Understand the Hero’s Journey for Content Marketing

Let me tell you a story about a young man who is forced to live with relatives, because his father is an evil bastard bent on conquest and villainy. The young man was spirited away as a baby, and raised in secret. When he comes of age, the young man meets a mentor who helps him grow, gain new skills, and ultimately cause the downfall of the father, who frankly, had it coming.

What story am I talking about?

Could be Star Wars. That description fits Luke Skywalker to a T.

Could be Harry Potter. Take out the father references, and we’re looking at the exact same scenario. Also, there’s no blue milk.

Could be Andre-Louis Moreau from Scaramouche, the French swashbuckling story in which a young man joins a theater troupe and learns the art of fencing.

It could be the plot of Fool, Christopher Moore’s humor novel, about Pocket the fool from Shakespeare’s Richard III.

It could even be the story of Dodgeball. Peter La Fleur leaves his world as a gym-owning slacker, and gets thrust into a new world of Dodgeball. He meets a mentor who helps him to defeat his greatest enemy, and wins $5 million and Ben Stiller’s wife.

Movie makers and fiction authors call this storytelling structure The Hero’s Journey. Joseph Campbell first called it the Monomyth in his book, The Hero With A Thousand Faces.

The Hero's Journey, adapted from Michael Brizeli's Monomyth mobile application.

The Hero’s Journey, adapted from Michael Brizeli’s Monomyth mobile application.

The Hero’s Journey usually takes 12 stages, and entire books can be written about it. I’ll try to do it in less than 1,000 words.

(Also, I’m using the word “Hero” and not “Hero/Heroine” intentionally. In the real world, it now refers to both men and women, while “heroine” is normally used in works of fiction. We’ve stopped using actress, comedienne, and manageress, and I think heroine is going that way as well.)

  1. Ordinary World. This is the Hero’s life before the story begins. They live on a farm, they live in a Hobbit hole, they’re a computer analyst. This makes us realize the Hero is like us.
  2. Call to Adventure. This is where the Hero’s life changes and they’re needed elsewhere. The secret message from Princess Leia, Harry’s letter from Hogwarts, Mulan’s father being drafted to fight the Huns compels them to move on.
  3. Refusal of the Call. The Hero may be eager to accept the quest, but they have fears they need to overcome. Luke was reluctant to leave until the Empire murdered his aunt and uncle. Mulan worried that she couldn’t pass as a man. Harry said, “But, Hagrid, I—I’m not a wizard!”
  4. Meeting the Mentor. Luke met Obi-Wan Kenobi, Harry met Dumbledore, Mulan met Li Shang. They trained, received advice, and got a boost to their self-confidence. The Mentor made the Hero feel like they could handle the task before them.
  5. Cross the Threshold. The adventure begins! The Hero goes willingly or is thrust into battle, but they leave the Ordinary World and cross into their new one. Diana Prince leaves the beautiful sunny shores of Themyscira. Harry literally runs through the 9 3/4 platform wall.
  6. Tests, Allies, Enemies. Our Hero is challenged in a number of different ways from a number of different sides. It’s not the final battle, but it shows him or her who’s trustworthy, reliable, and helpful, and who’s an enemy. This is where the Hero’s skills or powers are tested, and we learn how they’ll react when in a stressful situation. Diana Prince fighting the Germans in London or Mulan’s training montage.
  7. Approach to the Inmost Cave. George Lucas may have been a little too on the nose with this in Empire Strikes Back. During his training, Luke had a vision and went into an actual cave to fight Darth Vader. This is often an inner conflict the Hero has yet to face, and some of the original doubts may resurface.
  8. Ordeal. This is the most dangerous test our Hero must survive, whether physical or internal. Everything the Hero has learned is put to the test. Mulan fires the rocket that destroys the Hun army. Luke and Han blast the TIE fighters after they escape the Death Star. Wonder Woman fights Ludendorff at the German base. But this could even be a sort of death (or near death) for the Hero, and they are reborn stronger and with more power. The mentor may die here too. Luke lost Obi Wan, Diana lost Steve Trevor, and Peter La Fleur lost Patches O’Houlihan to half a ton of Irony.
  9. Reward (Seizing the Sword). After defeating the enemy and overcoming their greatest challenge, they receive a reward. Sometimes it comes in the form of an object, new knowledge, or even reconciliation with an ally. However the Hero has unfinished business to attend to before the story is actually over.
  10. The Road Back. The Hero is ready to go back home, back to the Ordinary World, only he or she is not quite finished. Luke and his friends escaped, but the Death Star is still out there. Mulan destroyed the Huns, but Shan Yu still lives. Diana Prince kills Ludendorff, but Ares was still alive.
  11. Resurrection. This is the final battle. The Boss Battle. The most dangerous, fiercest fight of all. And the Hero learns this isn’t their fight, they’re fighting for something bigger than themselves. Mulan has to save China, Luke has to save the Rebellion, and Peter has to save his crappy gym that smells kind of funny. In the end, they triumph, destroy the enemy, and are reborn. (Remember when Neo defeated the Agents at the end of The Matrix and got all better? Like that.)
  12. Return with the Elixir. This is often the Epilogue. The Hero returns to their Ordinary World (or some semblance of it). They have grown, learned many things, faced many dangers, and looks forward to getting back to the old life. Older, wiser, even a little sadder, but they’re happy to have done it. Like when Frodo and Sam returned to the Shire (read the book; the movie didn’t do this justice). Or when Mulan returned home. Or Dumbledore screwed Slytherin out of the House Cup and gave it to Gryffindor.

