From Editorial Calendars to SEO: Setting Yourself Up to Create Fabulous Content

Posted by Isla_McKetta

Quick note: This article is meant to apply to teams of all sizes, from the sole proprietor who spends all night writing their copy (because they’re doing business during the day) to the copy team who occupies an entire floor and produces thousands of pieces of content per week. So if you run into a section that you feel requires more resources than you can devote just now, that’s okay. Bookmark it and revisit when you can, or scale the step down to a more appropriate size for your team. We believe all the information here is important, but that does not mean you have to do everything right now.

If you thought ideation was fun, get ready for content creation. Sure, we’ve all written some things before, but the creation phase of content marketing is where you get to watch that beloved idea start to take shape.

Before you start creating, though, you want to get (at least a little) organized, and an editorial calendar is the perfect first step.

Editorial calendars

Creativity and organization are not mutually exclusive. In fact, they can feed each other. A solid schedule gives you and your writers the time and space to be wild and creative. If you’re just starting out, this document may be sparse, but it’s no less important. Starting early with your editorial calendar also saves you from creating content willy-nilly and then finding out months later that no one ever finished that pesky (but crucial) “About” page.

There’s no wrong way to set up your editorial calendar, as long as it’s meeting your needs. Remember that an editorial calendar is a living document, and it will need to change as a hot topic comes up or an author drops out.

There are a lot of different types of documents that pass for editorial calendars. You get to pick the one that’s right for your team. The simplest version is a straight-up calendar with post titles written out on each day. You could even use a wall calendar and a Sharpie.

Monday Tuesday Wednesday Thursday Friday
Title
The Five Colors of Oscar Fashion 12 Fabrics We’re Watching for Fall Is Charmeuse the New Corduroy? Hot Right Now: Matching Your Handbag to Your Hatpin Tea-length and Other Fab Vocab You Need to Know
Author Ellie James Marta Laila Alex

Teams who are balancing content for different brands at agencies or other more complex content environments will want to add categories, author information, content type, social promo, and more to their calendars.

Truly complex editorial calendars are more like hybrid content creation/editorial calendars, where each of the steps to create and publish the content are indicated and someone has planned for how long all of that takes. These can be very helpful if the content you’re responsible for crosses a lot of teams and can take a long time to complete. It doesn’t matter if you’re using Excel or a Google Doc, as long as the people who need the calendar can easily access it. Gantt charts can be excellent for this. Here’s a favorite template for creating a Gantt chart in Google Docs (and they only get more sophisticated).

Complex calendars can encompass everything from ideation through writing, legal review, and publishing. You might even add content localization if your empire spans more than one continent to make sure you have the currency, date formatting, and even slang right.

Content governance

Governance outlines who is taking responsibility for your content. Who evaluates your content performance? What about freshness? Who decides to update (or kill) an older post? Who designs and optimizes workflows for your team or chooses and manages your CMS?

All these individual concerns fall into two overarching components to governance: daily maintenance and overall strategy. In the long run it helps if one person has oversight of the whole process, but the smaller steps can easily be split among many team members. Read this to take your governance to the next level.

Finding authors

The scale of your writing enterprise doesn’t have to be limited to the number of authors you have on your team. It’s also important to consider the possibility of working with freelancers and guest authors. Here’s a look at the pros and cons of outsourced versus in-house talent.

In-house authors

Guest authors and freelancers

Responsible to

You

Themselves

Paid by

You (as part of their salary)

You (on a per-piece basis)

Subject matter expertise

Broad but shallow

Deep but narrow

Capacity for extra work

As you wish

Show me the Benjamins

Turnaround time

On a dime

Varies

Communication investment

Less

More

Devoted audience

Smaller

Potentially huge

From that table, it might look like in-house authors have a lot more advantages. That’s somewhat true, but do not underestimate the value of occasionally working with a true industry expert who has name recognition and a huge following. Whichever route you take (and there are plenty of hybrid options), it’s always okay to ask that the writers you are working with be professional about communication, payment, and deadlines. In some industries, guest writers will write for links. Consider yourself lucky if that’s true. Remember, though, that the final paycheck can be great leverage for getting a writer to do exactly what you need them to (such as making their deadlines).

Tools to help with content creation

So those are some things you need to have in place before you create content. Now’s the fun part: getting started. One of the beautiful things about the Internet is that new and exciting tools crop up every day to help make our jobs easier and more efficient. Here are a few of our favorites.

Calendars

You can always use Excel or a Google Doc to set up your editorial calendar, but we really like Trello for the ability to gather a lot of information in one card and then drag and drop it into place. Once there are actual dates attached to your content, you might be happier with something like a Google Calendar.

