Results are In: Fast-growth B2B Companies Blog

A new study by Mattermark of the 50 fastest growing B2B companies in the country finds 80% blog.

According to The State of Sales & Marketing at the 50 Fastest-Growing B2B Companies in the US, "content has become the cornerstone" of fast-growth companies' marketing—and blogs have become the cornerstone of content.

"Blogging drives top-of-the-funnel traffic to a company’s website," the report says. "From there, calls to action encourage visitors to download content (e.g., ebooks, white papers, and templates) so they can learn more about a particular topic.

"This process can be repeated and scaled by marketing teams to include a wide variety of tactics at every stage of the funnel, but the end goal is always the same: to add value and build relationships that drive revenue for your business."

Does your company blog?

If not, what on earth are you waiting for?

Can Customers Find You?

"Blogging is my front door," says marketing maestro David Meerman Scott.

Replete with posts as much as 12 years old, Scott's blog is the power magnet that attracts him new business.

"I'm always surprised at how effectively this tool helps me accomplish my goals," he says.

"There are many posts I wrote a decade ago, back when George W. Bush was President, that are still indexed highly by the search engines and are still driving people who do not know me into my content."

A new study by Mattermark of the 50 fastest growing B2B companies in the country shows 80% of them blog.

If you're among the B2B marketers who don't, please, check your excuses at the door.

Marketers Haven't Learned the World's Oldest Lessons

How does storytelling (new school) differ from arguing (old school)?

Let's look back—to 350 BC.

In Poetics, Aristotle taught that stories have three acts:

1. An inciting moment
2. A climactic struggle, and
3. A resolution.

In Rhetoric, he taught that arguments have two:

1. The statement

2. The proof.

Three acts versus two. That's the difference.

While marketers crow on and on about storytelling, most default to arguing. Benefit-laden bullets are safer than heroes in a bind.

"Eighty to 90 percent of all commercials are not story-based; they are premise-based," says brand consultant Richard Krevolin in The Hook. "There is a much greater comfort level wth TV spots that convey specific product benefits to the consumer and do not tell stories."

Krevolin cites Tabasco's TV spot "Mosquito" as a case in point. It dramatizes the statement Tabasco wants you to remember: its sauce is hot.

But "Mosquito" isn't storytelling. All we see is a guy who relishes eating a meal doused with hot, hot, hot sauce. Cute, but not buzz-worthy.

"If we rewrote the spot so that at the beginning we see that he is plagued by mosquitos biting him and terrorizing him all day and night, we would feel for him and understand his dilemma," Krevolin says. "Then, when he fails to defeat the mosquitos with conventional means and decides to use Tobasco sauce instead, we would cheer for him when he achieves victory."

Storytelling always takes three acts.

The Dirty Job You'll Have to Do, If You Want Your Marketing to Work. OMG, It's Disgusting!

Five percent of the people think; 10% of the people think they think; and the other 85% would rather die than think.”

―Thomas A. Edison

Copywriters are needed in this world for the same reason pig farmers are: thinking is a dirty job.

"Everyone wants to just cut and paste, not think," says copywriter Gary Bencivenga.

But thinking separates the first-rate writer from the herd.

In fact, Bencivenga calls learning to think one of "three greatest copywriting lessons" he's ever learned.

To write clearly and convincingly, you have to mull. To mull, you have to understand the job requirements:

• Mulling demands quiet. "To discover what will work, and then be able to write clearly and persuasively about it, you must be able to think clearly," Bencivenga says. "And to think clearly, you first have to be able to relax, so that all the monkey chatter inside your head quiets down and you can have an ongoing dialogue with yourself—a series of pleasant, quiet conversations about what makes sense for this market at this time with this product."

• Mulling needs the subconscious. Generating workable options works; sleeping on them works charms. "After you’ve had an ongoing conversation with yourself, sleep on it and then, each morning, let your subconscious speak its mind," Bencivenga says. He also suggests writing early in the day and keeping a notepad, pen and flashlight on your nightstand.

• Mulling wants to be fed. "Food for thought" is more than a metaphor. Persuasive copy requires the writer to be an insatiable sponge for information. "View the abundant knowledge you lack not as a threat but as an infinite supply of new abundance for yourself—rocket fuel for your rise in our profession," Bencivenga says.

15 Ways to Write Headlines When You Can't Write to Save Your Life

If the headline doesn’t stop people, the copy might as well be written in Greek.

