What an experience strategy does

The purpose of an experience strategy is to translate a business problem into a design problem.

A good experience strategy:

  1. is effective: a design solution that satisfies the problem defined in the strategy will, when executed (designed and implemented), will solve the business problem;
  2. is practicable: the strategy can be designed, implemented, deployed and used;
  3. is politically viable: both the client and vendor team (design, implementation, deployment) are fully bought into the strategy and accept it as a standard by which subsequent phases in the project lifecycle will be guided and evaluated;
  4. is clear: the client and vendor team are in explicit agreement on what is required to satisfy the design problem, which means that if the vendor design team solves the problem as defined in the strategy the solution will be approved by the client;
  5. is inspiring: the strategy should provide the vendor design team with the kinds of insights and challenges that impel the team toward an effective solution, and should provide the client with a sense that  what is being designed is worthwhile;
  6. is evaluable: the strategy defines its own success criteria, so that when the strategy is executed (designed, implemented, deployed and used) the client and the team will agree on the degree of its success.

To this end, an experience strategy concerns itself with three domains:

  1. The experiencer — the person for whom the experience is intended (a.k.a. “user”, “audience”, “stakeholder”, or specific segment, such as “customer”, “employee”, “investor”, etc.). This subdivides into a) understanding the experiencer objectively — in factual/observational demographic and behavioral terms and subjectively — and b) understanding the experiencer subjectively, which means to understand how the world looks from that particular person’s perspective. This latter kind of understanding is elusive and perplexing, difficult to talk about and impossible to quantify in direct terms. Nonetheless the existence of this kind of knowledge — insight — is impossible to deny, and, nowadays, hazardous to ignore. Having insight into as well as factual knowledge about people gives as organization an enormous advantage over those that do not. It makes the difference between providing something satisfactorily utilitarian and something people love and enthuse about and welcome into their lives.
  2. The organization who is providing the experience — which also has an inner and outer dimension analogous to the subjective/objective understanding of the experiencer.  The organization’s a) inward dimension is what it is trying to accomplish for itself, what it is capable of accomplishing, and what effectively differentiates its competition; and its b) outward dimension is how it wishes to be perceived by the experiencer, and specifically how it is perceived as different from its competition.
  3. The medium of the experience — both its possibilities and limitations — which extends beyond the designed artifact into the touchpoints surrounding the artifact which strongly influence the quality and effectiveness of the experience.

1 Response to “What an experience strategy does”


  • It’s a well-known truth that some kinds of constraints stimulate creativity.

    I think I am going to ask creatives to provide me with concrete examples of things that make them understand how to design for another specific person: quotes, photos, behaviors, examples of things from the person’s world, biographical facts, stories, etc. This is the sort of stuff a persona should be made from.

    Likewise, brand models. I’ve been arguing for a long time that brand models are meant to point to a reality existent or partially-potentially existent. The relationship is that of a description to a person or a person’s own aspirational self, not that of a blueprint to a building or an algorithm to a computer program. The point of a brand model is to key a brand participant into the brand’s being so the participant can really participate in it. For a designer, that means creating from the brand. A brand model that does not bring the person reading — experiencing it — into the immediate reality of the brand is failing to function. Sometimes it is the expression, but most of the time people are not describing a brand as a reality, but instead prescribing it: assembling an aggregate of attributes and claims and failing to recognize that a living brand simply is not there. So, accordingly, I’d like to start collecting brands that can feel as immediate realities vs brands that are a lifeless heap of fragments.

    Really, the reality of a brand is the same or at least structurally close to the reality of a poem or a poetic story. And brands are misunderstood for precisely the same reason people don’t know what to do with literature.

    [Reply]

    synetic Reply:

    Add these factors to the usual UX and business and tech outputs, and you’ll have a pretty complete picture of the what, the how and also the WHY of an experience.

    [Reply]

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