Ideation and research

If you need a quick fix for ideation, turn your keywords into wacky ideas with Portent’s Title Maker. You probably won’t want to write to the exact title you’re given (although “True Facts about Justin Bieber’s Love of Pickles” does sound pretty fascinating…), but it’s a good way to get loose and look at your topic from a new angle.

Once you’ve got that idea solidified, find out what your audience thinks about it by gathering information with Survey Monkey or your favorite survey tool. Or, use Storify to listen to what people are saying about your topic across a wide variety of platforms. You can also use Storify to save those references and turn them into a piece of content or an illustration for one. Don’t forget that a simple social ask can also do wonders.

Format

Content doesn’t have to be all about the words. Screencasts, Google+ Hangouts, and presentations are all interesting ways to approach content. Remember that not everyone’s a reader. Some of your audience will be more interested in visual or interactive content. Make something for everyone.

Illustration

Don’t forget to make your content pretty. It’s not that hard to find free stock images online (just make sure you aren’t violating someone’s copyright). We like Morgue File, Free Images, and Flickr’s Creative Commons. If you aren’t into stock images and don’t have access to in-house graphic design, it’s still relatively easy to add images to your content. Pull a screenshot with Skitch or dress up an existing image with Pixlr. You can also use something like Canva to create custom graphics.

Don’t stop with static graphics, though. There are so many tools out there to help you create gifs, quizzes and polls, maps, and even interactive timelines. Dream it, then search for it. Chances are whatever you’re thinking of is doable.

Quality, not quantity

Mediocre content will hurt your cause

Less is more. That’s not an excuse to pare your blog down to one post per month (check out our publishing cadence experiment), but it is an important reminder that if you’re writing “How to Properly Install a Toilet Seat” two days after publishing “Toilet Seat Installation for Dummies,” you might want to rethink your strategy.

The thing is, and I’m going to use another cliché here to drive home the point, you never get a second chance to make a first impression. Potential customers are roving the Internet right now looking for exactly what you’re selling. And if what they find is an only somewhat informative article stuffed with keywords and awful spelling and grammar mistakes… well, you don’t want that. Oh, and search engines think it’s spammy too…

A word about copyright

We’re not copyright lawyers, so we can’t give you the ins and outs on all the technicalities. What we can tell you (and you already know this) is that it’s not okay to steal someone else’s work. You wouldn’t want them to do it to you. This includes images. So whenever you can, make your own images or find images that you can either purchase the rights to (stock imagery) or license under Creative Commons.

It’s usually okay to quote short portions of text, as long as you attribute the original source (and a link is nice). In general, titles and ideas can’t be copyrighted (though they might be trademarked or patented). When in doubt, asking for permission is smart.

That said, part of the fun of the Internet is the remixing culture which includes using things like memes and gifs. Just know that if you go that route, there is a certain amount of risk involved.

Editing

Your content needs to go through at least one editing cycle by someone other than the original author. There are two types of editing, developmental (which looks at the underlying structure of a piece that happens earlier in the writing cycle) and copy editing (which makes sure all the words are there and spelled right in the final draft).

If you have a very small team or are in a rush (and are working with writers that have some skill), you can often skip the developmental editing phase. But know that an investment in that close read of an early draft is often beneficial to the piece and to the writer’s overall growth.

Many content teams peer-edit work, which can be great. Other organizations prefer to run their work by a dedicated editor. There’s no wrong answer, as long as the work gets edited.

Ensuring proper basic SEO

The good news is that search engines are doing their best to get closer and closer to understanding and processing natural language. So good writing (including the natural use of synonyms rather than repeating those keywords over and over and…) will take you a long way towards SEO mastery.

For that reason (and because it’s easy to get trapped in keyword thinking and veer into keyword stuffing), it’s often nice to think of your SEO check as a further edit of the post rather than something you should think about as you’re writing.

But there are still a few things you can do to help cover those SEO bets. Once you have that draft, do a pass for SEO to make sure you’ve covered the following:

  • Use your keyword in your title
  • Use your keyword (or long-tail keyword phrase) in an H2
  • Make sure the keyword appears at least once (though not more than four times, especially if it’s a phrase) in the body of the post
  • Use image alt text (including the keyword when appropriate)

Finding time to write when you don’t have any

Writing (assuming you’re the one doing the writing) can require a lot of energy—especially if you want to do it well. The best way to find time to write is to break each project down into little tasks. For example, writing a blog post actually breaks down into these steps (though not always in this order):

  • Research
  • Outline
  • Fill in outline
  • Rewrite and finish post
  • Write headline
  • SEO check
  • Final edit
  • Select hero image (optional)

So if you only have random chunks of time, set aside 15-30 minutes one day (when your research is complete) to write a really great outline. Then find an hour the next to fill that outline in. After an additional hour the following day, (unless you’re dealing with a research-heavy post) you should have a solid draft by the end of day three.

