7 Steps to a Successful Facebook Ad Campaign

facebook-ads

Finding new sources of traffic for a website or social media profile can be a challenging task for both novice and experienced web marketers.  Facebook Ads are powerful, yet often-overlooked, tools for internet marketing campaigns. Here is a quick overview of Facebook Ads' benefits:

top5sites-timeonsite

• Increased Exposure: Facebook continues to be the #2 ranked website in the world for web traffic according to Alexa.com.  Of the top 5 highest-traffic websites in the world, users spend more time on Facebook than any of the others.
• Increased ROI: Facebook Ads are 25-50% of the cost of running a Google Adwords campaign.  A Google Pay-Per-Click campaign can sometimes cost $1 per click.  A typical conversion rate (from clicking to taking action) would be 2%.  Spending $3,000 for 3,000 clicks therefore, may only result in 60 people taking action (opting in for your email list, purchasing tickets to a show, making a donation, etc).  A similar campaign on Facebook Ads would cost around $10 for 1,000 clicks. You can also choose to run a CPM campaign which calculates a cost based on how many 'impressions' you want to make on users. Impressions are geared more for marketers who want to raise awareness about their brand. The Search Engine Journal provides more insight into this topic. Here's a great visual from their article.

fbvsadwords

Note: Geo= Geographical Segmentation and Keywords= the word or phrase a user types directly into a search engine. Facebook Ads can only target what someone has already indicated they are interested in (theatre, live music, art galleries, etc).

targetin-facebook-ads1

targetin-facebook-ads2

• Targeted Demographics:Facebook Ads provides a precise way to segment your market. From musical interests to relationship status, there are an endless amount of ways to run a market segmentation. Here is a detailed listing of your targeting options.
• Less Competition: Facebook also has an advantage when it comes to your levels of competition. Facebook has an estimated 1/20th of the advertisers that Google has. Here are some other fascinating statistics from the internet marketing blog HubSpot.

If you're considering running a Facebook Ad campaign or are struggling with your current campaign, here are seven steps to help you make the most of your efforts:

1. Run More Than One Ad: As Robert Gore discussed in our latest podcast, it's a great idea to run 5 or more ads for each market segment you choose. Test each ad's performance to see which one has the highest success rate.

2.Choose a Compelling Image: Keep in mind that, unlike Google, the Facebook audience generally isn't logging on to shop for products or services. You must engage a user from the start. This process begins with your headline and image. Here's a great image from an ad run by the Pittsburgh Public Theater. The image conveys high energy and enthusiasm and raises curiosity about the show.

Sample Facebook Ad

3. Direct Traffic to a Relevant Landing Page: Make sure that the landing page users are directed to after clicking through on your ad is relevant to what was being advertised. Consistency is key. It's up to you to select the most appropriate landing page. It could direct traffic to an outside website or to your Facebook Fan Page. Landing Tabs on your Facebook page can be particularly effective. For more information on creating a Landing Tab, you can refer to Facebook's Help Section or listen to our webinar recording on making the most out of your Facebook page.

4. Optimize Headlines: Marketing Experiments blog author, Hunter Boyle, suggests that the objective of your headline is "not to sell but to connect with your reader." Here's a great article that expands on this principle. One of the best ways to engage your reader is to pose a question in the headline.

5. Consider Your Targets Carefully: In the first tip, we recommended running more than one ad. It's a great idea to test your ads on different market segments too.

6. Make a Compelling Offer: If you are more concerned about click-through rates as opposed to impression levels, then you should consider making a compelling offer in the body of your ad. Just be sure that the landing page follows up on this offer.

7.Track Your Results: Some internet marketing experts, like Ryan Deiss, suggest you should delete any ad with a  click-through rate below 2% after a week of running it. This may not apply if you're more concerned with making an impression. Always be mindful of your campaign's goals and re-calibrate your strategy accordingly. Small business expert and author, John Jantsch, suggests using Google Analytics and Google's URL builder tool to monitor the effectiveness of any ads that direct people to a link outside of Facebook.

Update: 

For a step-by-step video on making a Facebook Ad, check out our mini-nar: Making Facebook Ads and Diving into Analytics.

Exhibiting Online with Open Source Software

Has your organization been giving some thought to creating online components for its upcoming exhibitions? The demand for having exhibition-related content available online is not only increasing, it has grown into an expectation. Web publishing can be a costly process for many arts organizations, especially if a web developer and designer is required for each exhibition.  A more cost-friendly alternative is to consider using open-source, publishing software for creating collections and exhibitions online. Here are two currently available, free downloadable options designed specifically with cultural institutions in mind:

Omeka – Launched this past year, Omeka was designed by the Center for History and New Media at George Mason University. Omeka features a variety of themes and plugins while offering a management system similar to that of the blogging site Wordpress. Here is a great video tour of the software.