It’s important to remember that movies are not divided up into 12 equal segments that spend the same amount of time on each stage. Some stages are rushed through, others are simply skipped. For example, Harry’s statement to Hagrid, “But I’m not a wizard” was his one and only Refusal of the Call. He didn’t spend 15 minutes wrestling with the decision before continuing on. So if your content marketing stories don’t have all 12 steps, don’t worry about it.

In my next article, since this one broke 1,100 words, we’ll talk about how to use the Hero’s Journey in content marketing. It can serve as a structure to help guide customers to a buying decision.

Photo credit: Michael Brizeli (Wikimedia Commons, Public Domain)

Conflict Sells Solutions: How to Use Plot in Content Marketing

When we hear the word conflict, many people think that means arguing and shouting, disagreement and fighting. We’re taught that conflict is bad, and that we should avoid it.

But every good story has conflict, even if no one raises their voice in the entire book.

Conflict isn’t inherently bad. In fact, it’s how we get things done. Entrepreneurs often create solutions to a problem because they’re in conflict with the status quo. They see a problem, they develop a solution to eliminate it. Or someone says they’re not allowed to develop a solution at work, so they quit and create their own solution.

Conflict creates opportunities. Every entrepreneur’s story is centered around conflict, and my favorite business stories are ones of disruption, where The Establishment tells the plucky young entrepreneur, “you can’t do that.” The plucky young entrepreneur ignores The Establishment, builds an establishment-shattering solution, makes a lot of money, and we get an exciting story out of it.

David Schmittou in Beef & Boards' production of "The Drowsy Chaperone" This is where plot and storytelling really inform content marketing.

Let me tell you a story!

In storytelling, conflict drives the story forward. Without conflict, you’ve just got two people sitting around, talking about nothing. Even Seinfeld, the show about nothing, had plenty of conflict in it. How else do you create an entire episode around whether soup is a meal?

What is Conflict in Storytelling?

Kurt Vonnegut said about writing stories, “Every character should want something, even if it is only a glass of water.”

He meant that stories are born out of desire. Someone wants something, and the rest of the story is spent trying to get it. If you want a glass of water, you can get off the couch and get it. But there’s no real story in that.

The real story happens when something won’t let our character get the water. It could be simple, it could be complex, but our main character can’t get that thing he or she wants.

  • He just doesn’t want to.
  • The game’s on, the score is tied with 30 seconds remaining.
  • He weighs 900 pounds and hasn’t gotten off the couch since 2014.
  • She wants to go, but she’s been tied up by a villain in a top hat and curly mustache.
  • There are ninjas in the kitchen, protecting the sink.
  • The floor is hot lava.
  • Zombies.

Noted scifi author and screenwriter Leigh Brackett (“The Big Sleep,” “The Long Goodbye” and “The Empire Strikes Back”) called this plot. She said:

Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there’s an explosion — that’s Plot.

In other words, you want a glass of water, but someone else wants to prevent you from getting it.

