The Art of the Pitch – Advice from UAE Media on what works, and what doesn’t

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The pitch – these two words can strike fear into the hearts of a PR executive. And with good reason; journalists can tear a pitch to shreds in the time it takes you to read this sentence. Perfecting a pitch doesn’t need to be hard. But don’t take my words for it. I’ve asked four Dubai-based journalists to talk about the best and the worst pitches, as well as what advice they would proffer to people working in public relations. Thank you to the journalists who shared their answers (disclaimer: no PR people were hurt during the writing of this post). Here we go!

  • What’s the best pitch you’ve received?

Journalist 1

It was from Rachel Maher at PHD UAE.

The pitch was regarding coverage for PHD’s upcoming Brainscape conference. The theme of the year was ‘AI’. She took the time to go through my editorial calendar, factor in the deadlines, and then approach me with a few initial ideas on how we could work together. She then met for a coffee to further brainstorm and was perfectly happy to be part of another feature I had planned around AI – instead of expecting and insisting massive coverage on the event alone.

To summarize, what I liked was:

  • Factoring in the magazine’s timelines
  • Brainstorming to see what works best for the title – not just the company
  • Supporting with contacts and relevant material
  • Not expecting and insisting on exclusive coverage; instead collaborating and adding value to the magazine

Journalist 2

I don’t think there’s been a ‘best’ pitch that has stood out for me – sorry!

Journalist 3

No particular pitch is very memorable – but I’ll tell you the most successful ones were the simplest. “Hey, saw you had a story on X yesterday. Would you be interested in a follow-up/ related story.” Provided they’re telling the truth, I’ll likely stop what I’m doing to listen.

Journalist 4

Best pitch was possibly from a junior PR girl at MSL handling Cadillac, who had found the “Penalty of Leadership” ad and suggested getting the Cadillac marketing manager to write about how it resonates today. I was impressed because it was about advertising, not about the car, I’d not seen the ad, and it was a bit random. Mind you, they never filed. But I was impressed at the pitch.

  • And Worst pitch:

Journalist 1

Honestly, too many to name, so here’s are the kind of pitches that really suck:

  1. The one where they just name the client and state that they want exposure (duh!)

Getting exposure for the client is a PR agency’s job! It’s also their job to figure out how. A generic email stating that we have XYZ client and want to get them featured – without mentioning little else – is frustrating, to say the least.

  1. The one where the client wants control of everything

The client decides when, what and how, they’ll contribute without any regard for the title’s editorial style and/or guidelines. I’ve had several people call asking (rather rudely) why a comma was changed or why a sentence was paraphrased… please, let editors do their jobs!

  1. The one where the agency knows nothing

I’ve had PR folks reach out with random pitches from artificial insemination to the hottest ladies’ night out. While the latter is helpful personally, I don’t know how it’s relevant to the magazine. So, in some instances, I ask which section they’re pitching this for. Of course, the replies are sections that don’t exist.

  1. The one where they overestimate their client

As harsh as this might sound, sometimes a company/spokesperson is just not worth being featured. They don’t have anything interesting or new to offer – even if the topic fits within the editorial structure of the title. PR folks refuse to understand the shortcomings of their client and get extremely pushy by suggesting different angles and story ideas.

Journalist 2

LITERALLY everything in October that’s centers around Breast Cancer Awareness. From pink cupcakes to pink drinks to yoga on the beach, there’s absolutely no connection and it’s just a way for brands to peddle their name for the month.

Journalist 3

I am actually failing to come up with the example of a really bad pitch. I think it’s because I’ve heard so many bad pitches over the years, I assume that everything is a bad pitch; as a result, I only listen for about 10 seconds. If the PR hasn’t gotten to the point, I either ask them to get to the point NOW (if I sense there may be some usable behind the rambling) or just shut them off. If I shut them off, it means I’ve probably forgotten about them about 10 seconds later.

Journalist 4

So many! One girl pitched me the new line of Samsonite suitcases and I asked her where I should run it. “The Business News section,” she suggested. (I was on Communicate then). I told her I couldn’t find that section, so she said wherever I saw fit. I said the back page, Dish section would probably be best. She agreed. Then when I ran the conversation in full on our back page, her boss called me to say she was in tears. Should he fire her? No, I said, as she’s guaranteed to always read the mags she’s pitching to from now on. I felt like a bit of a shit, though.

