Was fun to spend time talking social strategy and analytics with the cool folks over at NASDAQ last week! Thanks to Josh Machiz and Brad Smith for making it possible and for being awesome and gracious hosts. Watch the videos above or click here to see my bowtie in action!
I was honored to be one of the first 10 guests on the new Social Media podcast, “The Social Toolkit” from the makers of Social Fresh Conference. It was a lot of fun to record with Jason Keath and Jason Yarborough. Check it out on iTunes if you want to here me ramble someone coherently about content marketing, tools and process, and even my love of baseball caps. (Psst, I’m episode 9!)
I’ve been lucky enough during my long career to have many folks who have taken the time out of their days to help me get better at my chosen craft, even today, and it’s always been important to me to try to give back when I can.
As many of you may know, one of my side gigs is as a Tech Mentor In Residence at Pace University’s Seidenberg School of Computer Science and Information Systems. We’re building a new mentorship program for the students to give them a look at what a career in technology / digital strategy / product development may looks like and would love to have you, dear reader, involved in the program if you’d want to be! If this is something that’s interesting to you, send me an email at firstname.lastname@example.org! We’re putting together a couple of events in the next few months and other events too and the students, I’m sure, would be extremely appreciative of your time.
Thanks for reading.
It’s been a really fun ride to see my quick analysis on the now world-famous Ellen “selfie” tweet get some much attention!
It was one of Medium’s top posts of the week the week it came out, and so far has gotten more than 16,000 views, easily amongst the most viewed things I’ve ever written. Thanks to my friends at SocialFresh, it’s also gotten more than 500 social interactions there.
So thanks for reading! Missed the story, check it out on SocialFresh, or using Medium’s nifty new embed feature below:
Update: The post made the Medium Top 100 for March 2014!
Back in mid 1997, I took a chance and answered an ad on MSN.com (yes, I know) for a new company called “The Mining Company” that was based in New York, and was looking for people to write about topics of passion. Obviously, I kind of had a thing for open-wheel auto racing (still do), and I had just taught myself copious amounts of HTML, so I applied, and before you knew it, I was About.com’s first Auto Racing Guide.
I got to interview Indy 500 winners, write about tragedy at the track at Charlotte, and at Fontana when Greg Moore lost his life in 2000. I moved over to what then became known as “About.com” in a corporate capacity in 2000. It was my first full-time job working “on the Internet”, was working there on 9/11 and got to work with a team that helped develop a product that was ultimately patented, and do a lot of other fun things before I left in August 2003.
Fast forward 10 years later, and a few more gray hairs and a few great jobs later, and today I’m finally able to share that I’m back with About.com, starting a newly created role as Vice President of Social Media and Community Strategy.
I’ve always had a soft spot for this company since the old days, and it’s refreshing and reassuring to see the place get some love and opportunity after IAC purchased them last August. The opportunity to help millions of passionate users connect with topics and content created by thousands of passionate guides through social media is huge, and I’m really excited to be a part of the team looking to help bring About back to some great things. (And a quick thanks to Neil and Scott and the whole team for the opportunity.)
.. and even more fun to create. An early break of the news behind our AOL Reader product prompted a creative solution to confirm the rumors
You’ve never seen 5 people work a single iPhone so elegantly before. (Hint: play with sound for a nice surprise) Thanks to my AOL Social Team for putting this one together quickly.
After winning one of the most popular victories in recent Indianapolis 500 memory, IndyCar driver Tony Kanaan took to Instagram and expressed his joy to his legion of fans worldwide with a picture of him pouring the traditional winner’s milk over his head, accompanied by a single word: “Yesssssssss”.
Sunday’s 97th Running of the Indianapolis 500 lifted the IndyCar Series to level of awareness rarely seen in the last few years. Social media allowed the drivers to share the highlights, and low lights of the fastest (by average speed) and most competitive (by number of lead changes) race in the 104 year history of the Speedway.
During race weekend and after, Twitter lights up with thoughts from the drivers. There was Pippa Mann, sharing her frustration at damaging her car. Graham Rahal’s response to her accusation that he caused her crash. A flood of thanks to sponsors, crews, and fans. Praise for the finally victorious Tony Kanaan, and of course, Tony himself thanking the fans. Indeed, most drivers in the IndyCar series have Twitter accounts (yes, even that guy that likes to dance on TV who has won the 500 three times in his spare time) and regularly use them to keep fans abreast of the lastest updates from their teams. Most even wear Twitter handles on their driver uniforms.
