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| About the authors | |
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| Introduction | |
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| Our approach to campaigns and campaigning | |
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| Learning to become better | |
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| Our new definition and our approach to campaigning | |
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| Purpose, philosophy, attitudes and attributes | |
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| Leaders, vacuums and campaigns | |
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| The nature and purpose of communication | |
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| The value of communication | |
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| The inevitability of influence | |
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| The likelihood of resistance | |
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| The need for an ethical approach | |
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| The seven principles of campaigning | |
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| The Campaign It! model | |
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| Final thoughts | |
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| Cause | |
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| Introduction: from law-suits to the pursuit of principle and a click-whirr | |
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| Managing personal emotions | |
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| Creating a cause | |
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| The inevitability of simultaneous campaigns | |
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| Gradations of cause: why size really doesn't matter | |
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| What to do with a cause | |
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| The power that comes from having a cause | |
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| Courage | |
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| Cause, objectives and a washing line | |
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| Final thoughts | |
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| Recognizing and understanding your audiences | |
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| Tourism, campaigning and a casual glance | |
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| Thinking of an audience | |
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| The purpose of audience analysis | |
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| The starting point | |
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| Principles and methods of audience analysis | |
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| How do we ask great questions? | |
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| Managing feedback | |
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| Research | |
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| Qualitative research | |
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| Quantitative research | |
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| Choosing and/or mixing quantitative and qualitative research | |
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| Formal and informal analysis | |
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| Using our knowledge | |
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| Barriers to audience analysis | |
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| The audience within | |
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| Final thoughts | |
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| The narrative | |
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| A note from AB before we begin | |
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| Once upon a time and other ways to begin | |
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| Little Red Riding Hood and the power of storytelling | |
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| Creating the campaign narrative | |
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| Creating and sharing the narrative | |
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| Everyone remembers a great ending | |
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| The bubble of fiction and the frame of perception | |
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| Well-packaged honesty | |
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| A rich reduction | |
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| Final thoughts | |
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| Influencing conversations | |
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| Before the music plays | |
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| Sticks and stones and all that jazz | |
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| Being in tune | |
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| Matching communication patterns | |
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| Hearing the music, reading the score | |
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| Language | |
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| Body language | |
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| Decision-making tendencies | |
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| Our own words | |
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| Final thoughts | |
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| Mapping the campaign | |
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| Maps, models and the courage to go first | |
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| Creating a campaign map: from fiction to reality | |
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| Creativity | |
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| The 71 creativity wheel | |
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| Momentum | |
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| Final thoughts | |
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| Integrating activities | |
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| Bringing the campaign to life | |
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| Activity management | |
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| The campaign team | |
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| Tools, channels and an essential wiggle | |
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| Planning, unpredictability and trade-offs | |
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| The magic of the web | |
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| Final thoughts | |
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| E-motion | |
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| Be-cause | |
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| Final thoughts | |
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| Being a campaigner | |
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| Identity | |
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| A beginning, an ending | |
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| Politics, pounds and a lesson from a Sea Monster | |
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| Margate, Margaret and May | |
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| Learning and leading | |
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| Head office, America, 92 seats and a question about vets | |
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| The beautiful game and location, location, location | |
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| bbm | |
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| Very final thoughts | |
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| Index | |