Collective Access – Also utilizing a management system similar to many blogging platforms, Collective Access was developed by software firm Whirl-i-Gig in 2007. Click here to demo the software.

Both sites offer links to exhibition sites built with their software, which are worth checking out to see what’s possible using these open source systems.

So what is open-source software, anyway? A software is considered open source when the firm who created the software makes the source code available to the public and opts out of certain other copyrights that are normally reserved.  This means that any user can alter, customize and develop for that software as they sit fit to meet their project’s needs. An important thing to keep in mind is that in the tradition of open source software, the user must share this new, modified code with the public as well.

Before your organization goes forward with publishing an exhibition or collection online with this kind of software, there are some questions you should consider:

What is the user experience like?

No two web publishing software systems are exactly alike, so make sure to take a detailed tour before committing to one.  A clean and simple user interface will drastically shorten training time for your staff and save a lot of future headaches if you pursue more complex projects. Omeka and Collective Access are both strong examples since each offers a blog-like user-interface specifically designed with cultural institutions in mind.

Omeka offers services that cover a wide range of needs for cultural institutions

An example of how Collective Access allows you to build relationships between items in your online collection.

How much storage will you need?

What kind of content and media will your project involve? What kind of storage and back-up will be needed? Remember that server space is essential, whether it’s your organization’s internal server, a web-hosting service’s server, or buying some space from a server provider online. In addition to their software, Omeka offers a web-hosting service with different plans priced according to number of sites and the amount of storage needed.

How easy is it to customize?

This goes back to the importance of taking a detailed demo of the software. Many of the platforms have multiple themes available to make the task of designing your organization’s site a lot easier. However, you should test the platform to determine how difficult it will be to change those themes and customize them to fit your organization’s unique brand image without requiring the help of a web designer.

What kind of support is there for the software?

When an open source software is downloaded and installed on your server, all of the support and maintenance responsibilities for that software rests with your organization. A server provider will be able to fix bugs and issues specific to your server, but maintaining the software is up to you. Omeka and Collective access offer extensive documentation and guides as well as online forums, but support and troubleshooting are left to you. This is one of the advantages to Omeka’s hosted option; they will provide service support for both server and software issues.

How is the software upgraded?

When the system you use comes out with a new version, who installs the upgrade? How easily can an upgrade in the software be installed and configured? With both Omeka and Collective Access, the users have to manually perform the upgrades, but extensive documentation and guides are provided. This is another benefit of a hosted service option like Omeka.net; they will install and configure software upgrades for you.

So while these open-source, publishing software systems are free, there are some costs to consider.  Be sure to do your research in order to determine if these open source tools will meet your budgetary and technical constraints for experimenting with online collections and exhibitions.

Google URL Builder - Deeper Tracking for Your Analytics

analytics_logo

Google Analytics has emerged as the industry's leading tool when it comes to web analytics.  The platform's easy installation process, in-depth reporting features  and user-friendly interface make it a marketer's best friend.  Among the many reporting features in Google Analytics is the ability to chart where your website's traffic is coming from. Google URL Builder is an often overlooked platform in the Google toolbox that can help organizations measure the effectiveness of their web presence. URL Builder is primarily tailored for tracking internet campaigns that fall outside of the pay-per-click or Adwords realm.

URL-Builder-1

Here's a quick overview of URL Builder:

• Works in conjunction with Google Analytics to provide advanced metrics for measuring the performance of a specific URL that you will “build”.
• Allows you to  chart the traffic for particular pages within your website and determine which communications channels provide stronger traffic per page.
• Allows you to enter tags for detailed tracking, particularly Campaign Source, Campaign Medium, and Campaign Name.
  • Campaign Source indicates the originating source of the traffic.  Does it come from your organization?  Is another organization promoting a web link on your behalf?
  • Campaign Medium is useful for charting how much of the campaign's traffic comes from different locations.  Did the traffic come from e-mail, web ad, Facebook, Twitter, etc.?
  • Campaign Name is a short description for the campaign - often one to three words and often a distillation of the link's page title.
  • Google processes this information and provides you with information about the performance of your unique URL including its bounce rate and conversion

For example, here's the information that we will assign to a URL campaign for the article you are currently reading:

• Campaign Source: tita -- We use "tita" to indicate when Technology in the Arts is the originating source of the traffic.
• Campaign Medium: twitter -- The medium area is where we indicate if a link will be shared on Twitter, in an e-mail, on our Facebook page, etc.
• Campaign Name: GoogleURLBuilder -- Typically, we use a shortened version of our article titles as campaign names for analytics.

