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marketing strategy

Marketing strategy,
then the content

Most businesses ask for content before they have a plan for where it will run and what it has to do: leads, sales, sponsorship, a stronger brand.
We build the strategy and the plan first, then make the content that carries it, put it in front of the right people, and measure what comes back.

Strategy Cadet explainer
Watch · 2 minutes

How Strategy Cadet works

A short look at the strategy report system we built in-house: how it analyses your brand, your audiences and your competitors, audits every finding, and turns the analysis into a plan with the actions in ranked order.

Melbourne, Australia

Why story

People buy a story,
then look for the facts

Nobody buys a list of features. People buy the story a brand lets them tell themselves, and they only hear the stories that fit what they already believe. So we start with your story: who already wants to believe it, how to frame it in their terms, and what the business has to live up to for it to stay true. Every plan, every piece of content and every channel choice on this page serves that story.

The thinking draws on Seth Godin's All Marketers Are Liars (the one with "Tell Stories" on the cover) and the research we build on, listed at the foot of this page.

What we do

We build the plan,
then make the content

We analyse your brand, your market and your competitors, then write the plan: the story to tell each audience, framed to what they already believe; which channels; what content and how often; what it costs; and how it will be measured. It comes with the business case and the actions in ranked order, so you know what to do first. Then we make the content, run it, and report on what it returns.

The analysis runs on Strategy Cadet, the strategy report system we built in-house: live data, independent audit and a human sign-off, in twelve chapters. Once your report is run, the work starts: what type of content you need, on which channels, and how it turns into enquiries, sales or sponsorship. The free pre-flight check is a compact version of the report.

Inside the report
  • 01Executive Summary
  • 02Brand DNA
  • 03Audiences
  • 04Market Intelligence
  • 05Competitive Landscape
  • 06Strategic Positioning
  • 07Search & SEO
  • 08GEO
  • 09Marketing & Activation
  • 10Innovation
  • 11Business Plan
  • 12Methodology & Sources
How it works

Five steps,
from strategy to results

(01)

Analyse

We read your brand as it stands, the audiences worth pursuing and the moments that bring them to market, the size of the prize, who holds each position now, what customers say, and the story they already tell themselves about your category. Delivered as the report.

Brand, audiences, market and competitorsFree pre-flight checkFull strategy report
(02)

Plan

We turn the analysis into the plan: the position to take, the story for each audience, the channels, the content and how often, the budget split, the measures, and the actions in ranked order, with the business case behind them.

Marketing plan for each audienceContent plan: what, where, how oftenBusiness plan and ranked actionsBudget and measures
(03)

Create

We make the content that tells the story, in the studio that has made it for 20+ years: concept and scripts, shoots, edits, design, animation and drone.

Concept, scriptwriting and art directionVideo, photography and droneGraphic design and brand identityCampaigns and TVC when the plan calls for one
(04)

Distribute

We put the content where the plan says and keep it running: your website and Google Business Profile set up and written, the pages and video that get you found and recommended, and the weekly posting, with us on site each month to capture it.

Website and Google Business ProfileOne on-site shoot a monthInstagram, Facebook and LinkedInSearch and AI-search contentTelevision, radio or outdoor: we brief and work alongside a media agency
(05)

Convert and measure

We report against the measures the plan set, enquiries, leads, sales, sponsorship, brand presence, and adjust the content and the channels to what the numbers say.

Paid social and search campaignsMonthly report and callEnquiry and lead trackingQuarterly review of the plan

We recommend the mix for your budget after the pre-flight check.

20+ yearsACS MemberCASA certified drone operationsMelbourne, working across Australia

Tell us what you need,
then consider it done

  • Paramount
  • AFL
  • Red Bull
  • Disney
  • Spin Master
  • NBCUniversal
  • Toyota
  • Big W
  • HSBC
  • Warner Bros
  • V/Line
  • Universal Music
  • Pepsi
  • Lendlease
  • CNN
  • American Tourister
  • Department of Education Victoria
  • Sony Music
  • Red Energy
  • NAB
  • Live Nation
  • Showtime
  • ACCC
  • Samsonite
  • Mongrel Boots
  • Eagle Lighting
  • Adriatic Furniture
  • Repurpose It
  • Direct Connect
  • Val Morgan
Dig deeper

The research
behind the work

We do not invent the method. Each part of the analysis and the plan applies published, peer-reviewed or industry-standard work, attributed by name. The primary sources are linked so you can read them yourself.

