jabstoryteller.files.wordpress.com · Web view2014, p. 23). However, there is a balancing act, illustrating the idea, “there is a big difference between sharing and oversharing,”

1Running Head: CONNECTING VIDEO STORYTELLERS

Connecting Video Storytellers

Andy Benton

Queens University of Charlotte

2CONNECTING VIDEO STORYTELLERS

I. Introduction/Purpose

Once considered a luxury in the business world helping advance company narratives,

video content is now a necessity for standing out in crowded markets. This

connectivity project aims to create a strategic plan further opening storytelling

networks and venues for video and content creation professionals via social media.

Incorporating video into this approach utilizing Twitter and other social media as both

a venue and community resource will help create inroads for getting company videos

noticed, allowing for greater impact.

II. Project Description and Goals

A. Project Description : The definition of storytelling sounds simple, “The telling or

writing of stories,” (Dictionary.com, 2019). The meaning changes with personal

emotions and attachments created by words, sounds, and pictures which set apart

this art form. This strategy has become effective, with the business world picking

up on this communication vehicle for branding, raising awareness, and selling

product. This project focuses specifically on utilizing video for achieving business

goals, specifically via social media.

With a chorus of voices clamoring to be heard (and seen) in cyberspace, getting a

video noticed requires more than posting an iPhone message to Facebook or

Twitter. Planning and effort create memorable narratives. The goal is finding

connections with audiences through effective stories. At the genesis of this

approach is a reminder, “If your work isn’t online, it doesn’t exist,” (Kleon,

2014, p. 23). However, there is a balancing act, illustrating the idea, “there is a

big difference between sharing and oversharing,” (p. 57).


Storytelling concepts have composed the majority of my career. A few years into

becoming a news photojournalist, I tired of “shooting video.” Attending a week-

long National Press Photographers Association workshop in Norman, Oklahoma,

I was introduced to the art of telling video stories. A passion was born. Many

years and 26 Emmy awards later, I moved to the corporate world. The need for

effective video producers has grown inside communications teams. Blending a

love for storytelling with businesses narratives, this is my quest. It is a journey

accomplishing multiple goals; making connections economically and emotionally.

B. Intended Audience : One challenge inside corporation communications and

marketing teams is getting upper management to try new approaches creating

videos. Storytellers want to make an emotional impact, not just brand products.

Reese (2018) says many buying decisions come down to whether consumers

“believe in a brand’s story,” (para. 2). My audience consists of those making

storytelling magic, or at least trying to unlock some of the secrets. Advice will be

received from communication professionals, journalists, and small business

owners. While most members will be established pros, the easy access people

now have to video and editing equipment opens Twitter conversations up to all

experience levels. Social media plays an integral part in business. Members

engaged in the dialogue will have a foundation in these areas.

C. Rationale : Making sales while creating a brand feeling is a dilemma for many

companies. Now a marketing must, video communications has quickly become

oversaturated. Schaefer (2018) shares, many audiences feel “Corporate

storytelling is not believable,” (para. 17). People are wary of constant advertising


and, Shaefer says, “most corporate content still looks like corporate content,”

(para. 26). There is nothing organic and audiences see through the presentations.

Videos are here to stay. They have become a part of the business world fabric

while being separate from pure advertising. Still, many company leaders take

formulaic approaches where there is not a one-size-fits-all approach. They need to

remember, “storytelling isn’t a call-to-action,” (Martelli, 2019, para.14).

There is a need for finding sweet spots, creating memorable stories instead of

delivering off-putting commercial messaging. At the same time, part of the

equation requires respecting budgets, deadlines, and understanding storytelling

does not equate to creating an Academy Award-winning film. Social media can

help bring corporate and creative communities together. It has the ability to both

teach and inspire.

Twitter has a 2:20 video length limit but allows for instant viewing. Though it

may not be a medium for longer discussions, it can be a genesis for ideas. More

people can participate compared to Facebook where closed groups are only

accessible through invitation. Statistics back up Twitter’s effectiveness. Two key

points, according to Alton (2017) include Twitter video viewers being “50% more

likely to be aware of an advertiser’s brands,” and videos seen on this venue are

“2x as memorable as those on other premium platforms,” (para. 3).

