Category: News
Popular Podcasts
Here are some of the podcasts we’ve been enjoying – let us know if there are any others you’d recommend to BMS members!
Working from Home with Stylist
The AllBright: Sisterhood Works
Angela Scanlon’s Thanks A Million
Mental health and Self-care podcasts – from Stylist magazine
Olly Harnett – BBC Creative Director – Our key notes
Last month BBC CREATIVE Director Olly Harnett, Creative Director (BBC ONE, Radio 2) came in to our Members’ Meeting to talk about some of his recent campaign work.
BBC Creative is the in-house creative team at the BBC, run on an agency model. It was brought in house in 2016 and is made up of around 150 people split between London and Salford.
Here are some of our notes:
HIS DARK MATERIALS marketing campaign case study
Positioning line: tricky title if the consumer hasn’t read the books (or Milton!). Therefore it was important to find the cornerstone of the campaign: ‘one girl will change worlds”. Promises adventure, destiny and excitement.
Marketing challenge: 16 -24 year olds are not watching terrestrial TV. TV trails don’t work anymore. How do we reach them? More OOH activity to reach that audience. Special build OOH for social media pick up. Although shouldn’t seem just like a kids drama.
Campaign activity:
TV TRAIL – very filmic and exciting
SPECIAL BUILD OOH
– Story board artist helped create the layout for creative that was used across OOH. No stills ready so went for an illustrative approach for sign off of concept
-Westfield White City – Billboard featuring an armoured bear bursting out of a billboard, breathing out icy breath. Major social media and marketing industry pick-up
-Ad lifts – important not to be too London-centric. Birmingham and Manchester shopping centre vinyl wraps in lifts with selfie spots, audio featuring actors and added peppermint scent
-Cinema spot. Guaranteed audiences of millennials. Shown 1 week ahead of tx date
Results on launch:
10 million viewers of episode 1 across tv and iplayer
Most successful UK drama launch in 5 years
SUSTAIN PHASE
-Snapchat lens where user can turn themselves into the armoured bear
-Continuity idents – adding motifs from the show into regular BBC idents
-Daemon bot – for superfans. What is your daemon? 40 options. Inspired by illustrations in the novels. INCLUDE LINK.
In summary:
Traditional marketing still has its place but we have to find new, exciting and creative ways to reach audiences, particularly our youth audience, who are key to the future of the BBC
Audience questions:
What are your timelines? Very tight, due to special effects and schedule changes. Ideally 4 months notice to get a team in place. Clips arrived very late so clip-based assets were very close-to-the-wire
What’s the mix of skills within the team? All in-house, but we bring in freelancers into the team when we need them.
What didn’t come off? Had to drop our idea to fly a real-life zeppelin over key UK locations because the only available zeppelin was already booked for an Oktoberfest event.
Other work referenced:
Peaky Blinders fan-art campaign
- Inspired by a Japanese artist who makes shadow art
- By day – stakes hammered into billboard
- By night – transforms and the shadow left by the stakes forms the shape of Dracula’s face
- Front page of Reddit twice, picked up by global media
This is a love story: Key takeaways from the Fleabag campaign
In January, Helen Flood of Hodder won the October-December 2019 Best Non-Fiction Marketing Campaign award for her wonderful work on the campaign for Fleabag: The Scriptures. Here, she shares her three key lessons from that campaign:
Keep the faith.
For a really long time in this campaign I worked without any visuals or any knowledge of what the extra material would be. There were no proofs, no audio clips, no meetings with author or agent. All I knew was that a lot of people loved Fleabag and if we presented a campaign pitched to what they loved about the show, that they’d get it.
You can do a lot without an author.
Our three ‘Fleabag parties’ (authorless events) sold out, because people really wanted to come and talk about Fleabag. They loved getting goody bags and taking part in the confessions. And brands loved the show as much as we did – Marks and Spencer gave us 450 free gins and in tins, Becca and Elizabeth Arden sent lipsticks and Philip Kingsley provided the hair masks (because hair is everything). Fans loved visiting the café because they adore the series and wanted to take photos – it didn’t matter that Phoebe wouldn’t be there. We found lots of fans to tweet and share our messaging, and after some convincing even the BBC got on board and tweeted about the book.
Give something back.