In the report
  • A brand's share of advertising against its share of market predicts whether it grows or shrinks. John Philip Jones, "Ad Spending: Maintaining Market Share", Harvard Business Review, 1990.
  • Brand building and sales activation need different budgets and different measures; the 60:40 split we start from. Les Binet and Peter Field, IPA, 2013.
  • How often people search for a brand against its competitors tracks, and leads, its share of market. Les Binet, IPA EffWorks Global, 2020.
  • Brands grow by being easy to think of in the moments that bring buyers into the category, and easy to recognise when they get there. Byron Sharp, How Brands Grow; Jenni Romaniuk and Byron Sharp, How Brands Grow Part 2, Oxford University Press.
  • Innovation is not only the product; the ten types from profit model to customer engagement give each audience a full set of moves. Larry Keeley and Doblin, Wiley, 2013.
  • People hire a product to get a job done; the job, not the demographic, explains the purchase. Used in the search and keyword work. Clayton Christensen and others, "Know Your Customers' Jobs to Be Done", Harvard Business Review, 2016.
  • The drivers and barriers around a category, political to technological, scanned in the PESTLE pattern before the market is sized.
  • Competitive alternatives, unique attributes, the value they enable, who cares most, and the market category: the five components we work through for a business brand. April Dunford, Obviously Awesome and Sales Pitch.
In the story work
  • People hear the stories that fit what they already believe; a brand finds that audience, frames its story in their terms, and has to live it. Seth Godin, All Marketers Are Liars (Tell Stories), Portfolio.
  • A story with force names the tension between what the category says and what a group of people now wants. Douglas Holt and Douglas Cameron, Cultural Strategy, Oxford University Press.
  • Six traits that make people pass a story on. Jonah Berger, Contagious.
  • Simple, unexpected, concrete, credible, emotional, story: the checklist we score creative ideas against. Chip Heath and Dan Heath, Made to Stick.
Primer

Excess share of voice

When a brand's share of advertising voice in its category runs above its share of the market, it tends to grow. When it runs below, it tends to shrink. The gap between the two is the excess share of voice.

John Philip Jones, "Ad Spending: Maintaining Market Share", Harvard Business Review, 1990.

Where it comes from

John Philip Jones, a professor of advertising and a former agency executive, compared share of voice with share of market across a large set of brands in many countries. He published the pattern in the Harvard Business Review in 1990. Les Binet and Peter Field later tested it against the IPA Databank, the Institute of Practitioners in Advertising's archive of effectiveness case studies, and turned it into a planning rule.

The three numbers

How to read it

Measuring it now

Media spend figures are patchy for most categories, especially online. Share of voice is now usually estimated from proxies: share of search, share of social reach and conversation, estimated digital spend, and share of web traffic. A sound analysis names the proxy it used and how sure it is of each figure.

Limits

How we use it

We estimate share of voice and share of market for the brand and its main competitors, read each competitor as defending, expanding or under-investing, and size what it would take for the brand to grow. Where a figure cannot be found, the report says so instead of filling the gap.

Read further

Primer

The long and the short of it

Spend about 60% of the marketing budget building the brand and about 40% driving sales now. The split comes from measuring hundreds of real campaigns, not from opinion.

Les Binet and Peter Field, IPA, 2013.

Where it comes from

Les Binet and Peter Field analysed the IPA Databank, the Institute of Practitioners in Advertising's archive of effectiveness case studies, in The Long and the Short of It (2013) and again with a larger set in later work. Across most consumer categories, campaigns that gave about 60% of spend to long-term brand building and about 40% to short-term activation produced the largest business effects.

The two kinds of spend

Why the split drifts

Activation shows results within days and is easy to measure, so budgets drift towards it. Each step looks efficient, yet over time the brand stops growing and has to buy more of its sales through discounts and targeted ads. Binet and Field describe this as choosing short-term efficiency over long-term effectiveness.

When the ratio moves

Different spend, different measures

How we use it

Each marketing plan splits the budget against 60:40, adjusted for the brand's category, size and stage, and states how long each kind of spend takes to pay back and how each will be measured.

Read further

Primer

Share of search

A brand's share of all the searches for brands in its category tends to track its share of market, and often moves first. It is a cheap, public, early signal of where a brand is heading.

Les Binet, IPA EffWorks Global, 2020.

Where it comes from

Les Binet presented the analysis at the IPA's EffWorks Global conference in 2020. Across the categories he studied, share of search followed share of market closely, and changes in share of search tended to show up before changes in share of market.

How it is calculated

Why it works

People search for brands that are already on their mind. Search volume is therefore a measure of how salient a brand is, the mental availability that the Ehrenberg-Bass Institute describes, and salience comes before purchase.

How to read it with share of market

Limits

How we use it

We calculate share of search for the brand and its competitors as a measure of mental availability, set it against estimated share of market, and use it as one of the proxies for share of voice.

Read further

Primer

Mental availability, category entry points and distinctive assets

A brand grows by being easy to think of and easy to buy, for as many category buyers as possible. Most growth comes from light and occasional buyers, not from deepening loyalty.

