Entries by 3 Created

Next Gen Marketing Teams: From Silos to Systems

September 23, 2013 /in /by

Automation has revolutionized marketing. It has brought new insights, capabilities, and methods of engagement. It has demanded new skills, thrust us into the omni-channel universe, and opened new levels of visibility and accountability. But these are a…

Create and Close Customers up to 40% Faster

August 30, 2013 /in /by

IDC’s CMO Advisory has conducted an annual IT Buyer Experience survey for the past six years. We have tracked many changes and interesting trends, but one thing stands out as a consistent inefficiency in the market: every year IT Buyers report the purc…

Sales Star Turned CMO Tells All: An Interview with Tyson Roberts of Yesler

August 20, 2013 /in /by

Executives who earned their stripes in the pre-internet days sometimes cling to the notion that aggressive sales tactics are still the path to success.  Tyson Roberts doesn’t agree. The former sales star who is now a CMO and content marketing expert, explains why he changed his tune.

Tyson Roberts is a CMO with a rare background. Tyson, who is CMO of Yesler, the agency division of ProjectLine, an award-winning B2B marketing services company headquartered in Seattle, now works with leading tech companies to develop and implement their content strategies. But earlier in his career, Tyson carried a bag – selling software and services for Avenue A, Razorfish, Check Point Software, and even as the CEO of a start-up he founded he carried the largest quota.  I recently talked to Tyson about how his approach to creating customers has changed.

Tyson, you had some pointed things to say about how ineffective aggressive sales people are today. Yet, you used to be one of these sales people – and a successful one. Tell us about that.
When I was on the start-up sales team at online advertising agency Avenue A (AQNT) in the late 1990’s, it was just like GlenGarry GlenRoss. Very simple.  We generated our own leads. Our intern would give us a daily spreadsheet of every internet advertisement placed that day along with a phone number.  We literally called every one. In hindsight, it was terribly inefficient – maybe a 2% contact rate and 10% (0.2% net) meeting rate.  It worked. We grew, but at a cost.

In the sales pit we proudly displayed a “wall of shame” – a collection of letters and emails pleading for an end to our efforts to contact them. Some even contained threats. The expectation was: You earn big money, “bring us heads on sticks or we’ll find someone who can”. We couldn’t blame our lack of success on the marketing people or anyone else for that matter.

So, where was marketing in all of this?
Marketing built collateral and ran point on our presence at events like ad:tech.   I recall very little interaction between sales and marketing.  They would get our input and approval on the sales kit, but that was it.  Marketing would also drop hundreds of leads on our head after each event.  We quickly learned to ignore the leads or cherry pick them because so many were unqualified.  Our sales intern got better leads manually surfing the web all day.  It was true that many leads provided by marketing would begin advertising online in the next 6-12 months, but we needed to make this month’s and this quarter’s numbers.

Now you work with marketers to implement and refine modern demand centers. Yet you just said that sales people can’t depend on marketing – why have you changed your view?
The “wall of shame” was a foreshadowing of things to come. A lot has changed in the past 15 years.  Tactics that were seen as just aggressive in the 90’s, today come across as unsophisticated, clumsy, and desperate.  At one of our clients, the sales people were constantly complaining about the lack of leads from marketing. We helped produce the first 500 inbound leads they’d seen in years.  Then I learned that the sales team just started dialing every one and asking each to buy! That’s like going speed dating and propositioning each person you sit across from.  

Buyers have taken control of the purchase process and are doing a lot more self-directed investigation prior to engaging with sales. If sales people don’t recognize and adapt to this, not only will your success rate be dismal, but you’re branding yourself as a genuine tool at the same time.  This is not the way to build rapport, trust, a relationship, or a brand.

What works now?
Companies must provide a quality path from initial interaction to happy customer. All the pieces to build this are available.  In the modern B2B organization marketing owns everything from initial interaction with a lead through to sales readiness.  Sales people focus exclusively on the opportunity pipeline.  This clear separation and definition of duties is a fundamental driver of improved demand economies. 

The cold call should be no part of your demand generation strategy.  You have to switch to an opt-in model.  Leverage an army of content at the front end. Then the sale rep adds spots of personal touch and completes the close.

The old sales business development model is inefficient. You can scale business development more easily and get better results at a lower cost by using modern marketing with its methods, systems, and automation than you can by using sales with its people, personalities, and talents.  You definitely need sales effort – but you need less.

What advice do you have for CMOs facing the challenge of a head of sales that is still “old school”?
The first step to modern B2B demand generation is realizing that your prospects don’t give a rip about your company or its beloved solutions.  That’s the bad news.  The good news is that your prospects are narcissistically obsessed with their own company and its challenges and opportunities.  This obsession is the key to being relevant, earning attention, consideration and ultimately business.

