The Anatomy of Viral Marketing

Three deadly myths of viral marketing

“Viral” is a term that’s thrown around very loosely by marketers these days, which has muddled the true meaning of the term.

Here are three common misconceptions about viral marketing that will doom any campaign to failure from the start:

Myth #1: Viral marketing = Share buttons

Making content sharable is not the same as making it viral. Viral marketing is not as simple as adding social sharing badges to your website. Likewise, extending your content to social networking sites such as Facebook, Twitter and LinkedIn will not make it viral.

These are merely vehicles that make it easier for people to pass your content along to others in their network. There’s no guarantee that whatever is being shared will have life beyond the initial posting.

Myth #2: Viral = Video

“Viral” and “video” are uttered in the same breath so often that it seems as thought they are inextricably linked.

In fact, this is not the case at all. There’s nothing about videos that makes them inherently more viral than any other kind of content.

Viral videos may get a lot of hype, but in reality, any kind of content can go viral – a photo, an article, a fundraising campaign, even an entire website.

The potential of something to go viral has nothing to do with the medium and everything to do with the content and its ability to motivate a continuous chain of sharing.

Myth #3: Viral = 1,000,000 million hits

Going viral is not the web-equivalent of a record going platinum. There’s no arbitrary number that certifies something as having gone viral.

The primary goal of viral marketing should not be to achieve a pre-determined number of hits, views or retweets but to create something with nearly unlimited potential to resonate with people – whether on an emotional, pragmatic or ideological level – so that its reach exceeds ordinary expectations.

What is viral?

By definition, viral content is self-perpetuating and requires little or no additional investment in the act of moving it through the Web from one person to another.

To answer that question, forget marketing jargon and go back to biology class. What sets a virus apart from other organisms is that it has the ability to replicate itself when it finds the right environment variables.

The same quintessential elements apply to viral marketing. By definition, viral content is self-perpetuating and requires little or no additional investment in the act of moving it through the Web from one person to another. It is the very opposite of traditional advertising’s pay-to-play model, which demands greater spending to buy greater exposure.

The concept of viral marketing is nothing new, but it has exploded in the past decade because the mechanisms for sharing have evolved and expanded as social media has permeated the mainstream.

The original form of viral content was the e-mail forward. When someone found something entertaining, informative or self-defining, they’d paste it into an e-mail message and send it to everyone in their address book, and many of those recipients would likewise forward it along. Social sharing is today’s version of the e-mail forward.

On the surface, viral marketing seems easy because the most successful campaigns make it look that way. However, once you dig deeper into its anatomy, it becomes clear that there are a limited number of pathways through which a piece of web content can go viral.

It’s not enough for something just to be good. There’s too much good stuff on the Web for all of it to catch fire. If you want to create something that will grow and extend itself after you send it out into the world, it must harness one of three fundamental elements of self-perpetuating content: entertainment, a giveaway or self-definition.

The three channels of viral marketing

1. Entertainment

This category is probably what naturally springs to mind when you hear the word “viral.” However, this is actually the most difficult route to take and demands a level creative resources that are typically prohibitive for the average business.

With the hype surrounding high-profile viral marketing campaigns like Old Spice’s “The Man Your Man Could Smell Like,” it’s easy to oversimplify the formula for what it takes to pull this off. Everyone thinks their own stuff is entertaining, but in the eye of the beholder, this is rarely the case.

When you attempt to play in this space, you’re going up against the big guns who have immense resources to throw at superstar writers, artists, editors and producers. In the face of those odds, it’s very risky to hope that you’ll strike the magic combination of unique content and flawless execution to win the jackpot.

For every phenomenal success like Old Spice, there are plenty of embarrassing, high-dollar flops. And, yes, sometimes a kid with a webcam becomes an Internet sensation. But that’s like capturing lightning in a bottle. It’s nothing you can create artificially, and it's very difficult to cultivate organically.