The magic of working this way is that you engage your brain and then give it time to work in the background while you accomplish other tasks. Hemingway used to stop mid-sentence at the end of his writing days for the same reason.

Once you have that draft nailed, the rest of the steps are relatively easy (even the headline, which often takes longer to write than any other sentence, is easier after you’ve immersed yourself in the post over a few days).

Working with design/development

Every designer and developer is a little different, so we can’t give you any blanket cure-alls for inter-departmental workarounds (aka “smashing silos”). But here are some suggestions to help you convey your vision while capitalizing on the expertise of your coworkers to make your content truly excellent.

Ask for feedback

From the initial brainstorm to general questions about how to work together, asking your team members what they think and prefer can go a long way. Communicate all the details you have (especially the unspoken expectations) and then listen.

If your designer tells you up front that your color scheme is years out of date, you’re saving time. And if your developer tells you that the interactive version of that timeline will require four times the resources, you have the info you need to fight for more budget (or reassess the project).

Check in

Things change in the design and development process. If you have interim check-ins already set up with everyone who’s working on the project, you’ll avoid the potential for nasty surprises at the end. Like finding out that no one has experience working with that hot new coding language you just read about and they’re trying to do a workaround that isn’t working.

Proofread

Your job isn’t done when you hand over the copy to your designer or developer. Not only might they need help rewriting some of your text so that it fits in certain areas, they will also need you to proofread the final version. Accidents happen in the copy-and-paste process and there’s nothing sadder than a really beautiful (and expensive) piece of content that wraps up with a typo:

Know when to fight for an idea

Conflict isn’t fun, but sometimes it’s necessary. The more people involved in your content, the more watered down the original idea can get and the more roadblocks and conflicting ideas you’ll run into. Some of that is very useful. But sometimes you’ll get pulled off track. Always remember who owns the final product (this may not be you) and be ready to stand up for the idea if it’s starting to get off track.

We’re confident this list will set you on the right path to creating some really awesome content, but is there more you’d like to know? Ask us your questions in the comments.

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Reblogged 4 years ago from tracking.feedpress.it

How to Combat 5 of the SEO World’s Most Infuriating Problems – Whiteboard Friday

Posted by randfish

These days, most of us have learned that spammy techniques aren’t the way to go, and we have a solid sense for the things we should be doing to rank higher, and ahead of our often spammier competitors. Sometimes, maddeningly, it just doesn’t work. In today’s Whiteboard Friday, Rand talks about five things that can infuriate SEOs with the best of intentions, why those problems exist, and what we can do about them.

For reference, here’s a still of this week’s whiteboard. Click on it to open a high resolution image in a new tab!

What SEO problems make you angry?

Howdy, Moz fans, and welcome to another edition of Whiteboard Friday. This week we’re chatting about some of the most infuriating things in the SEO world, specifically five problems that I think plague a lot of folks and some of the ways that we can combat and address those.

I’m going to start with one of the things that really infuriates a lot of new folks to the field, especially folks who are building new and emerging sites and are doing SEO on them. You have all of these best practices list. You might look at a web developer’s cheat sheet or sort of a guide to on-page and on-site SEO. You go, “Hey, I’m doing it. I’ve got my clean URLs, my good, unique content, my solid keyword targeting, schema markup, useful internal links, my XML sitemap, and my fast load speed. I’m mobile friendly, and I don’t have manipulative links.”

Great. “Where are my results? What benefit am I getting from doing all these things, because I don’t see one?” I took a site that was not particularly SEO friendly, maybe it’s a new site, one I just launched or an emerging site, one that’s sort of slowly growing but not yet a power player. I do all this right stuff, and I don’t get SEO results.

This makes a lot of people stop investing in SEO, stop believing in SEO, and stop wanting to do it. I can understand where you’re coming from. The challenge is not one of you’ve done something wrong. It’s that this stuff, all of these things that you do right, especially things that you do right on your own site or from a best practices perspective, they don’t increase rankings. They don’t. That’s not what they’re designed to do.

1) Following best practices often does nothing for new and emerging sites

This stuff, all of these best practices are designed to protect you from potential problems. They’re designed to make sure that your site is properly optimized so that you can perform to the highest degree that you are able. But this is not actually rank boosting stuff unfortunately. That is very frustrating for many folks. So following a best practices list, the idea is not, “Hey, I’m going to grow my rankings by doing this.”

On the flip side, many folks do these things on larger, more well-established sites, sites that have a lot of ranking signals already in place. They’re bigger brands, they have lots of links to them, and they have lots of users and usage engagement signals. You fix this stuff. You fix stuff that’s already broken, and boom, rankings pop up. Things are going well, and more of your pages are indexed. You’re getting more search traffic, and it feels great. This is a challenge, on our part, of understanding what this stuff does, not a challenge on the search engine’s part of not ranking us properly for having done all of these right things.

