These are my notes from day two of TEC2018, you can find day one notes here and my takeaways from the conference post here.
Session One: Wordfly – Send it Smarter
Data that comes back from emails is immediate and actionable – people need to get out of the mind-set of ‘just send’ and focus on behaviour and motivation.
Open/Clicks/Shares – important to compare campaigns to each other. Labels are important – you should label all emails in one campaign together for direct comparison.
Wordfly has joined up with a service called ‘Behaviour Infuser’, (it’s a paid service of course!) that you can use to send triggered emails based on web behaviour.
- Measuring Metrics
- Choose your baseline metrics – ticket sales? RSVPs?
In Wordfly settings, can choose Google Analytics to track.
Tessitura Source ID number is another metric (this one probably doesn’t work for us- going to our own website breaks that link).
A+B testing – what is your strategy behind it?
You can create surveys in Wordfly too via Pages (also a paid-for service) which passes info back to Tessitura. This can inform you on what works/doesn’t work in marketing copy. Pages works like the Wordfly email editor but edits a webpage.
- Email Marketing can often be the place where people rediscover you.
- You need to appeal to the ‘unique-ness’ in people’s mind – they don’t want to feel like they are part of a mass campaign.
This is where dynamic tags save a lot of time – can you create one email but replace a lot of parts with custom options.
In the subscriber list, you can segment in Wordfly within that list based on behaviour.
It’s more and more important that customers get a good experience via the inbox or you risk losing them completely. 30% of customers go elsewhere after just one bad experience.
Recent Design Additions
- Background images
- Video (note: to work on systems like iOS, would need to embed video as mp4 in website and work from there.)
- Animated GIFs (this could be really useful!)
Popular designs right now are laid-out grid-style, Instagram-like.
GIFs are often placed in the lower right corner, under the thumb for right-handed people on mobile view.
Less text, more image. More dynamic colour.
If you have to add a lot of text, make it easy to read, make it bigger.
Upcoming Wordfly Features
- Layers, fonts, overlays and shapes added to Image Editor. You can also change image size and quality to fit.
- Unlimited sign-up forms with customisation and preferences.
Session Two: Dynamic Pricing – From Digonex
Dynamic pricing is often seen as gouging the customers – but actually it’s about adjusting based on supply and demand, both up and down according to the market. So the more data you have on market demand, the better.
Often organisations only run dynamic pricing based rules about capacity (e.g. increase by x amount when reaching y capacity) and often based on educated guesses.
Also can miss market changes by doing this.
Digonex work with agolrithmic pricing which can take advantage of all factors, though it is important to view this as customisation – can set an approval system so the algorithm only recommends rather than act, for example.
Look at your discounting system – is it gowing your business or are your full prices actually wrong?
For attractions in particular, they can price day-by-day based on attendance, weather and many other factors etc. If you are totally transparent about why the price changes and set rules (for example, prices don’t go down so early bookers aren’t disadvantaged) – there won’t be a backlash from the public.
Examples inputs for Digonex are based on data from Tessitura, as well as marketing spend, Google Analytics, internal performance/show reports, weather, fuel prices, economic conditions, competitor pricing.
Also keep an eye on the substitution effect – if one show has a special price, how does that affect other show’s revenue?
Session Three: Business Intelligence Face-Off
Wales Millennium Centre Case Study – Dynamic Pricing
They tried dynamic pricing a high-value show, and had obvious high-value areas not sell. So they created a heat map of the entire run to identify small zones which were individually priced.
They used an excel spreadsheet to track the capacity of each zone, then once one zone hit a capacity target, box office could percentage price up (by 5%. then 10% depending on demand.)
The issue is that using T-stats for data means that the data is always out by one day.
Also, manual changes are time-consuming, especially at the start of the process.
National Theatre Case Study – Key Targets
Their three key organisation targets are
- First timers
- Under 35s
- BAME audiences
Used a mix of Tessitura and Survey Monkey data – the issue with surveys is that not everyone answers. Therefore, the survey is weighted, in their case by membership because their members are more likely to answer.
Metrics on their own don’t always look so great, especially year-on-year, but can be much more interesting when compared against each other – how many first timers are also under 35, for example? Processes like these give you much more varied data.
Session Four: Accessibility Ticketing
- Legally in the UK, you have to provide equal access.
- Also, if you have international patrons, you may need to be aware of how they might view their rights and what to expect.
Remember that models of disability shouldn’t put the onus on people.
Not all issues are obvious – is the website designed with disabilities in mind, for example.
Booking in particular can be an issue
If you can show a clear commitment to accessibility, this leads to trust that access needs will be carried out – especially when trying to break down the barriers of getting people to/into your venues
Tessitura allows you to put a line on the online booking form/process that creates a CSI report of accessibility – allows people to give very specific instructions.
Can use the info given not just for the event at the time, but also marketing in future – because you know who is coming/not coming to your events and how to cater to them.
Session Five: Digital Comms
Need to spend time doing short, focused campaigns across multiple digital platforms – can be resistant to this if it looks like you’re missing groups.
Audience data builds better comms, which equals better loyalty.
Case Study: Science Museum
The hardest thing (as a museum) is data capture – to increase it means changes of behaviour in FOH staff and visitors.
They didn’t give a script to FOH, but create a flow chart to guide visitors through data capture.
Then, need to sort BOH process to ensure data is handled well. Create a data hierachy to develop more emails to shorter lists. For Science Museum, this resulted in more tickets, also more online booking.
Pre- and post- visit emails increase customer satisfaction.
They looked at membership at Science Museum – the entry point for membership is quite low, so they created a membership e-newsletter to increase loyalty, and segmented data based on number of visits per year and geographical proximity.
Case Study: Royal Danish Theatre – Online Ads
Relevance = better
More relevance = smaller audience for the ad
They used Facebook and Google Ads with an automated feed, using the Facebook pixel – sends data automatically to both spaces from the website. All productions are automatically added, and changes automatically update with prices/images etc. So all you need to do is manage the update.
Future of Owned Media is Email
GDPR – people are much more aware of their rights.
Emails is not splashy, viral, sexy etc. but it can be your most powerful tool, and also most cost-effective.
Social is more for the audience you don’t already have!
You do need to invest in email – there’s a point of data collection, which is making sure you know who your audience are and what they are.
Make sure you give people good content as an incentive to stay subscribed.
End of the Conference!
So, those are all of my notes – saved here so they’ll always be available to me, and perhaps useful for any arts marketers, whether using Tessitura or not!