The Magento Xcelerate program: A positive sum game

As an open source ecommerce platform, Magento is flexible and accessible for developers to work with and as a result, an active community of developers emerged on online forums and at offline meetups all over the world. Many of these were happily plugging away independently of Magento until the split from eBay in early 2015.

Free from the reins of eBay, Magento has decisively been reaching out to, promoting and rewarding the individuals, agencies and technology providers that make up its ecosystem. Last February they announced the Magento Masters Program, empowering the top platform advocates, frequent forum contributors and the innovative solution implementers. Then at April‘s Magento Imagine conference (the largest yet) the theme emerged as ‘We are Magento”, in celebration of the community.

The new Xcelerate Technology Partner Program focuses not on individuals but on business partnerships formed with the technology companies that offer tools for Magento merchants to implement.

 Sharing ideas, opportunities and successes:

This is the Xcelerate Program tagline, which acts as a sort of mission statement to get the technology partners involved moving with regards to continuously considering Magento in their own technology roadmap and jointly communicating successes and learnings from working on implementations with merchants.

“In turn, the program offers members the tools to get moving, through events, resources and contacts. Our goal is to enable you to be an integral part of the Magento ecosystem” Jon Carmody, Head of Technology Partners

The program in practice:

The new program is accompanied by the new Marketplace from which the extensions can be purchased and downloaded. The program splits the extensions into 3 partnership levels:

Registered Partners – these are technology extensions that the new Magento Marketplace team test for code quality. Extensions must now pass this initial level to be eligible for the Marketplace. With each merchant having on average 15 extensions for their site, this is a win for merchants when it comes to extension trustworthiness.

Select Partners – extensions can enter this second tier if the technology falls into one of the strategic categories identified by Magento and if they pass an in-depth technical review. These will be marked as being ‘Select’ in the Marketplace.

Premier Partners – this level is by invitation only, chosen as providing crucial technology to Magento merchants (such as payments, marketing, tax software). The Magento team’s Extension Quality Program looks at coding structure, performance, scalability, security and compatibility but influence in the Community is also a consideration. dotmailer is proud to be the first Premier Technology Partner in the marketing space for Magento.

All in all, the latest move from Magento in illuminating its ecosystem should be positive for all; the merchants who can now choose from a vetted list of extensions and know when to expect tight integration, the technology partners building extensions now with clearer merchant needs/extension gaps in mind and guidance from Magento, and of course the solution implementers recommending the best extension for the merchant now knowing it will be maintained.

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8 Ways Content Marketers Can Hack Facebook Multi-Product Ads

Posted by Alan_Coleman

The trick most content marketers are missing

Creating great content is the first half of success in content marketing. Getting quality content read by, and amplified to, a relevant audience is the oft overlooked second half of success. Facebook can be a content marketer’s best friend for this challenge. For reach, relevance and amplification potential, Facebook is unrivaled.

  1. Reach: 1 in 6 mobile minutes on planet earth is somebody reading something on Facebook.
  2. Relevance: Facebook is a lean mean interest and demo targeting machine. There is no online or offline media that owns as much juicy interest and demographic information on its audience and certainly no media has allowed advertisers to utilise this information as effectively as Facebook has.
  3. Amplification: Facebook is literally built to encourage sharing. Here’s the first 10 words from their mission statement: “Facebook’s mission is to give people the power to share…”, Enough said!

Because of these three digital marketing truths, if a content marketer gets their paid promotion* right on Facebook, the battle for eyeballs and amplification is already won.

For this reason it’s crucial that content marketers keep a close eye on Facebook advertising innovations and seek out ways to use them in new and creative ways.

In this post I will share with you eight ways we’ve hacked a new Facebook ad format to deliver content marketing success.

Multi-Product Ads (MPAs)

In 2014, Facebook unveiled multi-product ads (MPAs) for US advertisers, we got them in Europe earlier this year. They allow retailers to show multiple products in a carousel-type ad unit.

They look like this:

If the user clicks on the featured product, they are guided directly to the landing page for that specific product, from where they can make a purchase.

You could say MPAs are Facebook’s answer to Google Shopping.

Facebook’s mistake is a content marketer’s gain

I believe Facebook has misunderstood how people want to use their social network and the transaction-focused format is OK at best for selling products. People aren’t really on Facebook to hit the “buy now” button. I’m a daily Facebook user and I can’t recall a time this year where I have gone directly from Facebook to an e-commerce website and transacted. Can you remember a recent time when you did?