Copyright 2011 IDC. Complete articles may be reposted. Reproduction in part is forbidden unless specifically authorized. All rights reserved. Please contact IDC for information on republishing or web rights.

The "Customer Experience" Job Role

August 16, 2013 /in /by

A few years ago, IDC opened up a new research area within our “role-based” research area. We sought to understand, and define, and then Advise on an emerging role that we were seeing pop-up within the IT vendor community: The Customer Experience execut…

How you can make 10 dollars per day with google Adsense

April 20, 2013 /in /by
If you are reading my post, I think that you want to increase your adsense income $0 to $10 per day. Most beginning bloggers might earn about one dollar a year. When you have several hundred posts and are starting to attract hundred or more visitors every day, you might see as much as ten dollars per month.

But if you have a popular blog, with thousands high ranking search engine posts, and probably at least a thousand visitors each day, it will be able to earn $10 per day with a single blog. That means it’s totally depend on your quality traffic and search engine ranking. Once you learn how to consistently make $10 a day from the Internet you can change your goal to $20 a day and continue to increase your goal until you begin to earn a full-time income working from home.
How To Make $1 Per Day From Adsense:
Your blog requires minimum 100 search engine visits and 250 Page views totally per day to reach one dollars daily.
How To Make $5 Per Day From Adsense:
Your blog requires minimum 1000 search engine visits and 2500 Page views totally per day to reach five dollars daily.
How To Make $10 Per Day From Adsense:
Your blog requires minimum 2000 search engine visits and 5000 Page views totally per day to reach ten dollars daily.
How To Make $20 Per Day From Adsense:
Your blogs requires minimum 4000 search engine visits and 10000 Page views totally per day to reach twenty dollars daily.
How To Make $40 Per Day From Adsense:
Your blog requires minimum 9000 search engine visits and 25000 Page views totally per day to reach fifty dollars daily.
High Paying Adsense Keywords :
If you have high paying keyword and getting good search engine traffic for particular keyword, then may be two or three clicks enough to earn 10 dollars daily. So keywords are very important part for every blog and make money. Remember, if your blog
should high paying keywords. Your each click must bring 1-3 dollars per click, that means  you can earn $ 5 easily per day from 250 Page views.
On the other hand, If you make $10 per day from adsense, create five niche blogs then your aim of making $10 per day can be achieved by making $2 per site everyday.
Get these basic things done right and you will be on your way to making $10 a day from Google AdSense.

SEO Essentials Techniques for 2013

April 19, 2013 /in /by

Long gone are the days when all you had to do was link exchange with a handful of highly authoritative sites with the exact key phrase you were targeting, almost like magic there you were sitting pretty on top of the search engines. If you did that now…

What if you didn’t have to guess?

March 3, 2013 /in /by

In decades past, the success of a marketing director depended heavily on his or her ability to predict the future, often times by guessing. Guess well, and you were a success. Guess poorly, and your marketing career was short-lived. Marketers beca…

The Subscription Equation (and other tactics)

February 3, 2013 /in /by

Probably the most frequent question I am asked is if I believe subscriptions are dying.  And if you would have asked me five years ago, I would have answered in the affirmative. I, like many others, believed the subscription model was outdated–a worn out old chestnut that needed to be replaced. I even had data to prove it. From our peak in 2002 until 2007, Arena Stage had lost 40% of its subscriber base! I was convinced we had held onto a failing business model for far too long, until I started testing alternatives.

 

In 2008, working with Shugoll Research, we developed several focus groups with specific target audiences, including current subscribers, lapsed subscribers, multi-show buyers and single ticket buyers. During these focus groups, we presented several alternatives to the traditional subscription, many of which had been recently introduced by other theaters, and to my complete horror, none of them tested anywhere near as well as the traditional subscription. Even if I wanted to abandon our subscription model, I didn’t have any attractive alternative.  Then the realization came – if our customers still want subscriptions and our subscriber base is rapidly declining, then the way we sell, market and promote subscriptions if fundamentally flawed (it should be noted that we also tested satisfaction with artistic product and found that was not a challenge for us). In short, we were killing subscriptions.

 

As our 2012-13 season comes to a close, I’m happy to report that we have experienced significant increases in our subscription base for four consecutive seasons, almost achieving a record high number of subscribers and  since 2008, have increased our subscription revenue by 115%. Even more surprising, the turnaround started to occur in 2009 at the height of the global economic crisis and a full 1.5 years before the opening of the new Mead Center for American Theater. 