  • What’s your advice to PR people re pitching to media

Journalist 1

Be considerate. As cliché as it sounds, please understand the pressures under which journalists and editors today are working. Stop wasting their time with numerous calls; a barrage of emails; irrelevant messages; and being pushy.

Be relevant. Do your research, go through a couple of previous issues (not just the most recent one), and then see how you can add value. Your job is to get exposure for your clients, not ours. Figure out how. We’d be happy to work with you, not do your job for you.

Push back. Sometimes, you know your client is wrong. Let them know. And if you can’t, don’t approach with us something you don’t believe in yourself.

Know how much is too much. I can’t say this enough but please stop calling, emailing and Whatsapping…all at the same time!

And most importantly, you don’t always need to pitch! The best PR folks, in my opinion, are the ones who are responsive, quick and present when journalists and editors need a comment or contribution.

Journalist 2

Know. Your. Audience. I don’t want to receive pitches or releases about going back to school or the latest women’s fall collection if that’s not what I write about. Also, if you’ve emailed me about something, there’s absolutely no need to give me a phone call a few hours later to see if ‘I’ve had a chance to review the email’. If something really does interest me, I will respond and take things forward myself.

Journalist 3

Get to the point. Be honest, even if you think it means I won’t be interested. Be ready to accept rejections (I’ve send emails telling me entire dept to ignore emails from a PR if – after getting a no from me – they try to go around me to another editor or reporter. Deliver on what you promise.

Journalist 4

The usual. Know the magazine. Tailor the pitch to the readers, not to your client. No one gives a damn about how market leading your client’s solutions are; they want to be informed, educated or entertained. The point of a B2B mag is to help readers do their jobs better, not to let them ignore free advertorial.

  • Has Social Media changed the pitch?

Journalist 1

This is hard to answer because I am the social media generation. I haven’t personally experienced pitches prior to social media. Having said that, for better or for worse, I don’t see the growth of social media having any bearing on the pitching process.

Journalist 2

I thankfully haven’t been pitched too often via SM, but on occasion an agency or PR person will tweet me or send a message on Facebook saying that they’d like to connect for a story or brand. It’s certainly an easier way to connect with people, but I still think it’s better to pitch something via email or phone call (provided the pitch is relevant!)

Journalist 3

Thanks to social media, it’s just gotten more chaotic because about half the industry isn’t using social media (hi, just calling to let you know I sent you an email) and the other half hits you up on random platforms I really don’t use. I get more pitches of LinkedIn, which I hate and am almost never on, than Twitter, which I am on waaay to much.

Journalist 4

Everyone used to want to see their clients in the mag. Saying I’d use a story online would always be seen as second best. That’s because they all wanted to leave it on their desks, show it to their mums, etc. Now, it’s the opposite. They all want it online, not just in print, so they can share it with their social networks.

Is Your Content Legal? A Q&A with Al Tamimi’s Fiona Robertson

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If your content is in breach of the UAE’s laws, you may find yourself in the courthouse (maybe not with Matthew McConaughey, however).

There’s few people who know more about media laws that Al Tamimi’s Fiona Robertson, who has strived to raise awareness of legislation that impacts those working in communications and marketing. I had the fortune of sitting down with Fiona, to talk content. I started by asking, what is legal and illegal when it comes to content.

Fiona: All content must comply with the print and publications law, which was first published in 1980 and then expanded upon by and executive resolution in the 2000s. This law applies to all media, and how it is distributed, including online. The other law people need to be aware of is the Cybercrimes law of 2012.

These laws include a list of issues which are off-limits, such as criticizing UAE culture, the UAE government, Islam and any subject which could bring disrepute to the country. In relation to the Cybercrimes law, the penalties are stiff, with up to 500,000 AED in fines as well as jail terms. Anyone who is prosecuted and found guilty under the 2012 Cybercrimes law and who is not a national will be deported.

There was a case a couple of weeks ago where a media outlet didn’t obtain the correct releases for material. This material was published on a website, and the two hosts of the show were deported. When these laws are broken, there are serious consequences.

Q: Are enough publishers, brands or agencies aware of these laws?

Fiona: We don’t see enough awareness that people are concerned about this. We get to do pre-publication compliance review for foreign brands, who often approach us, but not for local brands. People don’t realize the laws are there, as they’re not well publicized.

Q: Who oversees these laws?

Fiona: It’s the National Media Council, and Telecoms Regulatory Authority who have the power to block websites.

Q: So how are these laws applicable to social media and social media influencers?

