Blog (2006-2015)

  • ALO: Mobile site

    Approximately 20% of the traffic to the ALO website comes from mobile devices. This has been steadily on the increase and will continue to increase into the future. The new website displays well on mobile devices and touch screen devices.

    What we wanted to build then was something to complement, not replace the new website. There is no auto detect for mobile browsers on the main institutional site, to redirect mobile device users to a mobile site. In the future, if the mobile site proves more effective in delivering mobile sales, auto detect can be enabled.

    The core concept for a complementary mobile site was easily accessible program notes and pertinent event information readily available for patrons on the go. This is how the idea for ALOontheGo.org was born. There are no extra costs and no considerable extra work involved; it’s a simple, straightforward WordPress installation with mobile specific content.

    Traffic is directed specifically to mobile site where deemed appropriate: a Facebook post for production notes on the go; or promote accessibility and information at your fingertips in email marketing.

    While mobile traffic accounts for 20% of total traffic, it only delivers less than 10% of the revenue. As mobile traffic will become more and more important, we need to bridge this gap in conversions. We will need to monitor how ALO on the Go converts to sales compared to the main institutional site. What can we learn?

    Paciolan recently launched mobile specific box office sites. Auto detect for mobile browsers is enabled. So no matter how you arrive to the ticketing site, via ALO on the Go or the main site, if you arrive on a mobile device, you will see the mobile box office site. Will this mobile specific site improve conversion rates? As the site just launched, it is too early to tell at this point.

     

  • ALO: Social media

    In my 2010 TAFTO contribution, this is what I wrote:

    Over the past decade, the Internet has moved toward becoming a social medium with more participation (encouraging contributions), openness (no barriers to content and feedback), connectedness (networked relationships and sharing content), community (gathering around a common interest), and, of course, conversation (a two-way street).

    The Cluetrain Manifesto, still pertinent after more than 10 years, tells us that “conversations among human beings sound human. They are conducted in a human voice.” And that means being authentic.

    And that sentiment has been the driving force in the social media efforts of the Austin Lyric Opera: messaging for engagement in status updates and tweets; no barriers to behind-the-scenes content; sharing content across channels; fostering an opera fan community; and not shying away from conversations and responding to customer service issues rapidly and personally.

    In just one season, we increased the number of Facebook fans by more than 60%, but more importantly, we increased engagement and viral reach. Facebook is now the second largest referral source to the ALO website. By integrating YouTube into other marketing channels, such as event landing pages and email campaigns, we increased channel views by 60%.

    Perhaps my proudest social media moment was turning a negative customer experience into a positive outcome by transparently responding and following up and following through with customer service. This patron now regularly “likes” and positively comments on the opera’s status updates.

     

  • ALO: Online advertising

    One of the first things I did was to pull our online advertising in-house. Previously, it was not uncommon to spend $8,000 per production on an agency booking interactive banner ads and placing search engine ads on Google, Yahoo and Bing.

    First, I applied for Google Grants. It’s a simple process for nonprofits, but it took a couple of months to be approved. Google Grants allows nonprofits to set up Google AdWords campaigns at no cost. It’s all in-kind advertising. There are a few limiting factors, but the biggest is perhaps the maximum cost-per-click (CPC) of $1.00, which makes you miss out on some popular keywords. Monthly “ad spend” will be capped at $10,000, but that won’t be a problem for 99% of the nonprofits.

    Pulling Google AdWords in-house through Google Grants obviously saved money. But the biggest benefit is that you can use it as your own testing playground for ad content, especially if you can tie it in with Google Analytics e-commerce tracking. It was certainly interesting to see some ad content delivering more traffic than other ad content. But delivering more traffic doesn’t necessarily mean the ads are more effective, as you can see in the slides below.

    Retargeting was introduced to me via our ticketing solution Paciolan. They helped set up a campaign for Turandot where we targeted consumers based on their previous Internet actions, in situations where these actions did not result in a sale or conversion. Basically, you visit the ALO website but don’t buy a ticket? Next time you visit Time magazine online, or any other media outlet in the network, and you might get served a Turandot ad. Compared to banner ads on local media websites, retargeting seemed to do much better. Paciolan reported a ROAS of $16 (the slides below only report what can be learned from Google Analytics, hence the significantly lower ROAS).

    Facebook Ads are an interesting story. The CPM (cost per thousand impressions) is impressive for the campaign we ran. However, I didn’t see a positive return for advertising spending as reported in Google Analytics. This is somewhat understandable when you realize none of the ads drove traffic directly to the ALO website. Facebook ads seem to work best with a higher social reach (delivering the ad content to the social circles of your Page’s fans). Advertising is about frequency and reach and Facebook certainly delivers on that at a low cost. I certainly see value in that.

    If we should believe Google Analytics, banner ads in local media seemed to perform far below the other channels. However, there are two reasons for not completely discarding them: 1) they are part of a print and online package negotiation; and 2) they do deliver a decent reach with prominent placement in media outlets that are frequented by the opera’s patrons (and Google Analytics will not have measured all the impact of that).