Soho Theatre is so important to the Fleabag story, and they do great work with young writers, helping them to bring their work to the stage. I really wanted to work with them as their fans and followers are people who love the craft of theatre and are more likely than anyone else to buy scripts to study the way the show is put together. By sponsoring a bursary for a writer who wouldn’t have otherwise been able to afford to attend a theatre writing course it felt like Fleabag could come full circle and was a great finishing touch to the campaign.
Winners of the October-December 2019 BMS Awards
And the winners of last night’s BMS Awards are…
Best Multi-Title Campaign
- Highly Commended: That’s Not My…
Marketers: Joanna Olney & Sarah Connell (Usborne)
‘We loved the joined-up, strategic thinking behind this campaign, which reached straight into the hearts of the target audience and elevated sales across the range. Very impressive!’
- Winner: MerkyBooks Pop-Up Shop
Marketers: Emma Wallace, Natalia Cacciatore, Lydia Weigel & Sharifah Grant (Cornerstone PRH)
‘The panel was unanimous in awarding this fantastic campaign to celebrate the Merky Books imprint. The pop-up shop not only successfully connected its growing community of underrepresented readers and writers, but also made some noise within the industry. Excellent work.’
Best Guerilla Campaign
- Highly Commended: Where’s My Guitar? by Bernie Marsden
Marketer: Liv Marsden (4th Estate HarperCollins)
‘We all absolutely loved the passion that went into making this campaign such a success. On zero budget this campaign built on the loyalty of Bernie’s fanbase and looked to leave no stone unturned in a bid to engage audiences.’
- Winner: Find Me by André Aciman
Marketer: Phoebe Williams (Faber & Faber)
‘An excellent example of a focused marketing campaign channelling its modest budget into a campaign meeting its core audience where it is! This singularly focused, yet imaginative, campaign deservedly resulted in great sales for this sequel title.’
Best Children’s Campaign
- Highly Commended: The Taylor Turbochaser by David Baddiel
Marketer: Alex Cowan (HarperCollins Children’s Books)
‘Showed fantastic creativity with an experiential taxi brand activation amplified on social channels; a trailer distributed across cinema, TV and digital; activity at go-karting sites to reach the perfect audience, and retail theatre.’
- Winner: Earth Heroes by Lily Dyu
Marketer: Hester Seddon & Julia Kathro (Nosy Crow)
‘With only a 4-month lead time from acquisition to promotion, the team managed to develop a brilliantly executed campaign to reach young environmentally-minded readers, with teaching resource packs, partnerships and a video competition that leveraged user-generated content.’
Best Young Adult Campaign
- Highly Commended: The Places I’ve Cried in Public by Holly Bourne
Marketers: Hannah Reardon Steward & Joanna Olney (Usborne)
‘The team behind this campaign demonstrated a thorough understanding of their audience. They tackled a challenging subject matter with finesse and style, with excellent results.’
- Winner: It’s Not OK To Feel Blue (and other lies) by Scarlett Curtis
Marketer: Alesha Bonser (PRH Children’s)
‘This campaign was a masterclass in talent and asset management. It was meticulously planned and expertly executed, with no resource wasted. This team chose not to rest on its laurels and instead is in the process of building an unforgettable brand.’
Best Adult Non-Fiction Campaign
- Highly Commended: Fleabag: The Scriptures by Phoebe Waller-Bridge
Marketer: Helen Flood (Sceptre/Hodder & Stoughton)
‘Simple and understated, the campaign understood the bones of Fleabag. The quotes worked as in-jokes to those who were fans, and cheeky commentary to those who were not.’
- Winner: The Boy, The Mole, The Fox and The Horse by Charlie Mackesy
Marketer: Rebecca Hibbert (Ebury PRH)
‘We were wowed by the sales numbers this book, by a virtually unknown author, managed to achieve on a modest budget. Props to the marketing team who showed a real understanding of the audience and took every opportunity to build its passion for the title.’
Best Adult Fiction Campaign
- Highly Commended: So Lucky by Dawn O’Porter
Marketer: Rachel Quin & Sarah Shea (HarperCollins)
‘It’s always a joy to see innovation and passion combined and that’s certainly what we saw in this fresh and exciting campaign. Special mention to the Podcast which we all thought worked brilliantly.’
