The marketer was concerned that the site’s usability was now impaired, that revenue from organic traffic would suffer. Meanwhile, her efforts to voice these concerns were falling on ears that cherished their own creative ideas over the input from other stakeholders. Lacking a clearly defined common understanding of the website goals, people were measuring success with different rulers.

In her case, the creative team was an outsourced agency, although this scenario can play out just as easily between inhouse departments. In either case, bringing all team members to a shared set of goals is the only way to ensure that everyone is pushing in the same direction. Clearly defined KPIs have a lot of value here.

Once the site’s key metrics are defined, communicated, discussed and reviewed, every member of the team needs to be able to understand how their work has an impact on these goals. The diversity of training, background and responsibility that comprises most working ecommerce groups brings with it the potential for a variety of perspectives on how these goals should be measured. But by distributing relevant analytics data to all members of the team, and providing everyone with the tools to objectively measure the results of their own efforts against the larger site goals, you’ll see your group begin to function with greater cohesiveness.

As goals, concepts, strategies, successes and stumbles are shared across silos, the feedback loops grow successively richer and more valuable. Copywriters start identifying the elements of a consistently strong subject line. Designers can quickly test whether a hyperlink style revision works as good as it looks. In fact, given access to good analytic data, many creative teams become downright obsessive on multivariate testing.

Just as creativity is a requisite skill in any successful marketer, you’ll find keen analytical minds in your creative department. By giving everyone an opportunity to assess their work objectively, the creativity that should run rampant throughout your team is more easily focused on the bottom line.

For a company that does the vast majority of its business in one short intense holiday season, Vermont Teddy Bear is inadvertently taking social media to a brand new level.

Its latest advertising campaign, an old-school TV spot complete with pandering voiceover, tired script, maudlin acting, and poor production values, has created a vibrant and vocal online community of alienated people who take pride in affirming their intention to avoid the products at all costs.

If Twitter traffic is any indication, the campaign annoys or offends over fifty people for every one who responds positively. The crowd is split over which is more offensive: the ad’s content or its incessant repetition.

So far, no feedback or response from the brand.

A few thoughts on what constitutes an effective category banner:

• Since so few visitors enter from the home page, any opportunity to demonstrate the brand through lifestyle imagery should be explored. If your product images are primarily laydowns (as opposed to model shots), the potential value from adding a model to the page is even more significant.
• It’s important to establish the correct relationship between your lifestyle image and product shots. The goal is to balance your lifestyle banner sizes with the monetary value of the site’s real estate. 
• Use compelling copy to create action. Promote the style on model, and always be sure that your lifestyle images are imagemapped to the corresponding style page(s).
• Photography may be optional. Have a compelling promotion? A well-designed type copy treatment might do the job, and download quicker.
• Track your clickthroughs and conversions.

I’ve probably missed some good ones, feel free to add more.

1. the next biggest thing that’s about to break or
2. the thing that’s most broken or
3. that which has broken the most hearts or
4. all of the above

In spite of the sorry state of commercial video distribution over the web, the market is expected to explode in the coming years.

• Informa Telecoms & Media forecasts that by 2013, US online TV and video services will generate revenues of $7.9 billion. In 2007, the market was already worth over $1 billion and by 2008, that figure will leap to $4.7 billion. [link]
• On-demand media services will generate $1.1 billion in consumer spending by 2012, from $33 million this year in the US and major European markets, according to Screen Digest’s “On-Demand Media: Re-Inventing The Retail Business Model” report. [link]

As more viewers look to access their video via the web and IPTV rather than from cable and satellite, the friction factor grows larger and larger.

Streams and downloads offer the promise of increased freedom — letting you shift time, location, and player. The promise is one of greater flexibility, where anyone can easily fit media and entertainment choices into their life. But the reality, at least now, is far from that promise.

The current state of online commercial TV and movie distribution is in a startling state of disarray. Options for consumers are at best limited and confusing, and quite often subject to sluggish speeds, poor video quality, broadband throttling, limited selection, proprietary software and non-integrated component hardware. You can also add limited network capacities and increased broadband traffic to the list, but the perhaps biggest long-term threat is the range of constraints placed on consumers by the content owners through excessively strict DRM schemes.

The studios and networks would do well to take a closer look at the music industry. They’re already learning the sometimes difficult lesson that restricting usage just increases customer frustrations. In 2007, Apple introduced a selection of DRM-free music in iTunes, Amazon upped the ante and introduced its catalog of 2 million songs unencumbered by DRM. The music industry is slowly coming to grips with the fact that consumers now control the market in a way never before possible. Unfortunately, the film and TV industries don’t see the connection.

Sure, the music industry has historically been less attached to DRM; just look at CDs vs DVDs. As Steve Jobs noted,

“Video is pretty different than music right now because the video industry does not distribute 90 percent of their content DRM free; never has, and so I think they are in a pretty different situation…” [link]

Tru enough. But as video consumption continues to shift from TV to the web, consumers will grow more and more weary of content that’s fundamentally out of sync with their needs. Marketers who allow and promote engagement with their customers will see the opportunity to thrive; those whose products produce more frustration than satisfaction will watch their market share slip away.