     

  • ALO: Tracking conversions

    Data collection, measurement and analysis are of the utmost importance for any marketer. Arts organizations across the country are dealing with budget cutbacks, so it becomes increasingly important to put your marketing dollars in the most effective channels and efforts. Without data, you simply can’t do your job as a marketer.

    After launching the website, we started collecting Google Analytics data. Both from the institutional site as well as the third party ticketing solution hosted on another server. The problem was the traffic between the institutional site and the ticketing site; we could track conversions, but they were always sourced from the institutional site. We needed cross-domain tracking to really get into the roots of conversion traffic. This is somewhat complicated and tricky to set up, but Paciolan, the ticketing solution, was helpful and knowledgeable. The client services team set up the appropriate code on the ticketing site and delivered documentation for the institutional site.

    E-commerce, cross-domain tracking was now enabled. Just in time for bulk of the single ticket sales would come in for the final performance of the season. What follows here is a look inside a specific one-time offer delivered via email marketing.

    All links in the email were tagged with campaign parameters through Google’s URL Builder tool. This enables a marketer to see in one glance how an email performed. What was the conversion rate and how does it compare to another email? Is there a bigger story to tell? As you will see below, an email can do much more than simply deliver a certain number of discounted ticket sales.

     
    Next steps include eliminating those points that skew data, such as bit.ly links on the institutional site that caused a distorted number of referrals from “austinlyricopera.org.” In addition, small scale A/B testing should be done in landing pages and/or email messages. And this also includes using the “campaign content” field in Google’s URL Builder to differentiate between several links in an email message that point to the same page (what button or link in the email was most effective driving conversion traffic? Use this to determine the best placement for these links and buttons!)

  • A new website and digital strategy for the opera

    When I started my job as marketing director for Austin Lyric Opera, I knew I wanted to put my stamp on its digital marketing efforts. I wanted to put all that I have written about and all that I have learned over the past years to action. What follows is a brief overview of what I did and how I did it:

    A new website
    Tracking conversions
    Online advertising
    Social media
    Mobile site
    Final round up

    A new website

    Coming in, the opera was stuck with an all Flash-based website: it was complicated and time consuming to make even the smallest of updates; mobile devices could not load the site; and no data could be collected. The first priority was to change this. You simply cannot build a working digital strategy without the foundation of a solid institutional website that can drive ticket sales.

    In redesigning the website, from architecture to graphic design, these were the four key development concepts:

    Driving conversions

    • All roads should lead to a conversion. The ticket buying process needs to be straightforward, simple and seamless; from campaign source to order confirmation.

    Data collection

    • How do patrons get to our website? What do they do when they arrive? We need to track the entirety of the sales funnel.

    Highly customizable

    • A responsive website that can handle breaking news, custom landing pages and continuously revolving sales and institutional messages.

    Easily manageable

    • Staff with little technology skills should be able to make basic website updates and embed multimedia elements.

    I knew I wanted a website built on WordPress and having watched the development of Venture Industries by Drew McManus, I was surely impressed by the proprietary elements on top of the standard WordPress installation that Venture offers. Doing due diligence, I talked to and received several proposals from other web development agencies. One proposed Drupal despite my insistence on WordPress, and all proposed a budget in the $15,000-20,000 range. I knew I could do better. I went with Venture and I set a $10,000 budget.

    Drew McManus’ Venture brought together the opera’s in-house strengths and Drew’s strengths in the performing arts and online user experiences. The work broke down like this:

    In-House Resources (Client)

    • Planning: entirely redesigned site architecture and navigation
    • Content: content migration, creation and population; and integration with third party box office
    • Design: custom graphic design template along with home page and interior page layouts.
    • Development: basic custom CSS changes.

    Custom Work (Venture)

    • Adapt client’s graphic design into custom PHP templates.
    • Designed custom admin interface.
    • Designed custom search bar that appears in the top, right hand corner of every page.
    • Removed slider overlay for unobstructed full width image while maintaining use of standard action button.

    Work was completed in a 3 month time frame. That’s fast. The actual money spent came in far under budget, totaling $6,500, and broke down in two components: $1,500 for the custom work; $4,000 for the annual Venture license.

    A quick note about the $4,000 annual license fee. This includes hosting, support, updates and a myriad of other benefits and services. In a way, Venture is like purchasing a Photoshop license for your organization. Having Photoshop doesn’t automatically guarantee you beautiful design; you have the best tool at your disposal, but you still need a graphic designer. Having Venture doesn’t automatically guarantee you a great website; you still need someone in-house.

    However, the support and the best practice / brainstorming you get with Venture are superb. Other agencies would bill hourly. Furthermore, if your in-house resources are not as strong, you can outsource more of the work. I was impressed by the custom work we received for the money we spent. You can do as much or as little custom work as you’d like or as your budget allows.

    The end result was a beautiful, highly effective new website that met all the criteria outlined in the four key development concepts: driving conversions; data collection; highly customizable; and easily manageable.

    Aided by a new ticketing solution launched simultaneously, and a new digital strategy, we increased online single ticket sales from 28% to 55% of total single ticket sales while delivering a greater ability to analyze patron behaviors, track conversions and account for advertising spending.