Ask most people about auto racing in the United States, and you’re likely to get a mention of NASCAR. NASCAR, the wildly popular series where specialized race cars designed to look like showroom stock from manufacturers including Chevrolet, Ford and Toyota, holds dozens of major races a year across three national touring series, The Sprint Cup (which starts its season with their crown jewel, the Daytona 500), The Nationwide Series, and the Camping World Truck Series. NASCAR holds lucrative television contracts with FOX and ESPN, and millions tune in weekly to their races.
But, believe it or not, at one point in time in the early to mid 1990s, Indy style racing was arguably even more popular. than NASCAR was. Yet you may be reading this, and beyond the Indy 500, itself, you may not have heard of it. So, what happened?
The Indianapolis 500, held annually since 1911 (except for wartime breaks for World War I and World War II), is the anchor of a challenging annual racing schedule that mixes different kinds of racetracks (ovals, road courses, and races in city streets), with a goal of a national championship to be awarded to a driver who can perform best over the entire year.
Throughout the late 1970s until the mid 1990s, that national championship was known as the “IndyCar World Series.” And it truly was an international affair – with drivers from nations all around the world competing for the national championship. In the late 1980s and early 1990s, most races were broadcast on ABC and ESPN to strong ratings.
At the time the IndyCar Championship was run by a board of car owners in an organization called CART (Championship Auto Racing Teams), which through partnership with USAC (the United States Auto Club) and the Indianapolis Motor Speedway was able to run the Indianapolis 500 as a part of the schedule. The 1995 race, featured Jacques Villeneuve (who would two years later win a Formula 1 World Championship), emerging victorious in a crazy finish.
But the 1995 race had been run under a cloud. In 1994, Tony George, whose family had owned the Indianapolis Motor Speedway since 1945 and who was now CEO and President of the track, decided it was time for a change. To foster a vision was to return to more of a “traditional” oval only racing series that would provide lower cost equipment, and nurture American talent primarily racing in the Midwestern United States, George announced the formation of a new national Indy-style racing series, dubbed the Indy Racing League, to start in 1996 – and most importantly, it would have the Indy 500 on its schedule – not CARTs.
The biggest blow came when it became known that at the 1996 Indianapolis 500, the Speedway would limit the number of entries from cars that didn’t come from the IRL which meant that most of the drivers and cars who had raced in the Indianapolis 500 in recent years would be unable to compete there. This period of time has become known to IndyCar fans as “The Split.”
With two major Indy-style open racing series competing for fans, attention and sponsors, both series struggled to capture NASCAR-level attention. At the time same, NASCAR started a run of commercial growth, starting most notably with the beginning of their TV deal with FOX in 2001. NASCAR started to become a very compelling option for major sponsors looking for TV eyeballs and drivers became major and important brand ambassadors to an audience base who had immense brand loyalty.
Over the next 12 years, both series struggled to find their footing. The IRL gave up the exclusionary rule for the Indianapolis 500, started to include non-oval races in its schedule, and slowly won over major automobile manufacturers to participate. CART continued its decline. Sponsors, manufacturers and teams wanted to be at Indy for the 500, and forced to placate the people who paid their bills, CART teams (which became ChampCar in 2004 after a first bankruptcy) started to make appearances at the Indy 500 again – and ultimately chose to run the entire IRL schedule. By the end of 2007, ChampCar was headed for another bankruptcy, and the IRL purchased their assets in a bankruptcy auction, essentially merging the series for the 2008. “The Split” was over, but many of the fans had gone.
With the merger of the two disparate series finally consummated, a big question remained. Just what WAS IndyCar now? And could IndyCar win back the fans it had lost?
The answer started to come together slowly. The IRL changed it’s name back to the IndyCar Series again. And after a few foundational years, the competition at the Speedway and across the entire schedule continued to improve dramatically.
Terrific races at Indy in 2011 (where J.R. Hildebrand was leading on the last lap until the last turn of the race, only to hit the wall and give a miracle win to Dan Wheldon), 2012 (where Takuma Sato crashed on the last lap trying to take the lead from Dario Franchitti), started to coincide with the rise and popularity of social media tools, especially Twitter. It was a word-of-mouth series that was now meeting word-of-mouth media.
Enter social media – and specifically the Speedway’s #Indy500orBust campaign.
