Whether it's the wide availability of new technologies or the ever fluctuating economy, change is inevitable. It can feel overwhelming to any marketer trying to make the best, most effective choices for their organization. Every organization has limited resources, and choosing how to spend them is among the most important tasks facing arts marketers today. In this workshop, Deborah Obalil, Principal at Obalil & Associates, will provide participants with the tools to practice 360 degree marketing, synchronizing all your efforts for greatest effect regardless if your budget is $5,000 or $500,000.

1. Marketing Plan Redux
Adjusting for Change
Deborah Obalil
Obalil & Associates

2. What is marketing?
 It ISN’T “selling” or “telling”
 It’s the process by which you come to
understand the relationship between your
product and the customer.
 Vehicle for demonstrating value to the
consumer.

3. Audience Vs. Customer
 An Audience is a passive body of spectators;
one-sided; short-term.
 Customer is a person who buys on a regular
basis; active; ongoing relationship; need
fulfillment is key to successful sale.

4. Finds/captures paying customers to support
the artistic mission
 4 elements:

5. What are the key Strategic elements of
marketing?
 Vision
 Values

6. What are the key tactical elements of
marketing?
Product People
Price Promotion Position
Place Politics

7. Your job . . .
 Figure out who you are and what you have to
offer
 Figure out who they (your customers) are and
what they need

8. How does the planning process work?
1. Business Review 7. Tactics
2. SWOT Analysis 8. Channels
3. Environmental Analysis 9. Communications goals/
4. Quantifiable Marketing strategies
Objectives 10. Budget
5. Target Markets 11. Action Plan
6. Strategies 12. Evaluation Plan

9. How does the planning process work?
 Where are we?  What will it cost?
 Where do we want to  How will we measure
go? progress and when?
 How will we get there?  Did we achieve our
goals?
 What will we say, to
whom and how?

10. Where are we?
 Mission/Artistic Vision
 Current customers
 Potential customers
 Environmental Analysis
 Competitive Analysis
 S.W.O.T. Analysis

11. Where do we want to go?
 What three key objectives should we focus
on that are SMART?
Socially significant (aka – mission driven)
Measureable
Attainable
Resource appropriate
Timely

12. How will we get there?
 What strategies and tactics will we employ
that address opportunities uncovered in
Section I?
 Practice 360° Marketing
 How do those learnings apply to:
 Product  Promotion
 Place  People
 Price

13. 360° Marketing
 Completing the circle with all customer
 Not a single transaction
 Builds relationships
 Appearing “everywhere” to potential
customers
 Requires knowledge of target, consistent
messaging, timing of strategies/tactics
 Allows for efforts to build on one another

14. What will we say, to whom and how?
 Who does the promotions plan target?
 What message will motivate them to buy?
 Where do they get their messages about
leisure time activities/luxury items to
purchase?
 How do they communicate/learn/connect with
others?

15. Who will do what, when & with what
resources?
 What can and should we pay for, and what
can and should I find pro bono?
 Does this growth strategy require finding
outside help?

16. What will it cost?

17. What will it cost?
 6:1 Rule
 Spend six times more to acquire new
customers than to keep old customers

18. How will we measure progress and
when?
 Are the systems in place to track new
customers/contacts as we acquire them, and
the source of their interest in the
organization?
 Do we have a process for encouraging their
continued interest in the organization?

19. Did we achieve our goals? What did we learn in
the process?
 Does our analysis include all six of the Arts
Marketing Ps or are we just focused on
promotion?
 What did we learn about our suppositions
regarding new customers that we made in
the first section of the planning model?
 What did we learn about timing, or internal
processes, that could help us in planning or
execution of future marketing plans?

20. Redux Rules
 First and foremost know your objective
 Why are you doing all this in the first place?
 Customer segmentation still matters
 Know your targets better than yourself
 Evaluation is more important than ever
 Not just tracking – analysis too
 Listen, listen, listen to your customers
 It's not just a transaction – it's a relationship

21. Your Objective
 What is the purpose of marketing within your
organization?
 Sales
 Reputation
 Customer experience
 All strategic and tactical choices must match
the objective

22. For example
 If sales is the objective. . .
 Then all communications should ultimately point to
a purchase opportunity
 If reputation is the objective. . .
 Then you need to facilitate the process of
spreading the word

23. The Customer
 Who are they, demographic description?
 What are their wants, needs, desires, attitudes,
interests, barriers, concerns, pressures?
 How could you benefit them? Solve a problem?
 What, if any, position or image do you conjure in
their minds?

