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TRANSCRIPT
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).
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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
4CONNECTING VIDEO STORYTELLERS
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
5CONNECTING VIDEO STORYTELLERS
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.
6CONNECTING VIDEO STORYTELLERS
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:
7CONNECTING VIDEO STORYTELLERS
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.
8CONNECTING VIDEO STORYTELLERS
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
9CONNECTING VIDEO STORYTELLERS
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.
10CONNECTING VIDEO STORYTELLERS
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
11CONNECTING VIDEO STORYTELLERS
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
12CONNECTING VIDEO STORYTELLERS
“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
13CONNECTING VIDEO STORYTELLERS
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
14CONNECTING VIDEO STORYTELLERS
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).
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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:
16CONNECTING VIDEO STORYTELLERS
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).
17CONNECTING VIDEO STORYTELLERS
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
18CONNECTING VIDEO STORYTELLERS
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
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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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