This year, the Speedway encouraged fans to post pictures of their best Indy moments with the #Indy500orBust hashtag. They presence in Indianapolis was everywhere: a decal to make your own #Indy500orBust sign contained in a ticket mailer; photo opportunities at the Indianapolis Airport with classic Indy race cars; on a schedule postcard handed out when ticket takers scanned tickets; an entire “social media garage” at the Speedway fostering the message and giving out stamped cardboard signs to facilitate “selfies” of fans around the Speedway, and ultimately the world. Fans could then view and “claim” their photo at indy500orbust.com for a chance to win a VIP experience for the 2014 Indianapolis 500.
According to Indianapolis Motor Speedway Digital Producer Brian Simpson, the inspiration for the campaign came from the stories that come out of the Indy 500: “The Indianapolis 500 is an aspirational event for the fans, participants and various other individuals surrounding the race. We wanted to create a social campaign that really showcased the “journey” to Indy, not necessarily from just a physical standpoint (travel, etc.) but also from a mental standpoint. Everyone who attends Indy has a story behind why they attend, the first time they attended, or how the tradition started with their family. Even the drivers have some incredible stories regarding their respective ‘journeys’ to Indianapolis. We focused on coming up with a campaign that allowed everyone to tell their story visually, and we instantly landed on Instagram.”
And what about the drivers and the teams? “Overall, the drivers and teams loved it. We had one driver, Josef Newgarden, who really stepped up as the “unofficial spokesman” of the #Indy500orBust campaign. He even took it as far as having the hashtag placed on his custom helmet design for the Indianapolis 500. Instagram posted one of his photos from their account when they highlighted our campaign on the Saturday before the race, which took our reach to a new level.”
How did it do? “The campaign exceeded our expectations in every aspect. It really took off when we entered the month of May and truly took on a viral status,” Simpson said.
By channeling this world of mouth, IndyCar is hoping to continue the viral spread of the great racing happening at Indy, and channel it into the growth of strong of a national series schedule, which in 2013 features 19 races.
“We’ve learned a lot from this campaign and believe we’ve really found some concepts that can be applied again to create additional successful campaigns in the future. This was our first venture into creating a marketing campaign that was based on social activity, and it was wildly successful,” Simpson said.
Clearly, social media isn’t the only answer to helping to spread awareness, but it is a great way to start. The hill for IndyCar to climb in race fan consciousness is still steep – but every piece of social media content created around the series helps to climb one more notch, and win back at least one more fan at a time.
Last week, I had the pleasure of joining the speaker roster at Innovation Enterprise’s Social Media & Web Analytics Innovation summit in San Francisco.
I spoke about our adventures in trying to find the elusive lifetime value for our social media followers and offered up 5 tips for people trying to get there.
Take a look at my deck below, or take a look at this article with a recap from Social Media Today!
In my mind, successful “social media” strategy lives at the intersection of the information needs of the social audiences you can grow, obtain and nurture, the content you can create or curate for them, and the right choice of social platforms that you use to deliver your message.
These intersections happen in minute slices of time – those seconds when the user was browsing for content when that social network happens to deliver them your content in their social stream.
But the desire to create more of these intersections happen has made the challenges of creating that content more daunting than ever.
When I wrote early last year on this blog about the “Fragmentation of Social Networks“, and shared some of these thoughts at Social Fresh East last year, I saw the industry already starting to change course.
In short, trends from that time seemed to dictate mostly that the information needs and user experiences of social content were changing for many end users, and audiences were starting to move from big “shopping malls” of content to “boutique shops”, focusing on destinations and brands that would deliver what they wanted.
The destinations of these “social intersections” were starting to move from the familiar to the less familiar in terms of networks.
Visual Social Strategy
Later in July 2012, I spoke at the Ad Age Small Agency Summit and shared how the first beginnings of social media strategies for visual networks had started to appear.
With the explosive growth of Instagram, Pinterest and changes to Facebook’s display of photographs in the timeline, the die was being cast – visual assets had to be a part of the mix. Early adopter brands had started to figure out how to use their vast content stores in effective ways, and test the waters outside of what they knew best.
Content Strategy Takes A Back Seat
At this point, the reality for many brands was with limited resources, deeply thought out content strategy were still a secondary concern.
It was more often about “keeping the lights on” and getting as much content out as possible, with quality often taking a backseat to speed.
After all, in many cases, posting more often just lead to more opportunities for engagement, with limited penalties (unlikes, unfollows) for too much content, since such a small percentage of your audience was interacting anyway.
