T HE END O FCONTENTS TO RY T E L L I N G T H E H + K WAY            GARY GOLDHAMMER       C H I E F U S D I G I TA L S T R...
2    T H E E N D O F C O N T E N T:
TABLE OF CONTENTSFOREWORD	                                          4Assemblages Are the Post-Modern StoryBy Linda Zimmerr...
Assemblages are thePostmodern StoryTHERE’S A PROBLEM with all this talk of “content” in my mind. It’s contained.It’s boxed...
Gary Goldhammer at H&K Strategies champions today’s “Story” as the“Layered Narrative.” He writes:A Layered Narrative allow...
THEN:    MONOLOGUE       NOW:    DIALOGUE6               T H E E N D O F C O N T E N T:
Why “Content Marketing” is A Model for Disaster –And Why Journalism is the AnswerA former colleague recently asked me the ...
Why “Content Marketing” is A Model for Disaster – And Why Journalism is the AnswerGood stories have multiple voices, not j...
THEN:     STRUCTURED                                         NOW:                    DYNAMIC                              ...
Layered Narrative Storytelling:A Journalistic Standard for Creating ContentAll the Facebook updates, tweets, RSS alerts, t...
Layered Narrative Storytelling: A Journalistic Standard for Creating ContentLayered Narrative StorytellingThe new model is...
Layered Narrative Storytelling: A Journalistic Standard for Creating ContentAnd because our involvement is essential to a ...
THEN:                              FINITE                                         NOW:                      INFINITE      ...
The End of Content:Storytelling Using the Layered Narrative SystemINSPIRATION: What’s the story?                          ...
The End of Content: Storytelling Using the Layered Narrative Systemor originating format of your narrative, and what are t...
The End of Content: Storytelling Using the Layered Narrative SystemThe Layered Narrative SystemAs this final graphic illus...
The End of Content: Storytelling Using the Layered Narrative SystemBut no matter where the layers go, all narrative roads ...
THEN:      R ATIONA L     DE TACHMENT         NOW:     EMOTIONAL     CONNECTION18                 T H E E N D O F C O N T ...
Data + Storytelling: Emotion must be in the Equation1+1 = 2.This is fact. It’s balanced. It is universal, comforting and l...
Data + Storytelling: Emotion must be in the EquationStories, like people, are incomplete without their emotional sides. Wi...
CASE                      STUDIES                                                21S T O RY T E L L I N G T H E H + K WAY
The Hunger GamesThe Hunger Games’ social media team put together an immersive, multi-platformcampaign that focused on thre...
Starbucks - EveryloveThe intention of the ‘everylove’ campaign is to showcase stories where Star-bucks has touched the liv...
Starbucks - EveryloveFacebook & YouTube Engagement24                                T H E E N D O F C O N T E N T:
Starbucks - #EveryloveInstagram & Twitter EngagementTO LEARN MORE ABOUT THE EVERYLOVE CAMPAIGN VISITStarbucks EveryloveTwi...
Nike –Find Your GreatnessNike’s ‘Find Your Greatness – Jogger’ commercial first aired during the 2012London Olympics with ...
Twitter, Instagram & Facebook EngagementTO LEARN MORE ABOUT THE FIND YOUR GREATNESS CAMPAIGN VISITNike – Find Your Greatne...
Chipotle - CultivateThe mission of the Chipotle Cultivate foundation is to raise awareness of sus-tainable agriculture, he...
Twitter & Facebook EngagementTHE LEARN MORE ABOUT THE CHIPOTLE CULTIVATE FOUNDATION & FESTIVAL VISITChipotle Cultivate fou...