2. The giveaway

In stark contrast to viral entertainment, the viral giveaway is potentially attainable by any business large or small, local or national.

There are two ways to approach this type of campaign, depending on the nature of your business:

If you deal in goods, you can give away free or discounted products to customers (think Groupon).

If you deal in services, you can give away time or expertise (or both).

In either case, there is heavy competition in the giveaway space, so it’s critical to ensure that there is significant perceived value in your offering, typically in terms of time or money saved for your customer.

But the giveaway is not viral in and of itself. What creates the mechanism for self-perpetuation is framing it as a reward received in exchange for participation in spreading your message.

This is something not all companies are prepared to do. The idea of creating something only to give it away seems ludicrous by conventional thinking.

However, you can’t look at the giveaway as a loss. The reality is that this is today’s marketing. Instead of pouring tens of thousands of dollars into carpet-bombing advertising that no one believes in, you’re investing in word of mouth – the most powerful form of trustcasting.

The act of giving away your valuable goods or expertise creates trust among your customers, who pass your message along to their friends and followers, who then spread it through their networks. Suddenly hundreds of new potential customers suddenly know who you are and what you do, with the added benefit of being recommended by someone they know and trust, and that trust is conveyed to you by association.

3. Self-definition

A product, an idea or a concept that is new, innovative, unique or just plain awesome is sharable.

But when it makes a bold statement – not about your company but about life, work or culture – that strikes a chord in the beholder, that’s when it has the potential to go viral.

When someone shares this type of content, they’re defining themselves through the act of sharing, attaching themselves to the history, the character or the lifestyle that exists around your brand. They’re identifying themselves as belonging to your tribe.

When Nike’s “Write the Future” debuted in May 2010, it set a new record for the most views of a viral video ad in its first week.

Its popularity was undoubtedly due in part to the celebrity appeal of the soccer superstars featured, but it also touches on a deeper love for the sport, for the World Cup and even for the feeling of connection with others inspired by a shared passion for a certain team or player. When someone shares this video with their friends, they’re attaching their identity to these broader concepts.

But you don’t have to be Nike to pull this off. If I post a link to your blog to my profile on LinkedIn, I’m defining myself as a torchbearer for your ideas. If I take a take a quiz on your website and tweet my score, I’m boasting about my intelligence. And if I make a donation to your nonprofit organization and share it on Facebook, I’m defining myself as an altruistic person who supports If your cause. In each case, my act of sharing challenges other like-minded people within my network to do the same, because they want to attach themselves to these ideas and qualities, too.

Execution

Viral marketing can’t be a one-off effort. You also can’t come up with an idea and tack on elements of viral marketing as an afterthought.

Viral marketing must permeate every aspect of your business model.

If you're going to play in this space, it must permeate every aspect of your business model, from your R&D process to your pricing structure to your marketing strategy. Your website and your presence on social media networks must be built to be part of the viral mechanism. You must focus on creating a self-perpetuating engine of traffic, conversion and sales.

To be successful, you must know your tribe and know it well. You must be realistic about what its members like and what they will respond to.

You must also be willing to take risks. Behind every successful viral campaign is trial and error, careful tracking of metrics and fine-tuning of the approach.

Are the risks worthwhile? In a word, yes. Today's most powerful business growth platforms are built on trustcasting and permission marketing. There’s no more direct route to owning your market than having a tribe of brand evangelists who carry your message for you, and viral marketing transforms the spark of word of mouth into an inferno that propels you ahead of your competition.