Let’s consider some practical applications:

Web Content: It could be very helpful to see how fans and followers on your social media profiles compare and contrast in terms of their interaction with your blog posts, event listings, etc. Simply build a URL for each campaign medium to which you distribute your web content links (Facebook, Twitter, LinkedIn, etc.) and see how your links perform across various sites.

Email Announcements and Newsletter Campaigns: Another useful application could be for tracking the performance of URLs in your email announcements and newsletter campaigns. You would simply enter ‘newsletter’ into the campaign source option. For smaller organizations or independent artists who do not utilize broadcast email service providers (like Constant Contact), Google URL builder could prove to be a viable alternative for tracking traffic deriving from e-mail communication.

Helping Others: When conducting an interview or mentioning another link on your blog or website, consider contacting that person and asking them if there is a specific URL you should use in your post (in case they have a campaign name established for that page). This will make it easier for them to track how much exposure their blog, website or the interview received based on your posting it.

If they do not have a customized URL for you to use, it is still a great idea to create your own.  Because the web page is being tracked within their Google Analytics data, the campaign data (source, medium, name, traffic information) will appear in their reports.  If you share multiple links from the same website, then using URL Builder for each link you share will allow the organization to see if particular links were more interesting to your communication recipients and site visitors.

Google URL Builder Best Practices

• Always take time prior to setting up a campaign to consider your ultimate goals. Which sources and media will you need to track?
• Reach out to other organizations and bloggers prior to posting a link to their information in your post.  They may provide you with a customized URL designed for their Google Analytics campaign reports.
• Consider if any adjustments should be made in your email, social media and overall web campaigns as a result of the data you collect.
• Spread the word! Share URL Builder with your colleagues to make sure that everyone on staff uses the correct URLs when sharing links.

Want to learn more? Check out our mini-nar:

Using Google URL Builder to Track Your Website's Traffic

.

An Easier Way to Text-to-Pay

Recently, Obopay Inc., an online mobile payment company, and Benevity Social Ventures Inc., a company focusing on the social practices and giving habits of corporate America, partnered to create a new text-to-donate platform for non-profits.  This new easy-to-setup, easy-to-manage platform takes away many of the problems that have been associated with text-to-give in the past.

The new platform:

• Is FREE for all registered organizations with active 501(c)3 status
• Takes less than 24 hours to setup
• Pays organizations within 30 days
• E-mails tax receipts to donors immediately

Prior to this texting platform, setting up a text-to-give campaign took months and the providers that were available focused mainly on larger high profile clients (the Obama campaign and the Haitian relief effort are just two examples). Payment often took 60-90 days and there were a multitude of fees and charges associated with the products.

In an earlier post, I discussed the merits and benefits of micro-donation campaigns and ways they can best be implemented. Unfortunately, I did not have many suggestions on available products at that time. Many local non-profits and arts organizations simply did not have the budgets or profile to take on such campaigns.

This new text-to-give platform (which currently has no specific name) allows for easy setup and processing of text-to-give donations. A non-profit organization goes to the Obopay website, registers for a key word and the Benevity Corporation, in partnership with the American Endowment Foundation (AEF), creates the account and sets up the service on behalf of the non-profit. No extra work, no forms, no hassle.

When using this service:

• Tax receipts are provided directly to the donor from Benevity via e-mail
• Donations are received by the non-profit every 30 days
• A 7% processing fee is collected from the donation by Benevity and AEF to process the transactions
• The non-profit only receives 93% of the total donated amount
• 100% of the donation is tax deductable (Benevity & AEF are also non-profits)

Overall, this simplistic process combines Obopay’s easy text-to-pay platform with Benevity’s non-profit database and backend billing system, allowing for an easy-to-setup, easy-to-manage platform. A patron texts the organization's keyword to a short code (usually 5 numbers long) and immediately receives an SMS text in response. Potential donors are then prompted to enter a phone number and pin code to donate or they can use the mobile donation website which, on average, takes less than 90 seconds to complete.

Future expansion of this service will include corporate matching and a customizable database with a recommendation function. Benevity already has all registered US non-profits in their searchable database. Soon, the non-profits themselves will be able to be personalize their profiles, and a recommendation function for donors will be added.

Donors prefer push button solutions, mobile applications and ease of use. This new text-to-give solution by Benevity and Obopay opens the doors for arts organizations and other non-profits to provide cutting edge solutions to this problem.