D. Goals : The goals with this Connectivity Plan include helping create business

storytelling communities. There is a technical side; exploring the latest gadgets

and techniques that allow stories to shine. Then there is the creative side

combining these tools with writing styles and editing techniques. Finally, and


possibly most important, is discovering how to create memorable videos with

emotional impact, advancing company objectives both short and long term.

III. Community Analysis

Background and research into Community Analysis evolved with a three-pronged

approach: personal experience in the journalism and business worlds, online research,

and direct contact with video professionals. This last group includes former

journalists, small business owners, and members on corporate marketing teams.

A. Values : The business community has challenges engaging audiences via social

media. While many basic components transfer, Twitter lends itself to new

strategies. Videos play automatically, quickly grabbing attention, (Window,

2016). Still, there is a need to hook viewers by keeping videos “short and

succinct,” with an understanding, “traditional advertising just isn’t working as

well,” (K. Brattain, personal communication, 2019).

A common realization is a crowded social media world. Staying on point is

crucial while remaining in the spirit of the medium. Former journalist turned

marketer Bobby Rettew (2019) says, “Do not compete with the noise, talk to your

audiences.” Within this talk is also an awareness of Twitter’s limits. Video is

expected by social media users, yet there are limitations bringing in immediate

revenue. Compared to platforms geared for deeper dives like LinkedIn, Twitter

seems to “pretty much play in the ‘awareness’ stage of the journey,” (R. Dalton-

Taggart, personal communication, 2019). This holds true for smaller businesses

up to the corporate level.


B. Central Discussions : “Storytelling” is a word with many connotations, from

children’s books to video production. It becomes a nebulous term on Twitter so,

other hashtags and mediums need to be utilized to gain deeper knowledge.

Words and phrases to be incorporated into a wider net include video production,

marketing, communication, and content. This helped cutting through the Twitter

“noise” by finding the better phrasing combinations along with recommendations

from individual professionals. However, within Twitter, most post were glorified

advertisements for small companies. At times it became distracting.

My project shifted focus, engaging in reaching out on a one-to-one level,

understanding the need to build slowly. Reaching out to companies with an active,

established presence yielded some traction, as this interaction with the Creative

Marketing Institute:


There is an evolving realization that social media consumers gravitate to video

posts. Yet, since the medium is less formal, the power of what is viewed lies with

the consumer. Trying not to overanalyze approaches, professionals aim to create

videos which share, “The personality that is expected for the account I am using,”

(T. Johnson, personal communication, 2019).

C. Network Map : One beautiful element of video is it travels fast. Examples from

high-end, commercial-type production to a simple viral video taken on smart

phones can all lead to success. The key to piecing together these elements starts

with casting a wider net, locating the influencers. Producing video has multiple

facets including the idea stage, design process, staffing, and the technical end of

cameras, audio, and lighting (which also contains creative skill).

Reaching out to marketers, video production professionals, consultants, and

journalistic storytellers created a base looking into core elements of videos. From

this point, the conversation(s) went in four directions: video production,

journalism, content creation, and content marketing.

My network map is a combination of digital footprints. Twitter and Facebook

provided unique variables in the social realm with all the keywords. Locating the

specialty area of the similar, yet different, communities brought opportunity to

learn the more focused segment needs, such as LinkedIn groups for brand

marketing and brand journalism.

The realization that video in these platforms, “is truly an awareness mechanism,”

(B. Rettew, personal communication, 2019), led to paths including company

websites and social media follows gleaned from discussions and Google searches.


D. Key Influencers : This category mirrors some of the people found within the

network map, consisting of industry professionals. Video production leads were

cultivated using personal contacts such as former journalist, now marketer Bobby

Rettew. Another former journalist, Tom Johnson brought insight into the video

world with the healthcare industry. Other olive branches yielded responses from

content marketers including the aforementioned Creative Marketing Institute, as

well as a journalism video expert teaching summer classes at Oxford University,

Michael Rosenblum. He almost 5,000 followers combine the worlds of video,

marketing, journalism, and education.

My influence into video storytelling began as a journalist. Returning to these roots

via the Facebook group “Storytellers,” brought access to more than 16,000


members with ideas, wisdom, and examples from different industries. A sense of

community has been established here, allowing the free sharing of protocols and

techniques between veterans and rookies alike.