- Winner: The Starless Sea by Erin Morgenstern
Marketer: Sophie Painter & Kate Neilan (Vintage PRH)
‘A brilliantly creative and multifaceted campaign ticking all the boxes and more! Audience and retailer understanding was at its core but it went far beyond this and we, as judges, loved the teams desire to innovate. Bravo!’
SPOTLIGHT AWARDS:
- Audience Development Spotlight:
The Secret Commonwealth by Philip Pullman
Marketer: Gemma Rostill & Michael Bedo (PRH Children’s)
‘This team took nothing for granted with its approach to audience, unpacking its insight from all possible angles in a way that maintained loyalty, reincorporated lapsed fans and brought new readers into the fold. Inspiring work all around.’
- Innovation Spotlight
I Carried A Watermelon by Katy Brand
Marketer: Claire Brett & Joanna Rose (HQ HarperCollins)
‘This stunt was strategic, focused and FUN. With minimal budget this team honed in on one core piece of activity, which they then made work across multiple platforms.’
- Creativity Spotlight
Wham! George & Me by Andrew Ridgeley
Marketer: Claire Bush & Vicky Photiou (Michael Joseph PRH)
‘The design of the campaign reflected the nostalgia of the time. In a blink, the 80s backgrounds took you back to Smash Hits and WHSmith stationery, giving the campaign a visual language.’
Full list of 2019 Book Marketing Society Award Winners
January – March 2019
- Debut – The Familiars / Stephen Dumugn, Felice McKeown, Sahini Bibi (BonnierZaffre)
- Fiction – The Binding / Sarah Shea, Katy Blott (HarperFiction)
- Non-fiction – Pinch of Nom / Don Shanahan, Jodie Mullish, Andy Joannou (Bluebird)
- Children’s – The Valentines: Happy Girl Lucky / Alex Cowan, Beth Maher (HC Childrens)
- YA – King of Scars / Naomi Berwin, Natasha Whearity (Hachette Childrens)
- Guerrilla – How to Clean Your House / Janet Aspey, Hannah Sawyer (HQ)
April – June 2019
- Debut – Queenie / Cait Davies (Orion)
- Fiction – In a House of Lies / Tom Noble (Orion)
- Non-fiction – The Secret Barrister / Paul Martinovic (Pan Macmillan)
- Children’s – Malamander / Jill Kidson, Jo Humphries-Davies, Josh Alliston, James McParland (Walker)
- YA – A Good Girl’s Guide to Murder / Jasveen Bansal, Dannie Price (Egmont)
- Guerrilla – Lowborn / Sophie Painter (Vintage)
July – September 2019
- Debut – Our Stop / Hannah O’Brien, Ellie Pilcher (Avon)
- Fiction – The Testaments / Rosanna Boscawen, Chloe Healy, Sophie Painter (Vintage PRH)
- Non-fiction – Three Women / Hannah Paget (Bloomsbury)
- Children’s – Top Marks for Murder / Sonia Razvi (PRH Childrens)
- YA – The Deathless Girls / Naomi Berwin (Hachette Childrens)
- Guerrilla – In at the Deep End / Fleur Clarke (HarperFiction)
- Multi-title – Start Your Voyage / Fleur Clarke, Emma Pickard, Rachel Quin (HarperFiction)
October-December 2019
- The Starless Sea / Sophie Painter & Kate Neilan (Vintage PRH)Fiction
- Non-fiction – The Boy, The Mole, The Fox and The Horse / Rebecca Hibbert (Ebury PRH)
- Children’s – Earth Heroes / Hester Seddon & Julia Kathro (Nosy Crow)
- YA – It’s Not OK To Feel Blue (and other lies) / Alesha Bonser (PRH Children’s)
- Guerrilla – Find Me / Phoebe Williams (Faber & Faber)
- Multi-title – MerkyBooks Pop-Up Shop / Emma Wallace, Natalia Cacciatore, Lydia Weigel & Sharifah Grant (Cornerstone PRH)
4 key learnings from Three Women
Congratulations to Hannah Paget of Bloomsbury, who picked up a BMS Award for her outstanding work on the Three Women campaign. The judges said she “delivered a highly impactful and beautiful campaign for an unknown US author by building advocacy from both key influencers and booksellers.”
