16. If it’s worth entering . . .
• Is the piece or campaign
exemplary?
• Will it make a great case study?
• If so, it’s almost certainly worth
entering in more than one category
18. Business sectors
Only enter a piece or a campaign once in
this section
•1 Automotive
– Car sales, retention, motoring services,
accessories. Automotive financial services
should be in finance category.
•2 Travel and holidays
– Business and consumer travel services,
e.g. individual hotels, hotel chains, railways,
ferries, cruise lines and travel companies.
19. Categories
• 3 IT/Telecomms
– Hardware, software, IT training. NOT web
sites. Telecoms campaigns should promote
the industry itself e.g. fixed lines, mobiles,
broadband. Sales or leads.
• 4 Retail
– Online or offline shopping, catalogues
• 5 Financial Services and Utilities
– Consumer or business to business, inc
banking, savings, loans, pensions,
insurance
20. Categories
• 6 Pharmaceutical
– For campaigns promoting OTC products, healthcare
or pharmaceutical products.
• 7 Public Sector
– Not For Profit, public organisations and charities
• 8 Charity
– For campaigns raising funds and support for
charities.
• 9 FMCG
– Direct marketing used to promote FMCG to
consumers
21. Categories
• 10 Business to business
– Only if not covered by any other category.
• 11 Business to consumer
– Only if not covered by any other category.
22. Digital
If you’ve already made a Sector entry, you can
enter again here, where relevant, multiple times
•12 Best use of e-mail
– A single e-mail, a campaign or programme.
NOT eCRM (separate category)
•13 Best use of eCRM
– A digital customer relationship programme.
•14 Best digital destination
– Excludes main brand and corporate
websites, but CAN include micro-sites
linked to the main site.
23. Digital
– 15 Best use of mobile technology
• Best use of mobile devices and/or
mobile portals in a direct marketing
campaign. E.g. mobile application,
proximity-based campaign, mobile
video, mobile TV ad.
24. Digital
• 16 Best use of search, natural and paid
– Search optimisation and search marketing
to generate direct response. Organic
search could include optimisation, link-
building, content seeding (terms, phrases).
Illegitimate or unethical search practices
will be inadmissible. PPC entries could
include creative bid management, creative
integration with organic search
25. Digital
• 17 Best use of social media for
brand building
– Excludes offline word of mouth
– Obviously include brand metrics
• 18 Best use of social media for
customer acquisition
– Excludes offline word of mouth
– Include ROI metrics
26. Responsive
communications
If you’ve already made a Sector entry, you can enter again
here
•19 Best online display advertising
– For best use of online display ad formats to
generate response. B2B or B2C.
•20 Best use of film and/or audio
– Consumer or business. Primarily for response, or
part of a wider campaign?
•21 Best print advertising including inserts
– Selling off the page, generating enquiries via print
ads, loose or bound inserts, wraps, mailing inserts.
27. Channels
• 22 Best use of door drops
– Best unaddressed direct marketing
campaign delivered to residential
households, Newshare, Solus, Royal
Mail.
• 23 Best use of direct mail
– Campaigns of any volume posted to
a UK address.
– A single mailing or a campaign
28. Craft awards
If you’ve already made a Sector and Channel
entry, where relevant you can enter again here
multiple times
•24 Best writing in any medium
– Excellence in copywriting for direct
marketing
– 60% creativity 20% strategy 20% results
•25 Best design or art direction
– Excellence in design and art direction for
direct marketing, judged primarily on
creativity
– 60% creativity 20% strategy 20% results
29. Craft awards
• 26 Best data strategy
– Best use of data, analytics, targeting,
proving the value of a direct marketing
campaign, judged primarily on strategy and
results
– 40% results 40% strategy
• 27 Best use of data in a digital
campaign
– Accessing a new digital data set
– Use of digital insights
– 40% results 40% strategy
30. Craft awards
• 28 Best media strategy
– Best use of media strategy, insight,
analytics, or planning in creating, targeting
and proving the value of a direct marketing
campaign, judged primarily on strategy and
results
– 40% strategy 40% results
• 29 Best brand building campaign
– Best use of direct marketing to build brand
awareness, perceptions and attitudes
amongst prospects and customers in the
long term
31. Craft awards
• 30 Best customer acquisition campaign
– An outstanding acquisition campaign, using
direct marketing
• 31 Best use of technology
– Business or consumer, products or
services, overall should demonstrate
excellence in the use of any new
technology – offline or online – delivering a
direct marketing message
32. Craft awards
• 32 Best customer journey
– In a direct marketing campaign
– Insights into key moments of truth for
the consumer, how the campaign
exploited them
– How the entire journey brings to life
the creative idea
– Examples of online and offline
touchpoints
33. Special awards
Designed to award whole campaigns, you may enter work
from other categories here again
•33 Best use of experiential
– In a direct marketing campaign, at POS or in the
field.
