DMAAwards 2013

Find out more at www.dmaawards.org.uk

Entries open:

04.07.13

Entry deadline:

06.09.13#dmaawards

Headline sponsors

Category sponsors and partners

Agenda

09.30am Registration and refreshments10.00am Welcome

Mark Runacus, Chief Strategy Officer, Karmarama and Chair of the DMA Awards Committee

Categories overview: Which to enter and whyMark Runacus, Chief Strategy Officer, Karmarama and Chair of the DMA Awards Committee

How best to present your resultsJohn Wallinger, Managing Director, The Marketing Planning Practice

How best to present your strategy and creativeDebi Bester, Founder, An Abundance

Panel Q&A11.30am End of workshop

About this workshop

It’s interactive

What’s different for 2013?

Stephen

Poliakoff

What’s different for 2013?

Category changes

DMA Big Difference Award

The basics

Entry deadline:

6 September

Earlybird: 1 August

The basics

Sign off

The basics

Work that ran until 31st July 2013

The basics

Anonymity

The basics

Online entry process

Behind the scenes

The DMAs 2013Which category?

If it’s worth entering . . .

• Is the piece or campaign

exemplary?

• Will it make a great case study?

• If so, it’s almost certainly worth

entering in more than one category

Category selection

Sector

Channel(s)

Craft e.g.:

Writing

Design

Strategy

Technology

Only one sector entry per piece

Multiple entries permitted

in relevant channels,

especially digital

Multiple entries permitted

in relevant crafts

Special e.g.:

Integration

Launch

Creative solution

Multiple entries permitted

where relevant

Business sectors

Only enter a piece or a campaign once in

this section

• 1 Automotive

– Car sales, retention, motoring services,

accessories. Automotive financial services

should be in finance category.

• 2 Travel and holidays

– Business and consumer travel services,

e.g. individual hotels, hotel chains, railways,

ferries, cruise lines and travel companies.

Categories

• 3 IT/Telecomms

– Hardware, software, IT training. NOT web

sites. Telecoms campaigns should

promote the industry itself e.g. fixed lines,

mobiles, broadband. Sales or leads.

• 4 Retail

– Online or offline shopping, catalogues

• 5 Financial Services and Utilities

– Consumer or business to business, inc

banking, savings, loans, pensions,

insurance

Categories

• 6 Pharmaceutical

– For campaigns promoting OTC products, healthcare

or pharmaceutical products.

• 7 Public Sector

– Not For Profit, public organisations and charities

• 8 Charity

– For campaigns raising funds and support for

charities.

• 9 FMCG

– Direct marketing used to promote FMCG to

consumers

Categories

• 10 Business to business

– Only if not covered by any other category.

• 11 Business to consumer

– Only if not covered by any other category.

Digital

If you’ve already made a Sector entry, you can

enter again here, where relevant, multiple times

• 12 Best use of e-mail

– A single e-mail, a campaign or programme.

NOT eCRM (separate category)

• 13 Best use of eCRM

– A digital customer relationship programme.

• 14 Best digital destination

– Excludes main brand and corporate

websites, but CAN include micro-sites

linked to the main site.

Digital

– 15 Best use of mobile technology

• Best use of mobile devices and/or

mobile portals in a direct marketing

campaign. E.g. mobile application,

proximity-based campaign, mobile

video, mobile TV ad.

Digital

• 16 Best use of search, natural and paid

– Search optimisation and search marketing

to generate direct response. Organic

search could include optimisation, link-

building, content seeding (terms, phrases).

Illegitimate or unethical search practices

will be inadmissible. PPC entries could

include creative bid management, creative

integration with organic search

Digital

• 17 Best use of social media for

brand building

– Excludes offline word of mouth

– Obviously include brand metrics

• 18 Best use of social media for

customer acquisition

– Excludes offline word of mouth

– Include ROI metrics

Responsive

communicationsIf you’ve already made a Sector entry, you can enter again

here

• 19 Best online display advertising

– For best use of online display ad formats to generate

response. B2B or B2C.

• 20 Best use of film and/or audio

– Consumer or business. Primarily for response, or

part of a wider campaign?

• 21 Best print advertising including inserts

– Selling off the page, generating enquiries via print

ads, loose or bound inserts, wraps, mailing inserts.

Channels

• 22 Best use of door drops

– Best unaddressed direct marketing

campaign delivered to residential

households, Newshare, Solus, Royal

Mail.

• 23 Best use of direct mail

– Campaigns of any volume posted to

a UK address.

