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Settle in for this weeks stats roundup, which includes news about social commerce, grocery retailers, Christmas ads, and lots more.

If thats not enough, be sure to check out the Internet Statistics Database too.

Lets get to it.

PayPals Commerce Index which features views from more than 26,000 global consumers and businesses has revealed that the number of UK businesses selling via social media is expected to double during the next six months. This means that shoppers will be able to buy from an additional 600,000 UK retailers on social.

Interestingly, PayPal suggests that the UK still lags behind other countries when it comes to social commerce. Currently, just 24% of British businesses sell via social platforms, while the global average is 35%.

Alongside this, UK consumers still also show higher levels of security concern particularly about having their financial information linked to their social media accounts. 64% of UK consumers show concern over the security of mobile commerce, compared to 58% in the US, and just 28% in Japan.

Todays online shoppers want upfront transparency on fees, control over the delivery process, and a clearly-stated returns policy. This is according to UPS Pulse of the Online Shopper report, which based on a survey of more than 18.000 online shoppers worldwide.

The report suggests that, while respondents like next-day deliveries, they will consider other options such as lower fees or incentives for slower shipping. In fact, 94% of global consumers could be encouraged to choose a slower and cheaper delivery option if they were offered it.

Overall, millennial shoppers are more likely to choose accelerated delivery options than other age groups. In the UK specifically, online shoppers have a very low appetite for shipping costs. This is why 35% will choose click and collect in order to obtain free shipping, 35% will add further items to their cart, and 35% will choose the slowest delivery option.

Brands tend to assume that older audiences are more likely to buy luxury goods, based on the fact that consumers in the second half of their careers tend to have higher incomes.

However, research from Comscore suggests that age is not the only segment worth considering. Taking all factors into account including employment status, household size etc. it found that the audience likely to yield the highest conversion rate for an online luxury retailer is high-income 30 to 34-year-olds, with no more than one child.

Comscore suggests that, as these consumers age, they initially become less likely to buy luxury brands presumably due to the expense of having children. As a result, only as shoppers hit the 55 to 65-year-old age group do conversion rates for high-income shoppers increase again.

Why luxury brands need digital transformation

A study by Forrester Consulting has revealed that 85% of grocery retailers globally lack the capabilities needed to monetise their data and drive customer experience.

As it stands, just 15% of global grocery retailers are classified as leaders, differentiated by data-led customer strategies for growth and improved supplier relationships. The majority are lagging behind.

Meanwhile, 96% of global grocery retailers experience challenges trying to use data to develop customer strategies (in order to drive growth). In the UK, the main concern cited by 40% of respondents is the lack of data management tools or technology. Just over half of UK respondents use mobile app data and only 42% use customer data to make decisions about customers. Even fewer use other sources such as point-of-sale, promotions data, and web metric data.

Despite these apparent barriers, 82% of UK grocery retailers view growing revenues as their top priority in 2020, and 78% plan to do so by improving their use of data insights to develop customer strategies.

A new report by Valitor, based on a survey of 2,000 UK consumers, has revealed that brands are largely failing when it comes to personalisation despite the fact that three-quarters of consumers are happy for their data to be shared.

The report states that a third of consumers view irrelevant retail offers as the biggest marketing mistake made by brands. Meanwhile 48% think when it comes to relationship building, all they generally see are spam emails post-sale.

The good news for brands, however, is that consumers are still happy to provide them with personal data, as long as it is used in the right way. In fact, 75% of consumers are comfortable with the concept of a brand holding personal information about them in order to improve services.

Four tips for getting the most out of a Customer Data Platform (CDP)

Its had a mixed reception overall, but new data from Socialbakers suggests that John Lewis Christmas ad has still dominated social media interactions.

With 8.1m views on YouTube, 209.4k Twitter interactions, 47.1k Instagram interactions, and 126.9k Facebook interactions #ExcitableEdgar has generated the most engagement so far.

Meanwhile, Marks and Spencers twoChristmasadshas generated different results across the channels. The #GoJumpers ad received more interest on Twitter and Youtube, whereas M&SChristmas Food was more well-received on Facebook.

Finally, DebenhamsChristmas ad provoked the most negative comments and the most dislikes on Facebook; 62.3% of total interactions were dislikes. This was followed by the ad #GiftLikeYouGetThem from Boots, which generated 50.3% dislikes from total interactions.

10 of the best ad campaigns from the UKs top supermarkets

More here:
The best digital marketing stats we've seen this week - Econsultancy

A Democratic Super PAC confirmed that they were behind the social media campaign. The influencer marketing site told BuzzFeed News they've since removed the ad.

