Creating truly successful native campaigns is what all native ad studios and brand studios are striving for. But what constitutes such a campaign – and how do you get there? The native Advertising Institute asked Richard Pattinson, senior vice president at BBC StoryWorks, BBC Global News.
***Richard will be among speakers from around the world at Native Advertising DAYS from 6-8 November. As a friend of FIPP, you are entitled to a €100 discount on the ticket purchase to the Native Advertising DAYS event by using the promo code FIPPFRIEND. Get your discounted ticket here.***
Obviously, it depends on what the client’s desired outcomes are, whatever metrics and KPIs they’ve set us to achieve, and delivering (or over-delivering) on those.
That varies hugely across the different campaigns we work on, depending on the client, sector, geography and of course the execution itself.
Outside of that, it’s also really important that the campaign is appreciated by the BBC’s audiences, and we have tools to measure that.
There’s also plenty of healthy competition and interest internally, and it’s obviously a source of considerable pride when colleagues call out the quality of the work as well, as well as industry recognition of course.
Really interrogating and understanding the brief, so our response can be as on-point as possible.
Enough creative space (and time) to deliver a truly excellent concept; effectively distribution and optimisation tools to ensure the campaign performs as expected and reaches the target audience in an effective way; and being able to demonstrate the content’s impact.
Both via traditional metrics and also using other tools to provide further insights such as the Science of Engagement toolkit which we’ve developed.
It’s a toolkit based on a research method that uses state-of-the-art facial coding technology, eye tracking and a range of implicit and explicit metrics to help us understand the emotional impact of content-led marketing and show its effectiveness and impact.
We’re very lucky to have literally billions of data points each month thanks to the BBC’s huge global audience, telling us the subject areas, content formats, devices and platforms that our audiences are consuming and using, that we can cut locally, regionally and globally.
So we know what our audiences care about, and how they access it, and how these trends change over time. We also have surveys we conduct to get qualitative data. We leverage our editorial digital storytelling innovations and initiatives on behalf of our clients too.
And of course, we’re steeped in effective storytelling. I’m a BBC TV producer and digital commissioner of many years and bring my learnings from that into the branded content space.
I wouldn’t want to suggest to others how they should be arranging that relationship.
We’re very clear on the strict separation between editorial and commercial content, and on not permitting commercial influence on editorial content, but the insights and know-how I’ve set out above are extremely valuable.
And we have many editorial series which brands sponsor (in our terminology, and different to the commonly used ‘sponsored content’ which other use to describe branded content).
As much as possible to deliver the best campaign. If they know the specific audience they want to reach or have compelling stories of their own they want us to support them telling, then that’s fantastic!
Having those conversations really early on so you can decide on the most effective way to utilise that is key.
We do a lot of thought leadership research in this space, and we’re delighted that it’s demonstrated how much more effective it is to engage in storytelling rather than merely product promotion on its own.
Again we leverage our editorial insights here: when it comes to content marketing, a character-led narrative is always going to be more emotionally resonant and engaging than something too overtly product-focused.
Our Science of Engagement work, and our new Science of Memory study which we’re publishing this month prove that that delivers the best uplift for brands. It’s also the best experience for audiences coming to the BBC, who are most receptive to this kind of content.
Because I’ve got some genuinely fascinating new insights to share, I hope lots of valuable take-homes on how to engage audiences, particularly in the digital space, and of course some beautiful content to share.
Getting to spend time with like-minded colleagues who really care about excellence in content marketing, and hopefully picking up plenty of tips on how my team and I can be even better at our jobs in 2019.
Also, I love Berlin!
More like this
Often referred to as the “Fourth Estate”, the media plays an important role in any democratic society. A free press is essential to hold governments accountable and inform the public, thus enabling voters to partake in political debate and make qualified decisions.13th Nov 2018 Insight News
This week we hear from Popbitch co-founder Camilla Wright about the origins of the influential celebrity gossip site, whether celebs ever try to plant stories about themselves, and the romanticism of clandestine meetings in dark pubs.13th Nov 2018 Insight News
This week we hear from Rafat Ali, co-founder and CEO of boutique travel publisher Skift. We spoke about what connects the dots between paid content, travel, dining and wellness, his belief in trendlines not headlines, his long-term aspirations for Skift vs short-term VC plays and why he wants to be useless to his business.6th Nov 2018 Insight News
Numbers do not lie. Physical book sales are on the up. But to suggest it’s because the world has turned its back on ereaders will be premature. It’s not quite as simple as that…13th Nov 2018 Features
Formerly known as the Reader's Digest Association, Trusted Media Brands is a multi-platform media company based in New York, that boasts a portfolio of high profile brands. Over the years it had developed a strong and loyal audience for its print products, yet knew it needed to innovate in digital to survive and prosper.12th Nov 2018 Features
In the ongoing search for new sources of revenue, magazine publishers have always been enthusiastic about the prospect of charging readers small sums of money to read individual articles. Yet until fairly recently, monetising content in this way has been thwarted by the lack of a simple-to-implement, user-friendly solution and a fear that consumers simply won’t pay.9th Nov 2018 Features
Last month, New York magazine's ecommerce site announced the November launch of a pop-up retail shop for the holiday season.13th Nov 2018 Features
Hearst UK has announced a new brand strategy for Esquire, with a relaunched magazine, a refreshed website and the launch of a new bespoke series of events.13th Nov 2018 Industry News
Visit our Youtube channelFIND OUT MORE
FIPP newsletters allow you to keep up with industry trends, research, training and events across the worldFIND OUT MORE
What’s happening now, what’s coming next