Arts organizations across the country should be looking at this as a huge opportunity to expand micro-donation campaigns and reach new audiences. Patrons are most likely to give directly after or during an experience involving a non-profit. This quick and easy solution for instant giving provides a way for people to support organizations they care about while the experience is still fresh in their minds. Both companies recommend event based marketing for text-to-give donation campaigns.

Arts organizations should advertise how to donate via SMS text during intermissions, around galleries or surrounding specific events. It is a quick way for people to show their support and generally has little effect on their other giving habits. More importantly, the platform can provide a  new revenue stream that opens up giving to a wider range of people and secures multiple gifts from long time donors.

Social Media Spotlight: The Guggenheim and YouTube Play

Welcome to the third installment of the Social Media Spotlight, our monthly feature focusing on arts organizations’ social media strategies.

This month’s spotlight is the Guggenheim Museum’s strategy with YouTube Play, the recently debuted biennial celebrating creative talent in the realm of online video. The response leading up to Youtube play was massive, with over 23,000 video submissions and over 46,000 subscribers to the YouTube Play channel. The channel, to date, has been viewed over 23 million times. 25 videos were selected by an esteemed jury and celebrated on October 21^st with an event at the Guggenheim in New York that was live streamed worldwide.

I recently had a chance to chat with Associate Curator Hanne Mugaas about YouTube Play:

Where did the idea originate for the Guggenheim to team up with a social media site like YouTube?

The Guggenheim had already collaborated with Google on Design It: A Shelter Competition, where on the occasion of the exhibitions Frank Lloyd Wright: From Within Outward and Learning By Doing, the Guggenheim and Google SketchUp invited amateur and professional designers from around the world to submit a 3-D shelter for any location in the world using Google SketchUp and Google Earth. Ideas for new collaborations originated from this project, and a celebration of online video became the next step.

Instead of using their existing YouTube channel, the Guggenheim decided to create an entirely new channel for YouTube Play. What drove that decision? Did it have a positive effect on your original channel?

Since the project is a collaboration between YouTube and the Guggenheim, we wanted a channel for Play content exclusively. The fact that it is a biennial (the project will continue every second year) is another reason why we wanted a separate platform. The project has certainly had a positive effect on the Guggenheim YouTube channel, and it has made it possible for us to reach new audiences.

Since its creation last May, the YouTube Play channel has gained over 46,000 subscribers. How did the Guggenheim cultivate such a large number of fans?

The project is unique in its global scope, which has generated extensive interest. We got 23,358 submissions, which is unheard of in a traditional art context. The pairing of YouTube and Guggenheim made people curious about the outcome. Most importantly, the shortlist and the top 25 videos have a diverse range of high quality works; videos that make you want to spend time on and revisit the channel.

In addition to YouTube, the Guggenheim also has a major presence on other social networks and social media sites like Facebook, Myspace, Twitter, & Flickr. What roles did these other sites play in your social media strategy with YouTube Play? Did the fact that YouTube Play culminated with a specific event affect your overall social media strategy?

The social media sites were important in getting the word out, and to drive submissions. We also started a blog, The Take, which contextualizes the project through writing by art, film, and Internet experts. We did frequent YouTube Play updates on Facebook and Twitter to keep people informed about the progression of the project. These were certainly important tools for the event, especially to make people aware of the live stream, and the external projections on the Guggenheim building in New York.

Speaking of events, the Guggenheim took full advantage of YouTube's new streaming service to live stream the YouTube Play event from the Guggenheim Museum in New York City.  How was your experience with streaming video?

The live stream was a very important element given the global scope of the biennial; this way, anyone anywhere could watch the event live. It was a successful experience for us, and the feedback has been very good.

What advice would you give to other, smaller arts organizations that want to experiment with live streaming their own events?

Streaming video is a great way to make your content available to a global audience, either it’s an event, a panel or a talk. To watch a live stream is special, and as a cultural producer, it is a great asset to know that people around the globe are watching.

Thanks again to Hanne Mugaas and the Guggenheim Museum. Visit the YouTube Play channel to check out the 25 selected videos from the exhibition and view selected clips from the live streamed event.

Is your organization doing exciting work in social media? Leave us a comment and let us know. We may feature you in an upcoming spotlight!

