The Linkbait Bump: How Viral Content Creates Long-Term Lift in Organic Traffic – Whiteboard Friday

Posted by randfish

A single fantastic (or “10x”) piece of content can lift a site’s traffic curves long beyond the popularity of that one piece. In today’s Whiteboard Friday, Rand talks about why those curves settle into a “new normal,” and how you can go about creating the content that drives that change.

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

Video Transcription

Howdy, Moz fans, and welcome to another edition of Whiteboard Friday. This week we’re chatting about the linkbait bump, classic phrase in the SEO world and almost a little dated. I think today we’re talking a little bit more about viral content and how high-quality content, content that really is the cornerstone of a brand or a website’s content can be an incredible and powerful driver of traffic, not just when it initially launches but over time.

So let’s take a look.

This is a classic linkbait bump, viral content bump analytics chart. I’m seeing over here my traffic and over here the different months of the year. You know, January, February, March, like I’m under a thousand. Maybe I’m at 500 visits or something, and then I have this big piece of viral content. It performs outstandingly well from a relative standpoint for my site. It gets 10,000 or more visits, drives a ton more people to my site, and then what happens is that that traffic falls back down. But the new normal down here, new normal is higher than the old normal was. So the new normal might be at 1,000, 1,500 or 2,000 visits whereas before I was at 500.

Why does this happen?

A lot of folks see an analytics chart like this, see examples of content that’s done this for websites, and they want to know: Why does this happen and how can I replicate that effect? The reasons why are it sort of feeds back into that viral loop or the flywheel, which we’ve talked about in previous Whiteboard Fridays, where essentially you start with a piece of content. That content does well, and then you have things like more social followers on your brand’s accounts. So now next time you go to amplify content or share content socially, you’re reaching more potential people. You have a bigger audience. You have more people who share your content because they’ve seen that that content performs well for them in social. So they want to find other content from you that might help their social accounts perform well.

You see more RSS and email subscribers because people see your interesting content and go, “Hey, I want to see when these guys produce something else.” You see more branded search traffic because people are looking specifically for content from you, not necessarily just around this viral piece, although that’s often a big part of it, but around other pieces as well, especially if you do a good job of exposing them to that additional content. You get more bookmark and type in traffic, more searchers biased by personalization because they’ve already visited your site. So now when they search and they’re logged into their accounts, they’re going to see your site ranking higher than they normally would otherwise, and you get an organic SEO lift from all the links and shares and engagement.

So there’s a ton of different factors that feed into this, and you kind of want to hit all of these things. If you have a piece of content that gets a lot of shares, a lot of links, but then doesn’t promote engagement, doesn’t get more people signing up, doesn’t get more people searching for your brand or searching for that content specifically, then it’s not going to have the same impact. Your traffic might fall further and more quickly.

How do you achieve this?

How do we get content that’s going to do this? Well, we’re going to talk through a number of things that we’ve talked about previously on Whiteboard Friday. But there are some additional ones as well. This isn’t just creating good content or creating high quality content, it’s creating a particular kind of content. So for this what you want is a deep understanding, not necessarily of what your standard users or standard customers are interested in, but a deep understanding of what influencers in your niche will share and promote and why they do that.

This often means that you follow a lot of sharers and influencers in your field, and you understand, hey, they’re all sharing X piece of content. Why? Oh, because it does this, because it makes them look good, because it helps their authority in the field, because it provides a lot of value to their followers, because they know it’s going to get a lot of retweets and shares and traffic. Whatever that because is, you have to have a deep understanding of it in order to have success with viral kinds of content.

Next, you want to have empathy for users and what will give them the best possible experience. So if you know, for example, that a lot of people are coming on mobile and are going to be sharing on mobile, which is true of almost all viral content today, FYI, you need to be providing a great mobile and desktop experience. Oftentimes that mobile experience has to be different, not just responsive design, but actually a different format, a different way of being able to scroll through or watch or see or experience that content.

There are some good examples out there of content that does that. It makes a very different user experience based on the browser or the device you’re using.

You also need to be aware of what will turn them off. So promotional messages, pop-ups, trying to sell to them, oftentimes that diminishes user experience. It means that content that could have been more viral, that could have gotten more shares won’t.

Unique value and attributes that separate your content from everything else in the field. So if there’s like ABCD and whoa, what’s that? That’s very unique. That stands out from the crowd. That provides a different form of value in a different way than what everyone else is doing. That uniqueness is often a big reason why content spreads virally, why it gets more shared than just the normal stuff.

I’ve talk about this a number of times, but content that’s 10X better than what the competition provides. So unique value from the competition, but also quality that is not just a step up, but 10X better, massively, massively better than what else you can get out there. That makes it unique enough. That makes it stand out from the crowd, and that’s a very hard thing to do, but that’s why this is so rare and so valuable.

