10 mobile #growthgems π from "Ad Creatives FTW" with @mellyalert (Realtor.com), @hioliviasmith, @DyanKhor (@CashApp) and Rhiannon Price (JamCity) at the live-only SpeakHer event from @AppGrowthSummit
Read the #UA #creatives insights in the twitter thread below π
Read the #UA #creatives insights in the twitter thread below π
π #1
HopSkipDrive uses the same brand feeling and emotional value across channels but what might differ is the goal of each campaign. Example: Twitter for retargeting/re-engagement and Facebook for conversion.
HopSkipDrive uses the same brand feeling and emotional value across channels but what might differ is the goal of each campaign. Example: Twitter for retargeting/re-engagement and Facebook for conversion.
π #2
Try to take a portfolio-based approach to creative testing and understand that you're adding something new to the mix. Some channels do not have a "clean" way to A/B test (e.g. TikTok) but even if there is it might not give you results of what will happen "live".
Try to take a portfolio-based approach to creative testing and understand that you're adding something new to the mix. Some channels do not have a "clean" way to A/B test (e.g. TikTok) but even if there is it might not give you results of what will happen "live".
π #3
HopSkipDrive builds creatives off customer surveys. You can A/B test all day but you really want to first understand the value you're creating for all verticals. Example for drivers: either emotionally-driven or money-motivated and they use different creatives for each.
HopSkipDrive builds creatives off customer surveys. You can A/B test all day but you really want to first understand the value you're creating for all verticals. Example for drivers: either emotionally-driven or money-motivated and they use different creatives for each.
π #4
Money-motivated users β more text-oriented creatives because they don't identify with the emotional imagery so presenting the money making options. Emotionally driven β pictures showcasing some drivers to illustrate the look and feel of helping kids getting to school.
Money-motivated users β more text-oriented creatives because they don't identify with the emotional imagery so presenting the money making options. Emotionally driven β pictures showcasing some drivers to illustrate the look and feel of helping kids getting to school.
π #5 (1/2)
Initially JamCity was looking at traditional demographics (gender, age, etc.) but now they look more at the motivations. Mobile games are broadly appealing and the obvious motivations are boredom and wanting to relax.
Initially JamCity was looking at traditional demographics (gender, age, etc.) but now they look more at the motivations. Mobile games are broadly appealing and the obvious motivations are boredom and wanting to relax.
π #5 (2/2)
But there are also much deeper motivations why people play the game. They've identified much more specific segments that they are then targeting through creatives (not through targeting on Facebook) and even product.
But there are also much deeper motivations why people play the game. They've identified much more specific segments that they are then targeting through creatives (not through targeting on Facebook) and even product.
π #6
You can initially start with a creative in a broad targeting to see what kind of users it brings then tweak it in that specific direction. Doing this several times you end up with a creative portfolio so that on Facebook the creatives can find their subset of users.
You can initially start with a creative in a broad targeting to see what kind of users it brings then tweak it in that specific direction. Doing this several times you end up with a creative portfolio so that on Facebook the creatives can find their subset of users.
π #7
JamCity has a fairly large consumer insights team doing quantitive and qualitative which brings a huge amount of data that they can base tests on for both creatives and product. They leverage that to improve the ads themselves but also the early retention.
JamCity has a fairly large consumer insights team doing quantitive and qualitative which brings a huge amount of data that they can base tests on for both creatives and product. They leverage that to improve the ads themselves but also the early retention.
π #8
JamCity has an internal team and several offices but also a huge amount of vendors (about 15) that have different specialties (UA, general marketing, production companies, high-end CG, etc.) which helps keep things diverse and creatives fresh.
JamCity has an internal team and several offices but also a huge amount of vendors (about 15) that have different specialties (UA, general marketing, production companies, high-end CG, etc.) which helps keep things diverse and creatives fresh.
π #9 (1/2)
There are huge opportunities on TikTok to leverage great creators that are doing innovated things. The platform encourages finding ideas that are convincing but also "game" the algorithm.
There are huge opportunities on TikTok to leverage great creators that are doing innovated things. The platform encourages finding ideas that are convincing but also "game" the algorithm.
π #9 (2/2)
Influencer content is translatable to other platforms that have vertical video (Snapchat, Instagram) so TikTok can be a good testing ground.
Influencer content is translatable to other platforms that have vertical video (Snapchat, Instagram) so TikTok can be a good testing ground.
π #10
For JamCity playables haven't worked out as well as everyone had hoped but HTML-interactive ads on Google UAC are really impactful. Make sure you have enough inventory for that kind of assets.
For JamCity playables haven't worked out as well as everyone had hoped but HTML-interactive ads on Google UAC are really impactful. Make sure you have enough inventory for that kind of assets.
That's all!
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Mining βοΈ long-form resources to extract #mobilegrowth insights π takes time.
If you enjoyed it, please share π
Receive #UA #ASO #Creatives gems directly in your inbox with the free newsletter growthgems.co/free-newsletteβ¦
I'm going back down for more π β Sylvain
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