proposed to make possible to watch game replays on the phone or tablet at the Camp Nou stadium itself in real time; and apps to order sandwiches and drinks from seats during the game or to access to information about public transport and traffic around the stadium. Some other proposals pointed to be able to carry a digital version club’s member card in smartphones that could also be used for mobile payments at shops and restaurants linked with F.C. Barcelona.

Co-creation workshop ‘Smart & Mobile Connection Future’ is part of a transversal innovation program started late last year with the aim to identify problems and opportunities for the organization and resolve them through new projects or ways of working. Some other workshops like this are coming soon and will be related to other areas of the club.

This article is from www.co-society.com/teaming-customers-co-innovate-even-better-fans-youre-lucky

Co-creationCollaborative cultureCulture changeInnovationInnovative culture

Co-ideation with employees, a first step for a much needed mindset and culture change

Destinations 3.0 intend to engage both the DMO employees and local stakeholders in co-creating contents and products in the form of life-changing experiences. This article brings us a case study showing how to create innovation teams and foster internal cooperation to boost innovation.

New collaboration efforts on innovation are usually almost exclusively put on initiatives, partnerships or projects with some other companies or external agents as providers, distributors, developers, academics or even customers. But often there is another area where to try to make the most of collaboration to innovate in a way that is easier, less risky and many times as fruitful: within the companies themselves.

Co-innovation between different departments or with employees not directly linked with innovation functions it’s still unusual. Maybe one of the reasons is because it’s kind of counterintuitive to think that anything else is needed to foster collaboration once you hire talent and put it under the same roof with common goals. But in practice, things do not work this way.

We have already some experience initiating and managing processes within companies of different sorts and from different sectors in order to create innovation teams with employees never before asked to think and implement new ideas. It’s not an easy task. Tools and methodology are needed. It is also very important for companies trying to tap into own talent for innovation to constantly explore what is going on beyond the walls of their sites, areas of expertise, business model and industry  to avoid the syndrome that make internal ideas often biased by a reapplication of knowledge, methods, and solutions which hinders creativity and market sensitivity.

But outputs are positive and important. For start, a first experience that acts as a necessary spark for a culture and mindset change in order to create a needed “company’s second operating system”, the one in charge of the future of the organizations. Co-innovate internally is the best first step and learning & testing way to co-innovate with external agents afterwards.

There are many ways to foster internal collaboration to innovate. Siemens is one of the big global companies that puts lots of efforts into their innovation goals and they have lots of initiatives on open innovation, co-creation and co-ideation within the company itself. This article describes two of the tools the company is using successfully for such a goal: TechnoWeb, an online platform that can be used by all Siemens employees worldwide to share ideas and research trends; and an Open Co-Ideation competition that invites researchers from different departments to share their knowledge.

TechnoWeb and the Open Co-Ideation competition exemplify new approaches for the internal generation of ideas, some of them already turned into successful company products as the article shows. But more importantly, they are causing Siemens’ corporate culture to change. As Christoph Krois, responsible for innovation management at Siemens, explains:  “It’s no longer a case of my knowledge, your knowledge, or my precious secrets, because as we proved with this tools and processes, knowledge is the only thing that increases if you share it”.

You may check the original source at Co-ideation and Knowledge-Sharing culture in Siemens

This post is from www.co-society.com/co-ideation-employees-first-step-much-needed-mindset-culture-change/

What cultural barriers prevent these innovation practices from being developed more often in corporations?

 

Co-creationInnovationMarketing 3.0Tourism marketing

Co-creating experiences in cooperation with Airbnb

Airbnb is partnering with iconic brands all over the world to promote its services. The news is that they partner with all sorts of brands, regardless of their relationship with the tourism and hospitality business. For instance, in Australia they partnered with Ikea to allow a group of customers to sleep in its Sidney store. This has not been the only case of such partnerships. During last year, some Airbnb guests have been able to rest on a KLM plane or at the Galeries Lafayette in Paris. There’s a future chance to spend the night at the Holmenkollen ski jump skiing in Oslo (Norway).

More recently, Chicago Bulls and Airbnb partnered on a promotion to allow one fan and a guest to sleep in the United Center following a game. The Bulls redesigned the owner’s suite equipped with a bed, dining room table, and TV (although guests could chose a movie to be shown on the team’s giant video screen). The Bulls even hired a cook to make a very special breakfast in the morning.