So, this isn’t an innovation that removes a layer of friction from something that we are all doing online already (as the most effective innovations do). Instead, it’s a bit of a “hit and hope” that, by providing this functionality, Facebook would encourage people to try to buy online in a way they never have before.

The Wolfgang crew felt the MPA format would be much more useful to marketers and users if they were leveraging Facebook for the behaviour we all demonstrate on the platform every day, guiding users to relevant content. We attempted to see if Facebook Ads Manager would accept MPAs promoting content rather than products. We plugged in the images, copy and landing pages, hit “place order”, and lo and behold the ads became active. We’re happy to say that the engagement rates, and more importantly the amplification rates, are fantastic!

Multi-Content Ads

We’ve re-invented the MPA format for multi-advertisers in multi-ways, eight ways to be exact! Here’s eight MPA Hacks that have worked well for us. All eight hacks use the MPA format to promote content rather than promote products.

Hack #1: Multi-Package Ads

Our first variation wasn’t a million miles away from multi-product ads; we were promoting the various packages offered by a travel operator.

By looking at the number of likes, comments, and shares (in blue below the ads) you can see the ads were a hit with Facebook users and they earned lots of free engagement and amplification.

NB: If you have selected “clicks to website” as your advertising objective, all those likes, comments and shares are free!

Independent Travel Multi Product Ad

The ad sparked plenty of conversation amongst Facebook friends in the comments section.

Comments on a Facebook MPA

Hack #2: Multi-Offer Ads

Everybody knows the Internet loves a bargain. So we decided to try another variation moving away from specific packages, focusing instead on deals for a different travel operator.

Here’s how the ads looked:

These ads got valuable amplification beyond the share. In the comments section, you can see people tagging specific friends. This led to the MPAs receiving further amplification, and a very targeted and personalised form of amplification to boot.

Abbey Travel Facebook Ad Comments

Word of mouth referrals have been a trader’s best friend since the stone age. These “personalised” word of mouth referrals en masse are a powerful marketing proposition. It’s worth mentioning again that those engagements are free!

Hack #3: Multi-Locations Ads

Putting the Lo in SOLOMO.

This multi-product feed ad was hacked to promote numerous locations of a waterpark. “Where to go?” is among the first questions somebody asks when researching a holiday. In creating this top of funnel content, we can communicate with our target audience at the very beginning of their research process. A simple truth of digital marketing is: the more interactions you have with your target market on their journey to purchase, the more likely they are to seal the deal with you when it comes time to hit the “buy now” button. Starting your relationship early gives you an advantage over those competitors who are hanging around the bottom of the purchase funnel hoping to make a quick and easy conversion.

Abbey Travel SplashWorld Facebook MPA

What was surprising here, was that because we expected to reach people at the very beginning of their research journey, we expected the booking enquiries to be some time away. What actually happened was these ads sparked an enquiry frenzy as Facebook users could see other people enquiring and the holidays selling out in real time.

Abbey Travel comments and replies

In fact nearly all of the 35 comments on this ad were booking enquiries. This means what we were measuring as an “engagement” was actually a cold hard “conversion”! You don’t need me to tell you a booking enquiry is far closer to the money than a Facebook like.

The three examples outlined so far are for travel companies. Travel is a great fit for Facebook as it sits naturally in the Facebook feed, my Facebook feed is full of envy-inducing friends’ holiday pictures right now. Another interesting reason why travel is a great fit for Facebook ads is because typically there are multiple parties to a travel purchase. What happened here is the comments section actually became a very visible and measurable forum for discussion between friends and family before becoming a stampede inducing medium of enquiry.

So, stepping outside of the travel industry, how do other industries fare with hacked MPAs?

Hack #3a: Multi-Location Ads (combined with location targeting)

Location, location, location. For a property listings website, we applied location targeting and repeated our Multi-Location Ad format to advertise properties for sale to people in and around that location.

Hack #4: Multi-Big Content Ad

“The future of big content is multi platform”

– Cyrus Shepard

The same property website had produced a report and an accompanying infographic to provide their audience with unique and up-to-the-minute market information via their blog. We used the MPA format to promote the report, the infographic and the search rentals page of the website. This brought their big content piece to a larger audience via a new platform.