Internet Revived the Music Video Star

MTV's Iconic Moon Man

On August 1, 1981, America was introduced to the cultural phenomenon of Music Television. The television network revolutionized the world of music programming and would forever change the landscape of the music industry. In addition to promoting music through traditional radio, live performances and albums, musicians began to utilize the medium of television to promote their singles. Independent and underground musicians also took advantage of this new technology by shooting lower budget videos to distribute on local cable access shows that were similar to MTV. The cultural innovation of music videos has since evolved along with the rest of the music industry. One of the most interesting trends is the advent of interactive music videos on the internet. An increasing number of artists and arts organizations have begun examining the ways in which they can engage and connect with potential audience members and fans online. The dynamic, fast-paced nature of smart phones, social media and other technology has prompted this shift to interactivity and collaboration.

Here's a look at three of the most innovative videos on the web.

1:Arcade Fire’s “The Wilderness Downtown”

One of the most ambitious projects comes from the indie rock band sensation, Arcade Fire. The band designed a video that uses Google Chrome, Google Maps and HTML5 standard to immerse users into a unique, interactive experience. The music video (designed to work best with the Google Chrome browser) prompts users to enter the street address of their childhood homes and creates a custom video based on images taken from Google Maps’ Street View of your childhood home.

Arcade Fire Screenshot

Wilderness Downtown Screenshot

Director, Chris Milk (who just produced another collaborative video for Johnny Cash's final studio recording ), has also worked on videos for Kanye West and Gnarls Barkley and is at the forefront of this revolution in music video production.

For more behind-the-scenes information on the shoot, check out Creativity Online's  article.

2. Andy Grammer’s “Keep Your Head Up”

AndyGrammer1

Choose Your Own Adventure...

A slight variation on this theme comes from pop artist, Andy Grammer. The video for Grammer's song 'Keep Your Head Up' is a real life example of a 'Choose Your Own Adventure' story and users can choose what actions they want Andy to take in the video. In November, the most popular choices will be compiled into one video  and the result will be uploaded to Vevo.

While shooting the video scenes for each choice did not require any specialized equipment,  the process of stringing the different choices today required some cutting edge technology. So cutting edge, in fact, that Grammer's label has taken an equity stake in the company that developed it, according to a recent Wall Street Journal article.

Watch (and interact) with the full video, here.

3. The Cold War Kids’ “I’ve Seen Enough”

ColdWarKids3

'I've Seen Enough' was directed by Sam Jones, who also directed a documentary about the band, Wilco. The video, developed in Flash 10, was nicely compressed to cut down on loading times. The interactive bars at the top allow users to mix and match different styles of the same song, from reggae to acoustic. Users can also click on individual band members to mute or unmute them.

Interactive Videos and the Arts...

While some of the technology utilized in the above experiments can be classified as cutting edge, artists and arts organizations shouldn't be deterred from dabbling in creating their own interactive video experiments. One of the most popular ways musicians have interacted with fans is by streaming concerts, informal jam sessions and interviews online via Ustream. Once logged into Ustream, users can interact with the artist and other fans in real-time. Musicians have also encouraged fans to create slideshows set to their music and upload them to sites like YouTube and Vimeo. As open source software and user collaboration becomes more popular, there's no doubt that more and more artists will be producing this type of content.

Focus on the data: LSO's Digital Season Brochure

A page from the 10/11 LSO brochure. Click image to see the whole brochure.

Last year I wrote about the London Symphony Orchestra’s digital season brochure. As technology and environmental concerns cause more printed pieces to go online, the arts industry will see more season brochures go digital. According to a recent Technology in the Arts poll, 56% of arts organizations already have their season brochure online in some form (PDF or interactive).

Last season was the first that they made the brochure, launching it in February of 2009 with their season announcement. Based on its success, they have released another brochure this year with plans to distribute it more widely. Today I have a follow-up with Digital Marketing Manager Jo Johnson about the success of last year’s brochure.

The marketing team at the London Symphony Orchestra chose to make last year’s season brochure after deciding to plan the online and offline elements of our season campaign together.  Jo said, “we had produced films to illustrate the season's themes, but it was a few months after the season had first gone on sale, and so felt rather like an afterthought. Also we had decided that we were going to put our season on sale online before we opened to telephone booking, so turning to online channels (email, web and social networks) to send info out to the bookers felt natural. A digital brochure was the obvious choice.”

The first page of the brochure created by Ceros includes an instruction window for newcomers.

For newcomers to the digital brochure, it may be hard to know where to get the technology to make the brochure, as well as how much lead time to allow for it. This year symphony again used interactive publication platform Ceros to create their season brochure, complete with audio and video. Other platforms that were suggested in our poll included Issuu and Yudu.

According to Jo, after the art and copy was approved for the print brochure, the digital brochure only took about two additional weeks. “[The print version] needs to be made suitable for online readers (adding some buttons, changing some bits of text to make it obvious that their links, making the images 16:9 ratio so that you can embed a video over it). That's about a week. Then because I don't have Flash skills, the digital brochure company did all the Flash work for me. They were pretty quick, but leave time for changes, testing and sign off. That was about another week.”