– A single mailing or a campaign

Craft awardsIf you’ve already made a Sector and Channel

entry, where relevant you can enter again here

multiple times

• 24 Best writing in any medium

– Excellence in copywriting for direct

marketing

– 60% creativity 20% strategy 20% results

• 25 Best design or art direction

– Excellence in design and art direction for

direct marketing, judged primarily on

creativity

– 60% creativity 20% strategy 20% results

Craft awards

• 26 Best data strategy

– Best use of data, analytics, targeting,

proving the value of a direct marketing

campaign, judged primarily on strategy and

results

– 40% results 40% strategy

• 27 Best use of data in a digital

campaign

– Accessing a new digital data set

– Use of digital insights

– 40% results 40% strategy

Craft awards

• 28 Best media strategy

– Best use of media strategy, insight,

analytics, or planning in creating, targeting

and proving the value of a direct marketing

campaign, judged primarily on strategy and

results

– 40% strategy 40% results

• 29 Best brand building campaign

– Best use of direct marketing to build brand

awareness, perceptions and attitudes

amongst prospects and customers in the

long term

Craft awards

• 30 Best customer acquisition campaign

– An outstanding acquisition campaign, using

direct marketing

• 31 Best use of technology

– Business or consumer, products or

services, overall should demonstrate

excellence in the use of any new

technology – offline or online – delivering a

direct marketing message

Craft awards

• 32 Best customer journey

– In a direct marketing campaign

– Insights into key moments of truth for

the consumer, how the campaign

exploited them

– How the entire journey brings to life

the creative idea

– Examples of online and offline

touchpoints

Special awards

Designed to award whole campaigns, you may enter work

from other categories here again

• 33 Best use of experiential

– In a direct marketing campaign, at POS or in the

field.

• 34 Best integrated campaign

– A direct marketing campaign using more than one

medium (any combination of TV, press, radio, mail,

digital)

• 35 Best launch campaign

– Direct marketing played a pivotal role in the launch

strategy of a new product

Special awards

• 36 Best creative solution or

innovation

– Excellence in creative thinking to

solve a particular challenge in a

direct marketing campaign, judged

on the strength of the creative idea or

innovation, with results to support.

Special awards

• 37 Best loyalty programme or campaign

– Direct marketing to build on-going

relationships, build loyalty, and customer

retention

D A T A | D I G I T A L | B R A N D

DMA Awa rd s Unp lugged

D A T A | D I G I T A L | B R A N D

The importance of results

• In nearly all categories, results make up 1/3 of the scoring

criteria

• In the data categories, higher emphasis on results

• Yet:

• An entry can be marked-down or ignored, if the results are

not presented correctly OR not at all

Often hurriedDifficult to

interpret

Different ways to

show results

D A T A | D I G I T A L | B R A N D

Confidentiality

• All judges have signed confidentiality agreements not to

disclose any details or results

• Your clients have signed-off the entry

D A T A | D I G I T A L | B R A N D

Be clear

• In the main body of the entry, explain

• How will you be measuring the campaign?

• What behaviour you are trying to change?

• ROI

• Value of sales

• Uplift against a control

• Number of new registrations

• Cost/response, cost/click

• Click through rate

• % increase in retention

• Make sure that your results section is consistent with this

D A T A | D I G I T A L | B R A N D

Don’t make us guess

• What is the definition of success?

• ‘Target was to reduce CPR to £1.16, achieved

£0.95’

• Ideally, we need to be able to benchmark against

previous activity

• Avoid:

‘This campaign did better than expected’

‘We achieved a 5% response rate, better

than last year’

‘We doubled the number of enquiries’

D A T A | D I G I T A L | B R A N D

Real world numbers

• We are bound by confidentiality agreements

• So, wherever you can:

• Use actual results, whether (£), response rates (%), ROI etc

• Try to avoid ratios

D A T A | D I G I T A L | B R A N D

Questions

The making of a winning entry:

Strategy and CreativeDebi Bester, Innovation Partner, An Abundance

(And writer of 110 award-winning entry forms)

Awards

Entries

In recession-hit Britain,

isn’t it time to rethink

what it means to enter

the DMA Awards?

After all, the DMAs aren’t fluffy or luvvy awards,

they’re not about creativity for creativity’s sake.

They have all the heritage and credentials of long years

of being judged on strategy, creativity and results.

Every entry is a chance to demonstrate

the difference you’ve made.To your clients’ business, their customers’ lives and communities,

perhaps even the country.

Do what Mark Earls says we don’t do very well in our industry:

Put together ‘the business case for ideas’

So let’s take apart

a Grand Prix winning entry ...

Write a story that effectively communicates to the judges

the background, development, execution and results of the campaign.

To help judges assimilate the wealth of information quickly, make sure

there is a clear narrative thread that holds it together.

Your story should be told with a passion that proves the entry is worthy

of recognition as a DMA winner.

At the heart of every

entry should be

a compelling story.

Your first 90 words need to get

every judge’s attention –

and convince them they may be

holding a winner in their hands.

Category: IntegratedWhat is wonderful about this work?

Strategy:

Turn RNLI from ‘least known charity among the youth’ to ‘one of the most talked about

online in summer 08’... by discovering a higher purpose than sea rescue: their generation.

After all, aren't our 470 young volunteers willing to risk their own lives to save others at

sea?

1.Use an active voice – involve me in your problem

2. Give me a sense of scale – what’s the nature/size of the challenge?

3. Nod to the odds – impress upon me the barriers you had to overcome

4. Dislocate the obvious – hit me with the ingenuity of the ‘how’!

5. Put the ‘brand case’ to me – tell me why this brand can do this like no other

Category: IntegratedWhat is wonderful about this work?