Rental Report Multi Product Ad

Hack #5: Multi-Episode Ad

This MPA hack was for an online TV player. As you can see we advertised the most recent episodes of a TV show set in a fictional Dublin police station, Red Rock.

Engagement was high, opinion was divided.

TV3s Red Rock viewer feedback

LOL.

Hack #6: Multi-People Ads

In the cosmetic surgery world, past patients’ stories are valuable marketing material. Particularly when the past patients are celebrities. We recycled some previously published stories from celebrity patients using multi-people ads and targeted them to a very specific audience.

Avoca Clinic Multi People Ads

Hack #7: Multi-UGC Ads

Have you witnessed the power of user generated content (UGC) in your marketing yet? We’ve found interaction rates with authentic UGC images can be up to 10 fold of those of the usual stylised images. In order to encourage further UGC, we posted a number of customer’s images in our Multi-UGC Ads.

The CTR on the above ads was 6% (2% is the average CTR for Facebook News feed ads according to our study). Strong CTRs earn you more traffic for your budget. Facebook’s relevancy score lowers your CPC as your CTR increases.

When it comes to the conversion, UGC is a power player, we’ve learned that “customers attracting new customers” is a powerful acquisition tool.

Hack #8: Target past customers for amplification

“Who will support and amplify this content and why?”

– Rand Fishkin

Your happy customers Rand, that’s the who and the why! Check out these Multi-Package Ads targeted to past customers via custom audiences. The Camino walkers have already told all their friends about their great trip, now allow them to share their great experiences on Facebook and connect the tour operator with their Facebook friends via a valuable word of mouth referral. Just look at the ratio of share:likes and shares:comments. Astonishingly sharable ads!

Camino Ways Mulit Product Ads

Targeting past converters in an intelligent manner is a super smart way to find an audience ready to share your content.

How will hacking Multi-Product Ads work for you?

People don’t share ads, but they do share great content. So why not hack MPAs to promote your content and reap the rewards of the world’s greatest content sharing machine: Facebook.

MPAs allow you to tell a richer story by allowing you to promote multiple pieces of content simultaneously. So consider which pieces of content you have that will work well as “content bundles” and who the relevant audience for each “content bundle” is.

As Hack #8 above illustrates, the big wins come when you match a smart use of the format with the clever and relevant targeting Facebook allows. We’re massive fans of custom audiences so if you aren’t sure where to start, I’d suggest starting there.

So ponder your upcoming content pieces, consider your older content you’d like to breathe some new life into and perhaps you could become a Facebook Ads Hacker.

I’d love to hear about your ideas for turning Multi-Product Ads into Multi-Content Ads in the comments section below.

We could even take the conversation offline at Mozcon!

Happy hacking.


*Yes I did say paid promotion, it’s no secret that Facebook’s organic reach continues to dwindle. The cold commercial reality is you need to pay to play on FB. The good news is that if you select ‘website clicks’ as your objective you only pay for website traffic and engagement while amplification by likes, comments, and shares are free! Those website clicks you pay for are typically substantially cheaper than Adwords, Taboola, Outbrain, Twitter or LinkedIn. How does it compare to display? It doesn’t. Paying for clicks is always preferable to paying for impressions. If you are spending money on display advertising I’d urge you to fling a few spondoolas towards Facebook ads and compare results. You will be pleasantly surprised.

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Help Us Improve the Moz Blog: 2015 Reader Survey

Posted by Trevor-Klein

In late 2013, we asked you all about your experience with the Moz Blog. It was the first time we’d collected direct feedback from our readers in more than three years—an eternity in the marketing industry. With the pace of change in our line of work (not to mention your schedules and reading habits) we didn’t want to wait that long again, so we’re taking this opportunity to ask you how well we’re keeping up.

Our mission is to help you all become better marketers, and to do that, we need to know more about you. What challenges do you all face? What are your pain points? Your day-to-day frustrations? If you could learn more about one or two (or three) topics, what would those be?

If you’ll help us out by taking this five-minute survey, we can make sure we’re offering the most useful and valuable content we possibly can. When we’re done looking through the responses, we’ll follow up with a post about what we learned.

Thanks, everyone; we’re excited to see what you have to say!

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Can’t see the survey? Click here to take it in a new tab.