Jo found that the brochure was driving traffic primarily to concert pages (where tickets can be purchased). “The top 20 clicked links are all to concerts, with the season opening concert on 20 September being the most clicked.” Using Google Analytics, Jo determined that roughly 1 in 5 viewers played a video, and viewing figures correspond to page numbers (i.e. the least viewed video is last in the brochure). Viewers stayed on the digital season brochure an average of about four minutes.  Overall, the 2009/10 digital brochure was viewed 10,870 times. Based on the data she pulled she concluded that the amount of revenue directly from the brochure covered its costs, but that the brochure “played a more of a role in decision making than direct purchasing." She said:

On the financial side, I could see purchases made on our website that had come directly from the digital brochure. Added up, the income was just over the figure it cost to make the brochure. But as with all marketing, I'm also interested in the purchases that were made as a result of someone having the digital brochure, but not directly. At the LSO we talk about multi-channel marketing and CRM, whereby we allow the customer to make his own decision on which method to use to make the final purchase. So although the brochure had embedded links back to the LSO website where tickets can be bought, a customer may have browsed the brochure, seen a concert they like, gone away to chat to a friend about going together, made a decision a week later, and then gone back directly to the website to make the purchase, or called the box office on the phone. In this case I would not have seen the income from his ticket in the analysis I did on the brochure; and this is what I meant when I said 'It's likely it plays more of a role in decision making than direct purchasing.'

When taking on these technological innovations, it’s difficult to know how to measure success. As Jo said in our conversation, “This is the challenge marketers face every day--how to track customers as they hop through our available channels.” Your outreach program or social media site may have paid for itself in tickets, but how do we measure things like brand recognition? Social marketing experts like Charlene Li and David Berkowitz have come out with suggestions, some of which go beyond mere revenue. Jo saw two huge benefits to producing the brochure, beyond its break-even point.

The very fact that we had produced one at all gave the LSO a huge amount of coverage. It was passed around as a 'novelty' item, which people enjoyed looking at, turning the pages, watching the videos, just to see what it did. This is the same kind of benefit as social media brings an organization--people talking about your group. They might be on the other side of the world, they might not come and buy a ticket, but the fact that you have come to their attention is almost as valuable as a ticket sale - in our case it may eventually assist in ticket sales when we go on tour, or on sales of our CDs (our own label). Unfortunately, the "buzz" isn't really trackable in any meaningful sense, other than clicks and views and Retweets. But it still counts.

Lastly, the digital brochure brought a small environmental benefit. We reduced the number of brochures we printed, since we sent it out to people on our database that had email addresses instead of the print in the post. We also used the digital brochure in the information we emailed out to journalists at the season launch, instead of posting them one. Our Managing Director likes to email the digital brochure to prospective festivals and venues abroad as our "flagship" publications, thus saving more paper and postage. I'm sure the effects are negligible in the bigger picture, but any boost to our green credentials helps!

So, is investing time and money worth it for your company? Here are Jo’s thoughts:

Probably the most useful thing I can offer is some thoughts into whether others should follow suit and produce a digital brochure. Here's some:

• A digital brochure should never replace your printed one, but should be complementary to it. A good marketing campaign should have all the online and offline elements planned in together at the same time.
• Personally I think the key to it is to have good content which makes it worthwhile - video content is the obvious one. There are plenty of free options for making a digital brochure out of your PDF, but mostly these don't offer the rich media content like embedded videos and soundclips.
• Make sure you have the mechanisms and a plan in place to market the digital brochure - which can only really be done online. Social networks are ideal, but don't ignore your own website! There's no point in having one if you don't market it - people will not stumble upon it randomly.
• Ideally the digital brochure should be designed with online usage in mind - and possibly independently from the print version. We weren't able to do this wholesale though because of the cost of the designers! We chose the route of adapting the printed version.

Future Focus: The Public Art Archive

Sharing information and digital media about public art has never been an easy task for arts administrators. The Western States Arts Federation (WESTAF) seeks to change that when they launch the Public Art Archive - an online, searchable database for public art in the United States. A tool for both arts administrators and the general public, WESTAF’s vision is for the Archive to serve as an easy to use, central source of information about public art. I recently had a chance to speak with the creators of the Public Art Archive and take a guided tour through the site.

The Public Art Archive has a straightforward, user-friendly interface.  Entry to the Archive takes place through a simple search bar on the front page, powered by Solr, an open-source search platform from by the Apache Lucene project.  You may already be familiar with Solr, as it is the search engine used by both Etsy.com and FoodNetwork.com.

