The Experience Stack

A race is on to deliver "the experience stack," says Mike Wadhera in TechCrunch.

Mobility has fundamentally changed computing, he says.

While desktop computing was all about your timeline-based profile (think Facebook), mobile computing is about in-the-moment self-expression (think Snapchat).

With the onrush of mobility, "You are not a profile. You are simply you."

We've all become, in effect, amateur auteurs. 

"The stories we tell each other now begin and end visually, making the narrative more literal than ever," Wadhera says.

Providers are racing to monopolize mobility by building a pile of immersive toys he calls the experience stack (pictured here).

"The full stack is in service of capturing and communicating real-world moments," Wadhera says. "Reality is its foundation. As you move up, the layers transition from physical to logical. At the top is the application layer made up of products like Snapchat Live and Periscope."

Tomorrow’s toys will boggle our storyteller's brains, Wadhera says.

"Our online and offline identities are converging, the stories we tell each other now start and end visually and investments at every layer of a new stack are accelerating the development of experience-driven products. Taken together, these trends have cracked open the door for a new golden age of technology."

Mankell's Last Post

Henning Mankell, author of the Wallander crime stories and the masterful novel Italian Shoes, died of cancer last October.

Before he died, he wrote a series of articles for The Guardian about dealing with the disease.

The last of these, "Eventually, the Day Comes When We All Have to Go," appeared the week of his death.

The 67-year-old wrote with candor about his chemotherapy and his third year with an "incurable companion."

"How has my life changed?" Mankell asked. 

"Despite being spared most of the side-effects, except for the ever-present fatigue that reduces my energy to about half of what it used to be, I usually don’t notice the tumour I’m carrying in my left lung. At the moment, it is neither growing nor shrinking. I’ve had times of feeling short of breath but not any more. Sometimes I have to remind myself that I’m afflicted with cancer, as it doesn’t make itself known."

Mankell in fact believed he could stave off death, and that gave him some hope.

"There are, of course, dark times. A deep darkness of worry, loneliness, fear. Nights when I wake up and cold winds sweep in. I know I share this with everybody who is affected by severe illness."

His final words were stoic, just like his characters.

"Eventually, of course, the day comes when we all have to go. Then we need to remember the words of the author Per Olov Enquist: “One day we shall die. But all the other days we shall be alive."

If you've never had the pleasure, read one of his novels.

Random Fandom

Random fandom—the trait philosopher Bertrand Russell quaintly labels "zest"—is the sign of the happy camper.

You can be a fan of almost anything—foods, wines, games, cameras, books, birds, rocks, plants, people, countries, cultures—and it will light your fire, Russell says in The Conquest of Happiness.

The more, the merrier.

"The more things a man is interested in, the more opportunities for happiness he has and the less he is at the mercy of fate, since if he loses one thing he can fall back upon another," Russell says.

"Life is too short to be interested in everything, but it is good to be interested in as many things as are necessary to fill our days."

Newspaperman George Allen said, "Have a variety of interests. These interests relax the mind and lessen tension on the nervous system. People with many interests live, not only longest, but happiest."

2 Monkeys Wrote 50 Headlines: See Which Worked Best

When it comes to novel ideas, less isn't more, Adam Grant says in Originals.

"Many people fail to achieve originality because they generate a few ideas and then obsess about refining them to perfection," Grant says.

But originality take tonnage.

"Quantity is the most predictable path to quality," Grants says.

He cites the case of two copywriters employed by Upwworthy.

Each wrote headlines for a video depicting monkeys receiving food as a reward.

Some were good. One was gold.

The headline "Remember Planet of the Apes? It's Closer than Your Think," for example, drew 8,000 viewers.

The headline "2 Monkeys Were Paid Unequally: See What Happens Next" drew 500,000.

Upworthy in fact has a house rule: You must write 25 headlines.

You need to unearth tons of debris to discover a diamond.

"It's only after we've ruled out the obvious that we have the greatest freedom to consider the more remote possibilities," Grant says.