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Has Google Gone Too Far with the Bias Toward Its Own Content?

Posted by ajfried

Since the beginning of SEO time, practitioners have been trying to crack the Google algorithm. Every once in a while, the industry gets a glimpse into how the search giant works and we have opportunity to deconstruct it. We don’t get many of these opportunities, but when we do—assuming we spot them in time—we try to take advantage of them so we can “fix the Internet.”

On Feb. 16, 2015, news started to circulate that NBC would start removing images and references of Brian Williams from its website.

This was it!

A golden opportunity.

This was our chance to learn more about the Knowledge Graph.

Expectation vs. reality

Often it’s difficult to predict what Google is truly going to do. We expect something to happen, but in reality it’s nothing like we imagined.

Expectation

What we expected to see was that Google would change the source of the image. Typically, if you hover over the image in the Knowledge Graph, it reveals the location of the image.

Keanu-Reeves-Image-Location.gif

This would mean that if the image disappeared from its original source, then the image displayed in the Knowledge Graph would likely change or even disappear entirely.

Reality (February 2015)

The only problem was, there was no official source (this changed, as you will soon see) and identifying where the image was coming from proved extremely challenging. In fact, when you clicked on the image, it took you to an image search result that didn’t even include the image.

Could it be? Had Google started its own database of owned or licensed images and was giving it priority over any other sources?

In order to find the source, we tried taking the image from the Knowledge Graph and “search by image” in images.google.com to find others like it. For the NBC Nightly News image, Google failed to even locate a match to the image it was actually using anywhere on the Internet. For other television programs, it was successful. Here is an example of what happened for Morning Joe:

Morning_Joe_image_search.png

So we found the potential source. In fact, we found three potential sources. Seemed kind of strange, but this seemed to be the discovery we were looking for.

This looks like Google is using someone else’s content and not referencing it. These images have a source, but Google is choosing not to show it.

Then Google pulled the ol’ switcheroo.

New reality (March 2015)

Now things changed and Google decided to put a source to their images. Unfortunately, I mistakenly assumed that hovering over an image showed the same thing as the file path at the bottom, but I was wrong. The URL you see when you hover over an image in the Knowledge Graph is actually nothing more than the title. The source is different.

Morning_Joe_Source.png

Luckily, I still had two screenshots I took when I first saw this saved on my desktop. Success. One screen capture was from NBC Nightly News, and the other from the news show Morning Joe (see above) showing that the source was changed.

NBC-nightly-news-crop.png

(NBC Nightly News screenshot.)

The source is a Google-owned property: gstatic.com. You can clearly see the difference in the source change. What started as a hypothesis in now a fact. Google is certainly creating a database of images.

If this is the direction Google is moving, then it is creating all kinds of potential risks for brands and individuals. The implications are a loss of control for any brand that is looking to optimize its Knowledge Graph results. As well, it seems this poses a conflict of interest to Google, whose mission is to organize the world’s information, not license and prioritize it.

How do we think Google is supposed to work?

Google is an information-retrieval system tasked with sourcing information from across the web and supplying the most relevant results to users’ searches. In recent months, the search giant has taken a more direct approach by answering questions and assumed questions in the Answer Box, some of which come from un-credited sources. Google has clearly demonstrated that it is building a knowledge base of facts that it uses as the basis for its Answer Boxes. When it sources information from that knowledge base, it doesn’t necessarily reference or credit any source.

However, I would argue there is a difference between an un-credited Answer Box and an un-credited image. An un-credited Answer Box provides a fact that is indisputable, part of the public domain, unlikely to change (e.g., what year was Abraham Lincoln shot? How long is the George Washington Bridge?) Answer Boxes that offer more than just a basic fact (or an opinion, instructions, etc.) always credit their sources.

There are four possibilities when it comes to Google referencing content:

  • Option 1: It credits the content because someone else owns the rights to it
  • Option 2: It doesn’t credit the content because it’s part of the public domain, as seen in some Answer Box results
  • Option 3: It doesn’t reference it because it owns or has licensed the content. If you search for “Chicken Pox” or other diseases, Google appears to be using images from licensed medical illustrators. The same goes for song lyrics, which Eric Enge discusses here: Google providing credit for content. This adds to the speculation that Google is giving preference to its own content by displaying it over everything else.
  • Option 4: It doesn’t credit the content, but neither does it necessarily own the rights to the content. This is a very gray area, and is where Google seemed to be back in February. If this were the case, it would imply that Google is “stealing” content—which I find hard to believe, but felt was necessary to include in this post for the sake of completeness.