W W W. H K S T R AT E G I E S . C O M          @ H K S D I G I TA LW W W.G A RYG O L D H A MME R.C O M           @ G24KHAMR
Upcoming SlideShare
Loading in …5
×

The End of Content: Storytelling the H+K Way

2,459 views

Published on

0 Comments
2 Likes
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total views
2,459
On SlideShare
0
From Embeds
0
Number of Embeds
22
Actions
Shares
0
Downloads
23
Comments
0
Likes
2
Embeds 0
No embeds

No notes for slide

The End of Content: Storytelling the H+K Way

  1. 1. T HE END O FCONTENTS TO RY T E L L I N G T H E H + K WAY GARY GOLDHAMMER C H I E F U S D I G I TA L S T R AT E G I S T
  2. 2. 2 T H E E N D O F C O N T E N T:
  3. 3. TABLE OF CONTENTSFOREWORD 4Assemblages Are the Post-Modern StoryBy Linda Zimmerreprinted with permission from Channel and PlaceWhy “Content Marketing” is A Model for Disaster 6– And Why Journalism is the AnswerLayered Narrative Storytelling: 10A Journalistic Standard for Creating ContentThe End of Content: 14Storytelling Using the Layered Narrative SystemData + Storytelling: 19Emotion Must Be in the EquationCase Studies 22
  4. 4. Assemblages are thePostmodern StoryTHERE’S A PROBLEM with all this talk of “content” in my mind. It’s contained.It’s boxed. It is boundaried, even though we can unlock it from its containersin all our glorious socialness.It’s created for distribution along or in specific channels. The format of our“content” must fit (conform) to the media (platform). Text just doesn’t seemto fit into Pinterest all that well.“Content” is created with a specific intent, and that is usually “engagement”(secretly we mean viral, but we’d never speak that term before it went that way).“Content” has one voice even if we “Storify” it.“Content” doesn’t trust its “consumer.” The mandate for attention meansit has to pack a punch, hit us in the face, as we are swiping by in ourliquid media flow. Content can’t afford the time to peak curiosity and allowit to unfold into attention.“Content” is stifling. It leaves little room for breathing or complex meaning.There are no gaps. It is all gravity and no elegance. It collapses into invisibility.Constant replenishment is inescapable.So, in postmodern tradition, “content” is being re-examined through the lens of “Story.”4 T H E E N D O F C O N T E N T:
  5. 5. Gary Goldhammer at H&K Strategies champions today’s “Story” as the“Layered Narrative.” He writes:A Layered Narrative allows space for interaction, sharing, collaborationand contribution. Every unique layer makes the source material strongerand the core story more engaging….Think of the layers as a series of“sidebars,” all related to the central narrative but each owning a uniquecharacteristic, angle or call to action.Gary’s layered narrative crystallizes the forms of media upon which the storylayers may be constructed: paid, earned, owned and shared.On its face this Layered Narrative may seem to emphasize the solid or con-structed part of the story – the assemblages of content and assemblages ofchannels – but implicit in these is the most liquid of all media: the messen-gers, the tellers of the story, the talk, the sharers.The messengers are also the medium. The constructed narrative is disrupted,interrupted by the messengers working collaboratively in their channels andplaces to understand the story, to gather it’s meaning or uncover personalrelevance. The degree of visibility of the teller (her “influence”) imparts aparticular meaning to the story while her talk also shapes the meaning of thestory. She herself is an assemblage of her communication platforms and themeaning imparted by her in each is the interplay of the platform and her talk.Our challenge in building the layered story is not only to construct it but to ac-count for the meaning of our assemblages of media and the assembled meaning.The meaning of the story will be impacted by each medium. The story willbe used by the medium. The “content” is never the narrative.Assemblages of content, in assemblages of channels, and flowing through as-semblages of messengers is the postmodern “Story. By Linda Zimmer, CEO MarCom:Interactive (reprinted with permission) 5S T O RY T E L L I N G T H E H + K WAY
  6. 6. THEN: MONOLOGUE NOW: DIALOGUE6 T H E E N D O F C O N T E N T:
