Good ideas drive good business, bad ideas don’t. Then why do we not place more value on creativity in digital media? Why do we so often dismiss it in social media? If your brand is planning to do anything beyond listening to what others have to say — if it’s preparing to engage in any way — you risk disaster by not thinking creatively about every single aspect of the program: the platform, the strategy, the tactics, the messaging, and the objectives.
As more brands embrace social media, it has become apparent that there is a tendency to focus first and foremost on the technology, the platform, and the apps –the “shiny trinkets”– rather than starting out with a strong, strategically based, unique campaign that embraces (or even invents) the correct technology as a part of the overall creative idea.
I speak of “creative,” the noun, in a broader sense than its usual advertising world definition because social media is forcing a rethinking of the term and everything that goes into it. Great creative is single focused and speaks in a tone or voice that befits the brand. It pushes the envelope, challenges our senses, and forces us to engage with it. Great creative makes us talk about it, impels us to share it, and makes us anticipate when and where we’ll see more. Great creative accomplishes goals.
In this article, we’ll take a look at some of the most compelling (and least compelling) applications of creative thinking within the social media marketing realm.
Before moving on to some of the winners and losers of social media creative, let’s consider the bigger picture.
As creative has made the pilgrimage from broadcast, print, and out of home to digital and social media, progressive creative teams have forced themselves to think less in terms of filling the media buys they’ve been handed by buyers and planners, and instead to think much more strategically earlier on in the lifecycle of a campaign or program. The creative germ still comes after brand objectives are established, but it often follows these questions: What’s the most cost-effective media mix to accomplish the brand goals? How can we build creative concepts around them? To what extent can we successfully execute this unique creative message?
Bill Bernbach said, “Properly practiced, creativity must result in greater sales more economically achieved. Properly practiced, creativity can lift your claims out of the swamp of sameness and make them accepted, believed, persuasive, urgent.” In this recession-riddled economy, there isn’t a client out there that isn’t demanding “greater sales more economically achieved.” Social media is no exception, and that’s where the creativity comes in.
When considering social media, consider your specific goals. Branding, brand awareness, customer service, increased trial or sales — these are not specific enough. Dig deeper. If you were spending $5 million on a TV buy and half a million on production, your brief would have very specific goals, your messaging would (should!) be very single focused. The same applies here. Why wouldn’t it? For example, imagine that brand awareness in the Midwest is 30 points behind that in the South, where the product originates. We need to up awareness and recall in target demographics by 10. And we’re going to do it for a fraction of that aforementioned $5 million. We’re just not going to get it done temporarily during a six week heavy-up.
Here are some basic tips to consider before getting started:
- You are about to start or join a conversation. You better be bringing something of value to that conversation.
- A social media campaign must have legs. You can’t create a presence then abandon it.
- Have very specific and measurable goals. “Testing the waters” is akin to being partially pregnant; if you’ve taken the step beyond listening and are engaging people, you’re in and you better know what you’re doing.
- Every social media program or campaign ought to be unique. Facebook and Twitter might be two very common channels, but it’s how you use them where the creativity comes in.
To really understand the value of creative, look at these four examples of how compelling creative (or lack thereof) makes the difference between success and failure.
When in doubt, introduce a critter — and increase site traffic 100,000 percent in three months.
Consider Aleksandr Orlov, a snarky but loveable CGI meerkat with 630,000 Facebook friends. He represents CompareTheMarket.com in the U.K., a website that will search 400 insurance companies to get you the best price on car insurance. Aleksandr is a bit upset that “his” site, CompareTheMeerkat.com is getting hit with traffic that has misspelled “meerkat” for “market.” And that is the relatively simple idea that propels this entire campaign — but there’s so much more to it than that, and it all flows from the creative.

Examining all the creative and strategic elements behind this campaign reveals how intricate it is. Dual websites work in concert with each other; you’re constantly being nudged to the insurance site from Aleksandr’s site, but in a natural — not forced — way. The site pulls you into this completely fictional world with a fully developed character who has a detailed back story. Everything from his accent to his cravat and smoking jacket, to his head of IT and chief tea-maker, Sergei, helps create this wacky, fully realized world. It tells a story, it’s ongoing, it’s got legs, and there’s no hard sell.
The consumer engagement level is perfect: You can download ringtones, voicemail messages, and TV outtakes, and yes, you can actually compare meerkats, just like the site title proclaims. And if you don’t move fast enough, you’ll get scolded by Aleksandr with a threat to send you to that cheap car insurance site.
Why do literally thousands feel the need to comment whenever Aleksandr posts something on his Facebook wall? Because VCCP, the U.K. agency that created him, created a fully realized character and world that his “fans” feel a part of. Why does he have 31,000 followers on Twitter? People feel the need to play a role in his community. They ask him questions, and he responds. They worry about Sergei because they haven’t heard from him in a while. All this from a company that compares car insurance rates.
Of course it’s silly — ridiculous even — but it works. In the first three days of the campaign, CompareTheMarket.com had reached 75 percent of its first monthly goal for quotes. That quote number was up 90 percent over the same period a year earlier, and half the traffic from the meerkat site went directly to compare the market.com.
As is obvious from the level of involvement, this was more than a “dipping the company’s toes into social media” kind of effort. It was a full-blown campaign that launched with TV, but I’m wagering that the extra ongoing social media effort allowed for a smaller upfront TV buy and extended the tail end of the campaign for an incredible ROI. You get out of social media what you put into it. And putting in a serious creative effort up front pays dividends in the long run.
Many brands and all categories have evangelists — people who are passionate or knowledgeable enough to help promote your product with word of mouth. Tapping into that audience takes skill and creativity.
Sony and Ford had somewhat similar creative intentions when they launched the recent Sony DigiDad Project and the Ford Fiesta Movement: Giv
e product to interesting forward thinkers who were very active in social media, then let these influential people create content and (hopefully) become brand evangelists through well-publicized forums.
Ford held a much-publicized entrance contest to determine who would drive away in an as-yet-unreleased Fiesta for six months. It included questions about social media connectivity (i.e., video views on YouTube, Twitter followers, etc.).