Here are the key learnings Hannah wanted to share about the campaign:
1. Important books are for everyone
While it is often crucial to have a target market in mind, with Three Women we wanted an approach that wouldn’t limit the potential audience. Mindful of the special high/low nature of the book, our aim was to position it as a ground-breaking piece of non-fiction but also a thrilling read. We deliberately kept the messaging around it as broad and open as possible. I carefully planned the first proof, keeping the design pared back and using that amazing Dave Eggers quote, to confidently assert that this was important book to be taken seriously. Settling on the cover image was also long process (our amazing designer Greg Heinimann tried over 100 covers!) as we wanted to make sure we were doing something original and universal that wouldn’t narrow the audience.
2. Booksellers are your friends and key champions
Getting retailers on side was crucial. We knew the author was a huge asset, so we brought her over to the UK four months before publication. Allowing booksellers to meet her, to hear her speak about the book and the eight years she spent researching it, led to a huge increase in booksellers reading and loving it. Through working closely with those key buyers and booksellers we were able to secure strong in-store support. Foyles in particular were incredible supporters. They chose it as their book of the month, had a special edition including gift with purchase, a sold out event before publication and multiple window displays. They’ve gone on to name it their Non-Fiction Book of the Year. Waterstones Gower Street were also amazing at hand selling and created the most beautiful window display!
3. Helpful to determine creative clarity as soon as possible
In order to straddle a serious non-fiction treatment with a highly original and thrilling read, I wanted to ensure visuals around the campaign were pared back and not suggestive or leading. This was established early on and adhered to throughout. I also wanted the marketing materials to feel high-quality and tactile, so I chose a soft touch laminate finish for the postcards and the second proof, which influenced the decision for the finished book. An initial style guide for internal use and for international offices was also incredibly useful for keeping this consistent.
4. Have regular meetings with a core group to keep yourself on track
Working so closely as a team was incredibly important. I would meet regularly with Alexis, the editor, and Emma, the publicist, to go over every detail of the campaign. We drafted and redrafted the initial copy and closely thought through the positioning and messaging. We were all busy working on it separately, but meeting regularly kept our messaging and visuals aligned.
Announcing the Book Marketing Society Mentorship Scheme
We’re pleased to announce our first cross-publisher mentorship scheme for marketers.
About
Mentoring is a relationship, usually between a senior mentor and a more junior mentee, designed to provide a neutral and confidential space for discussion, to help with shaping careers and navigating areas of development.
The BMS scheme is designed to be reciprocal, with much of the steering coming from the senior partner, but advice on offer where appropriate from the junior partner. While some larger publishers run their own mentorship schemes, this is designed to be complementary – there is a benefit to cross-industry links and different ways of approaching challenges.
The aim of the scheme is to build networks and support best practice across publishers’ marketing teams.
There are 12 places available in the first year.
How
The mentorship is designed to last for 1 year and each pair commits to meeting at least 3 times over the year. The onus is on the mentee to request a meeting with the mentor checking in if necessary to move things on. We suggest you choose a neutral venue and meet for a coffee –this may need to fall outside work hours but we will leave it to each pair to arrange a suitable time. The suggested meeting duration is 60 to 90 minutes.
For those based outside of London, we recommend arranging meetings via Skype (or equivalent) or by phone.
When
Mentees should apply by 10th December 2019. Matches will be announced by mid-January 2020.
To apply as a mentee
NB Mentee applicants should have at least six months’ experience in an entry level marketing role
Email [email protected] by 10th December 2019. Please include in your email:
- Name
- Job title
- Experience to date
- Location
- What you would like to gain from a mentorship – please be as detailed as possible in order to help match you
- Any specific challenges you’d like to address
To volunteer as a mentor
NB Mentors should be of Marketing Manager (or equivalent) level, or above
Email [email protected] by 10th December 2019. Please include in your email:
- Name
- Job title
- Experience to date
- Areas of expertise
- Please let us know if you have mentored before
- Anything else you think it would be helpful for us to know
If you have any questions, please email [email protected]
The BMS Mentorship Team are:
- Niamh Murray, Marketing Director, Profile Books
- Matt Clacher, Marketing Director, Fourth Estate
- Celeste Ward-Best, Deputy Marketing Director, Little Brown
Winners of the July-September 2019 BMS Awards
And the winners of last night’s BMS Awards are…
Best Multi-Title Campaign
- Highly Commended: The Year of Tracy Chevalier
Marketer: Abbie Salter, HarperCollins
“It was a challenge to reignite the passion of a classic title, re-engage existing audiences and create new ones. This campaign was carefully planned and connected the dots between the titles, loyal audiences and the engagement of new!”
