Hedging

"Lead-gen leaders" are twice as likely to use a multi-channel approach as "mainstream companies," according to a survey of 1,000 B2B marketers by Digital Doughnut.

You could say lead-gen leaders understand hedging.

They know that "no single class of content asset stands out as particularly effective for driving good-quality leads," as Digital Doughnut reports; and yet, at the same time, that every class―if used well―can drive good-quality leads.

The channels they find most effective? The answers below might surprise you.

Source: The State of B2B Lead Generation, courtesy Digital Doughnut

What's the Right Content Mix for B2B?

Apps. Blogs. Case studies. Digital tools. E-books. Events. Games. Graphs. Infographics. Newsletters. Photos. Podcasts. Presentations. Reports. Quizzes. Videos. Webinars. White papers.

What's the right content marketing mix?

Begin with the essentials:

Blogs. The Number 1 source of leads, says Search Engine Journal. Without a blog, your strategy's spineless.

Events and webinars. What's better than blogs? Three of four B2B marketers say events. Webinars are a close second. A single event can pack more punch than 100 blog posts.

Newsletters. Newsletters help you keep customers, and keep prospects interested. Weekly is the best frequency, if you can manage it.

Videos. Six in 10 decision-makers visit a brand’s website after watching a video, according to Inc. And four in 10 contact the company.

White papers. White papers trumpeter your authority, essential to persuading customers to buy from you. 

Case studies. Case studies provide social proof, equally essential to persuading customers.

E-books. E-books can gather repurposed blog posts. They offer an outlet for dazzling design work, inviting to readers turned off by other formats.

Other content. Apps, digital tools, games, graphs, infographics, photos, podcasts, presentations, reports and quizzes are all just icing on the cake.

Without Wallander, We Don't Care

Storytelling is the most powerful way to put ideas into the world today.

Robert McKee 

Henning Mankell, the creator of Wallander, said his crime novels—like your company's products—took root in an idea.

Returning to his native Sweden from a stay in Africa in the spring of 1990, Mankell noticed racism had taken a stranglehold on the nation.

"It soon dawned on me that the natural path to follow was to write a crime novel," Mankell said. "This was obvious because in my world racist acts are criminal outrages."

Writers like Mankell understand: while ideas alone don't compel audiences, stories do.

But what makes a story a story? How do you tell one? 

You have to find a hero. Forget about Citizens United v. FEC. Corporations aren't people. Your story can't be about your damn company. It has to offer us a flesh-and-blood hero who struggles to overcome a cruel world. Without Wallendar, we don't care.

You have to create suspense. Page-turners, plays, movies and TV shows grip audiences because of suspense. The setup teases and you want to know, What happens next? No tease, no story. Right away, you have to put Wallander in a mysterious jam.

You have to appeal to emotions. Most facts are unmemorable. And most people aren't fact-minded. Stories tug at emotions. Fear. Uncertainty. Confusion. Ambition. Greed. Admiration. Wonder. The soft stuff.

You have to personify. An idea like "racism" is intangible, difficult to understand, and not especially gripping. Not so Wallander combatting victimizers of people on the margins. Convert ideas into characters and storylines.

You have to paint pictures. "Show, don't tell." Lightly sketch each scenario as your story unfolds and let your audience connect the dots. Don't feel compelled to lecture. You're a storyteller, not a preacher or teacher.

You have to find a niche. Long-term success comes when you find a niche you can own. Wallander tapped the popular niche known as "Nordic Noir." Every novel in Mankell's series is propelled by a backdrop where mean streets are walked by morose Swedes who themselves are neither mean, nor tarnished, nor afraid. You can tell stories—endlessly—when you find a niche that appeals to your audience.

Love Story

I remember little of my first formal date, except that I took the girl to see the schmaltzy blockbuster, Love Story.

The film's tagline perfectly states what every B2B marketer wants skeptical buyers to believe.

Love means never having to say you're sorry… you bought from us.

That's why B2B marketers adore case studies.

They're the ideal way to spread customers' love.

You're nuts if you're not dishing them out repeatedly.

Case studies are like movie reviews, except your customers are the stars and every movie's a love story.

And buyers can't get enough of them, because people love to compare themselves to others.

Here are seven case-study do's and don'ts. Keep them near and dear:

• Case studies adhere to a classic construct—a three-point story arc: problem, solution, results. Don't stray from that. 

• Make your customer the headliner. Keep you company off the marquee.

• Interview your customer in a knowledgable, but laid-back manner. Don't put her on edge with tough questions, or prompt her to say things she wouldn't say naturally.

• Use a lot of customer quotes for color and credibility.

• Illustrate your case studies with photographs and charts.

• Ask your customer to sign a release.

• Besides publishing the case study on your website, create a PDF version customers (and your salespeople) can download and share.

Storytelling Takes Sources

When it isn't how-to, most marketing content you encounter is pure myth, uniformed and unsubstantiated.

Myth-making isn't storytelling.

Storytelling takes sources, and sources must be cultivated.

In The Art and Craft of Feature Writing, Bill Blundell, former editor at The Wall Street Journal, chides the journalist who fails to cultivate sources.

"Like so many others, he has been counting on plucking ideas out of the air through some kind of immaculate conception," Blundell says.

"But this is backward thinking. He should be using his best-informed and most cooperative sources to help him originate those ideas."

Sources not only spur story ideas, but supply the facts that bring stories to life—even when those facts aren't brought to bear.

When novelist John O'Hara decided the main character in Appointment in Samarra would asphyxiate himself, O'Hara spared no effort to cultivate sources.

"When I wrote Appointment in Samarra," he told a friend, "I established a dummy garage business, took my papers to a guy I know who is a v.p. at General Motors (who wanted to know when the hell I had run a garage), and he in turn passed me on to a fellow at the Automobile Chamber of Commerce. Not much of that appears in the book, but everything that does appear is accurate and sound. I also boned up on toxicology with the late Yandell Henderson so that the carbon monoxide suicide would be all right."

Hard facts and direct illustrations from life "hammer stories into the reader's memory," Bill Blundell says.

How far do you go to gather them? 

Or are you satisfied just to make myths?

What Do Women Want?

What do female executives—or male ones, for that matter—want from B2B salespeople?

Personalized content.

Channeling Freud, Harris recently asked, When it comes to sales pitches, what do you want?

Harris learned executives want pitches that are personalized:

• 89% want pitches personalized to their company’s industry

• 83% want pitches personalized to their specific problem

• 70% want pitches personalized to their role in the company

Harris also asked, When it comes to sales emails, what do you want?

The pollsters learned executives want sales emails with content:

• 84% want case studies

• 81% want articles

• 78% want white papers

• 72% want brochures

• 72% want videos

We live in an on-demand world; we want what we want, when we want it. Do your salespeople provide it?

NOTE: Today's post is yet another milestone for Copy Points: No. 500. Coming soon: Post No. 501.

Want to Write Better Case Sudies? Ask Aristotle.

In Poetics, Aristotle wrote that every tragedy has three stages:

1. An inciting moment

2. A climactic struggle and

3. A resolution

Every case study, when you think about it, has the same structure as well:

1. The opening scene depicts a disturbing incident. Your customer suddenly finds her welfare threatened. Readers feel her pain.

2. A climactic struggle ensues. Your company helps the customer solve her problem. She emerges a hero.

3. A resolution is reached. Things resort to status quo. And readers are compelled to act. Because they, too, can be heroes.