This is a critical one, and I think one that, I’ll just say, many organizations fail at. That is the freedom and support to fail many times, to try to create these types of effects, to have this impact many times before you hit on a success. A lot of managers and clients and teams and execs just don’t give marketing teams and content teams the freedom to say, “Yeah, you know what? You spent a month and developer resources and designer resources and spent some money to go do some research and contracted with this third party, and it wasn’t a hit. It didn’t work. We didn’t get the viral content bump. It just kind of did okay. You know what? We believe in you. You’ve got a lot of chances. You should try this another 9 or 10 times before we throw it out. We really want to have a success here.”

That is something that very few teams invest in. The powerful thing is because so few people are willing to invest that way, the ones that do, the ones that believe in this, the ones that invest long term, the ones that are willing to take those failures are going to have a much better shot at success, and they can stand out from the crowd. They can get these bumps. It’s powerful.

Not a requirement, but it really, really helps to have a strong engaged community, either on your site and around your brand, or at least in your niche and your topic area that will help, that wants to see you, your brand, your content succeed. If you’re in a space that has no community, I would work on building one, even if it’s very small. We’re not talking about building a community of thousands or tens of thousands. A community of 100 people, a community of 50 people even can be powerful enough to help content get that catalyst, that first bump that’ll boost it into viral potential.

Then finally, for this type of content, you need to have a logical and not overly promotional match between your brand and the content itself. You can see many sites in what I call sketchy niches. So like a criminal law site or a casino site or a pharmaceutical site that’s offering like an interactive musical experience widget, and you’re like, “Why in the world is this brand promoting this content? Why did they even make it? How does that match up with what they do? Oh, it’s clearly just intentionally promotional.”

Look, many of these brands go out there and they say, “Hey, the average web user doesn’t know and doesn’t care.” I agree. But the average web user is not an influencer. Influencers know. Well, they’re very, very suspicious of why content is being produced and promoted, and they’re very skeptical of promoting content that they don’t think is altruistic. So this kills a lot of content for brands that try and invest in it when there’s no match. So I think you really need that.

Now, when you do these linkbait bump kinds of things, I would strongly recommend that you follow up, that you consider the quality of the content that you’re producing. Thereafter, that you invest in reproducing these resources, keeping those resources updated, and that you don’t simply give up on content production after this. However, if you’re a small business site, a small or medium business, you might think about only doing one or two of these a year. If you are a heavy content player, you’re doing a lot of content marketing, content marketing is how you’re investing in web traffic, I’d probably be considering these weekly or monthly at the least.

All right, everyone. Look forward to your experiences with the linkbait bump, and I will see you again next week for another edition of Whiteboard Friday. Take care.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don’t have time to hunt down but want to read!

Reblogged 2 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.

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don’t have time to hunt down but want to read!

Reblogged 3 years ago from tracking.feedpress.it

Search Engine Optimisation Tips for Small Businesses

Search Engine Optimisation Tips for Small to Medium Businesses

 

Small to medium businesses can benefit from the correct search engine optimization strategies. They can attract more customers by improving their ranking in search engine results. Advanced SEO practices can boost the visibility of any company with the help of other marketing strategies such media outreach, social media and reviews.

 

The first advanced SEO tip for small businesses is to optimize the data found on the company’s website. Your online presence depends on your website. It has to have a domain name that reflects the business and its location. The website must also use keywords on page titles that show the type of business, your services, and location.

 

Your business’ name, address and phone number data should be found in all pages of the website. Aside from focusing on the services you offer, your website must also have content related to the where the company is located. It makes it easy for local customers to find your business.

 

Another advanced SEO practice to improve local visibility is to place your business’ information in several third party sources. Search engines such as Google scan a lot of websites to improve their understanding of the local business environment. Such of the websites that you can use are Google+, Facebook, TripAdvisor and Yelp.

 

It is a good search engine optimization practice to include the website URL, photos, videos, and other vital details to appeal to potential customers. It should be placed in the proper category. This way search engines will be informed about what type of services and products your business provide.

 

If your small to medium business has several locations, make separate listings for each location. This will improve the visibility of the company as well as the individual stores. Search engines will list the different store individually.

 

Another advanced SEO tip is to have a good link strategy. The links you place from your website to other sites, and the other way around is vital in improving search engine ranking of your company. Unrelated links will only hurt your online credibility.

 

Good search engine optimization involves sharing links to your company’s website through your accounts in social networking sites. You should also encourage other users to share the information. Newsletters and other updates sent out to customers must include links to your website.

 

Another way to spread the word about your website is to support local events in the community. Then ask the local chamber of commerce and other partners to share the link to your website when talking about the event.

 

Your business’ online presence will be improved by user reviews. One advanced SEO tip is to respond to every review, whether they are positive or negative. Small businesses must encourage customers to leave reviews of the business. The reviews must be authentic to gain the trust of local customers.