Bye Bye Love

ToutApp CEO "TK" Towhead Kader, who prides himself on "operational ruthlessness," is through with events; or, at least, with other people's events (OPE).

"If you’re attending any of the sales conferences this year, you may notice a distinct absence of a ToutApp booth," he says.

OPE have proven a heart-breaker. "As we looked back at our marketing spend in the past year, we couldn’t help but notice how paid speaking arrangements, booths, and sponsorships accounted for a lot of our spend but not a lot of attribution to closed business or real pipeline," TK says.

The CEO is diverting his company's spend on OPE "to things that have worked 10x better."

What are those things? Proprietary events (PE).

"We’ll invest in our own events in association with people we love," TK says.

"With all the money we save, we’ll spend that money to invest back into our product, pay our employees at competitive rates, and net-net, be an operationally ruthless company."

Event Sponsorship: On the Trash Heap?

"Event sponsorship does not belong to the 2010s," says Julius Solaris on Event Manager Blog.

If you produce events and your notion of sponsorship amounts to little more than "brand exposure," your notion's due for a check-up.

Indeed, past due.

"Sponsorships featuring logos, eyeballs and impressions don’t carry the same value they once did," says Velvet Chainsaw's Wendy Holliday.

Sponsorships that don't pluck heartstrings, produce leads, and persist beyond the event belong on the trash heap. (Two sure signs your sponsorships are outdated, according to Velvet Chainsaw: 35% or more go unsold; 75% or more aren't renewed.)

The $64,000 question you must tackle: Why should any company buy your sponsorship, when it can stage its own event? How can you compete against that?

Solaris provides the answer: A proprietary event is inherently lopsided. No matter how you shake it, the private event is biased—and yours isn't.

If you have a genuine reputation for authority, you have an insurmountable advantage.

"Some events are born because they are the expression of a community," Solaris says. "They are a movement. 

"These events are built from the bottom up, their main objective is to get together, be entertained, network and learn. 

"Sponsors should fight with each other to sponsor such events."

The Ad Tech Monster

Ad tech is destroying the web, says a new report from Kalkis Research.

Media firms, desperate for readers, are turning to ad tech providers to deliver them.

But the providers' algorithms—unintentionally—are driving readers instead through a loop of shady websites.

The fraudsters who own these websites have one goal: to nab the ad dollars of big brands like Walmart and Nike.

The scheme is complex:

• First, the fraudsters run ads that drive readers to "shell" websites, stuffed with stale, stolen and stupid content.

• But readers of high value to ad tech providers—readers with the right demographics—are then redirected through a loop of other shell sites; redirected against their will via automatic pop-ups, pop-unders, and new browser tabs.

• The automatic looping improves the "audience quality" of the the shell sites. Once that quality has been established, the fraudsters sign lucrative contracts with big brands to display their ads on their shell sites.

"Traffic laundering is thriving," the researchers say. "Bad guys have become experts at gaming ad tech metrics and monetizing fake or unwilling visitors."

The fraud is fast turning the web into "a clickbait jungle."

The researchers blame ad agencies, which have so far failed to detect the scheme.

HAT TIP: Ann Ramsey pointed me to the new research.

Email: The Postman Never Rings Twice

Sorry, email marketer.

No do-over for you.

If your emails don't deliver on these four basic needs, you're dead, says e-mail marketing guru Chad White:

1. Respect
2. Function
3. Value
4. Experience

Foremost, customers crave respect. Customers should be notified they're opting in to receive your emails, and find it easy to opt out. "Disregarding permission puts your brand at an immediate disadvantage in the inbox," White says.

Customers also crave function. Your copy should be accurate; your text, legible; your graphics, discernible; your links, clickable; and your design, responsive. "If your emails have broken links and images or have text that’s too small to read on mobile devices, for example, your clicks will suffer."

Customers crave value. Your emails should be useful. They should deliver news, alerts and special offers. Better still, they should be personalized, so they deliver content that's targeted and timely.

Finally, customers crave experience. If your email isn't an experience, it's a waste of time. Customers share treasures, not trash. Experiences, White says, are produced by:

• Targeting niche audiences with triggered messages
• Taking advantage of events and charity work, "which are innately more share-worthy"
• Delivering extra-special content on occasion
• Using design and layout to differentiate your emails; and
• Featuring “share with your network” buttons in share-worthy emails

It's easy to learn if your emails deliver, White says. Just count your opens, clicks, conversions, and forwards.

Ding-dong.

Too Much Marketing, Too Little Storytelling

Mania for narrative persuasion has sanctified storytelling.

But merely mentioning your company's name less in your copy doesn't make you J.K. Rowling.

Most marketers are storyteller manqués.

"There’s just too much marketing the old way, and too little storytelling," says journalist-turned-marketer Tomas Kellner.

Storytelling takes an understanding of story arc.

Story arcs deliver "the pleasure of pity," said the 18th century playwright and philosopher Friedrich Schiller.

We're led to pity when we learn about other people's suffering. But for the listener to feel pity, the storyteller must:

• Provide vivid details. Because suffering told can't equal suffering witnessed, to provoke pity the storyteller's details must be vivid.

• Make the characters accessible. To feel pity, the listener must experience a resemblance between herself and the sufferer, Schiller says. "Where this resemblance is lacking, pity is impossible."

• Provide tons of details. To work, the story must be complete, Schiller says. No important detail can be left out. "We must have unrolled before us, without a single link omitted, the whole chain of determinations."

• Draw the story out. The suffering must be durable. The listener wants to flee suffering, but shouldn't be allowed to do so too soon.

Storytelling isn't designed to teach, Schiller says. That's what history lessons are for. Storytelling is meant "to move us, and to charm our souls."

Literary agent Julian Friedmann tells it well:

Make the audience feel pity for a character. Then make the audience experience increasing amounts of fear for the character, as you put the character through increasingly worse circumstances. Finally, release the audience from the tension of anticipating the terrible things that are going to happen to that character, and the audience feels great.