Byron Sharp, How Brands Grow; Jenni Romaniuk and Byron Sharp, How Brands Grow Part 2, Oxford University Press.

Where it comes from

Byron Sharp's How Brands Grow (2010) set out what the Ehrenberg-Bass Institute at the University of South Australia had found across decades of buying data: brands of the same size have similar loyalty, and bigger brands are bigger because more people buy them. Growth is penetration, and penetration comes from reaching light buyers and non-buyers, again and again. How Brands Grow Part 2 (2016), with Jenni Romaniuk, extended the findings to new markets and categories.

Laws behind it

The two engines

Category entry points

Jenni Romaniuk turned mental availability into something a brand can measure and manage. A category entry point is the thought, need, moment or motivation that starts a purchase: buying chocolate for a movie snack, or to treat yourself, are two entry points into one category.

Distinctive brand assets

In Building Distinctive Brand Assets (2018), Romaniuk sets out how a colour, shape, logo, character, sound or phrase becomes a shortcut to the brand. An asset is only useful when it is famous (most category buyers link it to the brand) and unique (they do not link it to anyone else). Assets are built through years of consistent use, which is why a brand that keeps reinventing its look throws value away. Being distinctive matters more than being seen as different.

What follows for a strategy

How we use it

For each audience we build its category entry points, score how strongly each is felt and how many audiences share it, and choose which ones the brand should own. We read share of search, search rankings, social reach and the answers search assistants give as measures of mental availability, and stockists and shelf presence as physical availability.

Read further

Primer

Ten Types of Innovation

Most businesses look for new ideas only in the product. The Ten Types show that a brand can innovate in how it makes money, how it is organised, how it sells and how it treats its customers, and that ideas which combine several types are the hardest to copy.

Larry Keeley and Doblin, Wiley, 2013.

Where it comes from

Larry Keeley and his colleagues at Doblin, the innovation practice now part of Deloitte, studied a large body of successful innovations and sorted them into ten types. Keeley, Ryan Pikkel, Brian Quinn and Helen Walters set the framework out in Ten Types of Innovation: The Discipline of Building Breakthroughs (Wiley, 2013).

Configuration: how the business works

Offering: what it sells

Experience: how customers meet it

What the research found

How we use it

For each audience we generate ideas across the ten types, not only new products, and rank them by how much they would matter to that audience and how hard they would be for competitors to copy.

Read further

Primer

Jobs to be done

People do not buy products; they hire them to make progress in a particular situation. Understand the job and the situation, and you understand what the buyer is really choosing between.

Clayton Christensen and others, "Know Your Customers' Jobs to Be Done", Harvard Business Review, 2016.

Where it comes from

Clayton Christensen, the Harvard Business School professor known for disruptive innovation, set out the theory with Taddy Hall, Karen Dillon and David Duncan in the Harvard Business Review in 2016, and in the book Competing Against Luck the same year.

The core idea

Knowing a customer's age, income or past purchases tells you who they are, not why they bought. The cause of a purchase is a job: the progress a person is trying to make in a specific circumstance. The best-known example is a fast-food chain that found many of its milkshakes were bought early in the morning by commuters who wanted something filling and slow to finish on a long, dull drive. The competitor was not another milkshake; it was a banana, a bagel or boredom.

What a job has

How to find jobs

Jobs come from evidence, not guesswork: interviews with people who recently bought or switched, the moment they decided, what they used before, and what nearly stopped them. Search behaviour is another trace: people search for the problem long before they search for a brand.

Limits

A job written from inside the business, with no buyer evidence, is just a feature list in new words. Jobs also overlap with category entry points; the two work best together, one describing the progress wanted and the other the moment it arises.

How we use it

In the search and keyword work we group the searches people make by the job they express, decide which jobs the brand should answer, and plan content for each one, so the brand is found while the buyer is still working out what they need.

Read further

Primer

Macro-environment scan

Before sizing a market, look at the forces around it that no single business controls: government, the economy, society, technology, law and the environment. They decide whether the whole category is growing or shrinking.

Where it comes from

Francis Aguilar of Harvard Business School described scanning the business environment in 1967, grouping outside forces into economic, technical, political and social. Over time the list grew into PEST and then PESTLE, which adds legal and environmental factors. It is now a standard tool in strategy and management education.

The six lenses

Doing it well

Limits

A scan describes the weather, not the brand's position in it. It has to be followed by the competitive and audience work, or it stays a list.

How we use it

The report's chapters on industry drivers and barriers and on macroeconomic influences follow this pattern, with Australian sources first, before the market is sized. We name it the PESTLE pattern because the report organises the forces this way rather than labelling each one.

Read further

Primer

Positioning for business-to-business brands

Positioning is the context a business sets for its product so buyers understand why it is worth choosing. Set it deliberately, starting from what buyers would do if you did not exist, or buyers will set it for you.

