The Nokia Lumia 900—the hero product from Microsoft’s premier Windows Phone partner — hits AT&T stores on April 8. In advance of the launch, the reviews have come rolling in. Mossberg focuses on the flaws, and while nothing he’s written is inaccurate, I can say as a consumer that I find that the joys of the product outweigh its shortcomings. I will say it loud and say it proud: I love my Windows Phone. I liked the HTC Trophy (awful camera notwithstanding); I like the Samsung Focus Flash (a bargain at $0.99, with contract); and Nokia brings the platform to a new level with more sophisticated hardware.
I have to share something with you — I’m upset. Why? Because many clients have no idea of the value of good, solid qualitative research, nor the investments needed. Recently, I was discussing a prospective qualitative research project; upon revealing the cost of such a project, one of the group members replied, “That is the same price as for a quantitative project; how can you justify that price?”
The conversation reminded me of my favorite quote from the movie You’ve Got Mail: Tom Hanks inquires about a book with hand-tipped illustrations and asks, “That’s why it costs so much?” and Steve Zahn retorts, “No, that’s why it’s worth so much.”
So, why is qualitative research worth so much?
Because there is a lot of skill involved in uncovering insights from qualitative research. Qualitative research is not about putting a couple of quotes on a page. It requires time, thought, and creativity to produce successful insights. What and who you put into your qualitative research process will determine what you get out of it. And it requires special skills. Unfortunately for us qualitative researchers, there aren’t many tools to help us with data analysis. Usually, it’s a manual process combined with a natural ability to read between the lines to pull out those impactful findings — combined with a creative mind to transform these into a compelling story.
Peter O'Neill here. As well as working the end of our fiscal quarter (yes, we analysts must also meet targets), I’ve been busy in the past few weeks getting ready for our upcoming Marketing Forum, where I am co-presenting a session on the rising importance of the customer retention and expansion phase with my colleague Tim Harmon. A Forrester Forum always presents me with a dilemma: I’d like to have as many client one-on-one sessions as possible — it’s always great to meet people that I often only know from the telephone — but then again, I’d also like to enjoy and learn from the other presentations at the conference.
Forrester applauds GM, Goodby, and McCann for breaking ground to create a new genre of agency orchestration.
Last week's announcement of Chevrolet's new global creative agency Commonwealth, a joint venture between Omnicom'sGoodby, Silverstein & Partners and IPG's McCann Erickson Worldwide, is further evidence that the complexity of managing a global brand demands marketers and agencies to work together in new ways.
Despite being created primarily out of financial necessity — to cut more than $2 billion in global marketing expenses — CMO Joel Ewanick and agency leaders at Goodby and McCann arrived at an innovative solution to improve the brand's global creative stewardship. Less-committed CMOs might've given up on the idea that they could get their two most important creative agencies, from different holding companies, to work together. And lesser agencies might have folded up the tent and retreated to greener pastures, before sharing brand strategy and creative duties. But they didn't. They stared a cold financial reality in the eye, apparently over a hot coffee at a shop named Commonwealth.
So what kind of music will Commonwealth be playing for Chevy?
Think about your favorite action movie. Raiders Of The Lost Ark. The Matrix. Any James Bond flick. What do they have in common? A storyline that goes something like this: In the first few minutes, you’re drawn into a short chase or adventure — something that immediately gets your heart pounding. It builds up quickly and then resolves with a big boom! You’re hooked. And at that point, the main narrative begins. Over the course of the next 90 minutes or so, the storyline twists and turns as the main characters fight off bands of aliens, spies, mummies, and the like. The action crescendos with a series of increasingly exciting events that make you say, “Wow . . . wow. . . WOW!” as you scoot to the edge of your seat. Finally the action-packed finale delivers one last thrilling and explosive BOOM!! As a movie-goer, you’re left breathless.
You’ve no doubt experienced this type of storytelling countless times. And if you paid attention in literature or drama class, you might recognize this narrative structure as a classic dramatic arc dating back to Aristotle. But I bet you haven’t thought about it in the context of your company’s customer experience. Or, at least I hadn’t — not until I attended the Service Design Network conference last fall and attended a workshop led by Adam Lawrence of Work•Play•Experience, a design firm that helps companies design customer experiences using theatrical methods.