2) My competition seems to be ranking on the back of spammy or manipulative links

What’s going on? I thought Google had introduced all these algorithms to kind of shut this stuff down. This seems very frustrating. How are they pulling this off? I look at their link profile, and I see a bunch of the directories, Web 2.0 sites — I love that the spam world decided that that’s Web 2.0 sites — article sites, private blog networks, and do follow blogs.

You look at this stuff and you go, “What is this junk? It’s terrible. Why isn’t Google penalizing them for this?” The answer, the right way to think about this and to come at this is: Are these really the reason that they rank? I think we need to ask ourselves that question.

One thing that we don’t know, that we can never know, is: Have these links been disavowed by our competitor here?

I’ve got my HulksIncredibleStore.com and their evil competitor Hulk-tastrophe.com. Hulk-tastrophe has got all of these terrible links, but maybe they disavowed those links and you would have no idea. Maybe they didn’t build those links. Perhaps those links came in from some other place. They are not responsible. Google is not treating them as responsible for it. They’re not actually what’s helping them.

If they are helping, and it’s possible they are, there are still instances where we’ve seen spam propping up sites. No doubt about it.

I think the next logical question is: Are you willing to loose your site or brand? What we don’t see anymore is we almost never see sites like this, who are ranking on the back of these things and have generally less legitimate and good links, ranking for two or three or four years. You can see it for a few months, maybe even a year, but this stuff is getting hit hard and getting hit frequently. So unless you’re willing to loose your site, pursuing their links is probably not a strategy.

Then what other signals, that you might not be considering potentially links, but also non-linking signals, could be helping them rank? I think a lot of us get blinded in the SEO world by link signals, and we forget to look at things like: Do they have a phenomenal user experience? Are they growing their brand? Are they doing offline kinds of things that are influencing online? Are they gaining engagement from other channels that’s then influencing their SEO? Do they have things coming in that I can’t see? If you don’t ask those questions, you can’t really learn from your competitors, and you just feel the frustration.

3) I have no visibility or understanding of why my rankings go up vs down

On my HulksIncredibleStore.com, I’ve got my infinite stretch shorts, which I don’t know why he never wears — he should really buy those — my soothing herbal tea, and my anger management books. I look at my rankings and they kind of jump up all the time, jump all over the place all the time. Actually, this is pretty normal. I think we’ve done some analyses here, and the average page one search results shift is 1.5 or 2 position changes daily. That’s sort of the MozCast dataset, if I’m recalling correctly. That means that, over the course of a week, it’s not uncommon or unnatural for you to be bouncing around four, five, or six positions up, down, and those kind of things.

I think we should understand what can be behind these things. That’s a very simple list. You made changes, Google made changes, your competitors made changes, or searcher behavior has changed in terms of volume, in terms of what they were engaging with, what they’re clicking on, what their intent behind searches are. Maybe there was just a new movie that came out and in one of the scenes Hulk talks about soothing herbal tea. So now people are searching for very different things than they were before. They want to see the scene. They’re looking for the YouTube video clip and those kind of things. Suddenly Hulk’s soothing herbal tea is no longer directing as well to your site.

So changes like these things can happen. We can’t understand all of them. I think what’s up to us to determine is the degree of analysis and action that’s actually going to provide a return on investment. Looking at these day over day or week over week and throwing up our hands and getting frustrated probably provides very little return on investment. Looking over the long term and saying, “Hey, over the last 6 months, we can observe 26 weeks of ranking change data, and we can see that in aggregate we are now ranking higher and for more keywords than we were previously, and so we’re going to continue pursuing this strategy. This is the set of keywords that we’ve fallen most on, and here are the factors that we’ve identified that are consistent across that group.” I think looking at rankings in aggregate can give us some real positive ROI. Looking at one or two, one week or the next week probably very little ROI.

4) I cannot influence or affect change in my organization because I cannot accurately quantify, predict, or control SEO

That’s true, especially with things like keyword not provided and certainly with the inaccuracy of data that’s provided to us through Google’s Keyword Planner inside of AdWords, for example, and the fact that no one can really control SEO, not fully anyway.

You get up in front of your team, your board, your manager, your client and you say, “Hey, if we don’t do these things, traffic will suffer,” and they go, “Well, you can’t be sure about that, and you can’t perfectly predict it. Last time you told us something, something else happened. So because the data is imperfect, we’d rather spend money on channels that we can perfectly predict, that we can very effectively quantify, and that we can very effectively control.” That is understandable. I think that businesses have a lot of risk aversion naturally, and so wanting to spend time and energy and effort in areas that you can control feels a lot safer.