In my article on MacGuffins, the glass of water has become the MacGuffin. Remember, MacGuffin stories usually fall under either the “I have the thing/I’m going to take the thing” or “I’m going to steal the thing/I have to save the thing” construct.

Those dueling purposes is where Plot comes from. The good guy has something the bad guy wants, and they’re working at cross purposes. Those two irons will strike against each other, until KA-BLAM, we have an exciting ending to our story.

How Does Conflict Help Content Marketing?

In content marketing, you’re the protagonist, the problem is the antagonist. You’re the hero, the problem is the villain.

You want something (higher profits, more leads, lower turnover, lower downtime, fewer defects), but the villain is preventing you from achieving your goals.

Therein lies the plot. You want the thing, the villain wants to take the thing.

You want higher profits, the villain causes higher costs.

You want more leads, the villain breaks your website or creates crappy content.

You want fewer defects, the villain causes your machine to break down.

And the plot is those two irons striking together.

But it’s not enough for the irons to strike together. Something has to happen, there has to be a resolution to the problem.

Enter the mentor. (We’ll talk about the mentor another time, in an upcoming article on the Hero’s Journey.)

The mentor is the person who teaches the hero about the solution. The hero applies the solution to the problem, and wins the day. He or she slays the villain and ends the problem. There is much rejoicing, and prosperity spreads throughout the land.

This is why we have case studies, and why a well-written case study can do things that no brochure, special report, or white paper can ever do. For those of you who aren’t tossing the term “storytelling” around willy-nilly yet, case studies are your moment to shine.

Kelly was thirsty, she was parched. Her lips were dry and cracked because she was so thirsty. A tumbleweed tumbled in front of her cubicle. She desperately wanted a glass of water, and would have given anything to get it.

The problem was, the office kitchen had. . . KITCHEN NINJAS who had been blocking the kitchen water cooler for three days. People tried bringing water from home, but it was never enough. They tried moving the cooler, but Steve from Accounting was nearly run through. Things looked bleak.

Until Kelly ordered a bottle of Ninja-B-Gon! Ninja Spray from Whamco!

Just a few sprays from her bottle of Ninja-B-Gon! sent those ninjas packing! Now, everyone in the office can get water, and office morale has improved. Productivity is up by 30%, and sales have risen by 230% as well! And once Kelly was able to quench her Sahara-ish thirst, she was promoted to department manager!

Samurai vs Banana

He must really hate that banana!

This is the classic storyline that nearly all movies and stories follow. Anne wants something, Bob doesn’t want her to have it. Carl helps Anne find a magical object/enchanted sword/learn the power was within her all along. Anne vanquishes Bob, and gets that thing she wanted.

And it’s the same formula that good case studies follow. But in this case, there are no magical objects or enchanted swords. There are solutions or products that eliminate the problem, restore peace, and improve profits.

(Consultants, in these stories, you are the mentor. Your client is the hero. Your job is to create heroes, so write your case studies in a way that says “I can help you become the hero in your company.”)

Sometimes You Can Only Hint at Conflict

Of course, not everything you write is going to be/have a story. Sometimes you just have to engage in marketing speak, and remind readers of their own conflicts. Get them to imagine the problem, and think about the situations they’re often facing. Get them to think about the plot.

“Manufacturers often have to deal with high absenteeism during the holidays or special events, like the Super Bowl. What if you could reduce post-holiday absenteeism?”

or

“In a manufacturing operation, even a 2% spoilage rate can equal a 10% loss in profits; the industry average currently hovers around 3.5%. So what would a software system that prevented spoilage look like for your company?”

In those cases, we’re not telling a story so much as we’re reminding people of their stories. It’s a recap of a past conflict (or even a reminder of an ongoing conflict). The story doesn’t have to be told, because they’re living it. But with the right message, you can present yourself or your product/service as the solution to the problem, and get them to write your story in their head.

The foundation of all stories is Leigh Brackett’s plot: human desires, working at cross purposes, striking against each other, until there’s an explosion. If you can incorporate that idea into your case studies and your marketing copy, you will have mastered one of the most basic tenets of storytelling as content marketing.

Photo credit: David Schmittou in Beef & Board’s ‘The Drowsy Chaperone’ (Used with permission)
733215 (Pixabay, CC0/Public Domain)

Six Steps to Get Started with Influencer Marketing?

