from the scarcity-plus-value dept
I was going under the assumption that, by now, most people understand the basics of how to "connect with fans" (though, we keep hearing stories suggesting that many still struggle with this a lot) and wanted to focus in the presentation on understanding the "reasons to buy." One of the problems is that many people assume that "value" alone is enough to get people to buy -- but as we've discussed multiple times there's a difference between value and price -- and assuming that value alone is enough to get people to buy isn't going to cut it -- especially if the product is abundantly available.
So the key is to find scarcities -- as we've said many times. But, not just any scarcities. Those scarcities must also be valuable. Value plus scarcity is the real reason to buy. And, the intersection may be different for each kind of content creator. In fact, it should be different for each content creator, because it is essential to recognize how to express the key value that a particular creator brings to the table. To help explain that, we discussed 10 key scarcities that are helpful to think through in creating reasons to buy. The list is not complete, but is a good starting point.
- Access: Access to the actual content creators is a real scarcity and one that can often be used to make money in ways that make fans quite happy. In fact, a study released at Midem claimed that, in a recent survey, 19% of respondents claimed they would pay anything to meet their favorite star. Now, obviously, that's a bit of hyperbole, but it does suggest a high degree of demand for access from top fans.
- Attention: One of the most important scarcities in the digital age. Attention is incredibly scarce, and if you've got it, you can do a lot with it.
- Authenticity: This one also includes "trust." The ability to be authentic carries tremendous weight and is quite scarce at times. But if you can provide something that is authentic and valuable, it's often a very strong reason to buy.
- Exclusivity: Many people value having something that very few (or perhaps no) others have.
- (New) Creation: The ability to create something new is a scarcity. This often confuses people, because a digital good once created is no longer scarce -- but the ability to create it is still very much a scarcity.
- Tangibility: The granddad of scarcities: physical products. Sometimes when we discuss scarcities people seem to think that we're only talking about tangible products. Nothing is further from the truth, as we often think that other non-tangible scarcities represent much larger opportunities, but that doesn't mean you should ignore the value of tangible products.
- Time (saving or making): People will pay if you can save them time (or give them extra time in some manner).
- Convenience: If you make things more convenient, many people will buy, even if free options are available. That's one reason why iTunes has done so well. Apple has made the whole process super convenient. It's also one of the top reasons why people say they buy bottled water -- even if they know the water quality is no different than tap water. They just find it more convenient.
- Belonging: Never underestimate just how important a sense of belonging to a group or a tribe is -- and being able to provide that in an authentic manner can be a true scarcity.
- Patronage: Definitely depends on the situation, but there are some people who just want to support an artist, no matter what. And that presents a scarcity.
We then looked at Moldover and Motoboy who each have offered really cool physical goods (Moldover's CD case that doubles as a virtual theremin and Moto Boy's wonderful music box). I showed off each of these products, highlighting how they clearly played up the tangibility scarcity as a reason to buy (as well as things like authenticity, exclusivity, belonging and patronage) to make this work.
As a final less well known artist, we looked at Matthew Ebel, whose experiments with giving fans a subscription service that provides new music and additional opportunities for access are working quite well. In that case, he's obviously using access, authenticity and exclusivity along with belonging and patronage.
Of course, this isn't just a model for small or up-and-coming artists. It can work quite well for big name artist, as well -- and on that front we discussed both Pearl Jam and Mariah Carey. As you may recall, Carey and her team put together a whole issue of Elle magazine, all about Carey, where Carey's team was allowed to sell the ads and keep the money. Some of the ads were for Carey-branded products, such as perfume. In this case, with a star this big, that particular aspect of the model is not about access (which is regularly used by smaller artists), but about belonging and tangibility (the magazine is tangible, as is the makeup that Carey was selling). But perhaps an even bigger point is that Carey was really selling her biggest fans' attention in selling advertising directed at them. As for Pearl Jam, they have their "Ten Club," which gives fans earlier access to the best tickets at shows (convenience, time saving, belonging, exclusivity) along with special physical goods, such as a special vinyl single, a magazine and other members' only contests and giveaways (tangibility, exclusivity).
Of course, there's a lot more that goes into building good "reasons to buy," but using these ten scarcities as a starting point is an excellent way to start a brainstorming process - as we did ourselves at the conference.