Fiona: The provisions of the Cybercrimes law does not specify who is liable for the content. The brand, the publisher, the agency or the author could be liable for the content under the Cybercrimes act. It could the content producer, the influencer. It could be the owner of the blog. If it’s on a Facebook site, then it could be you or the brand as the account owner. In the recent case which I referred to above, the authorities prosecuted nine parties for one action which was considered to be against the Cybercrimes act.

Q: Wouldn’t the platforms, the likes of Facebook, Snap or Twitter, potentially be liable?

Fiona: Potentially, yes, they could be liable. Most are based outside of the UAE’s jurisdiction so it becomes difficult to apply sanctions against a foreign entity. But the TRA could block their sites for being in breach of the UAE’s content regulations, as they do with materials relating to topics such as gambling.

Q: So what should brands and agencies do in terms of making sure that content is legal?

Fiona: There’s several laws that brands, agencies and publishers should be aware of, including both the Cybercrimes laws and the National Media Council advertising regulations. Familiarity is the most important thing. I’m still alarmed by the number of people who tell me there’s no media laws here, where there clearly are. Start there, train your staff to know what the big red flags are in relation to content, so they’re picked up before the content goes into production.

There’s not only legal issues, but also the reputational issues. Today, UAE nationals will take to social media to make complaints and disparage brands. Sometimes the issue isn’t so much legal as it is reputational. An issue is better resolved before it becomes a problem.

Q: Is producing content in Arabic more difficult than in English?

Fiona: Foreign brands and producers may not understand the culture of the region well. They may not understand the reality versus perception, and we’re often asked to help review not just from a legal perspective but also a cultural one. Having said that, the biggest advertising fail in the last 12 months was Arabic language content produced by Arabic speakers for an Arabic country.

The Media, the Web and Influence – a Journalist’s Response

 I wrote earlier this year about the waning influence of media, and how the media could tackle this through more transparency and better use of digital.

The piece elicited a response from one journalist here in the UAE whom I greatly respect. I wanted to share that response with you below.

On auditing and transparency:

Yes, there’s a lack of transparency and yes, there should be auditing but I’m not sure how much that would help. Most advertisers either don’t care or don’t understand that a publication with smaller numbers but the right target audience could still be valuable. In any case, an insane amount of deals are done because the media planners/agency guys and publishers are friends. So to your point, even if there were to be proper auditing, I’m not sure how much it would help the media industry regain its influence. 

On influencers and audience profiles:
Okay, the media and influencers should be treated separately. By default, media (and journalists) are – or should be – influencers, but in the context of the way the term is used here, they are not. So, why are we talking about an influencer who will give a breakdown of their followers? This is an issue, but a completely separate one.
With regards to media building reader profiles, yes they should but it’s important to define whether it should be sales or editorial. The issue of trust and transparency is relatively not as pressing when dealing with editorial because they have nothing to gain per se by bluffing/inflating numbers and audiences. Moreover, if editorial is interested in covering a story, they will do so (or at least, they should) regardless of PR/comms professionals pitching or not pitching said story. In fact, PR/comms need to think beyond what they want to communicate and instead look at what journalists want to do and try and be a part of that – something I’m sure you’re more than familiar with. It’s frustrating, to say the least, to speak to a company when they want to push something but not when you’d like them to weigh in on something.
On journalists as influencers:
There needs to be a line between journalism and whatever passes as content nowadays. Journalists should NOT be content creators and distributors for brands. It has to be either/or. They can’t have a balanced view if they’re speaking for a brand (understandably so)…it’s the whole reason we strive to keep editorial and sales apart. If anything, we need more journalists – not content creators or influencers – to dig up new stories, angles, and perhaps most importantly, be brave enough to pursue those stories.
Have a view? If you do, then drop me a line. I’d love to hear your thoughts. And to the journalist who wrote this, I’d like to say thank you.

How the Media Industry can regain its influence in today’s Social Media world

Is Print Dead

Print may not be dead in the region, but are there way that the media industry can regain influence lost to social media celebrities? (image source http://abcodigital.com)

I recently had an email exchange with a colleague in the PR industry here in Dubai on the issue of the communications industry and how to develop. I asked, what do we need to do better to make the communications function in the region better. His response was fascinating. To quote:

The truth remains that more and more media outlets are closing down, journalists being made redundant, consumers not reading much – but “following” social trends!

All what most of us have done is jump into the “influencer” band-wagon and discuss $ rates on the number of posts along with potentially a storyline. This should change. We need to find something more creative than being short-sighted to tap into the money.