April Dunford, Obviously Awesome and Sales Pitch.

Where it comes from

April Dunford, a positioning consultant who spent many years running marketing at technology companies, set out her method in Obviously Awesome (2019) and turned it into a way of selling in Sales Pitch (2023).

The five components

The order matters

Dunford works through the components in sequence: alternatives first, then attributes, value, who cares, and the category last. Starting from the category, or from features, is the most common mistake; it produces positioning that sounds like everyone else.

From positioning to a pitch

Sales Pitch turns the same components into a conversation with a buyer: explain how the buying situation has changed, show what a good choice looks like in that new situation, then show why your product fits it, with proof. The pitch teaches the buyer how to choose before it asks to be chosen.

How we use it

For business-to-business brands, the report works through the five components in Dunford's order and builds the pitch and the audience plans on the result.

Read further

Primer

Worldviews, frames and authenticity

People do not buy facts; they buy the story they tell themselves about a product. A story works only when it fits what the buyer already believes, and only lasts when it is true.

Seth Godin, All Marketers Are Liars (Tell Stories), Portfolio.

Where it comes from

Seth Godin's All Marketers Are Liars (2005), reissued as All Marketers Tell Stories, argues that marketing is storytelling and that buyers complete the story themselves. The liars of the title are the buyers: we all tell ourselves stories about what we choose, and the brands that win give us a story we want to tell.

Worldviews

Everyone arrives with a worldview: the beliefs, biases and habits they already hold. Marketing cannot change a worldview. It can find people who share one and tell them a story that fits it. The same product can be a bargain to one group and a status symbol to another; the product has not changed, the worldview has.

Frames and first impressions

Authenticity: fibs and frauds

Godin separates a fib, a story the product then lives up to, from a fraud, a story the product breaks. A fib can become true through how the business behaves. A fraud destroys the brand once people find out. The story has to be lived consistently, at every point where the customer meets the brand.

Ideas we add from This Is Marketing

How we use it

For the brand and each audience we set out what they already believe, the tension the brand can speak to, the story to tell, and what must be true in the business before it is told.

Read further

Primer

Cultural tension

Breakthrough brands rarely win by building a slightly better product. They win by offering a new point of view at a moment when society has shifted and the category's old story no longer fits what people want.

Douglas Holt and Douglas Cameron, Cultural Strategy, Oxford University Press.

Where it comes from

Douglas Holt, a former Harvard Business School and Oxford professor, studied how brands become cultural icons in How Brands Become Icons (2004). With Douglas Cameron, a strategist and creative director, he turned that work into a method in Cultural Strategy: Using Innovative Ideologies to Build Breakthrough Brands (2010).

Better mousetraps and cultural innovation

Most strategy assumes brands win by being better on the features buyers already value. Holt and Cameron call this the better mousetrap model. In crowded categories it produces a race nobody wins. Cultural innovation instead changes what the category means, by offering an idea people are ready for.

How the opening appears

What the brand then offers

An ideology (a point of view on how things should be), expressed through a myth (a story that brings it to life) and cultural codes (the images, words and references that make it feel real). The three have to work together and be backed by how the business behaves.

How we use it

For each audience we name the cultural tension: what the category keeps saying, what this group of people now wants, and where the brand can stand in that gap. It sits beside the audience's taboos, red lines and in-jokes, so the story speaks in their terms.

Read further

Primer

Why things spread

Ideas, products and stories spread when they give people a reason to share them. Jonah Berger's research found six traits that make that happen, and none of them depend on a big budget.

Jonah Berger, Contagious.

Where it comes from

Jonah Berger, a marketing professor at the Wharton School, studied why some content is shared and some is not, from news articles to products to public health messages. He set out the findings in Contagious: Why Things Catch On (2013).

The six traits

Points worth knowing

How we use it

We test content ideas against the six traits before they go into the plan, and strengthen the ones that will be shared with the brand still attached.

Read further

Primer

What makes an idea stick

Ideas that people remember and act on share six traits. They can be learned and checked, which turns 'is this a good idea?' into questions a team can answer.

Chip Heath and Dan Heath, Made to Stick.

Where it comes from

Chip Heath, a professor at Stanford Graduate School of Business, and Dan Heath studied why some ideas survive and others are forgotten, from urban legends to public campaigns, and set out the pattern in Made to Stick: Why Some Ideas Survive and Others Die (2007).

The six principles

The curse of knowledge

The biggest obstacle to a sticky idea is knowing too much. Once we know something, it is hard to imagine not knowing it, so experts talk in abstractions their audience cannot follow. The six principles are a way out of it.

How we use it

We score creative ideas against the six principles before they are made, and rework the weakest, so the content that carries the story is remembered.

Read further