Occasionally, I’ll publish blog posts from guest writers, usually young writers who want to build up their portfolio. Erica Badino is a newer writer in the marketing world, and I thought I would give her a shot. Especially after she was so patient with me getting to this in the first p

The idea behind influencer marketing is nothing new. People have always looked to trusted friends and acquaintances for recommendations. In the digital world, the concept of asking a close comrade for a suggestion has morphed into the idea of turning to a favorite blogger. However, the broad online landscape now gives you the platform to connect directly with the influential individuals who are making the recommendations. Getting these people to share and vouch for your content or product can be extremely valuable.

But the question is still the same, how do you actually do that? How do you get those influencers to pay attention to you and share your stuff? Here are six steps to get you started.
How to Get Started With Influencer Marketing
Determine your budget & KPIs

  • What is your budget? There are ways to make influencer marketing work with budget size.
  • What are your real target KPIs? Are you planning or aiming for brand awareness? App installs? Social conversations? While being metrics-driven is essential, remember that influencer marketing creates long-term value beyond the immediate metrics (e.g. consumer trust and viral exposure).
  • What does success look like? Create a plan with 3 hypothetical outcomes: failure, success, and home run.

Craft your influencer strategy: The second step is to create a well-thought-out strategy. At first glance, influencer marketing seems very simple. Get popular posters to talk about your product and you’ll instantly gain a larger audience, right? To truly succeed, we need to approach it the right way, just like any other campaign. Ask yourself the following questions:

  • Who am I trying to reach?
  • What is the desired outcome?
  • What services or products do I want people to learn about?

Target top influencers: A strong campaign will typically have between 5 – 20 influencers on it. To target the best influencers for your industry, we need to dive in and surf the web like the target customer would. Get to know your audience intimately. Build a detailed profile for the types of people that you want to reach based on. . .

  • Where they shop
  • The blogs they read
  • The magazines they subscribe to
  • The books they buy
  • How they engage with brands and influencers (Do they comment often? Are they keen “likers?” Do they browse posts quickly?)
  • They hobbies they’re interested in
  • The television shows they watch
  • The restaurants, bars, or entertainment venues they frequent

All these elements come together to help you define which influencer your key audience is likely to listen to. The best influencers have great engagement levels with your audience. They usually get a lot of positive comments and likes.

Make Initial Contact: Reach out and begin making contact with the top influencers on your list. Don’t start with a product pitch or a request for a guest post. Start slowly, and engage by following them, commenting on their posts, and sharing their blogs.

Keep in Touch: Keep in contact with your influencers for several weeks before approaching them with your campaign. Successful influencer recruiting is all about building professional relationships. There are many ways that you can collaborate with them. These may include guest posts on blogs, reviews from the influencers, or product giveaways featuring your goods on their site.

Explore Outsourcing: This type of marketing can introduce your brand to a broad new community of followers when it’s done right.

Like all good things, social influencer marketing will change and evolve over time as it adapts to the latest trends and technology. Make it a priority to learn emerging influencer marketing strategies so you can follow them successfully. Savvy marketers are already capitalizing on the opportunity to grow their brand with the voice of their potential customers, consumers, and fans etc.

If you recruit passionate and dedicated influencers to participate in your marketing campaigns, you will improve profits, reach new customers through your influencers’ well-established networks, and increase brand trust.

After helping launch several successful blogs, Erica Badino is on a quest to share her knowledge and experiences with bloggers both new and old. She is a regular contributor for SEO Services USA.

Using MacGuffins In Your Content Marketing

Despite what it sounds like, a MacGuffin is not a golf term. It’s a writing term used in movies, TV shows, and books.

A MacGuffin is a plot device used to motivate the protagonist to action. It’s something the protagonist pursues or protects, but there’s no real explanation of why it’s important. In fact, the object itself isn’t even important to the plot. It’s just the thing the protagonist and antagonist fight over, one of them trying to take it, the other trying to save it.

It could be a sandwich for all we care. All we know is that the good guy and bad guy are going to beat the crap out of each other trying to get it.

The MacGuffin usually follows one of two themes:

Protagonist: I have the thing.
Antagonist: I want the thing.

or

Antagonist: I’m going to steal the thing.
Protagonist: I have to save the thing.

