Travel's Romance with Video

Travel brands will increasingly lean on video to seduce mobile-carrying customers, according to Skift.

As evidence, the newsletter cites the 25-minute reverie French Kiss, recently produced by Marriott.

"Instead of selling hotel rooms and airplane seats as commodities, brands are learning to tell stories using video that create an emotional connection with a specific audience," Skift says.

Leading the field, Marriott runs a full-scale, in-house studio that produces original shorts.

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."

What's in a Name?

Your name speaks volumes about your brand's personality.

Brand names can be descriptive ("Toys 'R' Us"), abstract ("Aloxi") or evocative ("Uber").

Rational brand names ("IBM") appeal to our inner accountant. 

But brand names can also pack emotional punch—positive or negative—as wordsmith Nancy Friedman says.

Friedman lumps emotionally charged names into six categories:

Old words. The right Anglo-Saxon, Anglo-Norman or Norse word "makes us feel warm and welcomed," Friedman says. "Kindle" is an example. "Many successful brand names draw on this old-word resonance to soften a new idea."

Sense words. "Sight, sound, smell, touch and taste are direct routes to an emotional response," Friedman says. "Bevel," for example, names a brand of men's shaving supplies.

Nature words. A name plucked from nature "inspires and soothes, challenges and restores." "Sequoia" names a venture capital firm.

Art words. The language of the arts "can remind us of pleasurable, even transcendent experiences." "Allegra" is a prime example.

Adventure words. Pirate a word from an adventure tale and you'll stir feelings of excitement and exoticism. "Mandalay Bay" is an example.

Personal names. Real and fictional people's names can evoke "friendliness and reassurance." "Lynda" names an e-learning company.

Consider your band name carefully, but don't tear out your hair over the choice.

Remember the words of W.C. Fields: “It ain't what they call you, it's what you answer to.”

Other People’s Audiences

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.

"OPA" is often what a Greek restaurant waiter will shout when lighting up a plate of saganaki.

For me these days, OPA means "Other People's Audiences."

I've borrowed the term a bit from Jeffrey Hayzlett, who talks about using OPM (Other People's Money) to do really efficient marketing.

As much as we encourage clients to create their own media platforms—and publish great original content on them—the reality is most B2B marketers will reach and influence far greater numbers of customers, prospects and influencers by tapping and leveraging OPA.

In fact, too many B2B marketers, in our opinion, have it backward.

While they should be investing in and experimenting with their own media platforms, they often are over-investing time and money here and under-investing in getting their messages across through OPA.

What do I mean by Other People's Audiences? It includes:

• Guest columns or posts in widely followed external blogs
• Commentary posted on discussion boards at relevant B2B news and media sites
• Commentary posted on online B2B community sites and LinkedIn Groups
• Quotes folded into news and feature stories
• Media interviews
• External speaking engagements, panels

If some of the above bullets sound like PR, it's intended.

How do you identify the right OPA? It's really pretty easy—or at least straightforward.

You investigate and audit where large numbers of the people you want to reach, influence and motivate—at any stage of the buy cycle—are congregating and spending their time both online and offline.

Actually, it's pretty classic media pathway and channel analysis —the stuff you should be doing anyway in building integrated marketing communications (IMC) plans.

Some B2B marketers have built huge audiences for their own media. Adobe is one. Even so, they still tap OPA big time.

But most B2B marketers aren't where Adobe is, and they should consider redoubling their efforts to better tap OPA.

And have some delicious saganaki while at it!

Storytelling Takes Sources

When it isn't how-to, most marketing content you encounter is pure myth, uniformed and unsubstantiated.

Myth-making isn't storytelling.

Storytelling takes sources, and sources must be cultivated.

In The Art and Craft of Feature Writing, Bill Blundell, former editor at The Wall Street Journal, chides the journalist who fails to cultivate sources.

"Like so many others, he has been counting on plucking ideas out of the air through some kind of immaculate conception," Blundell says.

"But this is backward thinking. He should be using his best-informed and most cooperative sources to help him originate those ideas."

Sources not only spur story ideas, but supply the facts that bring stories to life—even when those facts aren't brought to bear.

When novelist John O'Hara decided the main character in Appointment in Samarra would asphyxiate himself, O'Hara spared no effort to cultivate sources.

"When I wrote Appointment in Samarra," he told a friend, "I established a dummy garage business, took my papers to a guy I know who is a v.p. at General Motors (who wanted to know when the hell I had run a garage), and he in turn passed me on to a fellow at the Automobile Chamber of Commerce. Not much of that appears in the book, but everything that does appear is accurate and sound. I also boned up on toxicology with the late Yandell Henderson so that the carbon monoxide suicide would be all right."

Hard facts and direct illustrations from life "hammer stories into the reader's memory," Bill Blundell says.

How far do you go to gather them? 

Or are you satisfied just to make myths?