Some ways to get around this are, first off, know your audience. If you know who you’re talking to in the room, you can often determine the things that will move the needle for them. For example, I find that many managers, many boards, many executives are much more influenced by competitive pressures than they are by, “We won’t do as well as we did before, or we’re loosing out on this potential opportunity.” Saying that is less powerful than saying, “This competitor, who I know we care about and we track ourselves against, is capturing this traffic and here’s how they’re doing it.”

Show multiple scenarios. Many of the SEO presentations that I see and have seen and still see from consultants and from in-house folks come with kind of a single, “Hey, here’s what we predict will happen if we do this or what we predict will happen if we don’t do this.” You’ve got to show multiple scenarios, especially when you know you have error bars because you can’t accurately quantify and predict. You need to show ranges.

So instead of this, I want to see: What happens if we do it a little bit? What happens if we really overinvest? What happens if Google makes a much bigger change on this particular factor than we expect or our competitors do a much bigger investment than we expect? How might those change the numbers?

Then I really do like bringing case studies, especially if you’re a consultant, but even in-house there are so many case studies in SEO on the Web today, you can almost always find someone who’s analogous or nearly analogous and show some of their data, some of the results that they’ve seen. Places like SEMrush, a tool that offers competitive intelligence around rankings, can be great for that. You can show, hey, this media site in our sector made these changes. Look at the delta of keywords they were ranking for versus R over the next six months. Correlation is not causation, but that can be a powerful influencer showing those kind of things.

Then last, but not least, any time you’re going to get up like this and present to a group around these topics, if you very possibly can, try to talk one-on-one with the participants before the meeting actually happens. I have found it almost universally the case that when you get into a group setting, if you haven’t had the discussions beforehand about like, “What are your concerns? What do you think is not valid about this data? Hey, I want to run this by you and get your thoughts before we go to the meeting.” If you don’t do that ahead of time, people can gang up and pile on. One person says, “Hey, I don’t think this is right,” and everybody in the room kind of looks around and goes, “Yeah, I also don’t think that’s right.” Then it just turns into warfare and conflict that you don’t want or need. If you address those things beforehand, then you can include the data, the presentations, and the “I don’t know the answer to this and I know this is important to so and so” in that presentation or in that discussion. It can be hugely helpful. Big difference between winning and losing with that.

5) Google is biasing to big brands. It feels hopeless to compete against them

A lot of people are feeling this hopelessness, hopelessness in SEO about competing against them. I get that pain. In fact, I’ve felt that very strongly for a long time in the SEO world, and I think the trend has only increased. This comes from all sorts of stuff. Brands now have the little dropdown next to their search result listing. There are these brand and entity connections. As Google is using answers and knowledge graph more and more, it’s feeling like those entities are having a bigger influence on where things rank and where they’re visible and where they’re pulling from.

User and usage behavior signals on the rise means that big brands, who have more of those signals, tend to perform better. Brands in the knowledge graph, brands growing links without any effort, they’re just growing links because they’re brands and people point to them naturally. Well, that is all really tough and can be very frustrating.

I think you have a few choices on the table. First off, you can choose to compete with brands where they can’t or won’t. So this is areas like we’re going after these keywords that we know these big brands are not chasing. We’re going after social channels or people on social media that we know big brands aren’t. We’re going after user generated content because they have all these corporate requirements and they won’t invest in that stuff. We’re going after content that they refuse to pursue for one reason or another. That can be very effective.

You better be building, growing, and leveraging your competitive advantage. Whenever you build an organization, you’ve got to say, “Hey, here’s who is out there. This is why we are uniquely better or a uniquely better choice for this set of customers than these other ones.” If you can leverage that, you can generally find opportunities to compete and even to win against big brands. But those things have to become obvious, they have to become well-known, and you need to essentially build some of your brand around those advantages, or they’re not going to give you help in search. That includes media, that includes content, that includes any sort of press and PR you’re doing. That includes how you do your own messaging, all of these things.

(C) You can choose to serve a market or a customer that they don’t or won’t. That can be a powerful way to go about search, because usually search is bifurcated by the customer type. There will be slightly different forms of search queries that are entered by different kinds of customers, and you can pursue one of those that isn’t pursued by the competition.

Last, but not least, I think for everyone in SEO we all realize we’re going to have to become brands ourselves. That means building the signals that are typically associated with brands — authority, recognition from an industry, recognition from a customer set, awareness of our brand even before a search has happened. I talked about this in a previous Whiteboard Friday, but I think because of these things, SEO is becoming a channel that you benefit from as you grow your brand rather than the channel you use to initially build your brand.

All right, everyone. Hope these have been helpful in combating some of these infuriating, frustrating problems and that we’ll see some great comments from you guys. I hope to participate in those as well, and we’ll catch you again next week for another edition of Whiteboard Friday. Take care.

