Expert Access, Not Free Admission Keeps ‘Em Coming Back

by:

Joe Patti

Access to experts and leadership is an important membership benefit according to data collected by Colleen Dilenschneider and the folks at IMPACTS Experience. (sub required)

The top ranked benefit is some form of free admission followed by benefits related to priority access/seating, exclusive membership events, etc. However, access to experts and leadership have been increasing in value for both exhibit and performing arts organizations.

The increase has been greater for exhibit based entities than performing arts entities largely in part because performing arts have a longstanding practice of talks, program notes, and interactions with creative staff.

IMPACTS says that it is a mistake to underestimate the value of these interactions.

The performing arts sector already has a strong tradition of artistic interpretation: pre-performance talks, post-show conversations, rehearsal observations, program notes, artist interviews, and donor salons. But the data suggest that these benefits may deserve to be understood not as “nice extras,” but as membership and subscription value drivers.

Even though performing arts have had this longstanding practice, it is important to make sure these offerings are providing experiences that the members value rather than what staff and experienced insiders values.

In fact IMPACTS encourages membership levels based on the outcomes people desire.

But the data suggest that motivation may be just as important as price point.

Two members at the same level may want very different things. One may want savings, ease, and priority. Another may want impact, insight, and belonging. One may want guest passes. The other may want to hear from the curator about why the new acquisition matters. Both are valid. They are just not the same person.

This is where membership programs often get into trouble. They treat members as a benefits category instead of a relationship category.

They also suggest that access to leadership and access to experts be two separate benefits. In part, this is to keep access limited and valued in addition to allowing leaders and experts to perform their core duties. But what a curator, choreographer, researcher, stage director has to offer is a different product from that of an executive director, V.P. of Marketing, etc.

The one insight from the article that really caught my attention and made lightbulbs come on is that while free admission may be the most valued benefit by far, it is not the benefit that will keep people engaged.

If the main value of membership activates only when someone visits, then the member has a rational reason to wait until they visit. If the organization says, “Renew now so you can get free admission when you come back,” the member may respond, quite reasonably, “Great. I will renew when I come back.”

Welp.

Expert and leadership access can help solve this problem because it creates value before the next visit. A member-only curator briefing, digital conservation update, artistic preview, or leadership conversation can make the membership feel active even when the member has not yet planned an onsite experience.

This is important because membership should not only be a stored-value card for future attendance. It must become an active relationship.

I hadn’t really thought about what sort of behaviors membership benefits were encouraging in visitors. A discount on the next time someone visits leaves their next visit up in the air. Providing reasons to return throughout the next year helps to solidify when that next visit might happen.

Members may not be able to take advantage of every interaction with an expert due to competing priorities but providing those opportunities keeps members paying attention to the schedule. That results in a higher degree of engagement than knowing you can get a 15% discount at the bar on your next visit.

Always Appreciate A Reminder About Making Websites Work Better For Me

by:

Joe Patti

Chorus America recently turned a website design presentation Drew McManus did at their recent conference into an article on their site.

I have been reading Drew’s advice on webpage design for decades. I have attended a few of his conference sessions as well. But there is always something you forget or loose focus on in the interim so I eagerly read this piece.

Drew’s overall thesis was that many arts organization websites have been designed to please and serve the insiders at the organization rather than provide the answers new visitors are coming to the website to find.

Drew says every page has one job – to move a visitor toward at least one of three things – revenue, engagement, and leads. If each page isn’t helping to achieve that, it isn’t working for the organization.

He says there are a few reasons why websites fail at this job.

The first is the Curse of Knowledge. The instant you learned where everything lives on your site, your brain erased what it felt like not to know….Your first-time visitor may not know that “Ensemble” means “About Us.” They don’t know the ticket link lives under “Events,” not “Performances.”

The second is Survivorship Bias. You usually hear from the patrons who bought tickets. You rarely hear from the ones who tried and gave up. They don’t fill out your post-concert survey. They rarely send a frustrated email. Most just disappear quietly….

