Insight mining

WELCOME TO THE
WELCOME TO THE
INSIGHT MINING
INSIGHT MINING
TRAINING DAY
TRAINING DAY

© Lowe Lintas & Partners

INSIGHT MINING
INSIGHT MINING


There’ s too much
communication


Media explosion

• 1216 TV Channels
• 12,313 Commercial Radios
• 300 million Web Pages
• 2,749 Magazines


The result

People are avoiding it:
• They have the means
• They have developed the habits
• They have the brains


Our contention

In a Culture of Ad Avoidance
Creativity Pays


What really pays is likeability

• Advertising people like
– is more memorable
– builds brand preference
– builds sales
• Quantitative research proves it
(Millward-B wn, Hale y & B
ro alding e r)


Likeability in the US
T Importance of L
he iking I
(% Tests which predicted sales winner)

Brand most likely to buy

Unaided awareness

Top of mind awareness

Liking

0 10 20 30 40 50 60

(Hale y & B alding e r, A Co py
RF
© Lowe Lintas & Partners Re se arch Validity Pro je ct, 1 9 9 1 )

Likeability in South Africa
The Importance of Liking II
Recall %
30

25

20

15

10

5

0
Lowest… Likeability …Highest

© Lowe Lintas & Partners (Du Ple ssis, Admap, M 1 9 9 4)
ay

Likeability in the UK
The Importance of Liking III
Recall %

30

25

20

15

10

5

0
Lowest… Likeability …Highest

© Lowe Lintas & Partners (Du Ple ssis, Admap, M 1 9 9 4)
ay

What makes
advertising likeable

• It’ s not enough to be simply entertaining
• Great advertising sticks
• It sticks because it strikes a chord
• It reveals something about us as people

(our thoughts, our feelings, the things we believe,
know or do).

The key to
likeability is humanity

Insight Into People


The Power of Insight:
A short test

• Do you like it?
• Would you remember it?
• Does it feel personally relevant?
• Does it move you closer to the brand?
• Would you buy it?


One final but very important question

Do you think the insight
was a springboard to a
radical creative idea?


Cup-a-soup

By 4 o’ clock busy people need something
more substantial than tea or coffee to keep
them going


Tesco

When you’ re shopping it’ s the little extra
things that people do that make all the
difference.


Rexona

When you’ re under pressure you need to look
cool and in-control to come through


Stella Artois

When you know beer, you know a higher
price is a sign of higher quality


That’ s easy then


It’ s clear that
a good insight is:

A deeply felt human truth that
feels as relevant to the brand
as it does to us


It’ s clear what
its value is:

• Touches a nerve
• Draws us in
• Feels personal
• Sticks with us


The Paradox

If that’ s so, why does there seem to be
so much un-insightful advertising?


Real Insights get sacrificed to False causes:

• More Information
• Shout Loudly
• Borrowed Interest
• Fabricated Insights
• Creativity for creativity’ s sake


And Good Insights are hard to find

• People don’ t tell you insights, they
have to be discovered.
• Insights are discovered by asking
questions.


Ask the right question, you’ ll get the right answer”


But what if
the questions are...

• Not challenging enough

• Not thorough enough

• Not addressed to the people who
can give the richest response


INSIGHT MINING


Our Approach to questioning

• It’ s revealing to ask the right questions
• It’ s more revealing to ask wrong ones
• It’ s inspiring to look at examples from
outside our business
• The more you ask the more likely you
are to get to the right insight

We dig for insights
in three mines
ASK RIGHT AND WRONG
QUESTIONS IN EACH:

Brand

Co Soc
Consume mm ial
Context
s
r
Co
mp


We dig for insights
in three mines
We ask them all from one perspective:

Brand

Consum Context
er

T E H AN P RSP CT
H UM E E IVE

Right/Wrong approach is rooted in modern
psychology

“ Pe o ple will g ive e xpe cte d answe rs to
e xpe cte d q ue stio ns. The y will g ive a
much mo re re ve aling answe r to a
q ue stio n that fe e ls wro ng . ”
- Dr. P. Vatztewick


Exhaustive approach is rooted in modern psychology

“ N clinical e xaminatio n can be to o
o
e xhaustive . The mo re yo u ask, the
furthe r yo u g e t. So me q ue stio ns le ad
no whe re , but o ne , just o ne can trig g e r
the answe r. ”
- Dr. A. Brossmer


HOW WE USE
INSIGHT MINING


Single Purpose :
two uses

More insightful brand positioning
and creative briefs.