Video transcription by Speechpad.com

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Reblogged 4 years ago from tracking.feedpress.it

Understand and Harness the Power of Archetypes in Marketing

Posted by gfiorelli1

Roger Dooley, neuromarketing expert, reminds us in his book Brainfluence that in 80% of cases we make a decision before being rationally aware of it.

Although Dooley explains this effect in terms of how our brain works, in my opinion, distinctly separating neuroscience and the theory of archetypes would be incorrect. On the contrary, I believe that these two aspects of the study of the human mind are complementary.

According to
Jung, archetypes are “[…] forms or images of a collective nature which occur practically all over the Earth as constituents of myths and—at the same time—as individual products of unconscious”. He then, added something that interests us greatly: “The [forms and images] are imprinted and hardwired into out psyches”.

Being able to design a brand personality around an archetype that connects unconsciously with our audience is a big first step for: brand loyalty, community creation, engagement, conversions.

The Slender Man is the “Internet age” version of the archetype figure of the Shadow

Archetypes can be also used for differentiating our brand and its messaging from others in our same market niche and to give that brand a unique voice.

If we put users at the center of our marketing strategy, then
we cannot limit ourselves in knowing how they search, how they talk on social media, what they like to share or what their demographics are.

No,
we should also understand the deep psychological reasons why they desire something they search for, talk the way they talk, share what they share, and their psychological relation with the environment and society they live in.

Knowing that,
we can use archetypes to create a deep emotional connection with our audience and earn their strong positive attitude toward us thanks to the empathy that is created between them and us.

Narrative modes, then, help us in shaping in a structured way a brand storytelling able to guide and engage the users, and not simply selling or creating content narrative doomed to fail.

The 12 archetypes




graph by Emily Bennet

The chart above presents the 12 Jungian archetypes (i.e: Hero), to what principal human desire (i.e.: leave a mark on the world) they correspond and what is the main behavior each one uses for achieving that desire (i.e.: mastery).


Remember: if the audience instinctively recognizes the archetypal figure of the brand and its symbolism and instinctively connect with it, then your audience is more ready to like and trust what your brand proposes
.

On the other hand, it is also a good exercise to experiment with archetypes that we would not think are our brand’s one, expanding the practice of A/B tests to make sure we’re working with the correct archetype. 

The Creator

In my last post I used Lego as example of a brand that is winning Internet marketing thanks to its holistic and synergistic use of offline and online marketing channels.

I explained also how part of its success is due to the fact Lego was able to shape its messages and brand personality around the Creator archetype (sometimes called the “Builder”) which is embodied by their tagline, “let’s build”.

Creators tend to be nonconformist and to enjoy self expression.
A Creator brand, then, will empower and prize its audience as much as it is able to express itself using its products.

The Ruler

The Ruler is the leader, the one setting the rules others will follow, even competitors. Usually it’s paired with an
idea of exclusiveness and status growth.

A brand that presents itself as a Ruler is suggesting to their audience that they can be rulers too.

A classic example of Ruler brand is Mercedes:

The Caregiver

Altruism, compassion, generosity.
Caregiver brands present themselves as someone to trust, because they care and empathize with their audience.

The Caregiver is one of the most positive archetypes, and it is obviously used by nonprofit organizations or governmental institutions like UNICEF, but brands like Johnson & Johnson have also shaped their personality and messages around this figure.

The Innocent

The Innocent finds positive sides in everyone and everything

It sees beauty even in things that others will not even consider, and feels in peace with its inner beauty.

Dove, obviously, is a good representation of the Innocent archetype.

The Sage

The Sages wants to know and understand things. 


The Sage is deeply humanist and believe in the power of humankind to shape a better world through knowledge
.

However, the Sage also has a shadowed side: intolerance to ideas others than their own.

Google, in both cases, is a good example a Sage brand.

The Explorer

The Explorer is adventurous, brave, and loves challenges. He tends to be an individualist too, and loves to challenge himself so as to find his real self.


Explorer brands prompt their audience to challenge themselves and to discover the Explorer within

Red Bull is a classic example of these kinds of brands, but REI and Patagonia are even better representations.

The Hero

In many aspects, the Hero archetype is similar to the Explorer and Outlaw ones, with the difference that the Hero many times never wanted to be the hero, but injustice and external events obliged him to find the courage, braveness, and the honor to become one.

Nike, and also its competitor Adidas, shapes its brand voice around this archetypal figure.

The Magician

The Magician is clever, intelligent, and sometimes his ability can be considered supernatural. 


The Magician is able to make the impossible possible
. Because of that some of the best known technology brands use this archetype as their own to showcase their innovation and how they use their advanced knowledge creatively.

Apple—even if you are not an Apple fan—created a powerful brand by shaping it around this archetype. 