 

If I were to articulate the formula of our success, it would look like this:

great artistic product + best seats + best price + outstanding customer service = more subscribers

Artistic Product: Whether we like to admit it or not, the most important of the 4Ps of marketing is product. If your customers are not satisfied with the artistic product of your organization, you will not see an increase in your subscription base.

 

Best Seats at the Best Price: Being able to get the best seats in the house at the best possible price is a powerful value proposition for subscribers. If you have a robust subscription base, often times the only way to get the best seats in the house is by subscribing. Make sure to message that in your sales materials. Also, be very careful of undercutting your subscriber average ticket price, particularly at the last minute. A substantial last minute discount may provide a lift to an under-performing production, but the long term side effects could be much worse.

 

Outstanding Customer Service: Let’s be honest – customer service usually sucks these days. So it’s the perfect opportunity to shine. Steward your subscribers like development does their donors. Be proactive in finding ways to provide exceptional service. For example, if inclement weather is coming, instead of waiting for subscribers to call you to exchange their tickets, why not send them an email alerting them of the inclement weather and offering to make the exchanges on their behalf?

 And if you don’t already, find ways to thank your subscribers throughout the year. For example, there is a theater on the west coast that partners with a winery each year to give their subscribers a free bottle of wine when they renew their subscriptions as a way of thanking them for their support.

Beyond the formula, below are a couple of significant strategic changes we made that made all the difference:

 

Lengthen the Subscription Campaign: Prior to 2009, Arena Stage would announce its season in March and would continue to sell subscriptions until October, providing for an 8 month subscription campaign. These days we begin our subscription campaigns in January and sell through March of the following year, thereby lengthening our campaigns to 15 months.  Avoid delaying the start of your subscription campaign at all costs. Each week you lose will be very costly, and you cannot replace lost weeks.

 

Don’t Forget About Upgrades: When I was taught how to market subscriptions, I learned to break a subscription campaign into two parts: renewals and acquisitions. Today, we have an additional focus on upgrades. Our goal is no longer just to renew our subscribers; we want to upgrade them as well year after year. Primarily we focus on getting subscribers to increase the number of plays on their subscription, but you can also have them upgrade into better seats, add parking to their orders, or increase their annual fund donation. This year we are even experimenting with add-ons for café meals to great success. In FY13, almost ten percent of our subscription base upgraded into larger packages, which doesn’t sound like much until you consider that amounts to roughly $175,000 in additional revenue. On top of which, full season subscribers have a renewal rate 25 percent points higher and give donations that are 4 times larger than partial season subscribers. 

 

Speak to Subscribers Like You Know Who They Are – Because You Do: Gone are the days when you can create one beautiful season brochure that speaks to all of your patrons, and then mail it over and over again until you beat people into submission. Subscription renewals and solicitations should be highly targeted. You know what types of productions each patron likes and on what nights they like to attend. If you sell café meals and parking through your box office, you even know if they like to park and what they like to eat. You know if they are a full price or discount buyer, how many shows they attend a year on average, and how many people are usually in their party. So why are we still wedded to one size fits all solicitations? Our job is to get the right offer in front of the right prospect at the right time. And we have all the data we need to accomplish that.

 

Develop a Sales Pipeline.  Even up to a few years ago, we would mail subscription solicitations to traded lists. Then we started to look closely at our response and tracking reports. Guess what – we found that list trades were not working, not even close. It would have been just as effective to drop season brochures out of a helicopter over the city. And this was considered a “best practice” that every major arts organization in the city bought into. However, we were not measuring efficacy. The failure of these campaigns is easy to understand. In short, we were asking people to marry us before we went on a first date. Most of these targets had never seen a show at Arena Stage. Why would they invest hundreds of dollars when they had never stepped through our front doors? We changed tactics and concentrated our efforts on developing a sales pipeline. We would trade lists for single tickets, primarily to our most popular productions. This in turn would create an influx of new single ticket buyers. Once they had their first experience at Arena Stage, we would send them an offer to return to a second show. Once a patron had seen two or more shows, the likelihood that that would then respond to a subscription solicitation quadrupled. Don’t waste time and money mailing to poor prospects. Instead concentrate your resources on developing more multi-show buying patrons as those will be your best leads in your next subscription campaign.

 

Testing and Failing. The only way to succeed is to fail. The key is to succeed on a grand scale, and fail on a small one. Aggressively measure the success of every campaign, no matter how small. And test something new at least every week. Tactics will change from year to year, and you’ll need to adjust in order to maximize return on investment. As we doubled our subscription revenue over the past four years, we actually started to spend less as we grew more efficient. For example, I like to test new offers in our telesales room. Over the period of a week, we may have three or four offers in the telesales room. By the end of the week, after a thousand or so calls, we usually have a clear winner among the offers tested. That offer is then rolled out in an email solicitation, and if it responds well, then we’ll include the offer in a large direct mail campaign and then test it against the current control package to see if we achieve a better ROI. 