  7. 7. Why “Content Marketing” is A Model for Disaster –And Why Journalism is the AnswerA former colleague recently asked me the following in an email: “I’m lookingfor recommendations for good content marketing conferences to attend. Letme know if you have a few minutes sometime to chat?”So it’s come to this. We’ve gone so far down the “content” rabbit hole that thereare now entire conferences dedicated to teaching smart communications peo-ple how to act like Alec Baldwin’s character in Glengarry Glen Ross. Awesome,sign me up. I mean, first put a bullet through my skull and then sign me up.I know, I know. Not all “content” is created equal and not all ContentMarketers are douchebags. A great story is “content” as much as a lameinfographic about Why My Company Can Beat Up Your Company is “con-tent.” Yet this is the problem we’ve created: Because we use “content” tomean everything, it now means nothing. Even “storytelling” has turned into aeuphemism for content, stripping away any emotional value it once had.Here’s the challenge for brands in 2013 and beyond: How to apply journalismprinciples to content that tells a story and works across devices, platformsand audience frames of mind, while not getting lost along the one-way, one-size-fits-all and “feed the machine” content path plaguing us today.That’s right, I said journalism. You know, that thing people respectedbefore Rupert Murdoch and Julian Assange, before gratuitous link baitingand automated news aggregators. But journalism – real, emotional, story-driven journalism – is the way out of the Sea of Sameness and the pathtoward lasting connections with customers.• “Content Marketing” is about, well, the “content” first – what does (insert brand here) want to say and then replicating that message across every channel possible. It’s about channel and technology. It’s about using “story” as a Trojan horse for whatever ulterior motive is hiding inside.• Journalism is about the audience first – what do they care about and then tailoring the story to engage people where they are. It’s audience- centric and channel agnostic. It’s about connecting, not marketing. 7S T O RY T E L L I N G T H E H + K WAY
  8. 8. Why “Content Marketing” is A Model for Disaster – And Why Journalism is the AnswerGood stories have multiple voices, not just the Corporate Voice or the well-crafted customer testimonial. The best journalism inspires, has impact andearns trust. It’s not a press release turned into a creative writing assignment.Look, creating content is easy. Brands do it all the time with releases, videos,ads, brochures and white papers. Brands are content machines.Journalism isn’t that hard either, but it takes time and resolve. For everyjournalistic brand endeavor such as McDonald’s “Our Food, Your Questions”or Coca-Cola’s “Journey” publication, there are countless initiatives likeGE Stories that, while well intentioned, miss the journalism mark.That’s okay. It’s not like every company is going to close its Content Mar-keting department tomorrow and open a Newsroom (though that’s theright idea.) The point is to recognize that the tide has shifted and that thedays of “content” are numbered.Let the bottom feeders of our industry market content. The rest of us needto look to journalism to restore content’s value and, more importantly, toensure that we can communicate effectively and emotionally in an ever-fragmented media environment.8 T H E E N D O F C O N T E N T:
  9. 9. THEN: STRUCTURED NOW: DYNAMIC 9S T O RY T E L L I N G T H E H + K WAY
  10. 10. Layered Narrative Storytelling:A Journalistic Standard for Creating ContentAll the Facebook updates, tweets, RSS alerts, texts, chats, Instagramsand pins can’t change the One Simple Truth of countless millennia:We are wired for narrative.Similarly, all the opining for simpler days when media was mass and J-schoolgraduates got to decide what stories to tell won’t change the exponential mediafragmentation that led to the rise of “content” at the expense of story.The convergence of these divergent forces hasn’t all been bad – we havenever been more connected, never had more choices and never had morecontrol over our media experiences that we do right now. The “Great Unbun-dling” of traditional media platforms from their static containers delivereda newfound freedom. “What I want, when I want and how I want it” is nolonger a vision but rather an expectation.Nevertheless, as media unbundled, our ability to tell stories unraveled.Journalistic principles gave way to bursts of speculation and reportinginformation ahead of facts.Our ability to tell stories became as fragmented as our audiences’ ability toprocess them from one channel to the next. According to a Google/SterlingBrands study, 77 percent of TV viewers have another screen directly in frontof them at the same time.We can’t go back nor should we. But that also doesn’t mean we must abdi-cate the role of narrative. All that’s required is a shift in strategy and focus,one that embraces our expanding digital culture and taps into the wiring ourbrains already possess.10 T H E E N D O F C O N T E N T:
  11. 11. Layered Narrative Storytelling: A Journalistic Standard for Creating ContentLayered Narrative StorytellingThe new model isn’t convergence, where different media platforms come to-gether to deliver the same message. It’s about layers – not how media comestogether but how it works together, while still retaining the “native” character-istics of the individual media types whether Paid, Earned, Owned or Shared.This can’t happen with a media-centric or channel specific approach – wemust be audience-centric and channel agnostic. Story and audience mustsit at the center, powered by digital and social means. This is how ideasspread and ultimately can stand out in a fragmented world.From this central idea, narrative “layers” cut across channels and forms ofmedia so that we can reach more people at scale. A Layered Narrative allowsspace for interaction, sharing, collaboration and contribution. Every uniquelayer makes the source material stronger and the core story more engaging.And why is journalism essential to this equation? Because (the best) journalismis about telling emotional stories, and it is this emotion that binds the layerstogether, enveloping the audience and making the story stronger over time, notdissonant. Think of the layers as a series of “sidebars,” all related to the centralnarrative but each owning a unique characteristic, angle or call to action.Layers can take many forms, but for the most part are organized in four ways:• The “Paid” Layer: search marketing, social ads, native ads, syndication and paid placement• The “Earned” Layer: search engine optimization, blogger and influencer outreach, PR pitching and placement (offline and online)• The “Owned” Layer: Web sites, e-mail, newsletters, mobile apps• The “Shared” Layer: Facebook/Twitter/YouTube/LinkedIn engagement, forums and other two-way media such as live webcasts or chatsStarbucks took this approach with its “Everylove” campaign, a blend ofpoignant video stories and layers of consumer contributions via Twitter,Facebook and Instagram that make the stories richer and more impactful.Mercedes-Benz used layers in its “Impact” campaign about car safety, in-corporating video, stories within paid online ads, photos and actual accidentreports to create a sense of intimacy and realism. 11S T O RY T E L L I N G T H E H + K WAY
  12. 12. Layered Narrative Storytelling: A Journalistic Standard for Creating ContentAnd because our involvement is essential to a Layered Narrative, the story tran-scends media fragmentation – emotional connection, the true currency of theDigital Age, takes over and ties the narrative together. We become the “fifth layer.”A Layered Narrative is no place for “content.” Sure, you can implement thisapproach on a technical and practical level, but ultimately you need to tell astory and stand for something. You need to be engaged in the narrative forthe long haul, not just the product launch or whatever your purpose may be.The old world of a monolithic mass media is not coming back – but narrative is.12 T H E E N D O F C O N T E N T:
  13. 13. THEN: FINITE NOW: INFINITE 13S T O RY T E L L I N G T H E H + K WAY
  14. 14. The End of Content:Storytelling Using the Layered Narrative SystemINSPIRATION: What’s the story? Everything begins with the story – more importantly, with the audience and what they most care about. This isn’t like planning a press release, which focuses on what companies want people to know. This is a narrative, the beginning of a journey that focuses on what people want to know about you. This first step is audience centric and channel agnostic. It allows you to get to the core of your story right away, to diginto the DNA of post-modern narratives – authentic emotion. If you can dothis, then dry, channel-driven “content” doesn’t stand a chance.Content is a cul-de-sac, a dead end. But narrative is a superhighway thatcan take your story anywhere.CREATION: How to tell the story Now that that you know where to go and what you want people to do, the next step is creat- ing the narrative experience. Is the story best told in text, video or both? What is the “native”14 T H E E N D O F C O N T E N T:
  15. 15. The End of Content: Storytelling Using the Layered Narrative Systemor originating format of your narrative, and what are the ways in which youcan extend that narrative to more audiences, on the channels and in theways they want to experience it?Think of your main story as the “feature film” and the related narratives asthe “DVD extras” or “sidebars” that can add deeper meaning and greaterresonance. By freeing your mind, you will free your story from being stuckinside the static vertical silos of old media thinking.DISTRIBUTION: Where to share the storyYou have your story and you know how you want to tell it – the only questionleft is where? This is when the Layered Narrative takes its form across thefour primary layers of Paid, Earned, Owned and Shared media.The above graphic gives you an idea of how the various executions mightplay out. The more you brainstorm using this system, the more creative yourdistribution opportunities will become.The real fun, however, comes next, when the layers intersect and ultimatelydeliver the desired outcome: 15S T O RY T E L L I N G T H E H + K WAY