The most common types of MacGuffins are objects or sometimes a person. Other times, they’re more abstract concepts, like love or survival. TVTropes.com has a great list of MacGuffin sub-tropes, like the Clingy MacGuffin, the Hostage MacGuffin, or the Egg MacGuffin.

The One Ring is a perfect MacGuffin

One MacGuffin to rule them all and in the darkness bind them.

Some famous MacGuffins are things like the plans for the Death Star, the Ark of the Covenant, or the One Ring. Even Private Ryan in Saving Private Ryan and the baby from Ice Age are MacGuffins. In all cases, the MacGuffin was important to the characters, but it didn’t matter as much to us. We care more about the pursuit of the thing, but not the thing itself.

Most importantly, says TV Tropes, do not confuse a MacGuffin for a plot device. The Death Star plans was not the plot of Star Wars, and the thing inside Marsellus Wallace’s briefcase was not the plot of Pulp Fiction. The plot was about people trying to get/save/deliver the plans and the what-was-undoubtedly-a-human-soul.

How Do MacGuffins Figure in to Content Marketing

In content marketing, the MacGuffin is usually the product you create or the service you offer. But you’re not going to talk about your product or service, because that’s boring.

How boring would Star Wars be if they spent several minutes on the construction timeline of the Death Star, its propulsion system and fuel consumption ratings, or the magnetic tape the plans were on? (Seriously? You have faster-than-light travel, but you store information on cassette tapes?)

That’s how people feel about your product. They don’t want to know about the materials it was made with, or the manufacturing process behind it. They want to know what your product will do for them.

Will it make them work better or faster? Can it help them make more money? Will it make them attractive to men or women? Will it prevent heart disease or male pattern baldness?

This is the old “features versus benefits” marketing discussion we’ve all heard. Don’t tell us what it does, tell us what it does for us.

In short, your product is the MacGuffin. It drives your content marketing story forward, but it’s not the thing you talk about.

What’s Your Content Marketing MacGuffin?

If you’re a marketing automation company, the MacGuffin is your software. If you’re a barbecue grill maker, it’s your grills. And if you’re a luggage company, the MacGuffin is your bags.

Which means your readers want to know more about travel. . . with your bags. They want to know about cooking outside. . . with your grill. And they want to know how they can get more leads. . . with your software. But they don’t want you to talk about your bags, grill, or software.

Just like the movies, we don’t actually care about the thing, we care about the pursuit of the thing, the relationships that form around it, and how the thing will change our lives. But the MacGuffin will always remain there as a silent part of everything you do.

The marketing automation company will write about “how white papers generate more leads” and “five best email newsletter headlines.” The assumption is the readers will track all the information on your software, but your articles shouldn’t discuss the software. It’s just implied.

Similarly, our grill manufacturer should talk about things like “gas versus charcoal grills” and “preventing grease fires,” but they should also share articles on new summer recipes and how to use a motorized rotisserie. Again, the grill is important — “I want to use the thing” — but we’re not focused on BTUs or the gauge thickness of the lid.

And the luggage company should write about vacation travel, packing tips, and the activities that necessitate carrying a suitcase. But they shouldn’t focus on the construction of the suitcase, its materials, or the manufacturing process.

In some cases, the MacGuffin is going to be a little more abstract (wealth management, plumbing), or it might be a particular person (a lawyer, a realtor, or an orthodontist). And in some cases, there’s no real MacGuffin at all. Not every movie has a MacGuffin, and not every company is going to be able to use one either.

But if you can identify yours, use it to drive your content marketing story forward, even if you never actually discuss the MacGuffin directly. It will always be there, always present. And in the end, it will become the most important thing of all.

Photo credit: Jorge Arimany (Wikimedia Commons, Creative Commons 3.0)

Do Content Marketers Need to Know Their Flesch-Kincaid Score?

Straightforward exposition entices additional positive behavior. (That’s terrible.)

Simple writing converts better. (Pretty good.)

Short words sell good. (Too much, too much! Pull back!)

Content marketers, if you want your sales copy to generate more leads, it needs to be simple. It has to be good, it has to be interesting, and most of all, it has to be simple.

I would also argue it needs to be interesting, but that’s for a different article. Plus, there’s no software that can really measure that, although Google’s Time On Site and bounce rate stats may be a step in that direction.