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The Cult of Personality (Part 2)

Recently Fame Foundry had the opportunity to talk with Eliza Metz, the "Violet" half of Lime & Violet. What began as a late-night conversation between friends led to a podcast for the yarn-obsessed that struck a chord with fellow fanatics. The secret to their success is equal parts serendipity and savvy, as they have carefully grown and nurtured their legion of dedicated followers into a full-fledged knitting empire. Below Eliza shares some of the lessons she's learned along the way. FAME FOUNDRY: Thank you for sharing this time with us. ELIZA METZ: My pleasure. Did someone mention an open bar? (kidding, kidding...) FAME FOUNDRY: You're known as Violet to your audience and most of the world. What's the origin of this name? ELIZA METZ: Lime & Violet was born from late-night hysteria, actually. Miss Lime and I were driving to a fiber festival in Colorado about nine hours or so from where we live. We'd left late, and were having a few way-way-way-too-much-coffee moments, since it was 2 a.m. and neither of us were very coherent. At one point, she misheard something I said, thinking I'd answered "lime and violet." The whole weekend, any time we didn't understand something, we'd just look at each other, say "lime-n-violet," and laugh at our own joke. We still do that even now. On the way home, I told her we should start a podcast. There were only two knitting-related podcasts at the time (versus the 100+ there are now), and after explaining what a podcast was, she agreed that it'd be a fun little project for our spare time. The name came from the inside joke, and since she really wanted to stay anonymous to avoid the crazies that proliferate on the Internet, we decided I'd be Violet and she could be Lime. We had no idea that neither of us would ever have spare time again, or that random strangers would know us better by our "anonymous" names than our real ones. (Not that that's a bad thing, either, really.) FAME FOUNDRY: So the podcast, which evolved into this massive business, was purely and spontaneously created out of your own interest in knitting and putting on a show for the fun of it? ELIZA METZ: Simplistically speaking, yes, that was the genesis of the thing. It's not to say we didn't have a plan, however. I'm one of those people who writes business plans for fun, so we had a pretty good idea before we ever put voice to mic where we wanted it to go. The problem, we found, was that we didn't dream big enough or fast enough, really. It took on a life of its own pretty quickly and started branching out pretty organically from there. But, yes. It was just for the fun of it at the time. FAME FOUNDRY: Sounds like you were expecting this from the beginning. ELIZA METZ: We were. I think we didn't know the whole extent of just how big it would be, or what it would spawn, but we knew it had the potential to be big. Or maybe we just didn't know how big "big" really was at the time, which is probably a good thing. If we'd known about all the work, we may have given up and decided to take up macrame instead. FAME FOUNDRY: What was the first sign that let you know this was big. ELIZA METZ: Oh, man. That's an easy one. A couple of months after we started the show, we had quite a few (we thought at the time) online "fans." The community was starting to form, and podcasts in general were becoming a bit more well-known in yarncrafting. It wasn't uncommon to get e-mails with offers of yarn or undying love, and we were okay with that. It was all kind of remote and surreal. Then one night we were in a local yarn shop in Nebraska, and a customer -- a complete stranger -- stopped her transaction and asked if I was Miss Violet. blinkblink She recognized me by my voice, which I hadn't really expected. So we made a huge joke about it all, started calling ourselves rock stars and carried well-publicized purple and green Sharpies in our purses so we could sign boobs at yarn stores. No, really. (And, yes, we've signed them.) FAME FOUNDRY: And thus began 'The Empire'? ELIZA METZ: Of a sort. There was a fair bit of work from there, but it was the first time we realized that we had a little bit of sway with the knitters, and it sort of drove home the fact that we had this fabulous base of customers who were listening to us, for sure. Empires aren't built in a day. FAME FOUNDRY: And the Empire seems to even refer to itself as 'The Empire." Quite a stunt there. ELIZA METZ: Of course it does. Luckily, we're benevolent rulers. FAME FOUNDRY: So everything -- the blog, the store -- evolved out of the podcast? ELIZA METZ: In a sense, yes. All of it sort of grew organically around the podcast's evolution. It's a little hard to explain, really. See, while a lot of the places that the podcast has grown into are completely random and unexpected (happy accidents, of a sort), we sort of knew where we wanted it to