A lot of ink has already been written about why Old Spice owned the Internet last week, and I don’t want to rehash the various aspects that RWW has covered, and Dave Stubbs has mentioned, among others, but what I feel is missing from the conversation is how it all started. My friend Leigh Himel deconstructed what the brief could have looked like, and I think it’s worth expanding on to describe how the campaign set the foundation for success.

It all started with the insight and a deep understanding of the market and the consumer.

The objective, as Leigh rightly points out, was to re-position and re-invigorate the brand.  To do this the team needed to understand the competitive landscape, the perspective consumers had of the brand, and the territory they had to play in. The market was saturated with female unfriendly AXE advertising, and as women are the primary consumers for male scent gifts, turning that into an advantage would have been mandatory for Old Spice.

With that as the starting point the Old Spice team (with a receptive client) decided to do the obvious: appeal to women without alienating men.

Old Spice cast the perfect actor for the new positioning. A former NFL player, a nice guy, and someone who wasn’t so perfect that men would feel threatened. Genius casting. Based on, I imagine, a perfect casting brief.

The next step was to create a seriously funny commercial that turned all the cliche’s of advertising and film on their heads. “Look at your man, now back at me”. “It’s now diamonds”. “I’m on a horse”. They made a commercial that was frankly better than 90% of the TV shows it appeared alongside. I first heard of it because my partner was watching TV and told me I had to see it. So what did I do? I went to YouTube and there it was. Word of mouth at it’s finest, but it would have been dead in the water if the team hadn’t thought to seed it online first.

They let that roll and roll it did. Everyone who saw the commercial started sharing it, and a character was born.

Now what to do with the follow up? The character was a success both online and offline and while they could continue to let it ride as a TV spot, the proof was there that they could take advantage of how much the spot resonated with the folks online.

The plan was to create a new TV spot, let that simmer for a bit and then pounce. The social media marketers did their homework and decided what the right outlets were to start spreading the character. The fact they took on 4Chan and won speaks volumes about how integrated and on the ball they were. While everyone talks about how they took over Twitter in a day, they really started seeding the campaign before that. They laid the groundwork. And it paid off. Big time.

It came on my radar with @jakrose tweeting that he’d received a video reply early Tuesday morning. “Fry it up and eat it down JakRose. Fry it up and eat it down.” The network effect took over and for the next two days it was all I cared about that was happening online. The social team did a brilliant job monitoring responses and working with the creatives to write compelling copy. They didn’t just target celebrities and “influencers” but responded to comments, Diggs, tweets and blog posts that they felt fit with the character as a whole. They were obviously fully immersed in the language and cadence of the social web because their video responses contained references only a geek would love (or get). They respected all the unwritten rules of the culture and tailored their responses to match the brand, and the mediums they were using.

They embraced the mash-ups and promoted them. They let the community roll with it. They poked fun at themselves (Old Spice responding to @isiahmustafa) And they set a time limit. Any longer than 2 days and it would have become tired. Any shorter and it would have been disappointing. The mash-ups continue to roll in, with the most recent being Mel Gibson calling the Old Spice Guy.

It was brilliance that came from the initial insights and work they did a couple of years ago. And deep understanding of how the social web works.

The challenge will be what they do next and if it moves the needle at the top of the purchase funnel (awareness & consideration). But I have faith, and am looking forward to every moment of it!

As the social space matures and companies recognize that they can no longer afford to ignore the “fad” that is social media, a common theme we keep hearing is: who and where are people who want to communicate with us, and whom we should be listening to and focusing our content development on?

As part of the process we’ve developed for formulating a solid and sustainable social strategy for brands, we typically start with developing a Digital/Social Persona to help guide the engagement and communications strategy. While Personas are common in advertising and UX circles, they are relatively unique within social media as most practitioners will just tell you to “start listening”. While this is absolutely key to understanding and getting involved, it doesn’t provide a roadmap for long-term planning and engagement.

A persona doesn’t replace interacting directly with your customers, however it does give brands an understanding of how their customers are using digital media in all its forms, how they are interacting and engaging with complementary brands, the types of content that resonate with them, and a sense of where the brand “fits” (or could fit) within their online life. It also clearly demonstrates where it falls down, or neglects an important aspect.

In our experience, having this information, backed by thorough data and research, immediately illustrates where traditional communications fall short and why they should invest in 1-to-1 interaction and content development to remain relevant. It also begins to start the process of thinking about what true integration and touchpoints mean on a larger level.