- Winner: Start Your Voyage
Marketers: Fleur Clarke, Emma Pickard & Rachel Quin, HarperCollins
“This was a well thought-out campaign, bringing traditional branding into the 21st Century to excited existing audiences and incite new one. Through the design of a great suite of assets, and making use of a number of list authors in the UK at the same time, the publisher was able to give this list the brand reboot it deserved with a distinct look and feel.”
Best Guerilla Campaign
- Highly Commended: The Carer by Deborah
Marketer: Victoria Abbot, Headline (Hachette)
“An imaginative approach to casting the net wide to find the audience for Deborah’s book, demonstrating a real sense of understanding a brand.”
- Winner: In at the Deep End by Kate Davies
Marketer: Fleur Clarke, Harper Collins
“A fantastic example of trusting your instincts to build on a strong campaign message. Strategic planning lead to a raft of opportunities that gave the paperback the exposure it needed and it really paid off.”
Best Children’s Campaign
- Highly Commended: Plastic Sucks by Dougie Poynter
Marketer: Kat McKenna, Macmillan Children’s Books
“Leveraging a great publishing proposition, the team harnessed Dougie Poynter’s social media presence with the use of strategic content, devising creative partnerships with WWF, Kidzania, Sea Life London, Sky Ocean Rescue, Summer in the City and devising a school outreach programme and a nationwide event to inspire a new generation of environmental ambassadors.”
- Winner: Top Marks for Murder by Robyn Stevens
Marketer: Sonia Razvi, Puffin Books
“It’s not easy to run a recruitment campaign for 8th book in a series, but the Top Marks for Murder marketer devised fantastic initiatives for renewed bookseller engagement, leveraging the existing fanbase on Twitter and Popjam, and devising creative partnerships across Sblended Milkshake shops, Trampoline Parks, Coffee Shops and school engagement to reach a new audience.”
Best Young Adult Campaign
- Highly Commended: Crossfire by Malorie Blackman
Marketer: Michael Bedo, Penguin Random House Children’s
“Great core creative idea running throughout the #DearMalorie campaign, supported with presence at Glastonbury and good use of influencers, social advertising and animated trailer.”
- Winner: The Deathless Girls by Kiran Millwood Hargrave
Marketer: Naomi Berwin, Hachette Children’s Group
“A solid campaign which leveraged owned channels and third-party activities, including a mini-brochure in Illumicrate boxes, influencers outreach, presence at YALC, and an animated mini-trailer to target the perfect audience.”
Best Debut Campaign
- Highly Commended: My Sister the Serial Killer by Oyinkan Braithwaite
Marketers: Jamie Forrest and Sophie Walker, Atlantic Books
“Oh the beauty of this campaign! Stunning creative, brilliant copy and a tenacity with the paperback which drove sales and made this book unmissable.”
- Winner: Our Stop by Laura Jane William
Marketers: Hannah O’Brien and Ellie Pilcher, Avon (HarperCollins)
“A sharp, focussed campaign with rigorous audience testing and an unwavering brand proposition, this team outperformed its own objectives, smashing sales targets and shifting industry perceptions.”
Best Adult Non-Fiction Campaign
- Highly Commended: Gotta Get Theroux This by Louis Theroux
Marketers: Sarah Arratoon, Andy Joannou, Sarah Patel and Connie Roff, PanMacmillan
“We loved how this cheeky and fun campaign captured the spirit of Louis while being underpinned by a smart media strategy.”
- Winner: Three Women by Lisa Taddeo
Marketer: Hannah Paget, Bloomsbury
“They delivered a highly impactful and beautiful campaign for an unknown US author by building advocacy from both key influencers and booksellers.”
Best Adult Fiction Campaign
- Highly Commended: The Chain by Adrian McKinty
Marketer: Tom Noble, Orion
“With a limited budget, this campaign demonstrated enormous integrity and passion. Its consistent, bold branding brilliantly tied in with the book’s sinister premise.”
- Winner: The Testaments by Margaret Atwood
Marketers: Rosanna Boscawen, Chloe Healy and Sophie Painter, Vintage
“For the book event of the decade, the team at VINTAGE were by no means complacent, and created a dovetailed, innovative and highly impactful campaign which made the most of every opportunity.”
