The UK’s creative industries have been hit hard by the coronavirus pandemic, but there are also many examples of innovation and successful pivots.
The sector is vital to the UK economy and as Britain looks to recover, the government has set out its vision in the ‘Build Back Better’ strategy.
But how do the creative industries feature in the plans?
Gail Caig is a freelance consultant currently working as an advisor to the Creative Industries Council. She also joined the Bristol Creative Industries board earlier this year. Speaking to Dan Martin, Gail highlights the key measures for the creative businesses and freelancers in the government’s 2021 Budget and wider recovery plans.
“Many businesses in the creative industries have been incredibly hard hit by COVID-19 but that experience has not been not universal. Elements of the creative industries that depend on footfall and live experience have suffered a great deal, but some parts of the sector, like games companies for example, have been thriving and attracting new audiences.
“We have seen a huge amount of innovation and entrepreneurial activity in the sector. In their response to the difficulties during the pandemic, many organisations have looked at new ways to engage audiences, they have embraced technology like AR and VR and have done their storytelling in a different way. Innovation is a huge positive that has come out of all this but I think it’s less clear how you can viably get ongoing revenue from the new innovation. Venues, theatres etc have been very successful in reaching audiences and finding new ways to share content, but that’s no replacement for a live audience and many of the traditional business models.
“There has been support from the government. The £1.5bn Cultural Recovery Fund was a huge vote of kind of confidence and belief in the sector by the government. It hasn’t been a panacea and it hasn’t protected every element of the sector, but it is a very substantial investment which recognises how important the government sees the UK’s cultural and creative infrastructure.
“On the negative side, the pandemic has highlighted the vulnerability of freelancers which make up a third of creative industry workers. They can’t access the furlough scheme in most instances, and a big section of freelancers, particularly new entrants to the creative industries, can’t access the Self-employment Income Support Scheme. I think there’s a real concern in the industry that the new generation of talent could be irretrievably lost.
“That has been a real priority for organisations like the Creative Industries Federation. They’ve been lobbying the government about the need to recognise the freelance workforce.”
“In the Budget itself, and a series of documents published alongside it, the government is demonstrating that it recognises the importance of the creative industries and its capacity to bring communities together and regenerate. That’s really good news for the sector because it means that government policy going forward should be shaped in a way that will help and support the creative industries. That’s not a given. It’s a situation that has evolved and developed over the last 20 years when the creative industries were first recognised by the government as a specific, important and valuable sector.
“In the government’s Build Back Better strategy, the creative industries are featured throughout. In his forward, chancellor Rishi Sunak says: ‘We have an international reputation for science and world-class universities. And we have strengths across many sectors, from financial services to creative industries.'”
“The government announced in the Budget a consultation on the definition of R&D tax credits. The creative industries are innovative because they are constantly reinventing their products and services and they do a huge amount of R&D. But because a lot of that R&D doesn’t happen in a traditional industrial way, it’s not recognised as R&D. That has a business level implication because R&D tax credits as they’re currently structured are not accessible to the creative industries. The sector has been lobbying for a long time to get the R&D that happens within the sector recognised. This new consultation references the creative industries which is very positive.”
“The £1.57bn Cultural Recovery Fund has been extended by £300m.
“The government also put in place previously the Film and TV Production Restart Scheme that has supported productions in carrying on despite COVID. The scheme has been extended.”
“There has been an ongoing problem with apprenticeships in the creative industries. The vast majority are micro businesses with a very small number of employees. They don’t have the capacity to take on an individual for a long period of time and provide training. Many are project-based such as TV production companies. When they have big periods of activity they’ve got work to offer but they can’t guarantee 12 months.
“Also for micro businesses, the admin involved in taking people on is a really significant burden. Making apprenticeships work across many tiny businesses is a very different proposition to one big car plant. The apprenticeship scheme was set up with things like a big car plant in mind. However, big employers in the creative industries have been paying the Apprenticeship Levy, but not benefitting from it. That’s been an ongoing challenge for the sector and the Budget recognised that.