The first twenty-four headlines may be lousy, but the twenty-fifth "will be a gift from the headline gods."

It's All Over Now, Baby Blue

The Ocean State's marketing captain has been fired by the governor for sinking 10% of the state's $4.5 million budget into a new logo.

Betsy Wall paid famed designer Milton Glaser $400,000 for his work. She poured another $150,000 into logo pre-tests.

Glaser's tab included the tagline Rhode Island: Cooler & Warmer, which the governor has also deep-sixed.

Glaser, the power behind the Dylan Poster and I Love New York, seemed the right man for the job—until media scrutiny took the wind out of his client's sails.

Wall's spending spree hit the front page of The Providence Journal and put the governor on treacherous seas.

"It is unacceptable how many mistakes were made in this roll-out, and we need to hold people accountable because Rhode Islanders deserve better," the governor told the paper.

The day before she was fired, Wall told Adweek she wanted to make a splash with Glaser.

"The Milton Glaser art, that is not your typical state logo," Wall told Adweek. "If you look at what other states have on their websites, it isn't usually true art like that, it isn't usually so thought provoking and inspiring. I can't think of another state, besides obviously New York, that would think to bring in somebody like Milton Glaser."

The storm's just politics, in my book.

In the early 1980s, I spent $450,000 for my employer's new logo.

No one lost her job.

Decades later, a version is still in use.

You Don't Have to be Jewish

Once upon a time, I had the privilege of interviewing madman George Lois for a magazine article about ad creative.

When I asked, "What makes an ad effective?" Lois said, "An ad has to kick you in the ass with an idea you like."

In other words, the advertiser needs to startle you, then evoke a little love.

Last year's most-shared ads, according to Unruly, did just this.

Each ad transmitted a powerful idea by marshaling a string of surprising sounds and images that, taken together, can't help but excite love… at least a little.

As Don Draper said in Mad Men, “Advertising is based on one thing: happiness. And you know what happiness is? Happiness is the smell of a new car. It's freedom from fear. It's a billboard on the side of the road that screams reassurance that whatever you are doing is okay. You are okay.”

And now for last year's most-shared ad…



Read more about emotion's role in advertising here.

Happy Accidents

Christopher Columbus discovered America while seeking a sea route to Asia.

Alexander Graham Bell was hoping to help teachers of the hearing impaired when he stumbled on the telephone.

Three PayPal employees built YouTube to compete with the dating site Hot or Not.

Objectives feel good, but accidents often outshine them, as researcher Andrew Smart says in Harvard Business Review.

"Our objective obsession might be doing more harm than good, causing people, teams, and firms to stagnate," Smart says.

Statistics and stories about inventions prove that.

"Reports indicate that half are the result of not direct research but serendipity—that is, people being open to interesting and unexpected results."

Smart says we should ditch all the goals for "detours" that might lead to "something new and interesting."

"The more time we spend defining and pursing specific objectives, the less likely we are to achieve something great."

5 Ways to Combat Design Fixation

Marketers who default to an old fix for a new problem are guilty of "design fixation."

It's one reason so much marketing looks copy-cat.

Design fixation—also known as the Einstellung Effect—refers to our tendency to rely blindly on old solutions, and insist our first idea is always the best.

Fortunately, novices are more susceptible to design fixation than old hands, studies show.

How can you free yourself?

Jami Oetting, writing for Hubspot, suggests five antidotes:

• Immerse yourself in new subjects. Escape your marketing bubble and reach for far-afield ideas. Learn a little about voles, snow-sports, fire protection, Washington Irving, and Czarist Russia.

• Work with others. Diversity in experiences, expertise and cultural background and can stimulate fresh thinking.

• Review previous solutions. Peer reviews will expose biases and flaws faster than anything. They force you to look at your ideas with iron-cold eyes.

• Analyze and brainstorm. Generating more ideas helps assure an innovative one will emerge.