Lastly, there are the larger companies executing storytelling in their overall

branding. Paul Smith at Proctor and Gamble says executives embracing this

approach “speaks to the part of our brain where decisions are made,” (Kruse,

2017). A treasure of ideas and examples were found accessing Google, searching

with keywords referenced in the Central Discussion section of this framework and

following the trail to their social media accounts. One recent fantastic example

was produced by the Mayo Clinic in Rochester, MN.

Attempts making with contact with individuals inside the content departments of

larger companies, unfortunately, did not yield results during this course.

IV. Strengths and Challenges

A career producing award-winning videos is my foundation strength. Working in

television news while still an undergrad, I spent 20 years telling inspirational stories.

Transferring these skills to the corporate world, I help communications and marketing

teams produce impactful video content. My journey has evolved with technology.

While comfortable with social media, it has never been the primary responsibility in

my jobs. I focused on viewing these mediums through company narratives.


The biggest challenge for this project was not creating a scope too wide, letting the

plan spiral out of control. My initial ideas were finding ways to “create stories that

matter,” cutting through the noise inside social media. While sounding admirable, it

was not quite rooted in reality. As mentioned earlier, social media changes many

business factors with control shifting to the consumer. The public uses computers or

looks throughs feeds on smart phones. They who control where and when to stop

scrolling and click. Reaching today’s audiences requires more than a clever way of

repackage old ideas, it needs forward thinking and fresh approaches.

V. Theoretical Framework

Video storytelling involves time and effort creating visual and emotional connections.

After delivery, content creators watch from behind the curtain. Viewers do not know

the elements that go into producing a video. This scenario lends itself to an

Impression Analysis with help from Canadian theorist Erving Goffman’s dramaturgic

metaphor approach, (McArthur, 2014, p. 41). One of Goffman’s philosophies is the

world is a stage and we are all people on the stage, actors if you will. We actors

choose what to put on forward for audiences to see and also what we choose to leave

behind, (Cole, 2019). The video stage is frozen in time for audiences to view, many

times right in the palms of their hands using smart phones and tablets.

Using Goffman’s analysis, the “drama” plays out through four key concepts of

Impression Management, Framing, Footing, and Face. This leads to understanding,

“many crucial facts lie beyond the time and place of interaction,” (Johansson, 2018,

p. 254). The messages and impressions video producers give “on stage,” lead to

controlling, or framing, the narrative. The reputation of a business creating the


message is responsible for the footing before a story is even seen. The final part of

Goffman’s equation factors in a reaction with how the message will be received. The

face the company puts on is, “the negotiation of positive and negative,” between

creator and audience, (McArthur, 2014, p. 42).

A. Impression Management : This concept is at marketing’s core. It naturally follows

how people and companies are using social media, “Deliberately and strategically

to create desired impressions of themselves,” (Johansson, 2018, p. 255). Adding

video further tightens the reigns controlling every opening to analysis.

B. Framing : Lenses here are harder to put into focus. Most professionals take

guarded stances crafting their messaging, even with an idea that creativity is part

of their package. It is made more complex, as Goffman realizes, because at any

point, multiple frames may be put into play, (Johansson, 2018). On a side note, it

is interesting the video (and film) world records footage in individual frames

which are later edited. Each frame contains smaller visual stories and contexts.

C. Footing : This part comes down to the message being sent out, a “Stance, or

posture,” (Johansson, 2018, p. 257). Creativity of the medium is given the chance

to shine. Is a person or brand presenting straight commercial-style information or

are they taking a less traditional approach trying to elicit a feeling for their brand?

D. Face : While video storytelling takes the previous Goffman factors into account,

the element of face, “the public self-image,” (Johansson, 2018, p. 258), gives

control to the audience. Having a network for discussing possible successes and

pitfalls of “saving face” inside the social world would be advantageous to the


“think tank” mentalities inside companies that routinely happen during creative

collaborations. Outside expert opinions can be a valuable resource.

The medium needs to be embraced for what it is. Goffman’s elements can be used to

create a well-polished, yet sterile creations void of feeling. Being able to rely on a

connected core opens doors for businesses to embrace social media’s potential and

give them an, “Unprecedented chance to engage with their customers,” (Vaynerchuk,

2009, p. 5). With a Twitter audience of almost 2-million people, Gary Vaynerchuk’s

persona is a prime example of creative “on-stage” branding.

