Social serendipity in real-time


Searching through case studies from Sony’s social summit earlier this year (only now do I have the time to read them!) I came across a nice deck on how Sony Music Entertainment promoted a song by Willie Nelson and Snoop Dog, to their respective fans.

And particularly liked the fact that ‘influencer promotion’ was key to success, along with timeliness of the launch and campaign novelty, not to mention the #thinslicing fact that “better tracking analytics would have lead to more intuitive data on users”.

However, as I have recently been talking with Chris Arnold at Awedience about the potential of his product I was drawn to the phrase “Real-time key influencer engagement” as a factor in the campaign.

So I did a search in with that term and on the first page an article on The Power of Influencer Marketing and Social Media stood out as both recent (Sept 2012) and ’cause it contained all the relevant keywords – influencer and real-time.

And what do you know, when I clicked on the link the piece by SeanClark is about the power of Chris’s real time influencer marketing product. Not to mention the fact that the process of discovery was a nice example of serendipity too.


Thinslicing The Hunger Games

Plenty has been written about the significant role played by a carefully organised and orchestrated social campaign for The Hunger Games. So I’ll simply jump to my ‘thinslice,’ namely how the movie marketers used fan response to tweak as they went along. First of all though consider that this process is much like gaming company wooga carefully monitors user response to tweak aspects of its online games to help boost engagement and thus ROI.

Secondly, to get back to The Hunger Games, and to illustrate what this means – the value of feedback from fans – to be able to optimise your campaign here’s a key quote from Lionsgate’s senior vice president for digital marketing Danielle DePalma:

“What seemed to work the best, too, was fan-created content. I mean, the Peeta memes were always the top performers. That’s how we were really learning about what our audience liked most, through those Facebook results.” This character-focused social media strategy is also backed up by Crimson Hexagon’s analysis of the factors impacting on the success of Julian Fellowes, creator of the popular period drama ‘Downton Abbey’, with the US version, ‘The Gilded Age’ soon to be launched:

“Our analysis indicates that in order for Fellowes to recreate “Downton Abbey” with “The Gilded Age,” he must develop compelling, witty characters with strong moral convictions.”

In other words (ref: my previous post on the value of thinslicing), joining together how your audience behaves (qualitative) with what the data tells you (quantitative), gives you the intelligence to optimise your campaign as you go along – providing you possess the level of organisation and flexibility to allow that to happen (context) effectively. That’s what we’ve been doing at Sony EU in Q3 to good effect too, on the back of the colossal success of ‘Skyfall’.

What this means is that social media marketeers have to think and act on fan data much more like online gaming companies if they are going to both engage their customer base, and deliver real returns.