• Test. Gather feedback from focus groups and A/B experiments.

Want to be a Writer? There's a Catch.

In 1953, Joseph Heller was employed as a copywriter at Merrill Anderson when he imagined a novel that, eight years later, would appear as Catch 22.

"Working on Catch, I’d become furious and despondent that I could only write a page a night," Heller once told an interviewer. "I’d say to myself, ‘Christ, I’m a mature adult with a master’s degree in English, why can’t I work faster?'”

Moxie isn't always included among the copywriter's traits, though it should be. One page a night for eight years takes a lot of moxie.

Hubspot contributor Matthew Kane says copywriters must have nine other traits to be any good. They must be:

Top-notch researchers and interviewers. "Copywriters will need to pivot from client to client and sometimes industry to industry," Kane says. "As such, they’ll need to get up to speed—quickly." Interviews with experts add context to samples and reading materials.

Knowledgeable about audiences. "We try to write in the vernacular," David Ogilvy once said. Ads, ebooks, case studies and blog posts only work when the writer knows "what the intended audience thinks, speaks, and searches for," Kane says.

Thirsty to learn. A copywriter should thirst for knowledge—but not turn insatiable. "Copywriters know their goal should be to learn as much information about the product and the audience as possible to write effective copy—and nothing more."

Informed. "Bad copywriters often stuff their work with purple prose or other literary devices in an attempt to make some sort of high-minded art out of an innocuous project," Kane says. "Good copywriters, on the other hand, understand the modern world. They’re knowledgeable about how consumers skim and read, understand the importance of an attention-grabbing headline, can articulate the sales and marketing objectives, and know a thing or two about SEO and keyword optimization."

Thick-skinned. Rejecting feedback from others never works. "Good copywriters believe in their convictions but understand that they may not always be right."

Self-assured. Good copywriters can explain to critics why they took a particular approach and chose particular words.

Anti-perfectionist. “Art is never finished, only abandoned," da Vinci once said. "Good copywriters realize that the pursuit of perfection—while noble—is futile," Kanes says. "They know that they can go on tweaking forever, but understand that 'good enough' is exactly that."

Willing to seek help. Writing is a solitary pursuit. "As a result, many copywriters have the tendency to view themselves as a 'lone wolf,'” Kane says. But good copywriters seek out mentors, editors, teachers and advisors who will push them to do better work.

Always reading. "An exceptional copywriter is always aware of the latest industry trends," Kane says. "They cringe at coming across as out of touch."

2,200 Steps to Killer Content

Do the content marketers in your organization sit in cubicles all day?

They should know better.

Big ideas don't come from sitting.

As Nietzsche said, “All truly great thoughts are conceived while walking.”

Writers have always understood walks are not trips around the block, but treks through idea-land.

Aristotle, Kant, Rousseau, Blake, Dickens, Woolf, Hemingway—all were avid walkers.

"The moment my legs begin to move,” Thoreau said, “my thoughts begin to flow.”

Why does walking work?

Because we don’t have to think hard when we do it.

Our minds are free to wander—and unleash a parade of images.

"Writing and walking are extremely similar feats," Ferris Jabr says in The New Yorker.

"When we choose a path through a city or forest, our brain must survey the surrounding environment, construct a mental map of the world, settle on a way forward, and translate that plan into a series of footsteps.

"Likewise, writing forces the brain to review its own landscape, plot a course through that mental terrain, and transcribe the resulting trail of thoughts by guiding the hands.

"Walking organizes the world around us; writing organizes our thoughts."

Two Stanford researchers have, in fact, shown that walking boosts creativity by 60%.

So, here are the steps to killer content.

Go outdoors.

Walk a mile.

Come back.

Kill it.

The Delicate Delinquent

I grew up a mile outside Newark, New Jersey, home town of Jerry Lewis.

My mom, a school teacher, worked with an older colleague who'd had Lewis in her fifth grade classroom 25 years before.

Despite his fame as a nightclub, radio, TV and film star, my mom's coworker hated Lewis.