Is this an isolated incident?

At Five Blocks, whenever we see these anomalies in search results, we try to compare the term in question against others like it. This is a categorization concept we use to bucket individuals or companies into similar groups. When we do this, we uncover some incredible trends that help us determine what a search result “should” look like for a given group. For example, when looking at searches for a group of people or companies in an industry, this grouping gives us a sense of how much social media presence the group has on average or how much media coverage it typically gets.

Upon further investigation of terms similar to NBC Nightly News (other news shows), we noticed the un-credited image scenario appeared to be a trend in February, but now all of the images are being hosted on gstatic.com. When we broadened the categories further to TV shows and movies, the trend persisted. Rather than show an image in the Knowledge Graph and from the actual source, Google tends to show an image and reference the source from Google’s own database of stored images.

And just to ensure this wasn’t a case of tunnel vision, we researched other categories, including sports teams, actors and video games, in addition to spot-checking other genres.

Unlike terms for specific TV shows and movies, terms in each of these other groups all link to the actual source in the Knowledge Graph.

Immediate implications

It’s easy to ignore this and say “Well, it’s Google. They are always doing something.” However, there are some serious implications to these actions:

  1. The TV shows/movies aren’t receiving their due credit because, from within the Knowledge Graph, there is no actual reference to the show’s official site
  2. The more Google moves toward licensing and then retrieving their own information, the more biased they become, preferring their own content over the equivalent—or possibly even superior—content from another source
  3. If feels wrong and misleading to get a Google Image Search result rather than an actual site because:
    • The search doesn’t include the original image
    • Considering how poor Image Search results are normally, it feels like a poor experience
  4. If Google is moving toward licensing as much content as possible, then it could make the Knowledge Graph infinitely more complicated when there is a “mistake” or something unflattering. How could one go about changing what Google shows about them?

Google is objectively becoming subjective

It is clear that Google is attempting to create databases of information, including lyrics stored in Google Play, photos, and, previously, facts in Freebase (which is now Wikidata and not owned by Google).

I am not normally one to point my finger and accuse Google of wrongdoing. But this really strikes me as an odd move, one bordering on a clear bias to direct users to stay within the search engine. The fact is, we trust Google with a heck of a lot of information with our searches. In return, I believe we should expect Google to return an array of relevant information for searchers to decide what they like best. The example cited above seems harmless, but what about determining which is the right religion? Or even who the prettiest girl in the world is?

Religion-and-beauty-queries.png

Questions such as these, which Google is returning credited answers for, could return results that are perceived as facts.

Should we next expect Google to decide who is objectively the best service provider (e.g., pizza chain, painter, or accountant), then feature them in an un-credited answer box? The direction Google is moving right now, it feels like we should be calling into question their objectivity.

But that’s only my (subjective) opinion.

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Understand and Harness the Power of Archetypes in Marketing

Posted by gfiorelli1

Roger Dooley, neuromarketing expert, reminds us in his book Brainfluence that in 80% of cases we make a decision before being rationally aware of it.

Although Dooley explains this effect in terms of how our brain works, in my opinion, distinctly separating neuroscience and the theory of archetypes would be incorrect. On the contrary, I believe that these two aspects of the study of the human mind are complementary.

According to
Jung, archetypes are “[…] forms or images of a collective nature which occur practically all over the Earth as constituents of myths and—at the same time—as individual products of unconscious”. He then, added something that interests us greatly: “The [forms and images] are imprinted and hardwired into out psyches”.

Being able to design a brand personality around an archetype that connects unconsciously with our audience is a big first step for: brand loyalty, community creation, engagement, conversions.

The Slender Man is the “Internet age” version of the archetype figure of the Shadow

Archetypes can be also used for differentiating our brand and its messaging from others in our same market niche and to give that brand a unique voice.

If we put users at the center of our marketing strategy, then
we cannot limit ourselves in knowing how they search, how they talk on social media, what they like to share or what their demographics are.

No,
we should also understand the deep psychological reasons why they desire something they search for, talk the way they talk, share what they share, and their psychological relation with the environment and society they live in.