Last updated on November 26, 2019, at 2:53 p.m. ET

Posted on November 26, 2019, at 1:32 p.m. ET

A political sponsorship opportunity pitched to at least one microblogger on an influencer marketing platform is causing discussions about where influencers should draw the line when it comes to paid promotions.

On Friday, 23-year-old fashion and lifestyle blogger Amanda Johnson was matched with a campaign, that's since been removed, that would pay her to post her support for 2020 presidential candidate Cory Booker.

The offer was first posted to the site AspireIQ, a large database that connects brands with sponsorship opportunities to influencers. To use the platform, the brand posts the requirements of their ad. If the user or influencer is interested in the paid deal, they can submit their rate to the company.

The campaign was removed following the publishing of this story. A rep for AspireIQ told BuzzFeed News on Tuesday that they "reviewed this campaign with [their] campaign team and removed it from the platform."

Johnson, who runs a small but growing blog and Instagram account called Sequins and Sales, told BuzzFeed News she was "intrigued" by the campaign, but something about it also felt "off" and ethically "iffy."

"I was intriguedI didnt know how to feel about it at first," Johnson said. "But it felt off to me originally because it doesnt seem like something politicians maybe should use."

"My thing is there are already a lot of influencers who arent disclosing their partnerships, even though the FTC requires them to. And now they won't be disclosing partnerships [with politicians] and its even more iffy to me."

The campaign, which was titled "United We Win: Keep Cory Booker in the Fight," offered potential collaborators the chance to share a post on various social media channels in exchange for payment. The post asked them to tell their supporters to "keep Cory in the fight with a small donation."

Cory Booker's election team denied that they were directly associated with the social media campaign, as Democratic Super PAC United We Win later confirmed to BuzzFeed News that they created the spon.

"This is nothing to do with our campaign and this isn't a tactic our campaign employs," told BuzzFeed News in a statement on Monday.

On Tuesday, a spokesperson for the Super PAC said this campaign strategy will "engage dedicated grassroots supporters online" and that influencers will be compensated similarly to how individual canvassers are.

"Our organization is committed to using emerging digital tools to independently promote Cory Booker's candidacy because we believe that he is the best choice to beat Donald Trump and unite our country," said spokesperson Philip Swibinski.

"This is simply another way to engage dedicated grassroots supporters online, and those supporters will be compensated for their time in the same way that more traditional campaign efforts like canvassing are also often compensated."

Online, and among blogger and influencer circles, there has been a lot of chatter about the implications of a political endorsement deal like this one.

Johnson provided BuzzFeed News with screenshots of numerous ongoing conversations she's had and observed in private Facebook groups she's in. The members range from private users with small personal accounts to those with growing pages and to micro-celebrities with large followings.

It was a mixed bag of reactions.

Some, like Johnson, immediately were put off by it. They felt politics, like religion, are off-limits for paid ads.

"It comes down to impact," Johnson said. "If someone tries a face cream, its like $20. If they vote for this person and they dont even know what they stand for, and now this person becomes president, and now theyre being elected off of 'Oh, they told me to vote for this person, thats why...' Thats why it doesnt make me feel good."

"The impact of this is much greater than just a product," she added.

Other content creators worried it would polarize their followers. They said doing so wouldn't be worth losing their audience and engagements.

"I don't post anything political on my Instagram. You could potentially be alienating 50% of your audience," said one user. "I don't think it's worth losing followers (or even brand collabs) because you shared your political views."

Johnson, however, thinks allowing and publishing political endorsements by influencers is entering murky territory.

For one, she said she worries influencers wouldn't disclose that their presidential endorsements were #ads, because she knows influencers who don't properly disclose their ads.

"I personally only work with companies that I'm really excited about, or that I've used their products. Not all influencers are like that," she said. "I feel like even having payments is enticing for people who don't take campaigns that they think are reputable."

However, among these private Facebook groups are those who have no moral quandary about it.

"If you're already vocal about politics and your candidate support then why not do that with your business?" one person asked. "Plus, if you're worried about blogger influence on the election shouldn't that be the energy towards every endorsement ever?"

Nov. 26, 2019, at 19:48 PM

This post has been updated with confirmation that Democratic Super PAC United We Win is behind the campaign.

Read the original here:
Influencers And Bloggers Are Being Offered Money To Post Sponcon In Support Of Cory Booker - BuzzFeed News

Visible, a digital-only phone carrier brand from Verizon, is using experiential marketing to make in-person connections with potential customers. The company has found this increases the likelihood that people will consider switching phone carriers, said Minjae Ormes, its chief marketing officer.