He'd been a 10-year-old thorn in her side that whole school year. 

A jerk. Smart ass. Wise guy. Class clown. 

She hated him.

In Originals, Adam Grant says the difference between an original and the rest of us boils down to whether or not that person "rejects defaults." 

Default behaviors. Default beliefs. Default systems. Default "worlds."

"The hallmark of originality is rejecting the default and exploring whether a better option exists," Grant says.

We tend to think originals are appreciated early, as were Mozart, Rimbaud and Picasso.

But that's not the norm, Grant says.

Social science shows school kids who are originals are the least likely to be appreciated.

In one study, teachers listed their favorite and least favorite students, and rated each group.

The least favorites were the non-conformists.

"Teachers tend to discriminate against highly creative students, labeling them as trouble-makers," Grant says. 

"In response, many children quickly learn to get with the program, keeping their original ideas to themselves."

But some people, for their own crazy reasons, can't sit still long enough to "accept defaults."

Happy 90th Birthday, Mr. Lewis.

Still rejecting defaults after all these years.

UPDATE: Jerry Lewis passed away August 20, 2017, in his home in Las Vegas. Love him or hate him, he was surely an original.

No Agony, No Ecstasy

Like popes of old, today's venture capitalists have no patience with the tortured perfectionist.

"Perfection has no business in the world of entrepreneurship," Charlie Harary says in Entrepreneur.

Today's marketplace is "supersonic," so entrepreneurs must tightly cap opportunity costs—and quality.

He quotes LinkedIn founder Reed Hoffman: "If you are not embarrassed by the first version of your product, you’ve launched too late."

Products need only be "minimally viable," Harary says, and businesses thick-skinned.

"A little criticism or failure never killed anyone. Learn to embrace it and use it to make you great."

In other words, scrap excellence for the quick buck and one day you, too, will run a respected company.

This wolfish mindset explains why so many of the apps we buy are broken; the books, riddled with typos; the drugs, full of dangerous side effects.

It's not because we lack talent.

It's because we're in such a goddamned hurry.

As novelist Irving Stone said in The Agony and the Ecstasy, “Talent is cheap; dedication is expensive."

Technicians

Bill Bernbach, named by AdAge the most influential adman of the 20th century, had a beef with technicians.

Before quitting Grey to start his own agency in the late 1940s, Bernbach sent a one-page letter to his colleague that creatives, to this day, love to reproduce.

Bernbach told them he worried Grey, by ceding the agency to technicians, would "follow history instead of making it."

"There are a lot of great technicians in advertising," he wrote. "And unfortunately they talk the best game. They know all the rules. They can tell you that people in an ad will get you greater readership. They can tell you that a sentence should be this short or that long. They can tell you that body copy should be broken up for easier reading. They can give you fact after fact after fact."

Bernbach admitted technicians can help—a bit.

"Superior technical skill will make a good ad better. But the danger is a preoccupation with technical skill or the mistaking of technical skill for creative ability."

Bernbach pled with Grey to shun "routinized men who have a formula for advertising." His parting advice became his eventual battle cry—and a mantra of creatives everywhere.

"If we are to advance we must emerge as a distinctive personality. We must develop our own philosophy and not have the advertising philosophy of others imposed on us.

"Let us blaze new trails. Let us prove to the world that good taste, good art, and good writing can be good selling."

Creativity Carries a Big Stick

“You can’t wait for inspiration, you have to go after it with a club,” Jack London once said.

Creative problem-solving is a free-for-all, as creative problem-solvers know.

It's toilsome work that British psychologist Graham Wallas said, in his 1926 book The Art of Thought, unfolds in four stages:

Preparation. The problem-solver acts like a hunter/gatherer, finding and grabbing materials she can use to construct new ideas.

Incubation. The problem-solver takes an indefinite time out. "The period of abstention may be spent either in conscious mental work on other problems, or in a relaxation from all conscious mental work," Wallas says.