Knowing that,
we can use archetypes to create a deep emotional connection with our audience and earn their strong positive attitude toward us thanks to the empathy that is created between them and us.

Narrative modes, then, help us in shaping in a structured way a brand storytelling able to guide and engage the users, and not simply selling or creating content narrative doomed to fail.

The 12 archetypes




graph by Emily Bennet

The chart above presents the 12 Jungian archetypes (i.e: Hero), to what principal human desire (i.e.: leave a mark on the world) they correspond and what is the main behavior each one uses for achieving that desire (i.e.: mastery).


Remember: if the audience instinctively recognizes the archetypal figure of the brand and its symbolism and instinctively connect with it, then your audience is more ready to like and trust what your brand proposes
.

On the other hand, it is also a good exercise to experiment with archetypes that we would not think are our brand’s one, expanding the practice of A/B tests to make sure we’re working with the correct archetype. 

The Creator

In my last post I used Lego as example of a brand that is winning Internet marketing thanks to its holistic and synergistic use of offline and online marketing channels.

I explained also how part of its success is due to the fact Lego was able to shape its messages and brand personality around the Creator archetype (sometimes called the “Builder”) which is embodied by their tagline, “let’s build”.

Creators tend to be nonconformist and to enjoy self expression.
A Creator brand, then, will empower and prize its audience as much as it is able to express itself using its products.

The Ruler

The Ruler is the leader, the one setting the rules others will follow, even competitors. Usually it’s paired with an
idea of exclusiveness and status growth.

A brand that presents itself as a Ruler is suggesting to their audience that they can be rulers too.

A classic example of Ruler brand is Mercedes:

The Caregiver

Altruism, compassion, generosity.
Caregiver brands present themselves as someone to trust, because they care and empathize with their audience.

The Caregiver is one of the most positive archetypes, and it is obviously used by nonprofit organizations or governmental institutions like UNICEF, but brands like Johnson & Johnson have also shaped their personality and messages around this figure.

The Innocent

The Innocent finds positive sides in everyone and everything

It sees beauty even in things that others will not even consider, and feels in peace with its inner beauty.

Dove, obviously, is a good representation of the Innocent archetype.

The Sage

The Sages wants to know and understand things. 


The Sage is deeply humanist and believe in the power of humankind to shape a better world through knowledge
.

However, the Sage also has a shadowed side: intolerance to ideas others than their own.

Google, in both cases, is a good example a Sage brand.

The Explorer

The Explorer is adventurous, brave, and loves challenges. He tends to be an individualist too, and loves to challenge himself so as to find his real self.


Explorer brands prompt their audience to challenge themselves and to discover the Explorer within

Red Bull is a classic example of these kinds of brands, but REI and Patagonia are even better representations.

The Hero

In many aspects, the Hero archetype is similar to the Explorer and Outlaw ones, with the difference that the Hero many times never wanted to be the hero, but injustice and external events obliged him to find the courage, braveness, and the honor to become one.

Nike, and also its competitor Adidas, shapes its brand voice around this archetypal figure.

The Magician

The Magician is clever, intelligent, and sometimes his ability can be considered supernatural. 


The Magician is able to make the impossible possible
. Because of that some of the best known technology brands use this archetype as their own to showcase their innovation and how they use their advanced knowledge creatively.

Apple—even if you are not an Apple fan—created a powerful brand by shaping it around this archetype. 

The Outlaw


The Outlaw is the rebel, the one who breaks the rules in order to free his true self
.

The Outlaw goes against the canon and is very aware of the constrictions society creates.

A great example of a brand that very well represents the Outlaw archetype is Betabrand.

The Everyman

It is perfectly fine to be “normal,” and happiness can come from simply sharing things with people we love.


Brands targeting the Everyman audience (and painting themselves as such) craft their messages about the beauty of simple things and daily real life
.

Ikea is probably the brand that’s achieved mastery in the use of this archetype over the past few years.

The Jester 

Fun, irreverent, energetic, impulsive and against the established rules at the same time, the Jester is also the only one who is able to tell the truth with a joke. 

Jesters can be revolutionary too, and their motto could be “a laugh will bury you all.”


A brand that presents itself as the Jester is a brand that wants to make our lives easier and more bearable, providing us joy.