 

If you are currently experiencing less than stellar results on your subscription campaign, before throwing the baby out with the bathwater, I’d encourage you to examine each of the variables in the subscription formula above, and then vary your tactics to see if you get better results.  Sometimes it isn’t the model that is dying, it is how we apply the model that is responsible for our underwhelming results. At least it was in our case.

I have a hit! Should I extend?

December 16, 2012 /in /by

As I have written about previously, often times marketers get themselves into trouble because they focus too much of their attention on under-performing productions causing them to ignore opportunities to better capitalize on productions which are over-performing.

So, now you have a hit on your hands, and you know you have to strike while the iron is hot. Sometimes hit productions can be few and far between, so what you do next could make or break your season. When a hit does occur, many entrepreneurially minded non-profit producers start to consider an extension to their previously announced runs. Before announcing an extension, here are a couple of things you should consider:

 

Feasibility. Is it even possible to extend your run? Oftentimes non-profit subscription houses have another show coming in right on the heels of the previous one, and there is no room to extend. Are your actors available for an extension? Many times actors have other projects already lined up, and they are unavailable for an extension. And if some actors are unavailable, can you continue a run with replacement actors? 

 

Extension Costs.  How much will it cost per week to run an extension? Make sure that you include all relevant costs, such as:

·         Casting and put-in costs for replacement actors
·         Any increases in fees due to extension clauses
·         Marketing and press fees to promote an extension
·         Applicable overhead costs such as house management, box office, etc.
·         Cost of sales fees such as credit card service charges
·         Increases in royalty payments

The higher the weekly operating costs, the more risky an extension will be. The decision to extend a popular play with a modest cast size will be much easier than the decision to extend a large musical, which can have weekly operating expenses 4 to 5 times higher than a play.

 

Current Sales and Inventory. How many tickets did you sell in the previous couple of weeks and how much in single ticket revenue did you realize? Even if you are currently achieving more revenue in single ticket sales than what you are projecting as your weekly operating costs for an extension, it may not be a good decision to extend. For example: production X has sold 2,000 single tickets for $100,000 in single ticket revenue per week for the past three weeks. You have projected that your weekly operating costs for an extension will be $80,000 per week, leaving a $20,000 positive differential between current weekly revenues and projected weekly operating costs leading you to believe an extension is advisable. But, when you take a look at your available inventory for the remaining 6 weeks of your run, you notice that you have 18,000 tickets left to sell in your 1,000 seat theater. Selling at a pace of 2,000 tickets per week with 6 weeks left, you will sell 12,000 additional tickets which represents only 67% of your remaining inventory. In this situation, it may not make sense to extend, as you could avoid additional extension costs and maximize net revenue by selling out your remaining inventory. 

 [note to reader: I chose to use relatively large round numbers as the arithmetic is easier, and they illustrate arguments in a more succinct manner. These concepts are easily scalable for smaller or larger houses.]

Burn and Sell Ratio. Are you realizing more in single ticket revenue for future performances than you are burning off each week? For example, in your 1,000 seat theater with an average ticket price of $50 and a 60% paid capacity for a performance schedule with 8 shows per week, you will burn off $240,000 in ticket revenue each week of performance. If you are selling more than $240,000 each week for future performances, and your weekly operating expenses for an extension are below $240,000, it is a good indication that an extension is viable.

 

Time to Sell.  If you decide to extend a run in your 1,000 seat theater for an additional week, with an 8 show per week schedule, you will bring an additional 8,000 seats online to sell. Do you have adequate lead time to sell the extension? If you have relatively low weekly operating costs, the financial risk may be low, but you don’t want to announce an extension only to play to 30-40% paid capacity because you didn’t have enough time to adequately promote it. 

 

Other random thoughts…

·        Extending a popular production can ensure an influx of new patrons, which can lead to an abundance of excellent leads to develop new multi-show ticket buyers. That said, scarcity can also be a very valuable marketing tool. Nothing encourages early ticket buying behavior better than sold out houses.
·        Extensions are not always extensions. Some theaters have developed business models which involve “extending” almost every show they produce. At other theaters, extensions are very rare. Why is this? For those that always seem to have extensions, most “added performances” are likely built-in and planned as part of their original run lengths, but tickets are held off sale until a predetermined date, thereby creating the perception that when tickets are placed on sale, the production has indeed extended. It’s quite a clever marketing strategy until you go to the well too many times, and the public starts to understand what’s going on. At which point, I would guess that marketing a production as “just extended” starts to lose some of its value.