Illumination. The problem-solver arrives at the eureka moment. That moment, Wallas says, is "the culmination of a successful train of association, which may have lasted for an appreciable time, and which has probably been preceded by a series of tentative and unsuccessful trains."

Verification. The problem-solver hunkers down to serious work "in which the results of the inspiration are verified and the consequences deduced."

The four-fold process may be serial, but creative problem-solving isn't, Wallas says.

Creative problem-solving proceeds like music, with wandering and overlapping parts.

"In the daily stream of thought these four different stages constantly overlap each other as we explore different problems. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect."

Where Do You Draw the Line?

Admirable work only results when creatives draw the line, Seth Godin says in his recent post, "Milton Glaser's Rule:"

"There are few illustrators who have a more recognizable look (and a longer productive career) than Milton Glaser," Godin says. 

"Here's the thing: When he started out, he wasn't THE Milton Glaser. He was some guy hoping for work.

"The rule, then, is that you can't give the client what he wants. You have to give the client work that you want your name on. Work that's part of the arc. Work that reflects your vision, your contribution and your hand.

"That makes it really difficult at first. Almost impossible. But if you ignore this rule because the pressure is on, it will never get easier."

Agency exec Bill Kircher (my former boss) used to spout similar adages when the pressure was on. I'll sum them up in a rule I'll call "Kircher's Law:"

Whenever an agency bows to a client's creative direction, the probability of later incrimination approaches 100%.

Although creatives are quick to cite their duty to themselves, the truth is, every professional shares the right to draw the line.

Remember the film The King's Speech? 

Early in the story, the therapist draws the line with a haughty Queen Elizabeth: "Sorry, this is my game, played on my turf, by my rules."

But with prerogative comes accountability. You can't have your kingly cake and eat it, too. 

Do you:

• Respect everyone, coworkers and clients alike?
• Arrive on site ready to work?
• Tackle chores that need to be done to stay in business?
• Avoid short cuts and excuses?
• Learn from mistakes?
• Consider how your decisions affect the company, not just your department or career?
• Speak truthfully and with the passion of an owner?

Do you—where do you—draw the line?

Adaptability is Our Secret

Kimberley Hardcastle-Geddes contributed today's post. She is president of San Diego-based mdg, a marketing agency that currently serves 10 of the Trade Show Executive Gold 100.

Given the pace at which the media landscape continues to evolve, it’s impossible to say (with any degree of certainty) what mdg will look like in five years. 

That’s precisely why, when evaluating new candidates for employment, we look less at their current skill set and more at their proven ability to learn new skills. My business partner, Vinnie Polito, and I make it our mission to hire the right people, have in place the right processes, and create the right culture to allow us to adapt to meet the ever-changing demands of the clients we serve.

Most recently, we’ve met these changing demands by enhancing our offerings in specialty areas and hiring more professionals skilled in digital marketing, coding, video production, international marketing, database marketing and public relations. Our clients’ needs in these areas are becoming more significant, yet they don’t have the corresponding internal resources (nor the desire and budgets to develop them internally), which enables us to efficiently and effectively fill gaps. Over the next five years, we’ll continue operating under the same general philosophy, developing new business units that align with evolving demand.

We’ll also stay focused on delivering results. While we believe in the power of a strong brand, we know that our clients hire mdg based on the agency’s proven ability to increase attendance, grow membership, enhance the bottom line or achieve whatever objective happens to be at the forefront of their marketing plans. 

mdg has built a reputation over the past 39 years for an ability to effect real change, and will continue reinforcing that reputation over the next five.

Tomorrow's Agencies Will be More Consultative

Rick Whelan contributed today's post. He is president of Marketing General, a full-service membership marketing agency based in Alexandria, VA.

What will my agency look like five years from now?

We’ll look exactly the same, but different. 

I say the same, because the need for great strategy, consulting, creativity, program implementation and back-end results reporting and analysis will be the same; but different because the speed at which all the components will be needed, and the constant evolution of tools, technique and technology, will force us out of our comfort zone. We'll have to test new media and new methods to get ever better, faster results for our clients, all for less cost.