•34 Best integrated campaign
– A direct marketing campaign using more than one
medium (any combination of TV, press, radio, mail,
digital)
•35 Best launch campaign
– Direct marketing played a pivotal role in the launch
strategy of a new product
34. Special awards
• 36 Best creative solution or
innovation
– Excellence in creative thinking to
solve a particular challenge in a
direct marketing campaign, judged
on the strength of the creative idea or
innovation, with results to support.
35. Special awards
• 37 Best loyalty programme or campaign
– Direct marketing to build on-going
relationships, build loyalty, and customer
retention
37. DATA | DIGITAL | BRAND
The importance of results
• In nearly all categories, results make up 1/3 of the scoring
criteria
• In the data categories, higher emphasis on results
• Yet:
• An entry can be marked-down or ignored, if the results are
not presented correctly OR not at all
Often hurriedOften hurried
Difficult to
interpret
Difficult to
interpret
Different ways to
show results
Different ways to
show results
38. DATA | DIGITAL | BRAND
Confidentiality
• All judges have signed confidentiality agreements not to
disclose any details or results
• Your clients have signed-off the entry
39. DATA | DIGITAL | BRAND
Be clear
• In the main body of the entry, explain
• How will you be measuring the campaign?
• What behaviour you are trying to change?
• ROI
• Value of sales
• Uplift against a control
• Number of new registrations
• Cost/response, cost/click
• Click through rate
• % increase in retention
• Make sure that your results section is consistent with this
40. DATA | DIGITAL | BRAND
Don’t make us guess
• What is the definition of success?
• ‘Target was to reduce CPR to £1.16, achieved
£0.95’
• Ideally, we need to be able to benchmark against
previous activity
• Avoid:
‘This campaign did better than expected’‘This campaign did better than expected’
‘We achieved a 5% response rate, better
than last year’
‘We achieved a 5% response rate, better
than last year’
‘We doubled the number of enquiries’‘We doubled the number of enquiries’
41. DATA | DIGITAL | BRAND
Real world numbers
• We are bound by confidentiality agreements
• So, wherever you can:
• Use actual results, whether (£), response rates (%), ROI etc
• Try to avoid ratios
54. Thank you for attending
Please visit
www.dmaawards.org.uk for
more information
Notes de l'éditeur
This workshop is designed to be interactive. We don’t intend to stand/sit here and lecture you. Come with your questions prepared. Don’t be afraid to talk about your own entries. The more you ask, the more you’ll get out of it. Who’s started? Who doesn’t know where to start? Who’s entered before? Who’s entering for the first time? Who doesn’t know what to enter? Who’s won a DMA award before? Who’s staying for the surgery later?
We have had some category changes which will be revealed in the breakout…
Pass the parcel… The journey began on 4 July when the DMA Awards Parcel began its epic tour of the nations finest direct agencies. Its last destination before the big Awards night? in the box? All will be revealed on 3 December. Find out more on at dmaawards.org.uk/pass-the-parcel To get involved, create a 30-second video explaining the biggest difference you've made in the past year. Every agency that takes part will get a free bottle of champagne at this year's Awards night - and the best submission will win the special DMA Big Difference Award. To upload a video please log in to the awards site.
Put these dates in your diary and enter before 1 August to get £30 off each entry.
Get client or other relevant sign-off.
To be eligible most of the categories demand that the work ran between 1 st August 2012 and 31 st July 2013. Some categories – like brand building – allow work and results across a two-year period.
Make sure you don’t do anything on the entry form or supporting materials including films etc that could identify the entering agency.
All samples must be submitted online. Visit our site and the “How to enter” section for all the maximum sizes etc. The only sample that can be sent in can be direct mail or print pieces.
It’s worth running through how the judging is done, to help you write an entry form that brings your work to life. All judging is anonymous. Judges don’t know who has entered the work. All judges sign confidentiality forms promising never to discuss any of the work and the results they have seen. Work is NOT pre-judged. Judges won’t have seen anything until the judging day arrives. Each judging panel will consist of agency and client people, category, creative and channel experts where relevant. Two main rounds of judging Shortlisting Finalists Shortlisting is silent and individual. Judges sit in silence reading the entry forms and reviewing all the work. Their objective is to select the entries that they think are worthy of going through to the next round. In a busy category judges may only have five minutes to read the entry form and scrutinise the work. This then produces a shortlist. The shortlisted entries are then discussed by the judges in a group session. One judge would normally present the entry and the work and invite the other judges to comment. The work is then robustly and almost always hotly debated. At the end of this debate the judges vote in secret for their Gold, Silver and Bronze finalists. The judges never know what has won.