We have a system we use to develop these personas with both qualitative and quantitative research, and with each iteration or new project find new ways to get to know the “persona” of the composite individual we’re modeling. I have a firm belief that with the amount of data we are collectively collecting in the digital realm helping companies make sense of it all and truly understand who their customers and prospects are will become both easier and more difficult. :)

For my social media friends out there – what types of practices do you use to help your clients get to know their customer?

[photo credit: Cesar R. via Flickr]

Content Strategy has recently emerged as “the next big thing” for digital designers and marketers. More than ever, businesses and brands are seeking to provide utility to customers, prospects and partners in the digital channel. At the same time, the proliferation of the mobile web and social media are redefining how we access, consume and engage with content online. As a result, there’s been a collective awakening to the importance of defining, designing, delivering and maintaining compelling content on the web.

Content strategy often requires a systems approach, emphasizing the structural whole as well as the sum of the parts. Unfortunately, there isn’t an easy or standard way to express this organizational structure. We can outline the high-level goals of the content strategy, and we can enumerate the necessary constituent parts (the content itself, people, processes, resources, etc.) But we don’t have a good way to document and describe how these parts relate to each other and the overall goals of the system.

The Content Flow Diagram (CFD) is a modelling technique designed to fill this gap.

Download CFD Omnigraffle Stencil Here

h2. Basic Elements

CFDs can help us visualize and think about a strategic content system’s macrostructure. There are 5 basic elements:

Entities (box) — the content itself, e.g. articles, media, collections

• Actors (stick figure) – e.g. users, content producers, editors

• Processes (circle) – e.g. publish, approve, rate and review
• Resources (document) – e.g. ontologies, attribute sets, guidelines
• Connectors (solid and dotted line) – directed paths and references

The primary structure of the CFD is the flow, consisting of a subject (usually an actor), a process, and an object (usually an entity), connected by a path. Here is an example of a typical flow:

Notice that in this case the process Create references Guidelines as a resource. This convention is helpful because it shows who will be using a given resource and for what purposes.

When a flow maps one entity onto another (i.e. there isn’t an actor involved), the process encapsulates a functional requirement for the underlying system:

It is often useful to show how resources are generated and maintained. This is achieved by designating a resource as the object of a flow:

h2. Additional Elements

Although the five basic elements outlined above are sufficient to describe a wide range of strategic content systems, there are a few additional elements that can give us even more descriptive power.

• Goals (cloud) help us capture the underlying motivation and intent of the various actors involved. By including goals, we state our assumptions about strategic rationales behind the flows captured in the CFD.

• Portals (trapezoid) indicate what channels, platforms and points of entry actors use to access and manipulate content.
• Systems (cube) are essentially non-human actors. Content strategies often incorporate various proprietary and vendor-based solutions to facilitate community, search, data-flow and processing functions, etc. Incorporating these into the CFD helps us capture functional requirements for these systems and understand how they fit into to a larger operational strategy.
• External links (bracket) indicate where organizational boundaries lie and allow us to embed external resources and entities.
• Areas (rounded rectangle) show contextual groupings of flows. These groupings help readers parse more complex CFDs and understand the contextual domains that exist within the overall strategic content system.

It is also possible to layer on other dimensions of information through visual cues like colour, shading, line weight, etc. For example, one might use colour to indicate update frequency—e.g. evergreen content vs. responses to social media events that occur regularly.

Here is a more comprehensive example showing one possible (and fairly basic) content strategy for enabling online customer support (click to view larger version):

Click to view larger version

h2. Conclusions

Content flow diagrams help us apply systems thinking to our content strategies by standardizing notation and making things visual and concrete. This modelling technique can be used casually—as in sketching ideas out on a whiteboard—or as a formal mode of documentation.

Content strategists should try to make their CFDs as intuitive and simple as possible, in order to promote collaboration. However, the CFD is a network diagram that can very easily grow in complexity. Therefore, it is often wise to break the overall system into logical pieces and model these separately, noting external connections where appropriate. Additionally, we can keep CFDs simple and purposeful by focusing on three primary questions:

• where does the content come from, and how does it lives and flow through the system?

• what are strategic resources necessary for and how will they be used?
• what are the major operational dependencies and responsibilities?

The CFD is one tool among many within the broader practice of content strategy. For example, one might conduct research, define high-level goals, generate resources such as templates, guidelines, policies etc. before or along-side the CFD. That said, the fact that content strategy is so multifaceted and multidisciplinary makes a systems-focused tool like CFDs even more necessary and helpful.

I hope that others find our contribution to this topic helpful and look forward to further improving and refining this technique.