Solr allows you to refine simple searches on the Archive through multiple filters with a variety of search criteria such as artist, location, materials, collections and even nicknames. The search criteria and vocabulary for the site was built from the same standards as those used by reference websites like ARTstor and the digital library projects at Harvard.

Once they’ve found the artwork they are searching for, users are presented with a variety of information and media about the work. In addition to the artwork’s basic info, users can view pictures and video, download PDFs about the artwork, and listen to audio describing the piece.

While the capability for all this content is built in, individual administrators must submit all information and media for each artwork. The Archive has no limit on the amount of content that can be submitted for each work and submission of the content is free. At a minimum, the site requires a full description for each work, as well as its location, and one high quality image.

To enable use of the Archive when an individual is physically in front of a work of public art,  the Archive will be accessible from any web-enabled mobile device. No specific apps will be required, users just plug the main url for the Archive into their phone's web browser to access the full functionality of the site.

The Public Art Archive will also be fully integrated with Google Maps.  By clicking the site’s “Map This” icon, users will be able to view exactly where the artworks are located and build custom maps of artworks that can be shared with others or saved for later use.   Administrators can use the mapping function to create custom maps for use in tours of their collection, maintenance tasks, and advocacy initiatives.

The ability for organizations to create personalized pages so they can maintain their identity will be added as the Archive progresses. WESTAF also plans to have licenses available to give organizations access to the more administrative functions of the Archive.

The Public Art Archive will be launching in the near future, but until then visit westaf.org to check out some of WESTAF's other projects that offer technological solutions for arts administrators.

Social Media Spotlight: New York Theatre Network

Welcome to the second installment of the Social Media Spotlight, our monthly feature focusing on arts organizations’ social media strategies.

NYTN Logo

The global trend of participation in social networks and social media is one to which arts managers have been paying a great deal of attention. With over 500 million active Facebook users, 55 million tweets being sent per day and over 133 million active bloggers in the United States alone, arts organizations and arts managers are growing increasingly interested in identifying ways to engage their audiences and connect to new audiences via social media.

One of the more recent example of the intersection of social media and audience development is the creation of the New York Theatre Network (NYTN). Launched on September 28, NYTN seeks to be “your hub for what’s happening on New York City Stages”. The network focuses specifically on theatre events in New York City, and while any theatre fan can check out the latest happenings, only member theatres are able to upload content about their organization onto the website.

NYTN is unique in that it was designed to be an interactive social network as opposed to a static directory and listing of information. Its Facebook Connect feature enables users to find out what their friends are ‘liking’,  ‘attending’ and/or ‘recommending’ and also allows users to make their own recommendations.

NYTN1

Theatres are also encouraged to interact with audiences as they are able to upload YouTube videos, their Twitter stream, blog posts and an event calendar onto their pages. A gracious sponsorship from Flip Video’s Spotlight For Good Program made it possible for member theatres to record video and upload this content onto their page.

NYTN2

NYTN is the result of a cooperative effort between The Alliance of Resident Theatres/ New York and theatre industry website Theater Mania.  A.R.T. New York Executive Director Virginia Louloudes was inspired by a keynote speech delivered by Diane Ragsdale of the Andrew Mellon Foundation two years ago in which she addressed the decline in arts participation and examined possible solutions for this dilemma. One suggestion was for arts organizations to consider becoming “arts concierges” and help consumers find shows and performances based on their individual tastes.

Louloudes saw an opportunity to create a site that would serve as a “one stop shop” for theatre fans,  encourage a new level of interaction between theatres and audiences, and introduce fans to new theatres and upcoming shows they may not have been aware of.  The project was an extensive one and called for outside funding, workshops with member theatres, and a partnership with Theater Mania for technological support. While such an ambitious project may not be feasible for all arts organizations, Louloudes hopes that the creation of NYTN will encourage arts managers to develop their own social media strategies, especially since most platforms are free.

Those interested in further reading on NYTN's marketing efforts should also consult the following blog articles from Devon Smith, who served as project manager for NYTN and frequently blogs about social media:

Advertising ROI: a case for Facebook Ads

New York Theatre Network: it's launch day!