Crossman (2019) says, “Individuals commonly use pre-established scripts to follow

for new situations.” A video that feels like another commercial falls flat in noisy of

cyberspace. The other extreme, going way outside-the-box, can create wonderful

stories with no tangible business benefits. When to use differing strategies is key.

If the world is indeed a stage and we are actors in a play, the role of the critic and

audience responses dictate the longevity of the production. The creative process

includes looking to the future while analyzing the past.

Creating unique video is not effective using a cookie cutter approach. Understanding

the wisdom and influences of other professionals while examining underlying social

aspects via Goffman help develop community connections. A new avenue where

storytellers and marketers can turn to for inspiration and wisdom, in what is

ultimately a subjective medium, would be beneficial.

VI. Content Curation and Message Experimentation

Starting on the ground floor, early advice can be gleaned from Facebook mogul Mark

Zuckerberg, remembering in the vast social media landscape that, “You don’t start


communities, communities already exist,” (KP, 2012, para. 4). This presented the

greatest challenge in a flooded storytelling and content creation environment.

A. Communication Tactics : The primary vehicle used was Twitter. Opening a new

account under “JAB Storyteller” (my initials) started things off.

Weekly posts blended questions and opinions on relevant topics. Each tweet,

retweet, and response contained combinations of the hashtags, #storytelling,

#contentcreation, #contentmarketing, #videoproduction, and a #658Create (for

classmates). Other social mediums utilized were Facebook, for a more personal

approach, and LinkedIn for making professional inroads. Social cyberspace in this

field is crowded. During the project, Twitter alone had hundreds of

#contentcreation and #contentmarketing hourly mentions during prime business

hours. Understanding posts from my account with few followers would gain little

initial traction, an approach with Sacks (2013) was taken, using the idea that

brands, “Ought to stop acting like things and more like people,” (para. 2).

A similar approach on Facebook yielded better results with the “Storytellers”

closed group and more than16,000 video professionals. LinkedIn, with its more

professional feel, was harder to navigate. In line with Facebook, success was


achieved locating community opportunities. This was accomplished requesting

access to the groups Storytelling for Business and BRAND Storytelling &

Journalism, with 3,469 and 6,606 members, respectively.

With Twitter, the most effective approach was searching hashtag keywords to

locate key influencers to follow, then engaging in topical discussions. Facebook

provided more of a community feeling with people more eager to engage on

subjects and being open to answering questions, give advice, and further

discussion. LinkedIn held closer to Facebook without as much interaction.

With so many brands, voices, and opinions available, it is easy to get lost without

a roadmap in the social media world. This is more challenging when creating that

very map. Scaling back down to a more manageable one-on-one approach made

the most sense as the weeks progressed. While dreams of making a big splash are

common, former Facebook brand designer Paul Adams’ brings an interesting

perspective. His thoughts are relationships on all levels build “through many

lightweight interactions over time,” (Sacks, 2013, para. 19).

B. Analytics : While being a professional, a key for personal growth analyzing results

was understanding my novice standing in this endeavor. Kleon (2014) advises

embracing new ventures and reminds those already established that, “the best way

to flourish is to retain and amateur’s spirit,” (p. 18).


Starting at a base of zero Twitter followers, in six weeks of sending roughly seven

to ten tweets per week, 25 followers were gained. A strategy of reaching out,

liking and interacting with other accounts gained roughly 25 likes using the

previously mentioned hashtags. More important than quantity was the quality of

connections made. Dialogue and “follows” were gained with creative businesses

including the Content Marketing Institute, which has 286,000 followers.

Relationships formed with journalists and small business owners Bobby Rettew,

Ray Dion and RosenblumTV. Combined, they have more than 13,000 followers.

One thrill was receiving a response from renowned storyteller and former NBC

national news reporter, Bob Dotson:

As mentioned, Facebook had more of a participatory feel, with “Storytellers”

group members open to sharing thoughts. Several questions posed during the past

six weeks gained multiple responses per thread with good variety, helping create

some of the debate which is at the heart of this effort. Here are two samples:


C. Learning : The most glaring point learned in dealing with a professional

community in social media settings is these mediums are mostly used as a

marketing tool. This was understood when undertaking the project, feeling a

community is needed beyond the shear selling of products and services. Starting

on a smaller level, a personal approach is a more effective way for connecting

with business audiences big and small.