“There’s a £7m fund to be introduced from July this year to help employers access the apprenticeship scheme. It will also look at making the apprenticeship system more flexible so that it works better for creative industry businesses. The Budget document that talks about the new fund specifically references the creative industries.
“The government has also launched a consultation on flexi-job apprenticeship schemes which could help the creative industries.”
“The government has committed to setting up its own domestic replacement for when European funding ends in the UK as a result of Brexit. Between the EU funding stopping and the new UK scheme starting, they’ve launched the Community Renewal Fund.
“It’s £220m for programmes for 2021. The bids of up to £500,000 get submitted to the government via a combined authority or a local authority. The deadline for bids to be sent to the government is 18 June.
“There are two kinds of government funding – revenue and capital. Revenue funding can be spent on people, business support programmes, skills development, training, community arts practitioners, events etc. Capital funding is for building things like roundabouts, railways etc.
“For the creative industries seeking support and skills development, revenue funding is very important. There are examples of big cultural infrastructure but generally, that’s much harder for the sector to access. What the sector really needs and wants to access is revenue funding. The Community Renewal Fund is really important for that.”
“This is capital funding. The scheme is for bids of up to £20m and it runs over a series of years. The deadline for funding in 2021 is 18 June.
“It has three priorities – transport, regeneration and cultural investment. That’s really important for the creative industries as it’s a direct name check in a big capital programme. It talks about ‘maintaining, regenerating or creatively repurposing galleries, visitor attractions, heritage assets, as well as creating new community-owned spaces to support the arts and serve as cultural spaces.'”
“Networks and intermediaries are absolutely crucial in the effective running of creative clusters. Creative industries come together and group in clusters because they are a collection of interdependent small organisations that have specialisms. For example, one of the specialisms in Bristol and Bath is television. To make that clustering and networking work effectively, organisations like Bristol Creative Industries are absolutely fundamental. That’s why I wanted to be a BCI board member!”
Top image credit: HM Treasury.
Celebrated International voice actor, Melissa Thom, has today launched Bristol Academy of Voice Acting (BRAVA), working alongside some of the most prestigious names in the industry to offer personalised online training in the art and business of voiceover.
With over 20 years’ experience as a voice actor, Melissa counts Amazon, Facebook, Google and Rockstar Games’ Grand Theft Auto V among her global clients. She began her career in local radio in the late 90’s and went on to launch her award-winning podcasting platform, Radio in Schools, across 33 Heart stations in 2005, in partnership with Global – the UK’s largest commercial radio group.
BRAVA is specifically aimed at individuals who want to add voice acting to their skillset, or performing arts organisations who wish to offer their students training in the commercial world of voiceovers. Commenting on the launch of BRAVA, Founder & Director, Melissa Thom, said:
“Lockdown has been a difficult time for many, but the voiceover industry has adapted quickly and remains strong. The explosive growth of online gaming during the pandemic and projected healthy recovery and growth of the UK ad market by the end of this year means there is an imminent demand for highly trained voice actors.
“Although I have coached VO privately for a while, it soon became clear there was a large appetite for training and now felt like the right time to bring together the very best experts I’ve worked with over my 25-year career, to create BRAVA. We’re looking forward to helping students learn about the voiceover industry and supporting them to add this growing artform to their skillset.”
Melissa has taught voiceover, radio and presentation for a wide range of education providers, including Bristol Old Vic Theatre School and Ravensbourne University, and produced a number of educational digital learning resources and media study aids. Carol Fairlamb, Head of Voice at Bristol Old Vic Theatre school said:
“Melissa is an inspiring teacher with a huge range of highly relevant expertise. She works regularly with our MFA Professional Voice Studies students and provides them with the tools they need to develop their work further”.