—John Caples

Q. Where, besides the copywriter's over-caffeinated brain, do eye-stopping headlines come from?

A. The copywriter's under-rated bag of tricks. 

In Content Marketer, copywriter Josue Valles opens his bag of tricks—15 in all—for inspection. Here they are:

1. Steal ideas from clickbait sites like BuzzFeed
2. Lean on "psychological triggers"—specific numbers or razor-sharp benefits ("Reduce payroll 23% by automating absence management")
3. Promise super-fast results
4. Enter keywords into Google and steal ideas from the organic search results 
5. Use proven words (here's a list)
6. Use Portent’s Content Idea Generator
7. Steal words and phrases people frequently use to ask questions on Quora
8. Enter keywords into BuzzSumo and steal ideas from the search results
9. Include the name of a big brand in your headline ("Richard Branson's 15 Hacks for Punctuality")
10. Test the emotive power of your headline with Advanced Marketing Institute's EMVHA
11. Test the responsiveness of your headline with Twitter and Facebook (use an A/B test)
12. Leverage the power of an image
13. Steal ideas from newsletters 
14. Evoke curiosity (hint: use Linkbait Generator)
15. Steal ideas from HARO searches

Bob James' Bonus Hack: Steal this book.

Birds Sing from the Heart

Author and content marketer Erik Deckers recently invited me to discuss "My Writing Process," a dead-horse topic if there ever were one.

But I'll beat that horse anyway, just because Erik asked. Here you go:

Where I find ideas. The wellsprings of ideas are many and inexhaustible. The ones I return to again and again are:

• Other writers—from the sublime (e.g., Emerson, Faulkner, Sartre, Updike) to the ridiculous (names withheld) 
• Pop culture (songs, movies, TV shows, blogs, etc.)
• Current events (AKA La Comédie humaine)
• Memories, dreams, reflections 
• Other people's observations (Take my wife's. Please.) 

How I write the ideas down. My secret sauce is no secret. Writing isn't thinking. It isn't even writing. "Writing is revision," as Tracy Kidder says. "Write once, edit five times," David Ogilvy urged office mates. Priceless advice. Your fifth draft may not excel, but it will beat your first by a long shot. And, as you edit five times, be like the birds. An ornithologist mentioned during a recent NPR interview that birds' voice boxes are lodged deep within their chests. "Birds sing from the heart," she said. You should, too. Readers like it and respond accordingly.

How I assure quality. Copy's never error free, but I try hard to check my facts. In fact, I often spend more time fact-checking sources than writing and editing. (Don't hem and haw: fact-checking is enlightening.) And I proofread, both twice before I hit publish and twice afterwards. Boring task, but my reputation's on the line.

How I spread ideas. Outposting has helped aggrandize my scribblings more than any of my other activities. Adman Gary Slack advises clients to invest in "other people's audiences" more than their own. He's 100% on the money.

For more advice about writing. If you're hungry for sound advice, listen to Paul Simon and Chuck Close discuss the creative process in a podcast for The Atlantic. You'll learn more than you will by reading 50 how-to books, with these four noteworthy exceptions: 

• The Art and Craft of Feature Writing by William E. Blunder
• On the Art of Writing Copy by Herschel Gordon Lewis
• Secrets of a Freelance Writer by Bob Bly
• Writing Tools by Roy Peter Clark

Oh, yea, don't forget No Bullshit Social Media.

NOTE: This post originally appeared in Erik Deckers' blog.

Government Communicators: Focus on Event Photography

Award-winning video producer Ann Ramsey contributed today's post. She is a senior producer at the US Department of Health & Human Services in Washington, DC.

Press conferences, roundtables, ceremonies, observances: these types of events are familiar material for the government communicator. Want to step up your game? Use photography. If you need great content—and who doesn't?—consider partnering with your staff photographer. The photos he or she shoots will be engaging visuals that you can turn into quality content.

But partnering with your staff photographer has more advantages than meet the eye:

History. Christopher Smith, staff photographer at the Department of Health & Human Services, has worked through many Administrations, knows the principals of the Department and their schedulers intimately, and can anticipate their photo requirements. Plus, he can locate past event photos going back many years. For commemorative projects, his image repository is a goldmine.

Economy. No licensing fees are required when you use your agency’s own photos, and no permissions are required to cover an open-press or a public event. Photography makes an effective complement to video; and if your budget doesn’t allow for video coverage, photography can work wonders all by itself. Professional photographers are available on a day-rate virtually anywhere, if you have none on staff. 

Authenticity. Stock photography is polished, inexpensive and convenient, yet has its limits. Viewers may "tune out" stock shots unconsciously as being promotional. When it comes to events, images of real faces and places have the edge over stock shots for authenticity—a priority for every government communicator. 