People who were introduced to Visible as a brand [that way] were twice or three times more likely to convert, said Ormes. They would also open and engage with our emails or in conversation with the company for a full 90 days after they had the first experience. Because our consideration cycle is so long, its super important.

Typically, a person considering changing phone carriers can take months to mull that decision over while researching the company. That said, roughly 60 million people switch phone carriers each year, per the companys research, and Visible is looking to tap into that market. By using experiential marketing efforts, including pop-ups and activations at festivals like SXSW, Visible is increasing the likelihood that a person may switch to Visible, according to Ormes.

While experiential marketing represents a small portion of Visibles marketing budget its part of the 10% that it allocates for relationship-building activities the company said that a large driver behind its pop-ups and activations is that it doesnt own any physical storefronts.The other 90% of the budget is allocated to digital media, mostly toward social and video.

For its most recent experiential effort, Visible created an interactive tour of the mobile experience in real life in Denver called #Phonetopia that included a DM slide (where you landed in foam letters of D and M) and a GIF shop. Earlier this year, the company held other pop-ups in Los Angeles, Austin and Denver.

The point of the experiential marketing push is to make people feel like theres a human being behind the brand, said Orme, even if consumers arent able to connect with the brand in person in a physical store. The company is hoping that its focus on building relationships with its consumers through events will help it stand out in the category, which can often be focused on transactions and specific deal promotions in marketing.As previously reported by Digiday, the company has been watching direct-to-consumer brands like Glossier and Casper with the aim of being a lifestyle brand to build out a deeper relationship with its customers.

Weve tried to build a tactile, physical experience in which someone can meet our brand thats tangible, emotional and fun so that ultimately they will give us a chance in considering us in their wireless choices and actually switching, said Orme. Were trying to change the dynamic from being purely transactional, and we believe we can be more than just dollar signs. Were building relationships and serving as an extension of their [customers] communities.

That the company is looking to foster that connection with consumers with in-person experiences makes sense to brand consultant and co-founder of Metaforce Allen Adamson. You can spend a lot of money online and still be invisible, said Adamson. The benefit of mixing a little bit of real experiences in with digital advertising is that they can serve as a catalyst to get people to pay attention to you.

While the company doesnt have a permanent physical brick-and-mortar presence that could serve as the in-person experience of the brand rather than pop-ups, Adamson doesnt see that as necessary as most people dont care about the stores, said Adamson. If you can get [a network] for less, a lot of people will switch.

Excerpt from:
More likely to convert: Why digital-only phone carrier Visible is leaning into experiential marketing - Digiday

Date: December, 3, 2019Time: 2pm ESTRegister Now

Under PDGM, institutional referrals will be reimbursed at higher rates than community referrals, so now is the time to invest in your relationships with key people at hospitals, SNFs and LTCHs.

But just as there is competition for staff in the industry, there is competition for patients, especially ones that come from the more lucrative institutional side now. How do you differentiate your agency? How do you cultivate the right relationships? What marketing strategies work best to attract institutional referrals? What are other agencies doing that you are not?

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Once you register, you will receive a short survey about how you are currently marketing to institutions and questions around what you are looking to learn more about. The answers are completely anonymous and will be used to create the 2019 State of Institutional Marketing Benchmark Report as well as guide the content for this webinar.

This build your own webinar will be full of the content that you have told us you want to learn about. It will be like having your own VP, Marketing helping you create a strategy to win new referrals and grow business from existing institutional relationships.

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[Upcoming Webinar] Boost Your Agency's Institutional Referrals - Home Health Care News

The Drum Awards are gearing up for another round of recognising the very best the advertising, marketing, digital and media industries have to offer.

Jury alumni Cadi Jones, commercial director of Beeswax and Wayne Deakin, executive creative director at Huge joined The Drum Content Awards Grand Prix winner, Will Sansom, joint head of strategy of The Brooklyn Brothers at a breakfast panel session earlier this month to discuss what exactly makes an award-winning entry.

It takes time and great crafting when it comes to pulling in client data and distilling it into numbers that tell an amazing story, which gives insight but doesn't give away sensitive business details or information that is wrong.

Signing off sensitive data can also be a hard task to complete.

Deakin: Part of the trick is to start early. It's an opportunity for clients to get exposure themselves and a secret tool for brands to use to market themselves and their purpose.

Make sure you work with the client early on to give you the information familiar with them, rather than bringing it up the day before the entry deadline and asking for all their sensitive data. They've got to ask many stakeholders whereas if you prep them beforehand, it makes an easier conversation.