Joining Melissa at BRAVA is a team of acting and voice experts from the UK and US, including voice actor & communications specialist, Elaine Clark, from San Francisco and experienced audio engineer, Euan McAleece from Brighton. Bristol based coaches include Shakespeare actor, Chris Donnelly, vocal health coach, Gary Owston and singing teacher, Pam Rudge. Specialist guest coaches will also work with the school throughout the year.
At Bristol Academy of Voice Acting (BRAVA) all learning takes place online, meaning students can learn at their own pace, wherever they are. Training is offered as personalised 1-1’s or group sessions and covers a wide range of topics, including Getting Started in VO, Corporate, Commercial and Narration, Characters, Audiobooks, Performance Techniques, Home Studio, Marketing, Vocal Health, VO & Shakespeare and Presentation Skills.
To find out more about BRAVA go to www.brava.uk.com
*https://econsultancy.com/stats-roundup-coronavirus-impact-on-marketing-advertising/
Trying to maintain healthy relationships in our personal lives has been a key focus in the last year. Some have been tested and some have flourished. And the same can be said for professional relationships too.
But what has the power to make or break a relationship when it comes to you and your clients?
It’s all a question of commitment. To maintain and grow client revenues, agencies should match what they expect to gain with what they are prepared to give. Authentic, mutual commitment is the glue that bonds agencies with their clients.
As in our personal lives, having relationships doesn’t guarantee successful ones. They take work and now more than ever. Good times in the past won’t mean business in the future. Clients may have played it safe during 2020, with little switching, but they’ve now seen new agencies and ideas, found better ways of getting things done and changed the standards they expect.
So, when it comes to your business, ask yourself how committed you really are. And what real commitment means for your business and how you work with your clients.
Real commitment starts with transparency, which underpins all good relationships. Being real, showing who you really are across your proposition, personality, people, processes, pricing. It demands a genuine willingness to actually invest in your clients; always going above and beyond and choosing or even recruiting a team better matched to the needs of your clients. Finally, taking a long-term view and setting the foundations so that your relationships grow in line with the growth of your business and theirs. Create a joint vision of where you and your client want to be in three years’ time. It may be hard to do, but don’t fall into the trap of only focusing on a few months ahead.
You can read about overcoming commitment issues and more in our Future Positive Clients guide.
eCommerce sales in the UK have continued to rise over the years, growing from a market value of £513.5 billion in 2014 to £693 billion in 2019. The pandemic forcing more Britons to stay home has massively accelerated this growth, pushing retail eCommerce sales past 30% of total retail sales in 2020.
In the uncertain world that we all live in today, to say that promoting your online store is important would be an understatement. Capturing the attention of a digital audience, however, requires digital marketing know-how, and when it comes to getting a foothold in the search engine results pages (SERPs) there really are only two main marketing channels to explore: organic SEO and paid search or pay-per-click (PPC).
In this mini-guide, we’ll briefly explore the main tools at your disposal to help push your eCommerce sales and grow your brand online.
eCommerce SEO is the practice of improving the search rankings of your online store for a whole host of related search terms so that potential customers are more likely to find you whenever they use a search engine to look for relevant products. It includes tactics such as creating intuitive, navigable site architecture and using well-researched keywords in product and product category pages, as well as creating a whole host of informative supplementary content and guides to really demonstrate your industry expertise.
Whether it’s your home page or any of your product pages, all have a better chance of ranking high in the SERPs of search engines like Google if you apply eCommerce SEO.
eCommerce SEO is vital for any business with an online store, as it drives organic search traffic and is an investment in building a brand’s digital presence.
Google Ads is Google’s advertising platform which allows you to display advertisements on their platforms, including Google Search Network. You have to pay Google for every action users take such as clicking on your ad (hence pay-per-click), but only then and not before.
As with eCommerce SEO, your online store will benefit from Google Ads by appearing high on the SERPs, specifically in Google Search, with increased site traffic and potentially improved conversions and sales. The key difference is that paid ads are shown before organic search results, so they can get more immediate attention from people who use Google Search.