  16. 16. The End of Content: Storytelling Using the Layered Narrative SystemThe Layered Narrative SystemAs this final graphic illustrates, the Paid-Earned-Owned-Sharedlayers don’t always stay within their swim lanes (nor are theysupposed to). They diverge and converge, connect and intersect.Blog posts are amplified by Promoted Tweets and videos areelevated by Facebook discussions or Pinterest photo essays.16 T H E E N D O F C O N T E N T:
  17. 17. The End of Content: Storytelling Using the Layered Narrative SystemBut no matter where the layers go, all narrative roads lead to an action, a spe-cific outcome or deeper, more meaningful engagement. This journey’s end isalso a beginning – the start of new dialogues, relationships and thinking.Campaigns are transient but conversations are permanent. Storytelling todayis more about the “output” than the “input” – the audience is the medium,and in the end, they are the only storytellers for your brand that matter. 17S T O RY T E L L I N G T H E H + K WAY
  18. 18. THEN: R ATIONA L DE TACHMENT NOW: EMOTIONAL CONNECTION18 T H E E N D O F C O N T E N T:
  19. 19. Data + Storytelling: Emotion must be in the Equation1+1 = 2.This is fact. It’s balanced. It is universal, comforting and logical.1+1 = 2 tells a story.But sometimes, 1+1 = 3. This, too, is fact.1+1 = 3 is powerful, ironic and messy. It’s surprising, uncomfortable andtranscendent.1+1 = 3 tells a great story.I celebrate the end of “content” and the return to journalistic-inspired nar-rative storytelling – but I fear we now rely too much on “data” to tell our sto-ries. Emotion must be part of the equation; otherwise 1+1 will always equaltwo. This is not only bad for storytelling but it’s bad for our culture.Data can assist and guide. It can validate and reveal. It can make sense outof chaos. Data is absolutely critical to telling both good stories and great ones.But data can’t write. It can’t speak. And it certainly can’t feel. It may have aheart but it doesn’t have a soul.Companies such as Narrative Science literally use raw data to write completestories. But this is closer to stenography than storytelling.Quill – Narrative Science’s storytelling software – pulls in, analyzes,organizes and ultimately writes complete narratives. According to theNarrative Science Web site:“Quill’s natural language, visualization and rendering engines generate thetext, graphics, layouts and styles for each story. During this process, Quillincorporates variability, expressiveness and uniqueness into every element,as if it were written by a skilled writer or analyst.”But “a skilled writer or analyst” doesn’t write the stories, a machine does.And if machines start writing our stories, using the same universally availabledata sets, then all of our stories will be the same. They will sound like and benothing more than content, indistinguishable from each other. 19S T O RY T E L L I N G T H E H + K WAY
  20. 20. Data + Storytelling: Emotion must be in the EquationStories, like people, are incomplete without their emotional sides. Withoutemotion they are clones, not unique individuals.This is why Spock from Star Trek was unlike other “logical” Vulcans. Logicor “data” only took him so far – it was his emotion that made him unique.Similarly, Captain Kirk needed Spock’s logic to help contain his emotionsand help him make logical decisions.We need data but we also need journalists to find the places where 1+1 = 3.We need data to help us tell stories that people want to hear, but we alsoneeds brands to be better storytellers by embracing the risk that comeswith emotional exposure.How we tell stories has changed but the nature of story itself is wired into ourDNA. The Internet didn’t change us, social media didn’t change us and datawon’t change us. Only stories ever have and ever will.A good story connects us to ourselves. A good story connects us to each other.But a great story, even in a world overwhelmed with fantastic change, doessomething even better – it connects us to being human.20 T H E E N D O F C O N T E N T:
  21. 21. CASE STUDIES 21S T O RY T E L L I N G T H E H + K WAY