The Outlaw


The Outlaw is the rebel, the one who breaks the rules in order to free his true self
.

The Outlaw goes against the canon and is very aware of the constrictions society creates.

A great example of a brand that very well represents the Outlaw archetype is Betabrand.

The Everyman

It is perfectly fine to be “normal,” and happiness can come from simply sharing things with people we love.


Brands targeting the Everyman audience (and painting themselves as such) craft their messages about the beauty of simple things and daily real life
.

Ikea is probably the brand that’s achieved mastery in the use of this archetype over the past few years.

The Jester 

Fun, irreverent, energetic, impulsive and against the established rules at the same time, the Jester is also the only one who is able to tell the truth with a joke. 

Jesters can be revolutionary too, and their motto could be “a laugh will bury you all.”


A brand that presents itself as the Jester is a brand that wants to make our lives easier and more bearable, providing us joy.

The Lover


Sensuality is the main characteristic of the Lover archetype
, as well as strong physicality, passion, and a need for deep and strong sensations.

But the Lover can be also the idealist, the romantic longing for the perfect love.

Archetypes and brand storytelling

Our brain, as many neuroscientists have proved, is
hard-wired for stories (I suggest you to watch this TEDx too).

Therefore, once we have decided what archetype figure best responds both to our audience and our values as a brand,
we must translate the psychology we created for our brand into
brand storytelling.
That storytelling must then be attuned to the psychology of our audience based on our psychographic analysis of them.

Good (brand) storytelling is very hard to achieve, and most of the time we see brands that miserably fail when trying to tell branded stories.

Introducing the Theory of Literary (or Narrative) Modes

In order to help my clients find the correct narrative, I rely on something that usually is not considered by marketers: the
Theory of Literary Modes.

I use this theory, presented first by
Northrop Frye in it essay Anatomy of Criticism, because it is close to our “technical marketer” mindset.

In fact:

  1. The theory is based on a objective and “scientific” analysis of data (the literary corpus produced by humans);
  2. It refuses “personal taste” as a metric, which in web marketing would be the same as creating a campaign with tactics you like but you don’t really know if your public is interested in. Even worse, it would be like saying “create great content” without defining what that means.

Moreover, the
Theory of Literary Modes is deeply structured and strongly relies on semiotics, which is going to be the natural evolution of how search engines like Google will comprehend the content published in the Internet. Semantic thinking is just the first step as well explained 
Isla McKetta here on Moz few months ago.

Finally, Northrop Fryed
considers also archetypes this theory because of the psychological and semiotic value of the symbolism attached to the archetypal figure.

Therefore, my election to use the Theory of Literary Modes responds 

  1. To the need to translate ideal brand storytelling into something real that can instinctively connect with the brand’s audience;
  2. To make the content based on that storytelling process understandable also by search engines.

The Theory of Literary Modes in marketing

To understand how this works in marketing, we need to dig a little deeper into the theory.

A literary work can be classified in two different but complementary ways:

1) Considering only the
relation between the nature of the main character (the Hero) and the ambient (or environment) where he acts.

2) Considering also
if the Hero is refused or accepted by society (Tragedy and Comedy).

In the
first case, as represented in the schema above, if the Hero:
  1. Is higher by nature than the readers and acts in a completely different ambient than theirs, we have a Romance;
  2. Is higher by nature than the readers, but acts in their same ambient, we have an Epic;
  3. Is someone like the reader and acts in the reader’s own ambient, we are in field of Realism;
  4. Is someone lower by nature than the readers and acts in a different or identical ambient, we are in the realm of Irony, which is meant as “distance.”
A fifth situation exists too, the
Myth, when the nature of the Hero is different than ours and acts in an ambient different than ours. The Hero, in this case, is the God.

If we consider also if society refuses or accepts the hero, we can discover the different versions of Tragedy and Comedy.

I will not enter in the details of Tragedy, because
we will not use its modes for brand storytelling (this is only common in specific cases of political marketing or propaganda, classic examples are the mythology of Nazism or Communism).

On the contrary,
the most common modes used in brand storytelling are related to Comedy, where the Hero, who usually is the target audience, is eventually accepted by society (the archetypal world designed by the brand).