You get what you pay for with Google Ads, and you have to keep investing money into it if you want your ads to stay up. In this way, the ROI is very transient as it’s entirely dependent on you maintaining your click budget (unlike organic SEO where the investment takes longer to materialise but will give you longer-lasting results).
Google Shopping shows ads of products for sale on various Google channels, including Google Search, from online stores that take advantage of the service. People who click on a Google Shopping ad are directed to the product page of the seller’s online store where they can complete the purchase.
Convenience is one of Google Shopping’s major benefits, as you only have to submit product info and a picture for your ad. Google will take what you’ve provided and show your ad to the most relevant audience.
A Google Shopping ad shows the product’s price and aggregate user rating for products with reviews. Such info is useful for qualifying leads, as those who click on Google Shopping ads already have set expectations and are more willing to make purchases.
Google Shopping falls under Google Ads, so it’s PPC that you also have to budget for to keep your Shopping ads running.
SEO and PPC are good on their own, but when they are both done together, the results can be outstanding.
You can use Google Ads to test out keywords that you’re thinking of targeting for your eCommerce SEO efforts. Paid ads can quickly drive significant traffic to your site, which you can then check if that same traffic results in conversions for the keywords you targeted. Depending on the results, you can choose to use those keywords for your SEO or not.
Conversely, you can use the data from your eCommerce SEO keyword research to bolster your PPC campaigns by targeting keywords that you already know perform well.
There are other ways to synergise SEO and PPC, but the core principle when using both is to use the data gathered from one method to inform and optimise the strategies for the other.
For eCommerce SEO, the top three metrics to consider are the following:
All of these are available in Google Search Console.
Meanwhile, PPC campaigns measure:
Google Analytics lets you track all these metrics for your Google Ads campaigns.
Apart from on-site SEO and PPC campaigns, online businesses can also greatly benefit from being connected to a network of blogs and influencers within their industries.
There is the broad benefit of building awareness for your brand when other websites and thought leaders mention your company on their platforms. It also has a more specific and material benefit of getting links back to your eCommerce store, which is important to improve your ranking.
You can start by researching blogs and influencers that cover the kind of products you sell and talk to your target audience. Build a rapport with them by commenting on their posts and interacting with their social media accounts genuinely.
Over time and with an established professional relationship, you can then ask to contribute to their websites with a guest post and get a link back to your online store in return.
Bitcade is a Bristol-based retro arcade machine manufacturer that was lagging behind its competitors in online search before Superb Digital implemented PPC and SEO campaigns.
Superb Digital, an SEO agency in Bristol, started with a Google Ads campaign, putting up both text and shopping ads. Sales shot up by 181% at the end of the first month and another 30% after two more months with further improvements to the campaign such as reducing their CPA.
With the initial sales boost and confidence in their digital marketing, Bitcade greenlit a full eCommerce SEO campaign.
We implemented on-site optimisation based on thorough competitor and keyword research, created a blog with rich, insightful content, building links with lifestyle and gaming bloggers, and overhauled the site design to make it more visually appealing and easier to use.
There were consistent increases in rankings and revenue for the first six months. This groundwork prepared Bitcade for the rise of digital purchases during the pandemic, resulting in a massive 297% increase in leads and a 370% upturn in revenue 12 months into the campaign. Suffice to say, Bitcade’s founder, Jack England, has been over the moon about the results and is continuing to invest in his digital marketing with us.
If you’re hitting a brick wall with your search rankings or have seen a recent drop then it could be time you engage with a reputable and trusted SEO agency. At Superb Digital we can help with your organic SEO and PPC campaigns, as well as other elements of your digital strategy.
Get in touch with us today and we’ll be more than happy to look into your online store (or any type of website for that matter) and put together a no-strings-attached quote.
E-Commerce is one of the world’s most lucrative industries. More than ever, businesses need to have an online presence if they want to keep their customers loyal to their products, services and brand. COVID-19 has only accelerated this need for organisations to get digital, put their product data online and offer a completely virtual service.