Other impediments have to do with design elements. Drew notes that buttons signal importance of the content to which they link. Button and link design needs to align with the visitor’s expectation about what they will find after clicking.

Primary solid button: This is the action to take. High contrast. Impossible to miss.

Outlined button: This is an option. Available but not urgent.

Text link: This is here if you want it. Low priority. Also handy for duplicating primary links.

Button placement also matters. Drew observes that organizations often bury important buttons for ticket purchases at the end of massive blocks of text. Same with date and time. They should first be available before descriptions, not after.

Similarly, he notes that use of image carousels at the top of webpages works against visitor intent to find specific information. Instead, he suggests a hero section:

Try replacing the carousel with a hero section: a full-width band at the top of your homepage that combines one strong image, one headline, and one button. This communicates a stronger, clearer message with fewer competing elements, which is the entire job of your homepage hero. The image should show your ensemble doing what they do best, performing, and the remaining content should be minimal and focused on moving the visitor toward one specific conversion goal.

Drew also covers other topics in his article including effective vs. weak labels for buttons and mobile first design. Not to mention going into these subjects to a deeper degree than my excerpts and summaries.

Shadow Puppetry Right Outside My Hotel Room

by:

Joe Patti

You may have noticed the blog was quiet for a couple weeks. A family member had asked that I take them to China this summer so I was out of the country.

I hadn’t intended to post any pictures from my travels, but when I was in Beijing I stayed at the Beijing Shichahai Shadow Art Performance Courtyard which provided a much more detailed and interesting experience than I expected. Tucked in one of Beijing’s hutong you might miss the building. The facade is slightly more detailed than the non-descript residences that line the narrow alley but that still leaves you underestimating what is behind the doors.

In the common area, they have a shadow puppet stage at which they present performances a couple times a week. Alongside the stage, they have all sorts of design drawings with notations about what is represented and the different motifs. Being an arts person, I definitely nerded out on everything.

Outside each hotel room is imagery associated with the shadow puppetry art form. They also offer classes but we were running around too much to really inquire and participate.

Like every city around the world, there are often hidden treasures in unexpected places.

Remembering You Aren’t The Client

by:

Joe Patti

A post Seth Godin made has been percolating around in my brain for the last three months.

“I can’t imagine eating durian ice cream,” is not the same as “no one likes durian ice cream.”

We fail as marketers, editors and project managers when we can’t find the empathy to bridge the gap. It’s a lovely shortcut to make things for yourself, to imagine that you are the client, the reader or the customer. But most of the time, you’re not.

This dovetails closely with what Ruth Hartt has been saying about asking customers what they value or seek most from their interactions with your organization and then creating marketing messaging that aligns with their goals and interest.

Instead of guessing what customers need, active personalization involves them directly:

Ask them.
Help them clarify what they’re trying to accomplish.
Then use what they willingly share to make their journey more useful.

[…]

This is remarkably similar to what the New Bedford Symphony Orchestra found in their need-based segmentation pilot:

In their 16-week controlled pilot, patrons who received messaging based on self-declared needs converted at 2.9x the rate of those receiving the NBSO’s standard messaging.

Obviously Hartt’s approach requires less empathy than Godin’s. You don’t need to employ much empathy if you are asking people what they value. Though you do need to understand what sort of language and framing will resonate best with people who have certain goals for their experience.

What both don’t directly mention is that the product or experience you are working to provide needs to be informed by an understanding or empathy about what sort of programming will help people achieve their goals. Programming decisions are an exercise in marketing.

Just as being repulsed by the idea of eating durian ice cream doesn’t preclude others from enjoying the food, programming decisions can’t be made based on personal preference. I have had plenty of financial and participatory success programming events whose appeal I just don’t understand.

But it is enough for me to know that there are people with a serious interest in that experience to make a decision to offer it.

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