For a hospitality brand as Airbnb with not a single room among owned assets, it’s being a very clever and successful promotion to show how they can offer what no hotel chain can offer: unique experiences in accommodations all around the world. A promotion hard to imagine if not thanks to a collaboration between two brands with a win/win outcome, a co-creation process concerning a global brand wanting to be known in every possible local market and another local brand interested in being exposed to the world.

So we were really glad when we knew Casa Batlló in Barcelona and Airbnb agreed to a similar partnership giving two guests the chance to spend the night in one of the most mythical and iconic landmarks in the city. First of all, because this modernist architect Gaudi masterpiece building is owned by a Co-Society fellow (consider this a disclaimer). But also, because in this case, besides the partnership between two companies, the initiative also included some other elements of co-creation and co-innovation.

The contest to win this unique experience was not a mere lottery. It was created to tie in with Mobile World Congress, which took place in Barcelona during those same days, and linked to the “Entrepreneur hosts Entrepreneur” program in which entrepreneurs who travel to Barcelona to attend the event could sleep in the homes of other local entrepreneurs. Casa Batlló wanted Gaudí to be one of these local entrepreneurs and invite home not any tourist but somebody who could show the same out of the box thinking that made the host unique. To qualify for the award, the applicants must “Write to host” and propose an original idea of how to leverage mobile technology in the building, built between 1904 and 1906.

See the original post at www.co-society.com/airbnb-casa-batllo-mi-casa-es-su-casa-gaudi-said/

What kind of partnerships do you envision for collaborative platforms like Airbnb?

Co-creationMarketing 3.0StrategyTourism marketingTourism trends

Cross-destination competitiveness programs: enhancing marketing

Route partnering with neighbor destinations. Regardless of whether nearby destinations are within the same country or not, for some tourism sectors such as International touring or Fly & drive, marketing an attractive route encompassing a selection of interesting destinations is likely to be far more efficient and effective than marketing these destinations independently. Further, it makes the product far more competitive.

This partnership may be also attractive for some types of Special Interest travel, especially in the case of the long haul markets, whose tourists are more likely to do long routes once they land at the destination. The sum of Special interest attractions of the same kind within a route makes it an attractive product to justify a trip for many of these long-haul travelers. This is also an opportunity to develop new products for many destinations in the same area, making it a win-win development project.

Therefore it is convenient to explore partnership agreements with neighbor destinations which are suitable for adding value to the final product, so as to share marketing costs while creating a more attractive product. Even if many tour operators create these routes themselves, the marketing activities not only directed to tour operators (fam-trips, workshops, etc.), but also to the final client, are likely to increase the results of the marketing efforts.

New flight connections. A key program to develop is connecting the destination with all target markets, by all possible means, but mostly focusing on flight connections. Accessibility is a key factor for competitiveness, and so enhancing the capacity and the competition among transport operators benefits also the destination competitiveness.

Attracting new flight connections is not at all an easy challenge. First, and most importantly, the destination has to arouse sufficient demand to make the airline operator identify a business opportunity. To do so –whenever the destination is also an outbound market for the other- it is convenient to join efforts with the other destination’s DMO and Government in order to boost demand to clearly creating a profitable opportunity.

The Government and DMO should share with the airline operator the Tourism development plan, to build confidence and make them envision the business growth they can take advantage of, highlighting the marketing activities planned for their market. It is important to highlight that the intervention of the Government executives is very recommended, even in the cases when it is not strictly necessary, so as to build trust from the very beginning.

Destination App. Apart from the tourist information offices and guides, modern tourists like to have all or most of the information in their smartphone. Apps provide excellent information services, being able to provide tailored information on demand, high quality pictures and videos, downloadable maps, and many other features.

In the case of Tourism 3.0, Apps may be also a tool to foster tourist contribution to the content marketing system and product co-creation. Apps can operate like a channel through which the tourist provides service reviews and ratings, creative reviews about products, pictures, videos and text based stories, etc. It is important to point out that the destination should count on many free wifi areas to empower the Apps in providing all the possible services and up to date information.

Finally, Apps may also be a sales channel, providing access to the destination branded souvenirs online store, booking service, and also offering special deals near the location of the tourist through the geolocalization technology. Altogether, it is a very powerful tool, which is actually likely to become the main information supplier and the main channel to connect tourists with the destination operators. Closely related to the App services, the new technologies for augmented reality should also be included to provide a higher experiential value to the tourists through their mobile devices.