  22. 22. The Hunger GamesThe Hunger Games’ social media team put together an immersive, multi-platformcampaign that focused on three of the main themes that run through the novel. They created 13 Facebook pages, one for each of the Districts from whichthe Hunger Games contestants are pulled from, and captured each oftheir unique characteristics. A Facebook app allowed people to identifywith the individual districts as well.They created a Twitter account – @TheCapitolPN – for the oppressive Capitolthat hosts the games and forces the contestants to fight to the death. Ittweeted news, information, and warnings in character.Finally, a Tumblr blog was created called Capitol Couture that focused on thefashions of the characters, which were used in the book to further define theCapitol from the people of the Districts.Individually the accounts let fans customize their experience according totheir interests and where they prefer to engage online. Taken together themultiple platforms gave people who hadn’t read the books everything theyneeded to know about this fictional world by immersing them in the cultureand conflicts of it’s society.In short, any barriers to becoming a part of the community of HungerGames fans were removed. This allowed moviegoers an opportunity to bejust as emotionally invested in the movie as those who read the books,priming them for social sharing.The social media strategy helped fuel an extremely successful openingfor the movie franchise.(SOURCE: SalesForce Marketing Cloud blog)22 T H E E N D O F C O N T E N T:
  23. 23. Starbucks - EveryloveThe intention of the ‘everylove’ campaign is to showcase stories where Star-bucks has touched the lives of their patrons, and with acts of kindness in apay-it-forward fashion these patrons then share their ‘everylove’ stories.It launched on February 6th of 2012, just in time for Valentine’s Day.The campaign started with Dan, a man who does weekly coffee runs forthe patients and staff at the Michigan Cancer Institute in St. Joseph’s Hos-pital in Bloomfield Hills, Michigan.Starbucks encourages its patrons to share their ‘everylove’ by using thehashtag #everylove on Twitter & Instagram, and by joining in on theconversation on Facebook. Within the first 8 months on Facebook: 22,055 likes,703 comments & 1,434 sharesOn YouTube: 318,800 video views, 1,513 likes & 196 commentsStarbuck’s has kept the campaign alive by launching a ‘Cup Magic’ app thatallows users to create eValentines through augmented reality. 23S T O RY T E L L I N G T H E H + K WAY
  24. 24. Starbucks - EveryloveFacebook & YouTube Engagement24 T H E E N D O F C O N T E N T:
  25. 25. Starbucks - #EveryloveInstagram & Twitter EngagementTO LEARN MORE ABOUT THE EVERYLOVE CAMPAIGN VISITStarbucks EveryloveTwitterFacebookYouTube 25S T O RY T E L L I N G T H E H + K WAY
  26. 26. Nike –Find Your GreatnessNike’s ‘Find Your Greatness – Jogger’ commercial first aired during the 2012London Olympics with the intent to help athletes and average Joe’s every-where share their fitness motivation & successes through social channels.Consumers are encouraged to share their athletic achievements in theform of Instagram ,Twitter & Facebook posts and home videos.Nathan, from London, Ohio, was the first. There are now 18+ inspirational‘Find Your Greatness’ videos produced by Nike on their YouTube channel.Nathan’s video, seen right, has had over 1 million YouTube views to date.‘Find Your Greatness’ has expanded to Facebook & mobile apps as well asprint ads, billboards & television commercials.Nike has branded more than #FindGreatness for fitness motivation. #makeit-count and #gameonworld are other hashtags used as well.26 T H E E N D O F C O N T E N T:
  27. 27. Twitter, Instagram & Facebook EngagementTO LEARN MORE ABOUT THE FIND YOUR GREATNESS CAMPAIGN VISITNike – Find Your GreatnessTwitterFacebookYouTube 27S T O RY T E L L I N G T H E H + K WAY
  28. 28. Chipotle - CultivateThe mission of the Chipotle Cultivate foundation is to raise awareness of sus-tainable agriculture, healthful eating & community support of local farming.They released a 2 minute video on the internet and in theaters, during the sum-mer of 2011 featuring a cover of Coldyplay’s “The Scientist” by Willie Nelson.Due to the impact of the video, it was voted top commercial of 2011 byAdWeek, Chipotle then ran it during the 2012 Grammy’s.‘Back to the Start’ currently has over 7 million YouTube views.From here, the Foundation hosted it’s first ever, free, ‘Chipotle CultivateFestival’ which kicked off in Chicago’s Lincoln Park.The Chipotle Cultivate foundation has currently raised over $2 milliontowards helping local farms prosper & bringing culinary education inschools, among many things.28 T H E E N D O F C O N T E N T:
  29. 29. Twitter & Facebook EngagementTHE LEARN MORE ABOUT THE CHIPOTLE CULTIVATE FOUNDATION & FESTIVAL VISITChipotle Cultivate foundationCultivate FestivalTwitterFacebookYouTube (Back to the Start) 29S T O RY T E L L I N G T H E H + K WAY
  30. 30. W W W. H K S T R AT E G I E S . C O M @ H K S D I G I TA LW W W.G A RYG O L D H A MME R.C O M @ G24KHAMR

×