Of course, it’s easier said than done whether you’re a multi-national organisation or part of a smaller, specialised industry. Your main challenge is getting your product data from its source to your end user, quickly and accurately. And when your end user has the ability to interact with your product data in multiple ways, across any number of different platforms, that challenge grows in complexity.
So how do you manage this data flow? Having an effective Product Information Management tool (PIM) is key.
A PIM centralises your product data information and assets, including product specification data and any associated media assets, before distributing that data to multiple sources. Put simply, a PIM ensures your data flow is as efficient as possible.
In manufacturing, for example, it’s typical for product data to originate from older, legacy systems, where it’s input at the factory during the production stage. Then, the marketing teams responsible for selling these products have the daunting task of translating this data – often manually – in order to get it online. This process then often requires manual intervention again, to keep it up to date.
Processing the data manually in this way creates a disconnect between the marketing data and the product data: they’re never in sync with one another. And that leaves room for error.
According to Ventana Research, 46% of companies that don’t have one single source of product information, and instead, use Excel spreadsheets to manage product data.
This can be a serious problem. 47% of the above companies admit they often find product-related errors and almost 20% of those errors have a major detrimental impact on sales performance. PIM is the solution.
Your customers interact with your data on many different devices, through their desktop, mobiles, or even via their smart speaker. So, having an application with a modern Application Programming Interface (API) becomes essential in your data workflow.
By using a RESTful API your product data can be shared easily, as it’s exposed in a predictable, interactive format.
But not all organisations can commit the time, resource or budget to completely overhaul their systems, end-to-end, all the way to the factory level. Instead, there are other options.
To alleviate problems caused by disparate, legacy data, you can break the process down into smaller, more manageable applications. This is known as having a microservices architecture. Microservices are dedicated applications which focus on one dedicated function: in this case, in consuming your legacy data, transforming it into an end-user friendly format, then injecting that data into a PIM.
This approach ensures your original base data is kept up to date, and maintains data availability even if there’s a breakdown in one part of the workflow or chain.
Using cloud services, such as AWS, we can leverage tools like SQS and Lambda to support a decoupled architecture. Not only does decoupled microservices architecture prevent potential data loss, and preserve service in the event of application breakdown, it improves performance by offloading queue management and data flow into the Cloud.
A final but essential consideration, no matter what systems and applications you use: data security.
Experimental product data can be incredibly sensitive, so keeping it secure at both the point of origin and in-transit is important, as is ensuring pre-production data doesn’t accidentally end up publicly viewable. A PIM provides protection by implementing strict workflows for your data.
There are many applications and frameworks out there specifically designed as PIMs, and they range in price depending on the supplier and the size of your product data.
Likewise, every business has different workflows and product data structures. Once you include a legacy data issue you’re having, it’s rare that any off-the-shelf-solution will meet your requirements exactly. A custom solution is often the way forward. And this is where using a flexible framework, such as Drupal, has distinct advantages.
Drupal is an enterprise-level content framework with many applications. Traditionally it’s a content management system, but its latest version is much more than that.
Drupal has a powerful entity framework, allowing you to model almost any data. Its strong community – made up of real people struggling with the same challenges as you are – has developed countless modules and plug-ins to enhance functionality.
And what’s more, since Drupal is open source, there are no licence fees or user usage limits. So every penny of your investment goes where you need it: into solving your specific workflow and data modelling challenges.
No matter how large or technical your datasets, nor how specialised your business is, you deserve to get the most from your digital applications.
At Proctors, our team of technology experts have been solving problems for specialist businesses across the globe: from tech behemoths like Panasonic, to niche industry start-ups. When it comes to talking data, you’ll want to talk to Proctors.
We’re more than happy to put our heads together with yours and discover the best solution for your business.
The much-anticipated 2021 agency benchmark results are now live.
Agencies of all shapes, sizes, locations and sectors have participated in BenchPress 2021, providing a benchmark for agency owners all over the UK.