Quality. Professionals are equipped for the job. Lighting and special lenses can overcome obstacles such as dim rooms, cramped conditions, or far-off podiums. As important, professional photographers have been trained to tell a story or evoke a mood in one frame. Here are a couple examples:

For a group portrait at a conference, HHS staff photographer Christopher Smith brought a light-stand and wide-angle lens, and posed the subjects. The image of the group-members together, sporting their cause-related wristbands, evokes a sense of team spirit.

Equipment and know-how really make a difference. In a candid shot of HHS Secretary Burwell at a feedback session, our eye is drawn to her face by the photographer's use of selective focus and a long lens.

Staff photographers' role expanding

Traditionally, staff photographers cover any number of events, most often to provide visuals for the media and for archival purposes. But the role of the photographer is expanding with the new media formats in use today. Consider:

Social media. Many professional-grade digital cameras now have Wi-Fi connectivity, making immediacy an option. Well-composed photographs are eye-catchers for posts on Facebook, Twitter, Pinterest or other social media sites, whether in real time or afterwards. With photographs, your posts can be picked up by image-based search engines such as Google Images.

Electronic press releases, blogs and websites. A clear, relevant photograph helps hook audiences of your agency’s electronic press releases, blogs or Websites, where the event can be explained in detail. Putting a text caption or headline with the photo clarifies immediately what is being shown. 

Tools for partners and stakeholders. When sending pre-event announcements to partners and stakeholders, attach downloadable photographs for them to re-use as tools in helping you get the word out. If there are too many photos to attach, hyperlink email recipients to where the photos are stored (Flickr, Dropbox, an FTP site, etc.).

Ready to go to work? 

A professional photographer will reliably produce quality material, and be a godsend when you’re working out image selection, distribution and archiving. Here are some tips for effectively directing your staff photographer:

In advance: For smooth planning, inform the photographer of the advance team, event location, best arrival time, and any parking and security issues. Explain what the interior lighting is likely to be, and whether any exterior shots are needed. Provide the event rundown if possible, including any special access to VIPs or arrangements being made for the media. This helps your photographer set up for the shoot.

Before the event starts: Tell the photographer what your needs are. According to Christopher Smith, pros don’t need much detail. “I can plan what needs to be shot for most events," Christopher says. "What I really need to know is who the principals are, where and when the photos will be used, and whether anything special is going to happen at the event. For example, if the speaker is going to show a report or a plaque from the podium, and I know ahead of time, I can remind the presenter to hold it up for a few moments so I can get the perfect shot.”  For shooting format, Christopher finds the medium-resolution JPEG setting efficient for editing and storing.

At the event: Assist the photographer with any logistical matters. Help him or her to anticipate what comes next, and where. Indicate anything you would like covered that you may not have mentioned. After that, get out of the way. If you allow photographers to handle the shoot in their own way, you are likely to get the best material.

After the event: Give the photographer any details needed for assigning metadata. Specify what deliverables you need. A folder with a few selections? A Flickr download of the whole shoot? Some prints to distribute? Your digital media team will know how best to optimize photos for different social media platforms. If you are your own graphics department, here's a guide. Keeping file sizes small will ensure easy loading on line. Again, if you have no digital experts on hand, try using iPhoto, or access a free compression tool like Image Optimizer.

WAY after the event: Lest we forget, our friends at NARA in College Park will ultimately want to add our event photographs to the 8 million shots already archived. Keep your photos organized. It will save headaches later.

NOTE: This post first appeared in Federal Communicators Network.

A Nation of Videots

A Facebook exec recently predicted her platform would be "all video" in five years.

Her prediction should neither surprise nor disturb you in the least bit.

The social platforms like Facebook are becoming gargantuan public access TV stations. Think Wayne's World meets Warhol's World. Everyone will be famous for 15 minutes, because every schmo will have a show.

Face the fact: we are a nation of videots. 

It's why we retweet videos more than text messages; why the appearance of the word “video” in an email's subject line boosts opens; why YouTube is the second most-used search engine; and why Facebook is going "all video."

Mindset, not media, determines what's expressed, as Aldous Huxley said 80 years ago. We like only what we can like; what we're psychologically capable of liking; what we're conditioned to like. 

"The Zeitgeist is just professor Pavlov on a cosmic scale."

We like video.