Online Group Discounts and the Arts

grouponvslivingsocial

Online collective buying platforms Groupon and Living Social have taken the Internet and local markets by storm. Each day both companies feature deals on a wide variety of products and services across the country that consumers can opt-in to purchase. These daily deals are exclusive to certain areas and are not available in some local markets. Since both companies publicize their daily discounts and offers via extensive email lists, loyal Twitter followers, mobile phone apps and Facebook pages, there is an unprecedented opportunity for local businesses to reach and engage new audiences. Groupon and Living Social have made quite an impact in the arts and cultural sector, as a wide array of organizations across the country have run online discount campaigns. Chicago’s prestigious Joffrey Ballet, Arlington Arts Center, the Carnegie Museum in Pittsburgh, Port Discovery Children’s Museum in Baltimore and the Pittsburgh CLO are only a few examples of such organizations.

The rising popularity of Groupon and Living Social among arts and cultural organizations raises a number of questions about incorporating these services into arts marketing strategies.  While bloggers Chad Bauman and Drew McManus have both explored some of the benefits and drawbacks of using online discount services, I decided to pose a few questions to cultural organizations who have used these services.

• Can this service be useful for reaching new audience members?
• If so, how can organizations efficiently track these new customers?
• What if current subscribers and regular audience members decide to take advantage of these lower ticket prices?
• Or what if current subscribers resent that others purchased their subscriptions at a substantial discount?
• Could online discounting actually backfire and decrease revenue?

Most of the arts and cultural organizations I approached with these questions evaluated their online discount campaigns to be successful.  None reported a significant loss in revenue and most reported that the majority of their Groupon & Living Social customers were entirely new to their organizations.  Those that had a positive outcome tended to carefully track customers by collecting their information during the ticket redemption process and entering this information into their database.

Mairin Petrone at the Pittsburgh Irish Festival reports that their recent Groupon campaign resulted in almost 700 people purchasing tickets for the festival.

The Pittsburgh Irish Festival initially decided to use Groupon because of the PR we would receive and because we love to get tickets sold before our festival even starts.  When approached by Groupon, it seemed like we would be silly not to take advantage of an e-blast that would go out to almost 100,000 people in and around the city of Pittsburgh and cost us next to nothing.  Our hope was that we would reach people who wouldn't have otherwise heard of the festival.  I would evaluate our Groupon campaign as successful.

Similarly, Pittsburgh CLO's Cindy Opatick had positive feedback on using Groupon.

Since the CLO Cabaret only seats 250, it is hard to get word of mouth going on a new show and a title that may not be familiar in the marketplace.  The Groupon offer has allowed us to get a larger audience in the first week of a show, which in turn helps with word of mouth for the run of the show.

Although most of the organizations I contacted reported using Groupon to run online discount campaigns, Living Social is proving more viable for organizations who want more flexibility in their marketing.  Here is a quick comparison of both platforms:

Demographic Category

Groupon

Living Social

Gender

77%    Female

60%     Female

Age

68%    18-34

36%     18-34

Education

50%    Bachelor’s Degree               30%     Graduate Degree

44%    Bachelor's Degree                15%    Graduate Degree

Income

29%    $100,000+                          19%    $70K-$99K                          21%    $50K-$69K

32%    $100,000+                          36%    $60K-$100K

Groupon

Living Social

Exclusivity Clause

:

Can’t run any other deal on similar websites (Living Social) for 90 days

No exclusivity  clause

:

Organizations are free to use other services while  running a Living Social Campaign

Can’t change the  fine print

:

Groupon employs a staff of 70 writers to create the text of all  its group deals.

More Flexibility with ad content

:

Living Social is generally more flexible about what organizations can include  in the fine print and ad content

Lower Revenue?

Since tickets are offered at a steep discount, it’s quite possible to lose  money from people who might have paid full price.

Lower Revenue?

Generally the same drawbacks as using Groupon. Living Social typically only  offers deals that are a minimum of 50% off the current price for a company’s  services or products

Costly to  Businesses?

Groupon takes a cut of all products or services sold  although there are no upfront costs associated with running a campaign

Costly to Businesses?

Living Social also  takes a percentage of all products or services sold. Also no upfront costs  associated with running a campaign. Businesses receive a pre-paid check for all  customers who bought 10 days after the promotion is finished

Even though both platforms have their drawbacks, there is overwhelming evidence to indicate both do a stellar job of reaching the ideal arts consumer demographic and compelling them to action.  Jack Fishman, President and CEO at San Antonio Symphony, points out that traditional advertising channels like newspaper and radio are not nearly as effective as they once were in reaching and compelling arts consumers to action.  In fact, 86% of Groupon's clients believe the service to be more effective than print advertising, while 94% evaluate it as more effective than broadcasting advertising.

Since online collective buying platforms are relative newcomers to the scene, it will be interesting to see if more arts and cultural organizations adopt these tools into their evolving marketing strategies and online mass discounts will contribute to sustainable audience growth over time.