Thanks to the large number of agencies that took part, this year there are more reports than ever before.
Proctor + Stevenson, one of the UK’s longest-established marketing, design and technology agencies, today announced the formation of Proctor + Stevenson Limited Group and with it, the creation of three new companies within its family.
The three new businesses – Proctor + Stevenson Strategy, Proctor + Stevenson Creative and Proctor + Stevenson Technology – reflect the key areas of specialism within the Group, and provide a roadmap for expansion, outlining an ever-growing range of services to clients around the world.
The move represents a division of the business into three ‘pillars’, with each company having its own Board of Directors, budgets and targets, while still benefiting from the shared resources and services provided by the Group.
“Despite the challenges of the past 12 months, Proctor + Stevenson has enjoyed a year of success,” explains Roger Proctor, Managing Director of Proctor + Stevenson Limited Group. “This is a time of great change and opportunity for us, and we’ve always believed that staying still is actually going backwards. Our new structure will not only mean greater transparency and accountability for our clients, it will also allow the businesses within the Group to be more flexible, more independent and provide more value in the areas it’s most needed.
“The restructuring is the next chapter in the Proctor + Stevenson story, demonstrating once again our desire to lead, rather than follow, and to enhance our position as a world-class agency with a world-class (and expanding) roster of clients. And while our ambitions are global, the new companies will remain as committed as ever to the local community in which we live and work. As a business, we’re Bristol born and bred, and we’re proud contributors to the ongoing success of the South West and the UK.”
For more information on the Proctor + Stevenson group of companies, or to discuss our services in more detail, please email [email protected].
The West of England Combined Authority (WECA) is launching a new business support programme for businesses and individuals working in the creative industries, as part of its Regional Recovery Plan.
The programme is aimed at small and medium-sized businesses (SMEs) working in the creative industries, including creative freelancers, that require support as a result of the Covid-19 pandemic.
The sector specific business support programme is designed to build resilience and support change in response to Covid-19. It will offer support for individuals and management teams to reformulate operating and financial models and business plans through mentoring, peer networks and training and workshops.
There will also be grants for creative projects that support recovery and resilience. A grant fund for creative freelancers will give self-employed people the opportunity to become more resilient by developing their own creative product, practice or service, in response to the Covid-19 pandemic. A grant fund for creative businesses will fund creative projects that support recovery and resilience, employ freelance creatives, engage local communities and advance diversity and inclusion.
Grants will range from £1,000 to £3,000 for freelancers and £5,000 to £10,000 for businesses.
Regional Mayor Tim Bowles said: “Our cultural and creative industries really are the soul of the West of England and are an important contributor to our wider economy. As we secure our recovery from the impact of Covid-19, this much-needed support will help ensure that our creative businesses can continue to provide exciting and engaging jobs, attract new commercial opportunities and help ensure the West of England remains an exciting and vibrant place to live and work.”
The business support programme has been designed in consultation with members of the creative and cultural sector, with a focus on recovery from the pandemic and the priorities of inclusivity, diversity and community engagement.
The programme also fits with WECA’s ambitions to establish a West of England Cultural Compact, an initiative jointly funded with Arts Council England. This will involve the creation of a new strategic cultural partnership which will lead on the development of a Cultural Strategy and new activities to help increase investment across the creative and cultural sectors in region.
Professor Sue Rigby, Vice-Chancellor of Bath Spa University, West of England LEP board member and interim chair of the Cultural Compact, said: “Culture is part of our DNA in the West of England, and so many of us value it and earn our livings from it. The pandemic has highlighted our need for culture as a key part of our recovery, and the Cultural Compact will help us to bring this about as a region.
WECA will also be running the fourth cohort of its successful Creative Scale Up programme, which is already providing almost 60 creative businesses with online peer and mentoring support to help them respond to the impact of Covid-19.
