Londons Ships of Historic Interest Partnership: Marketing Plan - Essay Example

London’s ships of historic interest partnership: marketing plan BY YOU YOUR SCHOOL INFORMATION HERE HERE Executive summary London’s Ships of Historic Interest Partnerships currently positions itself in the tourism market as an informational tour, offering historical legacy discussion regarding ships involved in the nation’s security programme. In addition, part of the tour includes a merchandising campaign that includes a variety of merchandise related directly to British history and individual ship legacy. However, in order to build higher revenues and sustain a new image for 21st Century visitors, London Ships requires a repositioning strategy with a new message aimed at a broad target market of consumers with varying demographics or personal tourist demands. This marketing plan identifies a new marketing strategy for the organisation in order to improve its contemporary image. The plan recommends an integrated marketing communications strategy involving many elements of public relations theory and practice. Objectives Currently, the mission of the London’s Ships of Historic Interest Partnership is to “provide a valuable source of information and inspiration, as well as facilities to inform and educate the public on our need of the sea” (londonships.org.uk 2010, p.1). In most respects, the current communications strategy is that of information exchange as a primary goal. This is not working effectively to build consumer interest and raise revenues needed to offset the costs of renovation in order to make these old vessels gleam with modern appeal to diverse consumer audiences. They key is to change the marketing message being delivered. The objectives of the new and enhanced marketing strategy are to remove the emphasis on education and information, making the venue appear more exciting and relevant to the needs of a new style of consumer target group. The goal is to increase revenues by 30-40 percent within one year, using a blend of public relations strategies and modernised communication practices. The plan anticipates turning the attraction around from being a niche activity to a broad-based tourist hotspot that appeals to mass markets with varying demographics and lifestyle values. The current marketing environment Reassessment of current marketing strategy led to a variety of marketing literature that was mainly focused on the use of Internet tools, from website development to use of social networking tools as the main focus for promotion. However, this strategy had no direct linkage to relevant tourism sites and therefore was an inferior promotional strategy. This could be due to the fact that the current target market is misaligned with revenue goals, devoted mostly to the older consumer with an inherent desire to explore history with an exploratory lens; a niche market. In virtually every tourist venue, photography is a central part of the tourism experience, as it validates their role in history or helps the tourist to gain a long-term essence of being in a particular place (Wharton 2008). It is a human behavioural fact for most tourists and one that is not nearly exploited properly when determining marketing communication strategy. Human behaviour, especially related to demand for photography during tourist visitations, is integral to finding marketing success. Also related to human behaviour is the tendency of tourists to ask not “What can we do on holiday?”, but “Who can we be on holiday?” (Yeoman, Durie, McMahon-Beattie & Palmer 2005, p.135). Moving under the assumption that this is a rather generic and widespread concept with most travellers, it should be recognised that behavioural elements associated with attempting to create a temporary altered self-identity during tourism activities are present when making decisions about what destinations to place on their travel agenda. Currently, the strategy of information exchange in communications does not provide niche market tourists with these perceptions of an altered state of identity creation (much less other target market groups). Again, it is behavioural elements associated with psychological demands related to what the tourist hopes to gain from a travel itinerary that will impact success for this particular venue. There seems to be an element of escapism for most tourists when planning a locale for visitation that is missing in current marketing strategy as it stands in current online format. “Every product wants, indeed must, stand for something – no matter how large or small, or how relevant or irrelevant the brand customer group is” (Schultz 2009, p.6). Under current marketing strategy, there is no sense of symbolism other than a regurgitation of history and legacy, with no solid identity for the London Ships brand. This is an internal failure associated with brand identity that requires correction as it affects the consumer perception of the venue significantly, especially when the goal is to bring diverse market groups to the attraction. Market identification The venues most likely to visit the London Ships attraction are youth groups involved with school group activities, older citizens with traditionalist views related to their role in British maritime legacy, and casual international travellers that visit London and stumble across information regarding the ships either online or through printed literature distributed in a variety of local organisations. Currently, each of the ships offer opportunities for schools and various youth groups to visit for the purpose of an educational visit and historical lecture (yadt.org.uk 2010). However, the new marketing strategy and communications plan is designed to remove this niche element from the target market mix and increase diversity for a more mass-market-focused campaign. For instance, the Cutty Sark has been used as a location