The Lover


Sensuality is the main characteristic of the Lover archetype
, as well as strong physicality, passion, and a need for deep and strong sensations.

But the Lover can be also the idealist, the romantic longing for the perfect love.

Archetypes and brand storytelling

Our brain, as many neuroscientists have proved, is
hard-wired for stories (I suggest you to watch this TEDx too).

Therefore, once we have decided what archetype figure best responds both to our audience and our values as a brand,
we must translate the psychology we created for our brand into
brand storytelling.
That storytelling must then be attuned to the psychology of our audience based on our psychographic analysis of them.

Good (brand) storytelling is very hard to achieve, and most of the time we see brands that miserably fail when trying to tell branded stories.

Introducing the Theory of Literary (or Narrative) Modes

In order to help my clients find the correct narrative, I rely on something that usually is not considered by marketers: the
Theory of Literary Modes.

I use this theory, presented first by
Northrop Frye in it essay Anatomy of Criticism, because it is close to our “technical marketer” mindset.

In fact:

  1. The theory is based on a objective and “scientific” analysis of data (the literary corpus produced by humans);
  2. It refuses “personal taste” as a metric, which in web marketing would be the same as creating a campaign with tactics you like but you don’t really know if your public is interested in. Even worse, it would be like saying “create great content” without defining what that means.

Moreover, the
Theory of Literary Modes is deeply structured and strongly relies on semiotics, which is going to be the natural evolution of how search engines like Google will comprehend the content published in the Internet. Semantic thinking is just the first step as well explained 
Isla McKetta here on Moz few months ago.

Finally, Northrop Fryed
considers also archetypes this theory because of the psychological and semiotic value of the symbolism attached to the archetypal figure.

Therefore, my election to use the Theory of Literary Modes responds 

  1. To the need to translate ideal brand storytelling into something real that can instinctively connect with the brand’s audience;
  2. To make the content based on that storytelling process understandable also by search engines.

The Theory of Literary Modes in marketing

To understand how this works in marketing, we need to dig a little deeper into the theory.

A literary work can be classified in two different but complementary ways:

1) Considering only the
relation between the nature of the main character (the Hero) and the ambient (or environment) where he acts.

2) Considering also
if the Hero is refused or accepted by society (Tragedy and Comedy).

In the
first case, as represented in the schema above, if the Hero:
  1. Is higher by nature than the readers and acts in a completely different ambient than theirs, we have a Romance;
  2. Is higher by nature than the readers, but acts in their same ambient, we have an Epic;
  3. Is someone like the reader and acts in the reader’s own ambient, we are in field of Realism;
  4. Is someone lower by nature than the readers and acts in a different or identical ambient, we are in the realm of Irony, which is meant as “distance.”
A fifth situation exists too, the
Myth, when the nature of the Hero is different than ours and acts in an ambient different than ours. The Hero, in this case, is the God.

If we consider also if society refuses or accepts the hero, we can discover the different versions of Tragedy and Comedy.

I will not enter in the details of Tragedy, because
we will not use its modes for brand storytelling (this is only common in specific cases of political marketing or propaganda, classic examples are the mythology of Nazism or Communism).

On the contrary,
the most common modes used in brand storytelling are related to Comedy, where the Hero, who usually is the target audience, is eventually accepted by society (the archetypal world designed by the brand).

In
Comedy we have several sub modes of storytelling:

  1. “The God Accepted.” The Hero is a god or god-like kind of person who must pass through trials in order to be accepted by the society;
  2. The Idyll, where the Hero uses his skills to explore (or conquer) an ideal world and/or become part of an ideal society. Far West and its heir, Space Opera (think of Interstellar) are classic examples. 
  3. Comedy sees the hero trying to impose his own view of the world, fighting for it and finally being awarded with acceptance of his worldview. A good example of this is every well ending biopic of an entrepreneur, and Comedy is the exact contrary of melodrama. 
  4. On a lower level we can find the Picaresque Comedy, where the hero is by nature inferior to the society, but – thanks to his cleverness – is able to elevate himself to society’s level. Some technology business companies use this narrative mode for telling their users that they can “conquer” their market niche despite not having the same economic possibilities as the big brands (this conquering usually involves the brand’s tools).
  5. Finally we have the Irony Mode of Comedy which is quite complex to define. 
    1. It can represent stories where the hero is actually an antihero, who finally fails in his integration into the society. 
    2. It can also be about inflicting pain on helpless victims, as in mystery novels. 
    3. It can also be Parody.

