Category Archives: Learning

光有梗還不夠,你還要懂得經營關係-「中國營銷大咖的商業進化論」會後感

截圖來自當天活動現場

聽完「中國營銷大咖的商業進化論」後,在社群經營上有些啟發,

我將心得分成2類「用戶增長執行力」、「粉絲關係經營」:

用戶增長執行力

新世相在2018年將市場營運部改名叫「用戶增長部」,這樣能跟同事間確定清晰目標知道要對什麼數據負責,他們期待能透過市占營銷、內容生產給公司一個明確目標。

對新世相而言,「創意」在所有重要因素中反而是最普通排在後頭的,「執行力」才是流行發動的首要關鍵

增長執行力是一個要不斷訓練底層思維能力

by 新世象增長團隊

在流行製造程序化方面,無論是案例收集、用戶接觸、技術工具、創意執行等在內部團隊已有SOP標準, 當大眾有種共同情緒即將湧起時,付聖強提出了要又快又穩的把事情完成觀點, 如果不能穩就先選擇快,再過渡到穩,然後透過資源極大化應用以及數據迭代優化才有機會打造出爆款,而公司品牌知名度、社群受眾規模、發佈時機點都會影響著成效,以新世相為例,為了提高活動變成爆款機會(每10款只成功1、2款),然後不斷在空間規模、數字、品牌背書等地方加碼,必要時加班到清晨3點。

個人心得:

  1. 有些人認為刻意迎合演算法來提升數據成效不算真心在經營社群,容易把社群本質遺忘掉,現在我反而認為跟隨著演算法是必走之路,因為沒了背後觸及流量,什麼社群經營都是在空談。
  2. FB貼文跟上時事有梗不表示能輕易在社群創造出流行話題,以新世相為例還需動員這麼多資源,如果在公司是身兼數職1人小編,對你而言更難帶出話題,天天用創意手法跟風或許不適合你,活動議題要適當、必要時用廣告投放增加成效才能有更好的成效。

粉絲關係經營

新世相會把用戶故事收集進資料庫,有活動需要時會將用戶故事拍成影片;而胡辛束經營的奶茶店裡提供了故事販賣機服務,顧客進去奶茶店可以順便看看別人心情故事;阿滴會一個個回覆留言訊息來經營和粉絲間的關係。

一個好的內容創造者創造好的內容

更好內容創造者在幫用戶的社交平台生產內容

by胡辛束

只有當用戶發現你的產品服務真的有幫助時,用戶才會成為種子用戶主動幫你做推廣。

個人心得:

只靠互動有趣來經營粉絲關係絕對不夠,外表談吐幽默有趣確實會吸引許多目光,但對方願不願意跟你維持長期的關係,需花心思來經營。

但以台灣社群經營最常用的平台Facebook粉絲團而言,是不利於深度經營用戶的,首先FB粉絲團形式來說屬集權式由上至下,1對多的模式,粉絲頂多只能在貼文下方留言,跟品牌之間還是有點距離感,若把抽獎獲得的僵尸粉絲和只是來看創意有梗貼文的用戶扣除,實際體驗過產品服務的真正粉絲究竟還剩多少?

若想做社群粉絲深度經營,策略上其實可選用:

「私密封閉形式平台 」和UGC(使用者創作內容)經營形式

私密平台重點在把用過產品服務的消費者跟單純路過看戲的受眾分開,把消費者經營成VIP,而UGC形式可以提升用戶主動參與感。

  1. 私密封閉形式平台

除了Line@、FB社團、Messenger等平台帶有私密功能性,

Instagram也有個小功能:摯友(close friends)可善加利用

IG-摯友在官方帳號怎麼發揮?

2. UGC經營形式

「波波黛莉」的貼文跟「童顏有機」限時動態有時會放入UGC元素,無論是鼓勵用戶提供內容、或是辦打卡拍照等其它活動,用戶不但在參與感、自身形象都會有提升,另外由於IG演算法跟FB的不同,時事議題在IG上沒特別吃香,透過素人提供的產品服務情境照,也是增加觸及互動的好選擇。

總結來說,要先評估自身資源多寡,並透過合適渠道來經營你的鐵粉。

Booknote of The Inner Game of Tennis

THE INNER GAME OF TENNIS

The discoveries of the two selves

Everyone has Two Selves

Self 1 : the teller

Self 2 : the doer

The inner game of tennis involves several skills:

  1. Learning to see what’s happening “nonjudgmentally”– that is to notice what’s  happening rather than merely seeing how well or badly it is happening.
  2. Learning how to trust Self 2 to perform at its best.
  3. Learning how to get the clearest picture of your desired outcome.

Quieting the Self 1:

The judgement produces verbal thinking that results in tightness, tightness interferes with the fluidity needed for quick movement and reaction.

Trust your Self 2:

If we let ourselves lose in touch with our ability to feel our action, by relying too heavily on instructions, we could seriously compromise our access to our natural learning processes and our potential to perform. Instead if we hit the ball relying on the instincts of Self 2, we reinforce the simplest natural way to the optimal shot.

Real Application:

In a dancing class many years ago, I could not step my feet correctly with the rhythm. My teacher told me not to think by your brain, just dance by your body. Then I sudden catch the right rhythm.

The note of Story: Style, Structure, Substance, and the Principles of Screenwriting Chapter 1

Story is about archetypes, not stereotypes.

Two typical and persistent kinds of failed screenplay.

  1. “personal story” bad script(The writer see what is visible factual, he is blind to the truth of life)
  2. The “guaranteed commercial success,” is an over-structured, overcomplicated, overpopulated assault on the physical senses that bear no relationship to life whatsoever.

Story is metaphor for life.

Sensory and imaginative are powers prerequisite to creativity.
Writing also demand two singular and essential talents.

  1. The first is literary talent– the conversion of ordinary language into a higher, more expressive form, vividly describing the world and capturing its human voices.Literary talent is, however, common.
  2. The second is story talent– the creative conversion of life itself to a more powerful, clearer, more meaningful experience.

The material of literary talent is words; the material of story talent is life itself.

Story talent is primary, literary talent secondary but essential. Only by using everything and anything you know about the craft of storytelling can make your talent forge story.