Since joining the programme in January 2020, Bristol-based independent development studio and games consultancy Auroch Digital has secured a new publishing deal and taken on 15 new members of staff.
Dr Tomas Rawlings (pictured), Chief Executive of Auroch Digital, said: “The Creative Scale Up programme, particularly the mentoring process, was great – we were able to pick mentors targeting specific needs we have. We got direct support with business questions as they arose and that helped us deal with them and move forward.
“As a result, we’ve been able to advance some key areas of the company. We’ve landed one big publishing deal for a new IP game and are circling a second big project, and that mentoring advice has been part of the mix of positives getting us there. Information provided by the Creative Scale Up team also led us to a UWE Digital Innovation Fund grant.”
Creative businesses wanting to find out more about the new business support programme, grant funds and the Creative Scale Up scheme should visit WECA’s Growth Hub page.
The Culture and Creative Industry Business Support Programme and grant funds are a key part of the West of England Recovery Taskforce’s regional action plan to protect and secure jobs, creating opportunities for all residents to share in the recovery. As part of this, WECA’s Together West of England campaign is connecting businesses with the support and guidance they need to adapt, build resilience and prepare for the future, as well as helping residents to access new skills, training and employment opportunities.
Through the West of England Growth Hub businesses of any size in the West of England can access free information and guidance on a variety of issues including workforce planning, HR advice and guidance, employability support, training and skills development and coaching.
There is a lot going on in the world right now – a pandemic, Brexit, and a lot of global uncertainty, but there are also a lot of opportunities.
Global trade is rebounding far quicker than it did after the 2008 financial crisis. Shipping volumes returned to levels in half the time that took to reach post-Lehman. Central banks are continuing to steam ahead with unprecedented financial support packages, driving some global stock markets to record gains.
Most importantly, different countries will recover from this period at different speeds. Which ones will recover faster? Which markets show the opportunity most suited to your expansion plans?
Maybe you have spotted an opportunity?
You need to consider these three things when looking to expand into new markets in 2021.
You have been working with your agency for a couple of years. They have a solid team and presence in a few different countries. You have talked to them about moving into different markets. It was a conversation that brought you excitement. They may have even offered to hire in specific countries for you. “Great,” you thought.
Do not remain with your existing partners for multi-market growth unless you have an extremely good reason to.
Dig into their network properly – assess their depth of expertise in different markets. Do they partner? Do they have a handful of account handlers in different countries and call that ‘international’? What is their client base? Which markets do their client base operate in? Are they showing bias by leading you into new markets based on their own experience?
The key to having a successful international partner is that they genuinely demonstrate to you that they have a substantial network that they have full control over (not partnerships). They need to be focused on the ways and means of providing the agility and connectivity that powers that network.
Customer experience has been an excellent buzzword for a few years. And yes, worry not, we have a customer journey loop we are proud of as well.
If you are looking to expand into a new market, the fundamentals should be understanding the culture and context of a new market. It is not about customer journey mapping in a conventional sense, but it is about truly getting to understand the culture, the context and how to reach customers in your new market. You can only really do this by assembling a team of people who deeply understand the markets you are moving into.
Get your context and cultural understand wrong and you have spent a lot of money and time launching into a new market badly.
What we have seen from clients who engaged with us throughout 2020 is that almost 100% needed help in planning their entry into new markets. The business case was there and strategically it made sense, but the substance in a business case needed building.
This comes from deep exploration into new markets. And by that, I do not mean spending time on ‘Google Market Finder’. I mean local insights – insights based on cultural understanding and a very deep level of data that is well assembled to digest and interpret.
Processing this data, at speed, is very difficult to do well across multiple markets without the right toolset and teams experienced in handling this data. Look for true added value from tools that your partner is offering or look to acquire some. Find a partner who will present you with assimilated data in ways you did not know possible to give you the context you really need.
Spend time interpreting and analyzing this data and ensure your entry into a new market is data-led and well researched, so you fully appreciate the opportunity (and pitfalls) of your strategy.