In
Comedy we have several sub modes of storytelling:

  1. “The God Accepted.” The Hero is a god or god-like kind of person who must pass through trials in order to be accepted by the society;
  2. The Idyll, where the Hero uses his skills to explore (or conquer) an ideal world and/or become part of an ideal society. Far West and its heir, Space Opera (think of Interstellar) are classic examples. 
  3. Comedy sees the hero trying to impose his own view of the world, fighting for it and finally being awarded with acceptance of his worldview. A good example of this is every well ending biopic of an entrepreneur, and Comedy is the exact contrary of melodrama. 
  4. On a lower level we can find the Picaresque Comedy, where the hero is by nature inferior to the society, but – thanks to his cleverness – is able to elevate himself to society’s level. Some technology business companies use this narrative mode for telling their users that they can “conquer” their market niche despite not having the same economic possibilities as the big brands (this conquering usually involves the brand’s tools).
  5. Finally we have the Irony Mode of Comedy which is quite complex to define. 
    1. It can represent stories where the hero is actually an antihero, who finally fails in his integration into the society. 
    2. It can also be about inflicting pain on helpless victims, as in mystery novels. 
    3. It can also be Parody.

Some examples

The Magician, gamification, and the Idyllic mode

Consider this brand plot:

The user (the Hero) can become part of a community of users only if he or she passes through a series of tasks, which will award prizes and more capabilities. If the user is able to pass through all the tasks, he will not only be accepted but also may have the opportunity to be among the leaders of the community itself.

And now
consider sites, which are strongly centered on communities like GitHub and Code Academy. Consider also SAAS companies that present the freemium model like Moz or mobile games like Boom Beach, where you can unlock new weapons only if you pass a given trial (or you buy them).

The Magician is usually the archetype of reference for these kinds of brands. The Hero (the user) will be able to dominate a complex art thanks to the help of a Master (the brand), which will offer him instruments (i.e.: tools/courses/weapons). 

Trials are not necessarily tests. A trial can be doing something that will be awarded, for instance, with points (like commenting on a Moz blog post), and the more the points the more the recognition, with all the advantages that it may offer. 

Gamification, then, assumes an even stronger meaning and narrative function when tied to an archetype and literary mode.

Ikea, the Everyman, and the Comedic mode

Another
example is Ikea, which we cited before when talking of the Everyman archetype.

In this case, the Hero is someone like me or you who is not an interior designer or decorator or, maybe, who does not have the money for hiring those professionals or buying very expensive furniture and decoration.

But, faithful to its mission statements (“design for all”, “design your own life”…), Ikea is there to help Everyman kind of people like me and you in every way as we decorate our own houses.

On the practical side, this narrative is delivered in all the possible channels used by Ikea: web site, mobile app, social media (look at its
Twitter profile) and YouTube channel.

Betabrand, the Outlaw, and Picaresque Comedy

A third and last example can be
Betabrand.

In this case both the brand and the audience is portrayed using the
Outlaw archetype, and the brand narrative tend to use the Picaresque mode.

The Heroes is the Betabrand community who does not care what the mainstream concept of fashion is and designs and crowdfounds “its fashion.”

How to use archetypes and narrative modes in your brand storytelling

The first thing you must understand is what archetype best responds to your company tenets and mission. 

Usually this is not something an SEO can decide by him- or herself, but it is something that founders, CEOs, and directors of a company can inform.

Oftentimes a small to medium business company can achieve this with a long talk among those company figures and where they are asked to directly define the idealistic “why?” of their company.

In case of bigger companies, defining an archetype can seem almost impossible to do, but the same history of the company and hidden treasure pages like “About Us” can offer clear inspiration.

Look at REI:

Clearly the archetype figure that bests fits REI is the Explorer.

Then, using the information we retrieve when creating the
psychographic of our audience and buyer personas, matching with the characteristics each archetype has, and comparing it with the same brand core values, we can start to understand the archetype and narrative mode. If we look at REI’s audience, then we will see how it also has a certain affinity with the Everyman archetypal figure (and that also explains why REI also dedicates great attention to family as audience).

Once we have defined the best archetype commonly shared by our company and our audience, we must translate this figure and its symbolism into brand storytelling, which in web site includes design, especially the following:

  • Color pattern, because colors have a direct relation with psychological reaction (see this article, especially all the sources it links to)
  • Images, considering that in user-centric marketing the ideal is always to represent our targeted audience (or a credible approximation) as their main characters. I am talking of the so called “hero-shots”, about which Angie Shoetmuller brilliantly discussed in the deck I embed here below:

If you want to dig deeper in discovering the meaning and value of symbols worldwide, I suggest you become member of
Aras.org or to buy the Book of Symbols curated by Aras.

  • Define the best narrative mode to use. REI, again, does this well, using the Idyllic mode where the Hero explores and become part of an ideal society (the REI community, which literally means becoming a member of REI). 

We should, then:

  1. Continue investigating the archetypal nature of our audience conducting surveys
  2. Analyzing the demographic data Google Analytics offers us about our users 
  3. Using GA insights in combination with the data and demographic information offered by social networks’ ad platforms in order to create not only the interest graph of our audience but also to understand the psychology behind those interests 
  4. Doing A/B tests so to see whether symbols, images, and copywriting based on the targeted archetypes work better and if we have the correct archetype.

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