go from the beginning. We had this ridiculous business plan before we even put down the first tracks -- more of a wish list of activities than an actual business plan, per se. We had it structured so that growth would be based on the number of listeners because we truly thought that it would give us quite a bit of time to do things. At 100 listeners, we'd set up the message boards to let the fans talk to each other and start building a community. At 500 listeners, we'd start putting together the first knitting pattern book...that kind of thing. I remember writing down a milestone for 5,000 listeners and thinking that was just crazy, that we'd be waiting for YEARS before that ever happened. Three months later, we hit 5,000. I sat back, took a screenshot, sent it to Lime and told her that, perhaps, we should look into changing the structure of our business plan. Ahem. Duh, right? The problem, we found, was that we didn't dream big enough or fast enough, really.Not all of what we've done has been a part of the plan, since we had to scrap most of that pretty early on. We had a catastrophic lightning strike that took out our first book and the back-up copies thereof. Local hotels laughed at us when we approached them about doing a knitters' retreat on a full floor of a hotel (even though we had over 1,000 people who had filled out the form saying they'd come to our slumber party weekend). We tried partnering with various yarn/knitting-related companies for co-branded product support, but we found that contract law isn't quite our strong point and the brand started diluting a little. Lots and lots of learning experiences in that first year or so. If you want something done right, you need to do it yourself. So we started doing dyed sock yarns, which sprouted off into bath and body stuff when we talked a lot about the indie companies. The blog was just a way to pass on information to the listeners every day, since the volume of really fabulous projects and patterns and yarns coming into L&V Central was just too much to talk about on a weekly show. We keep learning all the time. It's one of the best things about the way we just dived right into this. Had we KNOWN the kind of work we were in for, we'd have turned tail and run, honestly. Our ignorance saved us from the get-go, really. The big lesson from the past year -- at least for me -- has been that narrowing the focus of what we're doing isn't nearly as counterproductive as I thought it'd be. We launched the Intention Yarn line, which has a very, very narrow focus (and, uh, intent), but it does 10 times better than our generic sock yarns did, largely because people know what they're about. They get the concept, so it's something they can buy not just to support their Lime & Violet addiction, but for a specific purpose of creation, and they seem to dig that. Same with things like the Neil Gaiman project, TheFatesThree.com -- which isn't just generic knitting patterns, but patterns all created with a theme around a particular author's works -- the narrowing-down process made the focus just that much more clear for both listeners and the occasional non-listener who stumbles upon it. There are other projects unrelated directly to Lime & Violet -- KnitLife, which is an oral history collection process that's just getting going, for instance. While it's not directly related to the show, I've got no illusions that being "known," so to speak, doesn't help promote the projects or get the word out there. Whether or not it's an obvious connection, the Empire doesn't just affect the success of the stuff we do -- it's the basis for it. FAME FOUNDRY: You share a lot of yourself with your audience and the community that has formed around the Lime & Violet brand. Where do you draw the line between your personal life and what you broadcast to the public? ELIZA METZ: There's supposed to be a line? (You can't see me right now, but trust me, I'm laughing relatively hysterically.) If someone has listened to every single show, they know more about me than my own mother. Before there was a Lime & Violet, there was me. And way back in the olden days of the Internet, when you used to have to do markup by notepad and ftp everything from a command line and design was largely a matter of tables with varying cellpaddings (and we rode dinosaurs to school both ways uphill in the snow...), I was one of those freaks with an online journal. (This is in the pre-Greymatter, pre-typepad, pre-blog days. Told ya it was in the prehistoric era.) I was one of the original 50 nutjobs who thought that their own lives, as mundane as they may be, were interesting enough to warrant putting it out there for the world to read. (And, incidentally, comment on. Good heavens, the e-mails...) Coming from this background and posessing of some kind of weird self-revelatory urge that's probably borderline pathological, I don't have a line most of the time. There are