Jones: You can also think outside the box on data. From the entries that I've seen, the thing that people really don't like to share is how much they've spent. That's not necessarily the biggest thing we're looking for.

Could you show things in percentage terms? Can you show ranges? I love a graph. It doesn't have to have all of the data in that to show how effective it is. You can find ways of showing things and making it really clear of the impact you had without necessarily revealing the client's budget.

If there's any way you can get the client on board to share the budget and open up on that then do. But if you absolutely can't, it's not something we mark people down for. As long as there's some quantifiable progress against your objectives.

Sansom: Water Wipes are quite a young brand. We told them we wanted to tell the story of this campaign in the best way possible and the way to do that is to support it with data so we had evidence to back up our claims. We then showed them what we put in and asked if there was anything that they're not comfortable with but know that we've done this to tell the story of the campaign in the best way to represent the brand and what it's achieved in the best way. They were pretty good about it. But I know for every brand that is cool about it there's about 10 that are not happy with showing the results at all.

The Brooklyn Brothers recently won the Grand Prix and three other awards at The Drum Content Awards, for their work with baby wipes brand, Water Wipes. The panel explored the reasons why.

Sansom: We didn't have a process. A lot of bigger agencies do have dedicated teams, processes in place for doing this. We definitely didn't. The most important part of the process for us was making sure we carved out ample time to get the right people in the room looking at this. Looking at the quality of some of the case studies, the budget that goes into them this absolutely insane. We can't compete with that.

We were trying to communicate an emotive campaign through words on a page. It sounds trite and it is. We needed to fill a box with 200 words, communicating the emotion of a mum admitting on camera that she didn't connect with her baby in the first six months. That's the bit that hits you when you watch it, so how would you convey that to paper? That's just going to be flipped through. That was the biggest challenge for us.

For the judges, an award-winning submission can vary but at the end of the day, the narrative is key whether your entry is creative, digital or report based.

Deakin: Know the category you want to win. Know the story you want to win and make that as simple and easy around that category. Don't hedge your bets on other categories because that's harder.

Also, be simple and brutally honest with yourself. Understand the narrative that you're going to tell and really understand how does that narrative and how does that category collide together. Having people who can view it from an onlooker point of view is really important. We circulate in this little world where we look at ourselves, pat ourselves on the back and often you're talking to a very different group of people with jurors. The more human and simple it is, the more chance you have to win.

Jones: On the ad tech side of things, a lot of companies have very similar technologies. It's quite hard to call out the differences without going into really quite technical depth. In a room of judges, you might have those who are technically savvy and others who don't have that high level of understanding. You have to make it simple but really call out why it's different in plain language. Get your mum to read your submission, your other half or someone who doesn't work in the industry. If they don't understand and it's not clear enough, then work on the language until it is clear enough.

Sometimes entering multiple categories seems like the best approach, even if your report doesn't tick all the boxes. The more you enter, the more likely chance you have to win, right?

Jones: I don't mind seeing the same entry multiple times as long as it has been rewritten for that category. No copy and pasting. The objectives of each category are really quite different. I expect to see some difference in how that's tackled. But if you have one campaign that really corresponds accurately to three different awards, then go for it.

Deakin: Perhaps you're entering a social campaign. And you want to know what category to enter. Is it sort of a broad range digital category, is it social, is it writing for social etc. Where you have an award entry that can sort of tick a few boxes, that's fine. The thing I get annoyed about is repeated case studies that aren't tailored to each category. It's the same case study submitted across categories without considering which details are relevant to the category. It only ticks part of the box.

Think about why this is being entered into this category. What is the supporting material that might make the judge think they haven't shotgunned it into every category.

Sansom: It comes back to what's the story. What's the most interesting thing. If it's an interesting story in Print which is genuinely a different approach, then cool let's do it. But if it's an innovation in social that happened to have a print element, then don't enter it into Print because the judge is going to look at it and go, there's nothing interesting about that.

When you're entering awards there's stuff that you want to win like Integrated, the big shiny ones, there's stuff you probably stand a better chance of winning in because it's super niche and not many people will enter those and there's the stuff you will probably be able to win

You've got to be hard and honest with yourselves in terms of what sits in the middle of that. We were really hard on ourselves because fundamentally the work was a social campaign. It was all run on social, it was on YouTube and Facebook and Instagram. So it was inherently social content.

The Drum Awards 2020 programme is now open for entry. You can submit your work in various schemes covering marketing, search, digital advertising, creative and design. Make sure you submit your entries before December 12 for an early bird discounted rate.

See the original post here:
How to win The Drum Awards in 2020: start early and know your narrative - The Drum