With less than a decade left to achieve Vision 2030, many organisations in the KSA region have successfully embarked on the journey to digital transformation. This is especially true when it comes to internal operations, streamlining workflows and taking administrative tasks online.
Some, though, will have found the task of transforming their marketing functions much more challenging.
The reason? Internal, administrative processes are fundamentally different to marketing tasks, and will require a different mindset to succeed.
Internal processes are typically clearly defined, as are the roles of users. When it comes to digitalisation, the objective is to automate repetitive administrative tasks providing greater efficiency and transparency. For many internal operations, the IT environment is well-defined, and the success of moving away from legacy processes to new software, programs or processes relies simply on ensuring their robust, secure implementation.
In these circumstances, transformation projects can involve long development cycles and large capital budgets, and traditional IT project management frameworks are often appropriate.
But compare this with the role of marketing. Just as with other internal processes, any new technology needs to enable your team to efficiently operate at scale and to integrate securely with your CRM and ERP systems. But here the similarity ends.
Marketing technology connects your team to a constantly evolving audience with developing needs and preferences, and a fast-moving, innovative technology landscape where today’s new attractions quickly become old news.
Your marketing team’s focus is on optimising your commercial impact across all points in the customer journey. They rely on multiple digital channels, new media techniques and real-time data to connect with their audience and outpace the competition.
In short, speed and accuracy are of the essence, and your team needs to operate consistently and efficiently at scale.
You need the foundations of a good marketing automation system. But in the fast-moving world of marketing, the ability to innovate, test and learn is vital for competitive advantage.
Given these drivers, applying a traditional, large-scale IT approach to marketing digital transformation is doomed to failure. In fact, the stories of organisations who’ve tried and failed are widely publicised. For those still battling on, by the time their project is complete the media landscape and their audience will have moved on, with more nimble competitors steps ahead alongside them.
Marketing transformation can’t be viewed as a capital project with a start and end date. It requires a framework environment to enable a constant state of innovation, enabled by minimum viable products (MVPs), deployed in test-and-learn sprints.
It might sound counter-intuitive, but the framework anticipates and accepts a certain level of failure. However, it also ensures you integrate successful innovations to create an evolving, interoperable, open ecosystem over time.
So how does it work?
Every development is planned, managed and measured by its potential and actual impact on Return-On-Investment (ROI).
Discovery and planning are vital parts of the marketing transformation process. They create the vision and framework for everything you do.
While it would be a mistake to adopt small innovation sprints at the expense of thinking big, with your vision and framework in place, you can then narrow your focus down to a few key marketing processes.
By assessing the points in the customer journey that will produce the greatest commercial impact, whether through efficiency or improved customer acquisition and retention, you can create a prioritised roadmap of development sprints.
It’s at this point that many projects falter.
Once you’ve prioritised your starting innovations, there’s no doubt you’ll come across a number of cases where your system needs full integration and complete end-to-end interoperability to work optimally.
Instead, you need to focus on the minimum viable product (MVP) you need to test the innovation and measure its ROI.
The MVP approach may well require additional manual processes to start with, but it will put your innovation in the hands of your users quicker, and prove (or disprove) its commercial return against a smaller investment.
The push for modernisation from Vision 2030 is a bold, ambitious aim. To achieve it, marketing must have a clear vision for what the ultimate customer journey looks like, and how technology can facilitate it.
Success doesn’t rely on a large capital budget to create the ultimate, perfect machine: It lies in an agile framework, enabling a constant state of ‘test-and-learn’ innovation. An attitude which champions flexibility, evolution and growth is key, as is a commitment to innovation and a focus on ROI.
This shift in mindset can often be the biggest cultural challenge for an organisation to overcome. That’s why at Proctors, we work closely with our clients across the KSA region – and the world – helping them to achieve success and avoid the pitfalls which cause stalled or failed digital marketing transformation initiatives.
Get in touch with us and let’s talk about how we can innovate your marketing strategy.