In a world where viral videos are the rage, it is key to remember these

communications are the exception, not the rule. While social media is often used

as an entertainment vehicle by many, creating and reaching audiences requires

hard work and diligence. Setbacks along the way are plenty, as Godin (2012)

reminds us, “Alas, there isn’t a pain-free way to achieve your goals,” (p. 7).


One challenge using social media platforms is not saying something, but having

something to say. This holds important when dealing with professionals, in this

case, video storytellers and marketers. Much of the content seen while scrolling

keywords was from small business and individual contractors putting out glorified

advertisements, none of which separate themselves from all the other voices.

Creating a video does not equate to storytelling. In the spirit of video, telling

people about new networking and communities will not suffice for these crowds,

they need to see it.

Creating something new takes passion to go along with the idea. Kelley and

Kelley (2013) impart the wisdom that, “Passion doesn’t preclude effort,” (p. 158).

While seeming obvious, it is taking this mindset into new projects that will be the

key to future learning and leaving oneself open to ideas. Being able to grown and

pivot when needed is essential for creative thinkers, understanding they need to,

“Recognize that there are many possible solutions,” (p. 29).

VII. Communication Strategies

The social media communities available are as unique and diverse as they are

numerous. One-size-fits-all approaches are not sufficient for mapping effective plans.

A. Recommendation : Specific targeting, on an individual level if possible, helps

build up from the grass roots. Professionals are too keen to be sold something.

Passion is at the root of creativity. This emotion needs to be tapped for creating a

community of ideas.

B. Support for Recommendation : There are two distinct features at play in building a

connected community. First an understanding professional will always see the


ability to market their business. A key is finding a voice communicating with

other professionals and not just selling to them. Corporate social media director

Rachael Dalton-Taggart (2019) points out that since these technologies are fairly

new, there exists a state of experimentation and observation right now while

noting, “There is no clear-cut answer.”

C. Communication Tactic : Facebook has a less commercial audience than Twitter.

LinkedIn offers professional possibilities for learning, not just selling. Video

platforms need visuals. Internet content is readily available to post, link, and/or

share. A key ingredient for success will be implementing approaches with venues

working in tandem, utilizing key elements of each. Social media resources are

more effective working together, pulling the strengths of one platform with an eye

on the other sites where specific elements would be better suited.

D. Timeline for Implementation : This idea is fluid. The goal is for a lasting resource

one can call on for thoughts, questions, and inspiration. Creating a strong network

of like-minded professionals (and budding amateurs) giving back can lead to

quick results for those reaching out.

E. Metrics : Social media platforms are designed for metrics. Indicators will be group

members with Facebook and LinkedIn. Twitter has followers. More detailed data

is available for visit durations, page views and time spent watching videos.

VIII. Conclusion

Video storytelling in business often tries to accommodate opposing objectives. Sales

and revenue are always important. However, the magic of video allows creating

quick, emotional connections. Feelings about people and brands are established


without ever mentioning sales. Companies big and small see social media as their

nirvana to competing. They need to factor in cutting through the noise, creating

separation.

Apple inspires imagination. Google finds answers in seconds. Amazon gets

merchandise across the country to doorsteps in a day. However, most companies only

dream of this success. While continually working on their stories, narratives for large

corporations are pretty much set. Smaller entities need help finding their voices.

Connecting successfully on social media requires video presence, it is the price of

admission. But, creating a video and doing it well are different things. Social media

has shown its power for bringing diverse audiences together. The ability to help

professionals craft difference-making videos is needed. It is too easy getting lost in

the noise of the internet. Ralph Waldo Emerson (as cited in Godin, 2012) says, “To be

yourself in a world that is constantly trying to make you something else is the greatest

accomplishment,” (p. 60). Sometimes, we just need a little help finding our true

selves, being able to tell our story. That help for video storytellers could and should

be available.


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Documents

jabstoryteller.files.wordpress.com · Web view2014, p. 23). However, there is a balancing act, illustrating the idea, “there is a big difference between sharing and oversharing,”