But what keeps me awake at night (beyond other things, of course!) is what if media outlets close down, journalism as a profession becomes history – who the hell do we pitch our stories to?

While it’s true that the PR industry in the region has had a hand in the rapid and prominent rise of social media influencers, what about the case for the PR industry’s role in the declining influence of media, particularly print.

Here’s my two cents on how the media in the Gulf should work to regain its influence in today’s digital age. Let’s start with a look at one issue which the media has struggled with, namely transparency:

  • Audited Media – The number of audited print publications in the region is relatively low (we’re probably talking percentage-wise in the single digits). Whilst publishers such as ITP, and, most especially, Motivate have pushed for audited print titles, few others have followed suit. Audited numbers make our job of targeting the right media easy; we’re able to easily compare media titles, understand the reader breakdown and make a judgement as to whether a certain title is worth working with editorially (and then, later down the line, through advertising). It helps PRs clearly align media outreach with the business strategy, and it gives us trusted, independently audited numbers to back up our approach.
  • Unaudited Media – The vast majority of media in the region isn’t audited. Their numbers cannot be verified, and my assumption (which I assume is commonly shared in the industry), is that distribution numbers and readership is over-inflated. There’s no way that we can trust the circulation numbers given by publishers, and there’s no way that we can trust that the audience that we need to reach is seeing our messaging.
  • Advertising Media – Forgive the name for this third category. This is media which is created solely for the purposes of capturing advertising revenues, with limited to no circulation. With little to no circulation to talk of – in contrast to the publicized circulation numbers – such media and their publishers have done little to no favor to the reputation of media in the region. And it doesn’t help our cause in promoting media as the most effective means to reach out to our target audience, especially when the publication has effectively no audience.

The second issue is digital. Whilst some publishers, titles and journalists have embraced digital platforms including websites, podcasts, vlogs and social media, others have yet to leverage the power of online distribution and amplification. Digital remains a challenge for much of the media industry globally; no newspaper has been able to make a profit and run its business from its online sales revenues. However, with consumers in the Gulf region essentially living their lives online, does it make sense for traditional media publications to not be online?

The other aspect of digital which media needs to leverage is its ability to engage in real time with its audience, and build audience profiles. I’m yet to see or meet an influencer who will be able to give me an up-to-date breakdown of their followers’ interests, age ranges, geographies and other demographics. The media can and should be helping to build up reader profiles which in turn will help us work with them to target the right audiences. This requires trust and transparency, which is still hard to come by with many titles (see the above).

I feel its especially important that journalists build their online profiles. While many are being laid off as publications shrink, brands need reputable voices to work with. For me, there’s little comparison between a professional journalist and a social media influencer in the Gulf (there are exceptions). When reviewing a product, it’s much more likely that a journalist will give a less biased viewpoint, and will include both positives as well as negatives. That builds integrity and trust with readers, which advertisers should seek out as the holy grail of brand building. Journalists need to think about transitioning into content creators and distributors for brands, much like their social media influencer counterparts. The difference will be in their ability to tell a balanced story that is trusted by their readers.

Whilst the region’s media scene is slowly feeling the impact of ad spending shifting online (just look at the recent closures, including 7Days), I cannot and don’t want to image a day where we have no media to work with. The media industry has to play its part in changing to meet the needs of consumers, through embracing both transparency and digital platforms. I have a great deal of respect for the professionalism and expertise of many publications and journalists in the region, and I know how influential they can be. We need to ensure that their influence is recognized in a fashion that is understood outside of the media industry, by businesses who want to engage publicly.

Do you have any inputs or thoughts on the media industry and how they should change to remain relevant? If yes, then please do share them with me in the comments below.

Will Dubai’s social media business license regulate the influencer space?

social media influencers

There’s been little legislation specifically looking at social media selling or influencer marketing across the Gulf

As anyone who works in the social media space in the Gulf knows, there’s nothing in the way of regulation. We’re working in a space which is poorly understood when it comes to legality and regulation (though, as I’ve written about before, any sponsored content is legislated for by the UAE’s advertising law).

This may be about to change however. Last week, Dubai’s Department of Economic Development launched a new business license, designed for those wishing to conduct business online, via social media. Here’s more details from Arabian Business.

Dubai’s Department of Economic Development (DED) has launched a new e-Trader licence to allow Emiratis and GCC citizens in Dubai to conduct business activities on social networking sites.