Sony reached out to influential dad bloggers — a good match, as the dad gadgets (or “dadgets,” as the company coined them) were strongly targeted to dads. Both companies gave out certain assignments that had to be completed on a monthly basis, but a lot of the user-generated content was free form in the guise of tweets, videos, blog posts, etc.

Think about the investment for a minute: a commitment to lending out 100 cars, or a bunch of cameras, laptops, and projectors, for a limited period of time. In exchange, the marketers receive hundreds of people continually touting new product to millions of followers. More importantly is the exponential buzz factor — from broadcast and print media to tens of thousands of bloggers weighing in with their take on the event, comments on the blogs, Diggs, retweets, YouTube views, etc.
Cost effective? Without a doubt. Easy? Not by a long shot. Results? Let’s just say that Ford recently committed 25 percent of its entire 2010 budget to social media.
A social media campaign can just as easily blow up in your face, especially when millions of people, a giveaway, and a lack of creativity are involved. Take T.G.I. Friday’s “Friend Woody” campaign, for instance.
Woody is the dumb, but somewhat likeable guy you may have seen in TV spots who will get you a (coupon for a) free burger if you become his Facebook fan. We could debate the merits of allowing Friday’s spokesperson to frolic in a hot tub with bimbos, get dumped by his girlfriend because of said bimbo frolic, begin each of his video messages in his ratty bedroom in his parent’s house, or even the generic presentation of “a burger” — but those distinctions don’t hold a candle to what happened on Woody’s actual Facebook fan page.
Thanks to Woody’s offer of a free burger, he’s closing in on 1 million fans. But what the Friday’s people don’t realize is creativity must extend into all realms of a social campaign, and a million fans who are not interacting or engaging means that they showed up for the free burger — and that’s that. Friday’s chose to post only three times since Sept. 27 –the first consisting only of a “Hi” — the other two shilling for Friday’s specials.
With absolutely no brand interaction or presence, the inmates took over the asylum. The 1000-plus comments (which sounds like a lot, but that’s only .1 percent of all the fans) are negative and vulgar. “Fans” complain about not receiving the coupon and complain about certain franchises not accepting the coupon. The wall is full of sniping back and forth between commenters, as well as ads from affiliate marketers. Compare this to comments and engagement on CompareTheMarket.com’s Facebook page, and you see an abject failure to take advantage of social media — and a real chance of damaging brand equity.
A true creative digital campaign would have allowed T.G.I. Friday’s to open up Woody’s world online, not unlike Aleksandr’s ongoing world. In fact, one could easily make the argument that Friday’s — a restaurant whose business model depends on repeat business — is a much more likely candidate for an ongoing online character than a car insurance company. People don’t switch car insurance every two weeks, but most Americans do eat out at least once every two weeks.
Overall strategy aside, creative opportunities existed for many ongoing story lines: Woody’s girlfriend wants to give him another chance. Woody is thinking he likes the bimbos better. Why not engage his 1 million fans and let them decide through a vote? Reunite with the girlfriend, or have another hot tub party?
Instead, Friday’s online social media policy is being dictated by people who are writing messages like these to Woody:
Hey, you stupid little con man… here’s the deal. I will NEVER set foot in another Fridays until I get this stupid free burger you promised me. NEVER. Got it. I’ll bet that lots of the other folks here that didn’t get theirs will do likewise. BTW, what a GREAT marketing tool you found here. I’ll bet you’ve never pissed off so many of your best customers at one time as you did with this fiasco.
If you check out Friday’s homepage, you’ll see no mention of Woody.
As you dive into your next social media campaign, here are a few takeaways from the above examples.
Creatives need to evolve
If your creatives have not evolved to be able to think as all-around marketing strategists, they’ll be hamstrung when it comes to understanding the most effective media to get their idea and messaging across. The media silos are coming down, and creatives need to feel as comfortable working a blogger outreach initiative into a campaign as they are creating a video for a rich media banner or initiating and working a Twitter persona — not to mention being able to recommend one of those outlets as a sound addition to a brand’s strategic plan.
Craft your creative to fit the brand personality and target
Was T.G.I. Friday’s really looking to pump up its somewhat insignificant 18- to 24-year-old male demo by featuring an irreverent slacker who lives with his parents? Did the company consider the overall effect on its brand, and more importantly, its older female demo, which represents its best customers?
A social media program or campaign is ongoing
It’s not like a heavy-up TV buy or an online sweeps with a hard start and stop date. If you create a million-person community, you better have a creative plan to support that community in some way, shape, or form that fits the objectives you set out to achieve. It appears that CompareTheMarket.com has that plan in place. After almost a year, the campaign is going strong. It appears that Friday’s did not have that plan in place. Three months after launch, Woody’s fan page is dormant except for complaints.
Social media provides new creative opportunities around every bend. It’s up to the brand stewards and their agencies to strategically and responsibly tap into those opportunities to achieve predetermined, specific objectives. Anything less will do your brand more harm than good.
John Shanley is creative director of NetPlus Marketing.