shoot for many feature films, along with network television programmes and educational documentaries (cuttysark.org.uk 2005). This gives this particular ship, and others within the venue, a potential Hollywood-style flair if the information can be promoted. This can be communicated in a method that is attractive to young adults or mass market consumer groups of all ages if promoted properly. Though it was identified what markets are most likely to attend the attraction, it is based on the current marketing strategy as it is today: catering to historian-minded travellers and educational tour groups. There is unlimited potential to avoid complex segmentation and targeting strategies by adjusting the style by which its interesting history is communicated so that the venue appeals to individuals with diverse geographic, demographic and psychographic backgrounds; a mass market appeal. Marketing objectives In order to have mass market appeal, characteristics that are part of the London Ships venue should be highlighted so that they are linked with diverse market characteristics. For instance, visiting the ship for the sake of being part of what was once a theatrical filming studio is linked with multiple demographics that have a flair for intrigue or appreciate celebrity. Other market groups, for instance a local citizen group with modest financial backgrounds, might find connection with the attraction due to its advanced renovations that have occurred on board and be interested more in design and colour aesthetics as a motivation. So long as connection can be found and communicated properly, transforming the venue from a niche locale to a mass market-focused opportunity is a process of exploiting its meaning from a variety of different angles. The objectives are to expand the target market to include a mass group focus through the process of correlating all of the elements involved with the venue and then relating it, at the lifestyle level, with multiple domestic and international audiences with varying demographics. Making this happen successfully is achievable through new communications strategies and is not time-constraining as it involves redistributing knowledge in a different and more inviting fashion. There is considerable flexibility in this approach as even situations that occur during previous visitor groups or individual tourists can be recorded and used to communicate current events rather than focusing only on historical elements. The objectives of transforming the venue from niche to mass market are non-ambiguous with a more aggressive campaign without reliance on solely Internet promotion and a smattering of local pamphlets and brochures. Measurement is determined, in this case, simply through revenues analysis and passenger volume counts. Marketing strategies In order to make this plan successful, all elements and characteristics of the venue must be determined, carried out by internal management and even staff as part of a horizontal communication strategy. For example, the Cutty Sark offers the ability to book parties under the hull of the ship, accommodating over 200 people for dining or 300 for personal receptions which include a sound system, projection screen and a stage for unlimited uses (cuttysark.org.uk 2005). Reassessment of current marketing strategy did not identify any meaningful promotion of this opportunity, though it is a major revenue-generating event and should be exploited to its maximum potential. The inclusion of dining capabilities, dancing facilities or even performance capabilities with a sound stage makes ships in the attraction like the Cutty Sark ideal for youth celebrations, lecture events, wedding ceremonies…virtually unlimited. The first step in the plan is to identify what makes this location unique and inviting for party bookings and then identify the appropriate method to communicate this availability. For party bookings, consultations with local party planners, travel agencies and churches should occur as a product of management activities. By adding the Cutty Sark and other vessels offering these facilities to existing literature in these locations, it will give the venue more exposure. A price listing, after competitive analysis, should also be included so that pricing is transparent and those interested in a unique party centre understand up front what they can expect. Pricing structures can be determined with management leadership and/or a covert surveying of local banquet halls or restaurants offering this service to ensure pricing is not rejected by consumer groups. The fact that the location has been used for big picture productions should also be included in all Internet marketing literature and published materials currently distributed along the promotional logistical network. Since consumers appreciate photography, in fact demand it as part of the tourism experience, appealing to this aspect of human behaviour and then linking it to its Hollywood past makes the venue stand for something. Since consumers ask why they can be on a trip, offering them options to take photos of themselves on a big picture shooting stage makes them feel like they have become a part of the theatrical history rather than just British naval history. This strategy gives the venue more contemporary appeal and helps the tourist identify with their desire to become somebody different during their tourist experience. Online promotion can include linkage to certain big picture theatrical trailers released to the general public online so that consumers of all ages interested in upcoming films can click on an adjacent link to find out more about the new London Ships venue. Any online site involving theatre that is known to have considerable hits from mass market audiences is a site worthy of contacting to procure advertising space in banner format or pay-per-click style marketing. A public relations campaign, as