Then spawned what I’ve dubbed the “Great EdgeRank Crisis of 2012“, which in a split second, made brands re-evaluate their content strategies (and, often, establish a content strategy for the first time), and the people behind sourcing the content that would run.
The loss of access to large parts of the audience brands thought they had built, through good content and effective community management, and often through spending money on advertising, to was frustrating to many. Instead of living in the periphery through networks that, in theory, brands could ignore, the content strategy question spawned it’s head right in the belly of the beast, on Facebook itself.
The lesson in a nutshell: your Facebook content needed to be better than ever to avoid negative feedback, or it would run a much bigger risk of never being seen by the people you want to reach, and even more concerning, first level friends of those people who could be coerced to build a relationship with you.
Content Must Be Awesome
For an organization with a reasonably large fan base (both offline and online) and a desire to be active on social media now likely having to at least consider and understand the inherent content challenges for having presences on Facebook, Twitter, Instagram, Pinterest, Tumblr, Google+, the goal became crystal clear.
Your content had to be more than occasionally entertaining – you had to be entertaining, or relevant just about every time out of the box, and the penalty for going too far for the first time was a legitimate concern. And it had to be right for the platform it was on.
This really required a new way of thinking.
Ian Schafer of Deep Focus described this way of thinking in an excellent AdAge piece called, “Why It’s Time Your Brand Invested in a Creative Newsroom“, where he suggests that “The best content is not what surfaces most often through search results, but what travels most often between people.
When we look at the success of content these days, there is often an inverse relationship between how good it is vs. how much we had to pay for people to actually see it.”
I couldn’t agree more.
The Content Newsroom
The newsroom approach is probably the best analogy I’ve heard so far about this new way of thinking. An independent content strategy for each platform has started to become part of THE content strategy for the brand. With new platforms, the approach used to be, “let’s develop a strategy for ____”.
What this left many brands with was bits and pieces that lived in multiple places, and often in multiple people, and a bolt-on approach which didn’t really meet the objectives of the brand.
Now, the fragments of platform specific strategy are being pulled together into a cohesive overall one.
They have to be.
It’s too expensive to fragment limited people. To borrow the newsroom analogy again, let’s take the late evening news, as an example. While the weather, sports and business report have been produced by different people, the end broadcast is the product people rely on and tune in for.
They expect a package product for their information needs. Someone needs to pull this altogether to make sure while they are proficient in answering the specific needs of that audience, the overall show feels complete.
This is why I think your social media team will have (if it doesn’t have one already) a dedicated content strategist. I think it’s time to spin out this role into it’s own speciality and recognize the unique skill sets it requires, if for no other reason than the time and complexity involved in creating and distributing “good content”.
This role has to answer these questions:
1. What, when and where?
Simply put this is the rapidity and frequency of content you share, what, when and where. Most social media teams bake this into a content calendar, but with the fact that each platform has very specific content needs, this is more of a challenge than ever.
2. What content is fair game?
Rights and clearances will be one of the, if not the biggest challenge, in this new normal. Being tight with your legal term and understanding the minutia of content use, licensing, fair use and reuse is often one of the most time-consuming parts of the job. Good example: Often content will be licensed for “editorial use”, but the question of if social media is considered a part of “editorial use” often depends from vendor to vendor and even contract to contract. And, of course, the question of “curation” applies here.
3. Who will create our content?
With the growth in visual content, having people who are skilled in graphic design, photography, video, and other digital content tools (hello, animated GIFs) mixed with those who can create the written word and expects in social media culture will result in the most success.
4. How do we keep it relevant?
As we all know, social media is real-time, and heavily influenced by pop culture and breaking news. The time to create relevant content is short, and when you involve heavier digital creative, it gets even shorter, given the time involved in making this content.
5. What’s working and what isn’t?
The real-time content flow needs to be evaluated nearly real-time. The pressure to produce content that works has never been hire, and it’s more necessary than ever to “fail fast”, because the next shot at your audience is often just minutes or hours away.
The good news is that a content strategist often already lives within because they’ve probably been playing some part of this role as a social strategist, social marketing manager, or community manager.
It’s just time to recognize them for what they are – the people who will take on the fight to develop good content for your social audiences. And if you have one of these folks on your team already, and are doing all of the above, congratulations!
Give them a hi-five or a hug, and keep them happy. They will be a very key part of your social business for a long time to come.