Which other programs would you consider to enhance the destination marketing?

Marketing 3.0Storytelling training & case studiesTourism marketing

Storytelling training workshops

Even if the opportunities to tell stories have always existed as a part of intra-community communication and more recently for marketing purposes, very few people have ever been trained to do so, including most marketers. In destinations practicing marketing 3.0, storytelling training has three main purposes:

  • Empowering and motivating stakeholders to contribute in the story creation and delivery, hence boosting the destination’s content marketing machine.
  • Providing the transformational experience that storytelling training creates in many people as a self-awareness exercise, healing therapy and development of social consciousness.
  • Developing leadership skills among the community members to empower them in becoming change leaders of the new culture to be built and the mission pursuit.
  • Educating students by transferring wisdom and values, and by developing innovative thinking, artistic and communication skills.

Storytelling training is a key tool for the development of destinations developing a marketing 3.0 approach. As aforementioned, it may have many different purposes, for it is usually adapted to the main purpose. This training is carried out through workshops.

Before planning a Storytelling training workshop it is necessary to assess well the goals of the target audience. In this regard, we may distinguish between three main types of workshops:

  • Story circle: focused on sharing personal stories about specific concerns
  • Change leadership storytelling: focused on developing storytelling skills for change leaders
  • Digital storytelling: focused on mastering the techniques for editing digital stories

Despite the different focus, the three types of workshops have some common learning outcomes. Participants learn to craft and tell stories to connect with their target audience, learning how to find the right words, rewrite, reframe and craft their story, and developing skills to convey emotions and engage their listeners. The main learning outcomes are:

  • Theoretical framework of plot and character prototypes
  • Techniques for creating and developing characters
  • Techniques for crafting a compelling narrative
  • Process for stretching stories to convey different messages
  • Techniques for public speaking and communicating in a dynamic and compelling way
  • How to use stories for different purposes such as teaching, building community, selling, etc.
  • The importance and roles of logic play, credibility and emotion for successful storytelling
  • Creative process from the brief to the delivered story
  • Quick and easy story creation formulas

Do you think of other ways to train on story making and storytelling?

Marketing 3.0

The story creation process

Most of the stories are not completely original, but rather a result of combining ideas from many experiences and stories coming from different sources. So in the case of the storytelling marketer, crafting stories requires collecting ideas from various sources and using the imagination to combine them in an original way. Combining many sources of inspiration with the needs and desires of your audience is likely to be the formula of successful brand stories.

According to Joe Lambert –master storyteller and director of the Center for Digital Storytelling-there are several steps in the creative process of a narrative:

Empty your mind. As E’yen A. Gardner said, “To express yourself in a creative way you do not need structure, you need an empty mind”. Best ideas appear in the gap between consciousness and unconsciousness, not as a result of thinking. For instance, try reading a short piece of narrative, and then close your eyes, take a few deep breaths or do a short meditation and empty your mind. Then let the inspiration emerge and start writing whatever comes to your mind. Clearing your mind is the key to letting ideas from past experiences flow and imagining original combinations.

Support your self-confidence. Some writers, especially those who are less experienced, may lack self-confidence along the creative process and mostly at the beginning. There are some mental tricks to overcome your insecurities: As John Steinbeck said “Do not write thinking about an audience or an editor, think about someone you like, who likes you and thinks you are great”. Try to visualize that person nodding at your storytelling in the sense of approval to encourage you in developing your ideas and exploring new ones.

Re-shape and polish. When you read it for the first time, you have to assess whether the narrative conveys the ideas and messages you intended to explain in a compelling and clear way. There is always something you can improve to upgrade the quality of your work: find better words to express the ideas, reframe the explanation to make it more efficient and clear, include missing nuances, further develop the most important ideas, etc. Critical reading is just the first quality control that your narrative will go through.

First audience. Even if you have strong confidence in your writing, it is convenient to check what some of the potential readers think about it: do they receive the message you intend to convey? Do they find it easy to read? Do they understand the most complex ideas you explain? Do they find it compelling? Do they find it too short and miss further development of some ideas? Or do they find it too long and descriptive? From listening to many opinions you are likely to more clearly view what the narrative conveys and how readable and compelling it is for them. You could always listen to more opinions, but you had better stick to set deadlines.