The DED’s Business Registration and Licensing (BRL) sector said the initiative is part of enhancing transparency and regulating the practice of offering products and services for sale on social media.

The e-Trader licence can be registered under the name of a single owner only and the owner must be an Emirati or GCC citizen aged 18 or above and residing in Dubai.
Nearly 3,000 e-Traders are expected to be licensed in Dubai in 2017.

At the event, there were a number of social media influencers, including Emirati comedian and instagrammer Kanu AlKendi (you can see his post below).

بشرى سارة لجميع تجار مواقع التواصل الاجتماعي @dubai_ded الْيَوْمَ أطلقت الدايرة الاقتصادية قطاع التسجيل و الترخيص التجاري مبادرة الاولى من نوعها في منطقة الشرق الأوسط ( ترخيص المشاريع التجارية التي تدار عبر مواقع التواصل الاجتماعي ) و هذه المبادرة تشمل مواطني دولة الامارات و دول مجلس التعاون الخليجي لتنظيم و تسهيل مزاولة الاعمال التجارية الالكترونية بإمارة #دبي @dubai_ded @dubai_ded @dubai_ded #التاجر_الالكتروني WWW.etrader.ae للتسجيل

A post shared by Kanu Alkendi (@kanu7alkendi) on

One of the reasons given for the launch of this license was to enhance consumer confidence in online businesses. “Licensing a business activity enhances consumer confidence on one hand and on the other, it removes the risk of infringement on a reserved trade name or other intellectual property, explained Omar Bushahab, CEO for the Business Registration & Licensing (BRL) sector of the Department of Economic Development. “A license guarantees the rights of everyone concerned and defines the legal accountability of the merchant.”

Transparency (or the lack of) has been a major talking point when it comes to influencer marketing in the region. While some businesses have to ensure that their influencers publicly state that their content is paid for (mainly those registered or publicly listed in jurisdictions with a legal framework around online marketing), the majority of advertisers and social media influencers don’t.

I understand that governmental bodies have been looking at ways to regulate the influencer industry – I don’t think I’ve seen a campaign over the last year which hasn’t featured an influencer. This may be a first step. However, more may be to come in relation to legislation covering influencers, particularly those who aren’t Gulf nationals (which is essentially the majority).

“One of the key challenges in the DED launch narrative is the condition that all license holders must be GCC citizen. This may prove difficult or restrictive to the large expatriate population across Dubai,” Lindsay Wakefield, a retail analyst, told Gulf News.

For agencies who are working in this area, it’s more than advisable to get legal advice as to how you and your clients should be engaging with influencers.

The rise of the Khaleeji Woman as online content creators (part two)

As it’s International Women’s Day, I couldn’t wait any longer and, I’ll be brutally honest, I wanted to see lots of cake porn! Here’s the second of a two-part guest blog on how women across the Gulf are using social media and their skills not only to create entertaining and informative content, but to also earn a living. In this second post, Paul Kelly, creative director and co-founder at Digital Ape, argues that brands need to rethink how they both develop and execute content creation strategies with online female content creators in the Gulf. Enjoy the read, and let Paul know what you think!

During the last post, we discussed a survey of MENA based women, and their attitudes to content, particularly food content online. This week we will focus on the content creators who these surveyed women follow and imitate. We will look at how they are creating engaging content and why that matters for brands and publishing houses alike.

How are they doing it?

People are attracted to people. If I can find someone online, who understands what happens in my day, speaks my dialect and knows what I need better than say a publisher in Dubai, then I will follow their content, and my friends will too.

Women across the GCC are doing this in their millions, Khaleeji women want to see themselves reflected in their entertainment, and they want advice and recommendations tailored to them. Gone are the days when they must consume content created by an American in New York, and served to them on TV or in print. Women from the UAE to Saudi and beyond and seeking out other women who look like them, speak like them and understand their lives.

This I believe is one of the reasons why old fashioned publishing houses, should be quaking in their boots. As much as we try, Western or Levantine men in Dubai will never truly understand what Khaleeji women want in entertainment content, and now that they have a choice, these women will choose to consume content made by their peers and when that happens at scale, these content creators become publishers in their own right.

A content creator who builds an audience and keeps them engaged is no different to a publisher, and creators with a female Khaleeji audience, have an audience underserved by content, and exponential growth rates equal revenue.

The train-wreck.

So how has it come to influencers being ridiculed for their work? Worse still, how has it come to people calling themselves influencers, buying audiences and getting a free meal ticket?