Other changes I think we’ll see are fewer full-time on-site staff, and the increased use of freelance specialists worldwide who are employed for their expertise in a certain areas and for a particular project or program, and then let go until they are needed again. This will maximize my agency’s talent pool, but also allow me the convenience of “just in time” experts to match clients' needs, budgets and expectations.

One thing that will not change is the need for some sort of agency orchestration of all the moving parts of a marketing campaign. If anything, agencies will be more much more consultative in nature and challenged to prove and then reprove their worth to a client over and over. 

Finally the biggest change (and one that's been building all along) will be the use of better, bigger and more encompassing data on prospects and customers alike to drive all facets of the marketing spend.

Series continues.

What Will Our Agency Look Like Five Years from Now?

Gary Slack provided today's post. He is chief experience officer of Slack and Company, LLC, a leading global B2B marketing strategy and services provider based in Chicago.

What will we look like in five years?

We're going to be much more diverse.

Mirroring clients, more people with engineering, science and software backgrounds. A data scientist or two and even people with nutrition, life sciences and other technical training. 

Practically everyone will be coders. “Growth hacker,” a term emerging from Silicon Valley, will describe more of us.

More people who see themselves as marketing technologists.

More experiential specialists, as events, private and public, are only going to grow.

More B2B e-commerce experts (although we already have four), as this area will boom and bloom big time.

More B2B sales and marketing strategy experts. We’ve already taken some of this kind of work from McKinsey.

Probably a professional comedian or two to create “edutainment” to capture more attention and interest. Look at what Tim Washer has done for Cisco. Hiring journalists for content will be old hat.

More history majors. They just “get” the outside world better.

More senior women, although we’re not doing badly.

More African-Americans, Hispanics, Asians, Indians and Muslims. All to better mirror B2B buyers and clients.

Not just homegrown diversity. More people coming our way from exchange programs with the 30 members of WorldwideB2BPartners, our global B2B agency network.

For sure, no prima donnas, jerks or worse. Actually, we're already pretty good here by hiring team players and asking every new employee to read Choosing Civility.

As many dreamers and woolgatherers as we can find.

And, finally, a bunch more slackers. We just can’t get enough of ‘em!

Series continues.

The Wanderess

Without knowing why or how, I found myself in love with this strange Wanderess. Maybe I was just in love with the dream she was selling me: a life of destiny and fate; as my own life up until we met had been so void of enchantment.

—Roman Payne, The Wanderess

My first crush was my second grade art teacher.

Her name is forgotten to me.

She dressed in black and wore berets.

She told us she commuted on Fridays to my elementary school by subway from Greenwich Village, where she lived. I knew artists and Beatniks harbored there, enjoying vastly Bohemian lives.

Maybe I was just in love with the dream she was selling me, as my own seven-year life until we met had been so void of enchantment.

Remember your crush this Valentine's Day weekend.

Punching through the Mask

My horoscope was dead on yesterday.

"As soon as you start thinking that you might, indeed, know it all, circumstances will conspire to set you straight."

Circumstances conspire against us all.

Just count the bromides about "conquering adversity" on your LinkedIn home page this morning and you'll know.

When you produce creative work, you need to wear a creative's mask, as director Sidney Lumet says in Making Movies.

"Creative work is very hard, and some sort of self-deception is necessary simply in order to begin. To start, you have to believe that it's going to turn out well. And so often it doesn't. I've talked to novelists, conductors and painters about this. Unfailingly, they all admitted that self-deception was important to them. Perhaps a better word is 'belief.' But I tend to be a bit more cynical about it, so I use 'self-deception.' The dangers are obvious. All good work is self-revelation. When you've deceived yourself, you wind up feeling very foolish indeed."

Setbacks punch through the mask. They sting, because they scream Fraud!

Mama said there'll be days like this.