Refining or reframing. Once you have listened to your first audience sample, it’s time to compare the intended message you wanted to convey when you started writing and the one that the audience members have received. Maybe you come up with new ideas and you decide to reshape your initial idea. In this stage you can review the purpose of your narrative or reframe it somehow to make it more adequate for your target audience, making the necessary adjustments to better arouse the emotions and convey the messages you want and also tailor the narrative to their needs and likes.

Speaking it out. When it is a personal story, it is convenient to tell it to someone in order to notice how these words resonate when they are spoken. This is the moment when storytelling starts to become a transformational experience, so long as the story brings you back to past moments of your life that are charged with strong emotions. Such experience may provide you with new insights about the story or to better understand some things about your life. The section “The transformational power of storytelling” at the end of this Whitepaper goes into depth on the power of storytelling as a life-changing experience.

Finally there may be some more iterations on testing and refining the story to get it finished.

Do you think of other creative stages or techniques to foster creativity?

Marketing 3.0Tourism marketing

Content media strategy in transmedia storytelling

The media mix for storytelling marketing is likely to be different for every campaign. There are three main categories of media channels to consider: paid channels (advertisements and sponsorships), own channels (website and own social media pages) and followers’ channels (content created by followers, journalists, bloggers).

 Among them, the most effective ones are the followers’ channels, whereas the paid and owned play a supportive role to reach some specific segments and also at the beginning of the campaigns. The followers’ channels are not only those that hold the most trust, but also the ones that have the most reach, and their reach is likely to keep on increasing.

  • Paid channels are particularly interesting for reaching new audience segments that neither search for information related to the destination nor even know the destination. It is recommendable to combine print, digital and broadcast channels according to the reach and impact of every channel in relation to the target audience. It is convenient to include a call to action driving them to visit own or followers’ channels for further information.
  • Own channels are usually visited by people driven from paid channels, and are the first opportunity to learn about them and start engaging them. These channels are useful for educating the audience about the destination and build a community of followers to start delivering the brand stories. Take advantage of the opportunity to provide a good first impression and build emotional connection and trust from the very beginning.
  • Followers’ channels become important so long as the destination becomes popular in the market and inspires stories and discussions. Influencing these channels contents and discussions is the biggest challenge of marketers 3.0: they have to listen and understand the followers’ passions and concerns to connect with them and ultimately influence them.

Content & media strategies are developed in the Whitepaper “The Marketing Plan 3.0”.

Would you add other considerations to the content media strategy?

Business model innovationCo-creationCollaborative business modelsEnvironmental sustainabilityInnovation

Story innovation concepts: added value & crowd game driven experiences

Beyond the explained details of the four prototypes, there may be many other added value experiences to support the main one in fostering its popularity and conveying new contributions both in virtual and real world platforms. Some of these story related experiences could be video games (in the case of the prototypes 3 and 4 the video game is an essential component), comic based stories, theater plays, board games, movies, spin-off stories, merchandise products, etc. This is actually what film series such as Harry Potter, Star Wars or Lord of the rings have done to some extent, trying to satisfy the desires of their followers for more story related experiences.

With regards to the crowd game driven experiences, the environmental challenges would be driven by volunteers, usually entailing some kind of field work to achieve a certain goal in relation with the environment protection in the form of a game driven experience to make it more fun and stimulating. In the case of the creativity & cooperation challenge, it would be driven by contributors willing to prove their creative skills, in the form of a game driven experience where participants also have to prove teamwork capacity by solving one or more innovation challenges related with the mission purpose, which also serves as an educational experience in collaborative innovation. Finally, the educational fun experience is for tourists willing to entertain while taking away some significant learning outcomes related to skill development or social consciousness, for instance.

In the case of contributors in creativity & cooperation challenges and also in the case of story making contributors, there should be a system that not only facilitates but also rewards contributors based on a reputation and incentive system, in order to stimulate talented followers to bring in their passion and imagination to build the story world. This is not only crowd sourcing but also providing the audience members an opportunity to live a life-changing experience by exploiting their skills. The Whitepaper “Envisioning Open innovation in destinations” is to further develop the idea of the incentive and reputation system for contributors.

Do you envision other story innovation concepts to enhance the aforementioned ideas or to inspire new story based experiences?