some things that we don't talk about much on the show, and we try to maintain the anonymity of the innocent (relatively speaking), but for the most part, if someone has listened to every single show, they know more about me than my own mother. I'm still not sure if that's a good thing or not. Contrast that with Miss Lime, who keeps a very strict bubble around her identity. No pictures of her are allowed on the site other than one that she swears looks nothing like her. Nobody knows her real name. For a while, we even kept it secret that we're in Omaha, though that slipped out through other channels. She's pretty convinced that the crazies would find her if they knew her name, and for that, I can't really blame her. The Crazy is pretty much everywhere on the Internet. FAME FOUNDRY: You mentioned the "crazies" on the Internet. What's the craziest encounter you've had with a an Internet fanatic? ELIZA METZ: I could tell you stories that would probably make Dateline NBC producers salivate. For the most part, we've found that knitters are a pretty sane bunch, with a few notable exceptions, but the combination of Internet anonymity and pseudofame still brings out the occasional whackjob. For instance, once we mentioned on the show that we love our fans. We love them so much that we'd love to invite them all over to my house for a great big slumber party. I mentioned that I have a guest room and a couple dogs that are quite fond of visitors, and I make a mean cookie. While intended to be kind of a joke, apparently I sounded serious enough that one girl found my real name, looked up my address and drove NINE HOURS to my house, where she got out of the car with four overnight bags (three of them were knitting projects-in-progress, I might add), and just expected to stay. Um. Oh-kay... She ended up staying three days. Great girl, but omg we never said anything like that again. Then there was the lady who didn't understand personal space and kept petting my hair. Or the one who named her babies after us. Or the one who, when we didn't write her back in an arbitrarily selected timeframe, made a WE HATE VIOLET website. I wish I was kidding. The Crazy. She is everywhere. FAME FOUNDRY: You're active on Twitter, Facebook and Plurk, though you use Plurk as your micro-updating site of choice. Why's that? When it comes to what we're trying to do -- building a community rather than just a following -- there needs to be interaction. ELIZA METZ: For me, it's a matter of connection. Twitter and Facebook and all the other myriad microblogging sites out there are all fine and good for most things, but it's largely one-way communication. You broadcast what you're doing to the world. Which, again, is all fine and good, if that's what you're looking to do. When it comes to what we're trying to do -- building a community rather than just a following -- there needs to be interaction. A conversation rather than just blindly telling people what you had for lunch. And Plurk has a format that depends on conversation and commentary to stay interesting, so people get involved. Once a fan is invested in a conversation, either with me or with the other followers, they feel like they're part of it. Instead of just reading ABOUT someone, they're talking WITH them. It's just a more human format to me, and it's the one I end up going back to over and over again as a result. FAME FOUNDRY: Art journaling is a big part of your life. How has this influenced your artistic approach online? ELIZA METZ: Through art journaling, I've found out a couple of big things about my own aesthetic. I really like handwritten things (more personal). I can have all the colors in the watercolor box, and I'll still end up with a white or mostly white background (which unclutters things for me visually). And white space keeps me sane. I don't claim to be any kind of techno-head web person who writes code in my sleep. In fact, I'm one of those freaks who still uses Notepad for most things. Call that a disclaimer from a semi-luddite here. That said, almost everything I put out there has a lot of that same, rustic, plain-looking, hand-hewn feel to it -- partially from just not knowing how else to do anything, and partially because that IS my approach. And if it works, I see no reason to fix what isn't broken. I'm just happy when there aren't broken links and people look at it now and again. FAME FOUNDRY: Thank you for sharing your vast experiences in building this empire you have. ELIZA METZ: And thank you for the interview. That'll be four goats and a skein of good cashmere, payable to the jester by the door. Elli Metz is the benevolent ruler of the Lime & Violet empire, which includes the independent republics of media, yarn, perfume and history. When she's not wearing her crown (which she often does), her job title is "starmaker," a fact that still amuses her.

 

 

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