SPOTLIGHT AWARDS:
Audience development
- One Minute Later by Susan Lewis
Marketers: Fleur Clarke and Rachel Quin, HarperCollins
“With thorough, in-depth analysis, the team developed an insight-driven, creative campaign which engaged new, relevant audiences for an author three decades into her career.”
Innovation spotlight
- Over the Top by Jonathan Van Ness
Marketer: Amy Fulwood, Simon & Schuster
“Really impressive audience targeting tailored to multiple platforms, the most ambitious being the animated Smart TV ads served to Queer Eye watchers, streamers and – surprisingly – video gamers.”
Creativity spotlight
- The Holiday by T.M. Logan
Marketer: Felice McKeown, Zaffre / Bonnier Books UK
“This campaign was as compelling as a movie trailer. Clever use of language and cohesive branding gave it a life of its own as a fitting prelude to the book.”
Congratulations to all the winners and thank you to everyone who submitted their campaign. Look out for the next round of award entreis coming in the new year!
What made the Lowborn campaign such a success?
Earlier this year, Sophie Painter of VINTAGE won the Best Guerrilla Marketing Award (April-June 2019) for her campaign for Kerry Hudson’s Lowdown. The judges said this was:
A stellar example of a campaign delivering on some clear objectives with a small budget and within a very short timeline. They not only conceived and delivered a campaign to support an important social justice campaign, but also made use of high profile partnerships with relevant charities to deliver a wide range of events and reach new audiences for this book.
But what did Sophie think the key elements of the campaign were? Here are her key takeaways:
- The best campaigns are created when the author, agent, editorial, sales, publicity and marketing all agree and work towards the same goals from the outset. This was a hugely collaborative campaign based on the plans we set out to author and agent nine months ahead of publication. It’s especially important to have built this trust early on when a book is so personal to and difficult for the author.
- In order to draw non-traditional book-buying audiences to events the key things to consider are the accessibility of the location, price and format.
- You don’t need a huge advertising budget if you can work with large charity partners in a meaningful way, but your activity has to be led by their campaigns.
- The personal recommendation of booksellers is central to this kind of narrative non-fiction in hardback, it can be time consuming to reach out to individual bookshops but their passion will sustain the sales once all of the publicity and marketing has run.
10 key learnings from the YA and Crossover Masterclass
Last month, James Spackman hosted the latest BMS Masterclass, focusing on YA and Crossover. With presentations from Naomi Berwin of Hachette Children’s Group, Roisin O’Shea of Hot Key and Piccadilly Press, Sanne Vliegenthart of Books & Quills and Kat McKenna of Macmillan Children’s Books, it was a fascinating insight into some of great YA and Corssover marketing campaigns.
As always, James hosted a round-table discussion after the presentations, allowing people to bring their marketing challenges to the wider group. Here are a few of the key things that came up on the day…
- Adult and Children’s publishers can have very different definitions of success. Week one chart position remains key for adult firms, whereas kids’ lists have tended to have to look more long term.
- Sometimes a strategically minded author can help a global campaign come together. Leigh Bordugo, for example, insists on coherence between her global publishers, which means assets are shared and there is more noise around key launches.
- The YA community is still thriving but with so many books being published, you can’t just rely on a core of influencers to make your launch talked about.
- There’s no substitute for meeting readers. Don’t assume you know what readers want from your authors of your list. How do you know if a jacketless hardback is the wrong choice? A stream of keen fans at YALC will tell you …
- In a time where getting commitment from retail chains is hard, YALC is a precious thing: hundreds of keen readers who buy multiple editons at full price and give you invaluable insight.
- YA authors’ passion for their books and their community is a huge asset – make sure you use it.
- Look outside the book community to see who’s excelling at communicating with users. The Netflix instagram is A1.
- Look and feel is a critical judgement for YA social channels. Colour, and a blend of high production and authentic/homemade does the trick.
- Don’t try to talk like a teenager if you aren’t actually one yourself.
- A YouTube channel can be a great way to reach the YA audience, but involves a huge commitment and breaking through takes a long time. Not for the faint of heart!
Our next BMS Masterclass will be on non-fiction marketing. You can find out more and book your tickets here.
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