Creativity:

We sent unbranded 'Mystery Packages' to Britain’s 12 most popular young bloggers to

open on their vlogs, challenging their viewers to speak up about WHO THEY REALLY ARE

against a press which stereotypes them as a generation without values, views or a vision

... then we revealed WHO WE ARE.

1. Tell a story – beginning, middle and end fast!

2. Help me navigate – numbers, capitals, dots, alliteration to hold my attention

and keep me reading

3. Make it contagious - use the ‘name of the campaign’ throughout

4. Draw me in and don’t let go - drama, momentum and tension

What did you learn about the target audience that informed the strategy,

targeting, media or creativity?

What insights did you identify about the customer, the brand, the

business or the competitors that inspired your winning approach?

How did you reframe an old problem in a new way?

What new behaviour-changing tactics did you invent?

The Strategy section is your chance to explain convincingly why you did what you did to make such a difference to your client’s business.

This is your big pitch –

make the most of it.

For complex campaigns some

entrants choose to supply examples

of the creative work in annotated

presentations or in short films.

But make sure supporting material is

not overtly selling; it should simply

keep to the facts. Remember: judges

want to experience the work just as

consumers did.

The Creative section is your chance to make it easy

for judges to see how the creative work worked,

and go on the same journey you took consumers on.

In Strictly Come Dancing,

you wouldn’t expect to win the waltz category

by doing the cha-cha, would you?

So don’t write one DMA entry and

fling it into every category from copy to viral.

Showcase how you rose to

the unique challenges of every one of them ...

Category: CopyCreative strategy:

What was your creative strategy?

Our copy needed to be so compelling that with just 12 unbranded DM packs

we would inspire a generation to speak up and out about who they really are.

We weren’t paying for media so our value was in inspiration. We needed to

seduce the bloggers so they would become our channels. But how do you do

that with the generation that ‘doesn’t read’?

By personalising the letter copy like never before with interesting and intriguing

details about each blogger’s likes and dislikes, blog and bio, we developed a

deep relationship that was key to encouraging their involvement. We quoted

their videos. We name-checked their peers. We celebrated their pastimes.

Most important of all, we earned their trust. They read their letters live from the

salutation to the sign-off, to thousands of mesmerised viewers. In turn they

electrified subscribers; the buzz swept through their social networks instantly,

spreading beyond the UK. The question ‘Who are you?’ was a compelling

driver: we asked them who they were - they responded by asking who we are?!

Just the conversation starter we needed.

Category: Small BudgetMedia strategy:

What was your approach to targeting/media?

Think about the woman over 70 making a donation to the RNLI, wishing every last penny

to go to saving lives at sea, and you’ll quickly realise a dilemma. It leaves scarce

resources to create an impactful youth campaign focussing on generating long term

support. So we had to make every penny work hard. Which meant no billboards, no TV

ads, no expensive traditional media.

In co-creation workshops, young people told us that video blogging really brings them

together. As a community. Across the globe, in their bedrooms. We selected 12 top young

vloggers in Britain as the spokespeople of a generation. And we put our hearts into making

our mailings as powerful as we could. Instead of a mass of impersonal mailings, we spent

our meagre budget on giving our 12 bloggers a moving, personal message tailored to

each and every one of them, and the tools to rally their own mass audience through the

medium they’ve made their own.

Using our budget carefully not only made this activity cost-effective, it was respectful to the

donors and demonstrated the values we shared with the youth. People and pennies over

promotion. Truth over gloss. Facts over gush. We harnessed the power of both direct

marketing and social networking to enter the bloggers' world. By speaking to them as real

people, with honesty and respect, we inspired 11% of British 15-20 year olds to interact

with the RNLI and their values.

And another thing ...

Those extra information boxes

aren’t just extra work –

they’re precious minutes

to give the judges the whole

of your winning story.

Category: Integrated8d) Creative strategy

Other information about your strategic approach:

What started as a campaign became a movement as the RNLI brand was given into

the hands of young people online and shaped and shared by them. They created

posters and T-shirts ... meanwhile we mashed all the content generated by them into

"Who are you?", a film 'by the youth, for the youth, about the youth' which rebrands not

only the RNLI in the eyes of the youth - but also the youth itself.

Winning is a team thing.

So is entering ...

Draw on the rich experience of the whole team to give

your entry form its best chance of winning.

“I think we’ve sort of miss-sold creative thinking as this kind

of magic dust mystery thing ... which we’re not prepared to

explain to anyone; instead keeping it shrouded and secret.

I don’t think that’s good enough anymore. The people who

control the levers of power and budget tend to place great

store in explicability. We need to prove the value of the

imagination.

- Rory Sutherland

Vice Chairman,

Ogilvy

600 entries.

35 Golds.

1 Grand Prix.

If your idea made a real difference in 2013,

help the judges recognise the value it created –

they want to celebrate excellence.

Thank you for attending

Please visit

www.dmaawards.org.uk for

more information