24. Why segment the market?
“You may please all of the people some of the
time, you may even please some of the
people all of the time, but you can’t please all
of the people all of the time.”
Abraham Lincoln

25. Why segment the market?
“Segmentation is saying something to
somebody instead of saying nothing to
everybody.”
Jay Conrad Levinson
Guerilla Advertising

26. Target Segmentation
 Conscious selection of the groups of people,
or customers, you will try to please in order
to focus marketing efforts.
 Identifiable, distinguishing characteristics and
behaviors shared by the group.

27. Defining Your Customer Segment
 Identifying  Enriching
 Demographics  Interests
 Geography  Related behavior
 Usage  Personal values
 Attitudes, beliefs,  Psychological
opinions characteristics
 Stated future intentions  Lifestage

28. How to get the information
 General research (US. Census, economic
development agencies, small business
administration, tourism dept., etc.)
 Industry studies (NEA, regional arts service
organizations, national arts service
organizations)

29. How to get the information
 Your own research
 Observations
 Informal contact with customers
 Surveys (on-line and off-line)
 Focus groups

30. Strong objectives have specific targets
 One size fits all doesn’t work
 The more detailed your target profile, the
better
 Remember demographics AND
psychographics AND behavior
 Analyze size of target, current and potential
penetration, resources required to attract
them

31. 3 Keys to a Powerful Message
 Intimate understanding of the target
 Product positioned to address consumer
needs and desires
 Solid communications strategy

32. Communications Strategy
 Objective - What do you want the
communication to do? Raise awareness?
Make people buy?
 Target - Who am I trying to reach with the
message?
 Message - The promise; one concise
statement

33. Communications Strategy
 Support - The facts and features that support
the promise; the reason to believe the
message is true
 Tone - Feeling inspired by the message; the
product’s personality

34. Find the
Communications
Strategy in
this ad.

35. Communications Strategy –
Freak: John Leguizamo
Objective
To convince the target to come to see John Leguizamo in Freak.
Target
Hip young adults, or those who still believe they are (Boomers), who are
looking for entertainment on the edge
Message
John Leguizamo is a hip, one-of-a -kind, off-the-wall comedian who will freak
you out . . . and your date as well
Support
The critics from the biggest New York newspapers (and CBS-TV) were really
enthusiastic about him; quotes from Boomer icons
Tone
Appeal to hip, young, ‘with it’ crowd by reflecting their attitudes and
speaking their language. . . and standing out on the page

36. Exercise – Develop a communications
strategy
 The Cutting Edge presenting organization is
planning a 3-day run of E&K's all-nude, butoh-
inspired, 90 minute with no intermission
performance piece entitled Waves. Past
experience has shown that contemporary
visual arts audiences often know more about
butoh than performance audiences, though
E&K have strong brand recognition in the
dance world. The piece will be performed in a
non-traditional space that is accessible by T.

37. Task #2
 Apply that communications strategy to an
online or social media channel (aka – not
traditional print media or radio).
 How might your efforts be different given the
same communications strategy using different
media delivery platforms?

38. Evaluation more important than ever
 Evaluation is tracking plus analysis – not just
tracking
 Establish “evaluation moments” in your plan
from the start
 Recognize how all parts of the communications mix
relate to the purchase decision process
 Establish multiple points of evaluation
 Don't wait for the end. . .of your plan, season,
campaign

39. Low budget tracking options
 Unique offer codes
 Super short surveys
 Coupons
 Web site analytics
 Google analytics
 Social Media analytics
 Mashable.com – resource on how to use
 Twitter search
 Social mention
 Scout labs (not so low budget)

40. Did we achieve our goals? What did we learn in
the process?
 Does our analysis include all six of the Arts
Marketing Ps or are we just focused on
promotion?
 What did we learn about our suppositions
regarding new customers that we made in
the first section of the planning model?
 What did we learn about timing, or internal
processes, that could help us in planning or
execution of future marketing plans?

41. Keys to good analysis
 Consider all aspects of marketing – not just
promotion
 Remember to judge all efforts based on
achievement of objectives
 Measure on-line initiatives through off-line,
real world effects

42. Evaluation Exercise
 Develop a tracking and evaluation plan to
match your previously developed
communications strategy.
 What will you measure?
 When will you measure it?
 Against what objective will you analyze results?

43. It's about the relationship
 ROI improves over the lifetime of a customer
relationship
 Give it time
 Customer experience counts for a lot
 Be flexible. . .and willing to lose some control
 Listen, listen, listen!

44. Budgeting
 In times of change use zero-based budgeting
 Allows for accurate assessment of true customer
acquisition costs
 Enables target or program specific profit and loss
or ROI analysis
 Empowers you to drop habitual spending that isn't
working anymore
 Prepares you to make your case for all areas of
spending

45. Any questions?
Deborah Obalil
Principal, Obalil & Associates
deborah@obalil.com
401.261.3185
www.obalil.com