That's why every marketer had better climb on the video bandwagon. And if you're not convinced, chew on these findings from Animato:

• 96% of customers find videos help purchase decisions
• 77% think companies that market with videos are more engaging
• 71% say those videos give them a positive impression of the company
• 58% consider companies that market with videos are more trustworthy

5 Keys to Creativity

Red Smith was asked if turning out a daily column wasn’t quite a chore. Why, no,” dead-panned Red. “You simply sit down at the typewriter, open your veins, and bleed.”

—Walter Winchell

We link creativity to talent, but blogger Greg Satell insists "talent is overrated" and says the least talented among us can find the keys to creativity. For Satell, they are:

Habit. Rain or shine, Satell writes every day. A friend calls it , “Letting the muse know you’re serious.”

Experience. Satell brings a wealth of experience in different businesses, countries and cultures to his writing. "That gives me a lot of raw material to work with."

Productivity.  "The more work you produce the more likely you are to come up with something truly creative," Satell says. "The more you produce, the more skilled you become and the more you can experiment with different combinations."

Serenity. Writer's block can be overcome by finding a distraction that calms your mind. Exercise, walks, coffee with a friend, reading or movie-watching all work.

Compromise. "When you start something it’s always crap," Satell says. "I dare to be crap, knowing that it really doesn’t matter what my first draft looks like." It's easy to fix a first draft, he says. "The only problem that can’t be fixed is a blank page."

How to Conquer the Robowriters

By 2020, 75% of news coverage will be written by bots, says content marketing guru Mark Schaefer.

"When it gets to the point that a computer can consistently generate content at a level that passes the Turing Test, the economics of content in every form will change forever," Schaefer says. "The freelance writer will become an endangered species."

Schaefer offers freelancers four strategies to beat the bots:

Emote. Good writers transcend their content by connecting emotionally with readers. It hardly matters what they write about; we still want to read it.

Dive. Position yourself as an expert and a "trusted voice of experience," because no bot can "corner the market on true insight."

Engage. Express some original thoughts, or at least express others' thoughts originally. If you only offer commodity content, "it’s going to be game over." Cede content like "10 Twitter Tips" to the bots.

Rebel. Be a part of readers' "bot-free zones." Just as consumers pay a premium for organic, local and artisanal, readers will prefer writers who shun "bot-speak." Keep your content human.

My view is that skilled freelancers needn't fret:

• Mathematician Émile Borel said a century ago, if you provided an infinite number of monkeys typewriters, eventually they'd produce Hamlet. Bots may not represent an infinite troop, but they're 'still a boatload of monkeys. As Uber will do to taxi drivers, bots will soon disintermediate low-skilled writers (it's funny that both are called "hacks"). The great social sewer will awash in robowriting—a genuine improvement.

• But while bots can produce passable news stories, it's hard to imagine them attracting followers. The reason is simple. As great writing teachers (Donald Hall, for example) have always told students to rewrite, rewrite, rewrite, rewrite, because the good writer is full of doubt; she knows her prose isn't inviolable and that the good stuff only emerges from the fifth or sixth or seventh draft. But computers aren't writers; they're robots. They'll never rewrite their stuff, because they lack self-doubt. Have you ever met a computer that doubted its own solution to a problem?

Content Marketer: Why Punish Yourself?

Unless you crave brawn more than bliss, you'd never do 100 extra pushups. 

It'd be masochistic.

So why, when writing's such hard work, write more than readers read?

Brevity should be the rule, not the exception, if you want your content to catch and keep readers' attention.

In The Dyer's Hand, W. H. Auden urged brevity on memoirists with one simple command:

"Be brief, be blunt, be gone.”

Nuff said.

Readers Wanted

In What is Literature?, philosopher Jean-Paul Sartre observes that, unlike shoemakers and architects, writers can't consume their own products.

When a writer writes, Sartre says, he sees the words; but never the way readers will. 

The writer is a projector, and his future always the blank page, whereas the reader is a consumer whose future is "some number of pages filled with words that separate him from the end," Sartre says.

Writers can produce, but never feel, their words.

"The writer meets everywhere only his knowledge, his will, his plans, in short, himself. He touches only his own subjectivity; the object he creates is out of reach; he does not create it for himself.

"If he rereads himself, it is already too late. The sentence will never quite be a thing in his eyes. He goes to the very limits of the subjective but without crossing it. He appreciates the effect of a touch, of an epigram, of a well-placed adjective, but it is the effect they will have on others. He can judge it, not feel it."

Since writers can't really read their products, Sartre says, they need readers to do so. 

In fact, for a piece of writing even to exist, readers are required.

"To make it come into view a concrete act called reading is necessary, and it lasts only as long as this act can last. Beyond that, there are only black marks on paper."