Aside from the typical Dubai-syndrome of echo chamber marketing; it’s a mix of naïve marketing managers chasing trends, agencies ill-equipped for creative relationships (trying to replace banner ad revenue) and people who see social media as a shortcut to making a quick dirham.

Instead of actively investing the time needed in these powerful communities, brands, in place of real strategies, throw wads of cash at so-called influencers and hope for big results, often leading to disappointment.

At Digital Ape, we’ve got this down to an art. Just like money is a hygiene factor when it comes to employment, so too is it when it comes to dealing with real people creating content. It’s about giving content creators what they need; Props, filming equipment, sessions with filmmakers, assistance in real-time sessions with editing, contract help, this way everyone gets the best of the relationship. Creators develop better content with help from the brand thereby growing audiences, which in turn helps the brand. Women develop a revenue stream from content that fits and that the audience understands. This isn’t horse trading it’s about developing a win-win situation for creators, brands and audiences.

Find the fit for your brand by having an empathetic network of people to draw on, then seek out their audiences. Work WITH them. Don’t use influencers, work with your content creators. It’s an investment that pays handsomely.

 The future.

It’s no surprise that local publishing houses are scrambling to get on board with the creator craze – they after all, were the content creators and influencers of an older generation. Less able to respond to a new reality of screens and pixels, and even less able to understand how to convert revenue from the eyeballs they’ve been left behind as content becomes borderless and habits are quickly changing.

After all, is what someone like PewDiePie doing any different to what VICE was doing in 2010? Arguably with 54mn subscribers (at time of writing) on YouTube he has as much impact as a medium sized cable network. Is Kim Kardashian any different to Hello! Circa 1998? Her ability to shift units of anything she sells is phenomenal.

Some will argue until that until we have proper regulation in the GCC we’ll never achieve a level of sophistication that will mean any content creator is taken seriously.

Forget that.

What I am, and us at Digital Ape say, is that the content creators are the new publishers. Instead of being locked up in an edit suite at MBC, they are at home in their own bedrooms with their phones, doing the exact same thing, for an audience which increases with every post.

What we are seeing is a new model of content democracy where the 1% who make the content for the 99% are now starting to take back their revenue. Where once it was the Newscorps or CNN’s or ITP’s relying on their talent to sell time, space or inches, it’s now the Felix’s, Rayyan’s and countless mothers, wives and daughters who have a passion to create that will shape our entertainment for the next 20 years.

Digital Ape’s research with MENA women underlines the role digital plays in offline purchase intent

How will Snapchat’s Dubai opening change the region’s social media landscape?

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The Middle East’s social media scene is going to get much hotter with Snapchat opening up in Dubai (image source: hashtag-me.com)

It’s finally happening. The ephemeral social media network, the reason behind the doggie nose pictures and floral crowns, is coming to the Middle East. Yes, Snapchat is almost here. The story was broken by Communicate Middle East last week, with Cairo-based online publisher Digital Boom adding more details. I’ve included all the information below from both stories.

As reported by multiple industry sources, Snapchat is ready to make its entry into the Middle East market with its first office in Dubai toward the end of this year.

Heading the operation will be Hussein Freijeh, who is best known for his long-standing role with Maktoob – and then Yahoo – for more than a decade, until Yahoo shut down its Middle East operations in late 2015.

While pricing levels have yet to be set for Middle East customers, Snapchat will be offering a number of products, including geofilters and SnapAds. The service, which is especially popular with internet users under the age of 18 across the Gulf region, revealed in June that 150 million people were using the service each day globally, surpassing the daily active users on social media micro-site Twitter. The app had 110 million daily users in December 2015.

Snapchat’s timing of its move into the region is fascinating. The company may IPO as early as March next year, and the Gulf is a fast growing market for the firm’s app (possibly its fastest worldwide). How will brands react? It’s a difficult one to say, as Snapchat has an interesting range of advertising products which are different from anything in the market. In terms of the youth market, Snapchat will be the key platform to use. However, how will this affect spending on other platforms? Will Snapchat pull in dollars from Instagram, its closest rival, or from other platforms such as Facebook, Twitter and YouTube.

What is clear is that with Snapchat opening up its platform to advertising in the MENA region, brands here will have to develop a Snapchat presence and start learning about this unique social media channel. To date, there are few Arab brands on the site (Souq.com, Al Hilal Bank and a couple of hotels are some exceptions I know of), and brands will face a steep learning curve if they’re to get the best out of Snapchat and engage with its young audience.