Some examples

The Magician, gamification, and the Idyllic mode

Consider this brand plot:

The user (the Hero) can become part of a community of users only if he or she passes through a series of tasks, which will award prizes and more capabilities. If the user is able to pass through all the tasks, he will not only be accepted but also may have the opportunity to be among the leaders of the community itself.

And now
consider sites, which are strongly centered on communities like GitHub and Code Academy. Consider also SAAS companies that present the freemium model like Moz or mobile games like Boom Beach, where you can unlock new weapons only if you pass a given trial (or you buy them).

The Magician is usually the archetype of reference for these kinds of brands. The Hero (the user) will be able to dominate a complex art thanks to the help of a Master (the brand), which will offer him instruments (i.e.: tools/courses/weapons). 

Trials are not necessarily tests. A trial can be doing something that will be awarded, for instance, with points (like commenting on a Moz blog post), and the more the points the more the recognition, with all the advantages that it may offer. 

Gamification, then, assumes an even stronger meaning and narrative function when tied to an archetype and literary mode.

Ikea, the Everyman, and the Comedic mode

Another
example is Ikea, which we cited before when talking of the Everyman archetype.

In this case, the Hero is someone like me or you who is not an interior designer or decorator or, maybe, who does not have the money for hiring those professionals or buying very expensive furniture and decoration.

But, faithful to its mission statements (“design for all”, “design your own life”…), Ikea is there to help Everyman kind of people like me and you in every way as we decorate our own houses.

On the practical side, this narrative is delivered in all the possible channels used by Ikea: web site, mobile app, social media (look at its
Twitter profile) and YouTube channel.

Betabrand, the Outlaw, and Picaresque Comedy

A third and last example can be
Betabrand.

In this case both the brand and the audience is portrayed using the
Outlaw archetype, and the brand narrative tend to use the Picaresque mode.

The Heroes is the Betabrand community who does not care what the mainstream concept of fashion is and designs and crowdfounds “its fashion.”

How to use archetypes and narrative modes in your brand storytelling

The first thing you must understand is what archetype best responds to your company tenets and mission. 

Usually this is not something an SEO can decide by him- or herself, but it is something that founders, CEOs, and directors of a company can inform.

Oftentimes a small to medium business company can achieve this with a long talk among those company figures and where they are asked to directly define the idealistic “why?” of their company.

In case of bigger companies, defining an archetype can seem almost impossible to do, but the same history of the company and hidden treasure pages like “About Us” can offer clear inspiration.

Look at REI:

Clearly the archetype figure that bests fits REI is the Explorer.

Then, using the information we retrieve when creating the
psychographic of our audience and buyer personas, matching with the characteristics each archetype has, and comparing it with the same brand core values, we can start to understand the archetype and narrative mode. If we look at REI’s audience, then we will see how it also has a certain affinity with the Everyman archetypal figure (and that also explains why REI also dedicates great attention to family as audience).

Once we have defined the best archetype commonly shared by our company and our audience, we must translate this figure and its symbolism into brand storytelling, which in web site includes design, especially the following:

  • Color pattern, because colors have a direct relation with psychological reaction (see this article, especially all the sources it links to)
  • Images, considering that in user-centric marketing the ideal is always to represent our targeted audience (or a credible approximation) as their main characters. I am talking of the so called “hero-shots”, about which Angie Shoetmuller brilliantly discussed in the deck I embed here below:

If you want to dig deeper in discovering the meaning and value of symbols worldwide, I suggest you become member of
Aras.org or to buy the Book of Symbols curated by Aras.

  • Define the best narrative mode to use. REI, again, does this well, using the Idyllic mode where the Hero explores and become part of an ideal society (the REI community, which literally means becoming a member of REI). 

We should, then:

  1. Continue investigating the archetypal nature of our audience conducting surveys
  2. Analyzing the demographic data Google Analytics offers us about our users 
  3. Using GA insights in combination with the data and demographic information offered by social networks’ ad platforms in order to create not only the interest graph of our audience but also to understand the psychology behind those interests 
  4. Doing A/B tests so to see whether symbols, images, and copywriting based on the targeted archetypes work better and if we have the correct archetype.

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