part of this proposed integrated marketing campaign strategy, is also necessary to achieve high promotional value. These include media relations and community relations management (Carden 2006). Public relations is “among the most basic management of communication between the organisation and its publics” (Carden 2006, p.131). It is fundamental to success in this marketing strategy. Periodic media releases highlighting photos of individuals who have used party facilities or interesting on-board events occurring during regular tours can be released for public viewing online or in a bi-monthly mailer developed at low-cost by management and staff. The goal would be to assign certain members of the staff to maintain photography during these visits and then post this to improve frequency of communications. The key is not to let the same message become stagnant by refreshing the image of the venue with new photographs or even customer testimonials about their parties, tours and informational learnings. Community relations will involve periodic, low-cost guerrilla marketing teams with pre-made promotional tools (keychains, magnets, etc.) with a clearly defined brand logo for distribution in a variety of public places. Getting the word out about the attraction in local markets is a promotional strategy at very little cost using graphic arts experts or established promo organisations specialising in the production of small-scale logo-ed merchandise. Action plan Managers and staff will take full ownership of all promotional and communications strategies, occurring with regular frequency. Managers will be responsible for coordinating pricing comparison observations and then developing a published pricing guide for party bookings, whilst also working with promotional agencies for development of low-cost promo merchandise. This is a one-time effort conducted yearly (or as needed) as revenue streams begin to fall from expectations. With new releases, staff or management should be scanning theatre-related websites and coordinating regular communications for advertising space on these sites with measurable consumer traffic. Marketing budget This integrated campaign is not overly costly nor labour intensive. Advertising space on theatre-related websites represents an estimated annual cost of £5,000 as link-style marketing is inexpensive. Promotional material production, annually, is estimated at £2,500 as it is a one time expenditure creating caseloads of keychains, bumper stickers, magnets, etc. available at promotional companies specialising in these efforts. Pricing guides distributed to churches or other appropriate venues will only piggyback on existing print literature, however it is estimated at approximately £5000 yearly as these do not have to be sophisticated tools but should be printed in enough volumes to ensure national distribution. Monitoring and evaluating Monitoring success of this campaign can be conducted, as mentioned earlier, with simple revenue analysis conducted weekly by management teams. However, Fareed (2002) identifies several quality measurement tools as dedicated toll-free numbers or business reply cards. The establishment of a dedicated toll-free hotline, manned by an automated information system, can be equipped with the delivery of randomized discount codes that are only delivered to the customer after the entire promotional message has been listened to. A 15% ticket reduction code redeemable on-site is a motivational incentive and the volume of calls completed can be measured using the associated technology that answers these toll-free inquiries. Business reply cards should also be developed as part of the promotional strategy and included in the pamphlet pricing guides with a discount offered when they are returned. Keeping a volume of returned reply cards gives the business a chance to redistribute them again without printing costs and also acts as a measurement tool for success in the effort. These are the most effective and cost-minded efforts to ensure that the new strategy is meeting intended objectives. Critical issues This is a campaign designed to increase interest and give the London Ships a better image as a mass market venue and also as a modernised tour option by linking it with many different characteristics. Though history is the main legacy and rationale for the venue, the largest revenue producers are being underlooked. The only concern is with staffing levels if there is a high response rate for booking parties or tour groups, which might lead to more budget allocation to HR recruitment and training to sustain active interest from mass market consumer responders. References Carden, A.R. (2006). How public relations puts the kicks in Route 66 – and still is, Journal of Vacation Marketing. 12, 2, pp.130-142. Cuttysark.org.uk. (2005). [internet] Cutty Sark – The world’s last tea clipper. [accessed 4.11.2010] [available at http://www.cuttysark.org.uk/index.cfm?fa=contentGeneric.ogiwticmifhukfnf] Fareed, J.S. (2002). Measurement tools help bolster marketing’s effectiveness, Hotel and Motel Management. 217, 14, p.10. Londonships.org.uk. (2010). [internet] About Us: Mission. Ships of Historic Interest Partnership. [accessed 5.11.2010] [available at http://www.londonships.org.uk/about.aspx] Schultz, D. (2009). Transformational branding, Marketing Management. 18, 5, p.6. Wharton, D. (2008). Southern attraction, southern attractions: a photographic essay, International Journal of Culture, Tourism and Hospitality Research. 2, 2, p.102. Yadt.org.uk. (2010). [internet] London Ships, Youth Action Diversity Trust. [accessed 5.11.2010] [available at http://www.yadt.org.uk/network/html/london_ships_.html] Yeoman, I., Durie, A., McMahon-Beattie, U. & Palmer, A. (2005). Capturing the essence of a brand from its history: the case of Scottish tourism marketing, Journal of Brand Management. 13, 2, pp.134-148. Read More