Research
Brainstorming
Programme


It’ s a game with
a serious purpose
• Games are fun - minds open, spirit
changes
• We invite “ the players” best able to
solve the problem
• Rules and structure lead us towards
the answer


Each game follows a course
T EB
H USINE ISSUE
SS

COM UNICAT
M IONS TASK

W O T ASK
H O

Connections
Rigour Provocation Discoveries
Consumer,
T right
he T wrong
he New facts, brand,
questions questions new competitive
thoughts context

BIG CONSUMER
INSIGHT

And has some general rules

• Select a dealer and a moderator.
• Randomly deal “ Right” Questions.
• Randomly deal “ Wrong” Questions.
• Use questions to “ spark” off thoughts
and new questions?
• Keep going until the answers come.
• Capture them

The game can be played in three ways

Heavy
Duty
Fast &
Furious
Solo
Run

Heavy Duty
Half/Full day Session

• Brand Positioning / Re-Positioning
• Fully moderated
• Client and outside attendees
• Run through the full process
• Part of a long term programme


Fast & Furious one-two hour inspiring agency session

• Finding angle of attack for creative brief
• Informally moderated
• Agency team
• Random, quick-fire process
• 3/4 days before the briefing


Solo Run
Playing solitaire

• Looking to inspire your own
strategic thinking
• Alone or with a partner
• Run through the pack
• The night before!


With ruthless judgement of insights at the end

DOES IT:
• Address Business Issue
• Personally Involves Consumers
• Inspire Creative Ideas
• Build Brand Relationship


Insight Mining leads to richer insights
because

IT COMBINES :
• right with wrong
• provocation with rigour
• thoroughness with enjoyment


INSIGHT MINING leads to cases
like these


Example: French Lottery
Business Issue:
• Less people playing the lottery because
new games seems more exciting to play
Communications challenge:
• Bring players back by putting the fun
back into playing
The trigger question:
• What would a fanatic say?

The French Lottery example

“ When you play you can
dream of changing your life”


Example: Axe
Business Issue:
• Axe sales static due to ageing brand profile
and failure to recruit amongst teenage
males and “ dad” brand image.
Communications challenge:
• To emotionally re-connect with youth.
The trigger question:
• What does the target audience dream of?


The Axe example

“ Every man dreams of a
woman making the first move”


Let’ s start now


OUR SEVEN
OUR SEVEN
CREATIVE PRINCIPLES.
CREATIVE PRINCIPLES.


1. The idea is god.

• The arrival of computer technology has led to a
proliferation of technique-led advertising.
• Technology has allowed creative people to disguise the
fact that they haven’ t actually thought of an idea.
• Ideas are what truly engage with the consumer.
• Advertising without ideas is like music
without tunes.


2. Great solutions need great
problems.

• The creative brief is the single most important piece
of paper in the building.

• Agonise over the problem, and the solution tends to
come more easily.

• Lowe Lintas ‘ control’ culture founded on the
imperative for outstanding briefs - and then
ensuring work stays true to them.


3. Say one thing.
• The classic ads are always single-minded and
strikingly simple.
• Throw one tennis ball, they’ ll catch it. Throw five,
they’ ll drop them all.
• ‘ Murder your darlings’ . A heart-wrenching process
for both agency and client, involving the callous
elimination of much-loved product points.
• “ Iam so rry Ihave writte n yo u a lo ng le tte r. Idid no t
have the time to write yo u a sho rt o ne . ”


4. First be clear,
then be clever.
• Clarity has become an almost unfashionable virtue.

• ‘ Write on a large piece of paper, and in the plainest
possible language, exactly what the client wishes to say.
Now pin it on your wall and try and beat it.’

• Creative people must resist the blithe assumption that
the audience has the faintest idea what’ s going on.

• The cleverest ideas are the ones that e ve rybo dy gets.


5. Seek out the intelligent twist.

• The best ads are built around some kind of ingenious and
unexpected conceptual trick: the ‘ twist’ .

• The five kinds of twist: COLLISION, REVERSAL,
LATERAL LEAP, SNOWBALL, AMBUSH.

• ‘ Intelligent twist’ advertising is the kind most re spe cte d
and e njo ye d by our audience.


6. The campaign rules
supreme.
• Resist the allure of the one-off wonder.
• “ Up like a ro cke t, do wn like a stick. ”
• In a campaign, successive executions are like verses
of a hymn. By verse three, everybody is ‘ singing
along’ with the idea.
• Long-running campaigns are the most valuable
properties we can devise on behalf of our clients.
• Campaigns become like well-loved brands
themselves: a welcome sight on the crowded shelf of
the advertising break.

7. The good is the enemy of the
great.

• A culture of dissatisfactio n with e ve rything
we do has become the driver to maintaining
creative excellence.

• For instance, are we abso lute ly sure that these
are the seven best creative principles that we
can think of?


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