As Neil Patel wrote on the Content Marketing Institute,

When users don’t like your content, Google doesn’t either. It works like this. A user accesses your website and decides (in a few seconds) whether she likes it. If she doesn’t like it, she bounces. Google records this information – short visit, then departure – for future reference.

Another user does the same thing – quick visit; then bounce. Another user does the same thing. And another.

Google gets the idea. Your website isn’t satisfying users. They aren’t engaging with it.

Google decides that your website doesn’t need to be ranking as high, and you start to slip in the Search Engine Result Pages.

So if you want your content to be accessible, it needs to be easy to read. If it’s easier to read, people are more likely to stick around for more than a few seconds.

There are plenty of other factors to consider — page layout, use of sub-heads, use of white space — but the number one factor for a readable, accessible page is the simplicity of the language.

Content Marketers, Know Thy Flesch-Kincaid Score

If you want to know whether your writing is simple or not, you need to know your Flesh-Kincaid score. Specifically, your Flesch-Kincaid Grade Level Formula.

This is the score that represents the readability of a piece of text at a U.S. grade level, so it’s easier for teachers and parents to know how hard or easy something is to read. It basically matches up to the grade reading level required to understand the text. If you get a Flesch-Kincaid score of 8, your reader needs to be at an 8th grade reading level to understand it.

Hunter S. Thompson, Miami Bookfair International, 1988I checked out a few different writing samples to compare their Flesch-Kincaid Grade Levels.

Most mainstream newspapers are written at a 6th grade reading level, USA today notwithstanding. Other USA Today stories I checked ran between 10th and 13th grade, thanks to complex and long sentence structures, not overly complex words. That suggests problems with editing, not word choice. And I’ve found that most business writing clocks in at a 7th and 8th grade reading level

It’s not that our readers are stupid, or only have an 8th grade reading level, it’s that people don’t want to put a lot of mental bandwidth into deciphering more complex and convoluted articles. They don’t want to slog through a complex, jargon-filled multi-syllabic narrative. They want to read something easy.

And if your content is easy to read, they’re going to read it. If it’s not, they won’t.

How to Measure Your Flesch-Kincaid Score

There are a few ways you can measure your Flesch-Kincaid score. Microsoft Word users have that functionality built right in, so it’s easy to find. (Check the Show readability statistics box in your Spelling and Grammar preferences.)

For Apple users, use the Hemingway app, which you can use to identify not only your grade level, but the number of adverbs, uses of passive voice, and sentences that are hard to read and very hard to read (like this one). You can use the Hemingway app on their website, but I bought the $19.99 version on the Apple store. (It’s available for Windows as well.)

The problem with the Hemingway app is that they don’t give you decimalized grade levels though. If you want that extra accuracy, you can use the Readability Test Tool by WebPageFX. That’s the tool I used to get the scores above. My other complaint about the Hemingway app is that it doesn’t ignore html text; the Readability Test Tool does.

Content marketers, if you want your readers to stick around and read your work, it needs to be easy. Try to keep it at a 7th grade reading level or lower. That means concise words, succinct sentences, and compressed paragraphs. (That’s terrible.)

Sorry, I mean short words, short sentences, and short paragraphs. (Ah, much better.)

Photo credit: Wikipedia.org

Six Crisis Communication Lessons to Running Your Business During an Emergency

Ten years ago, when I was in crisis communication for the Indiana State Department of Health, part of my job was to create an emergency contingency plan if we were ever in the field without power or an Internet connection.

Our job was to communicate with the public during an emergency, and we couldn’t let little things like power outages stop us. Our plan involved battery backups, cell phones, a Verizon MiFi, car AC converters, and even hand delivering CDs of videos and releases to local newspapers and TV stations.

I was reminded of all this when I had to send my Mac to the shop to have the logic board replaced, and they said they’re keeping it for 3 – 5 days.

I’ve run my business out of a backpack for the last seven years, and this marks the first time I’ve tried to function without my handy laptop. In just a few agonizing days, I’ve been reminded of those emergency preparedness lessons, and I’ve learned some new ones as well. Here are six ways to function during an emergency or equipment loss.
My iPad and Bluetooth keyboard - a bare bones crisis communications setup

1. Make sure you already know how to use your gear.

I’m going to be working off my iPad and a Bluetooth keyboard for about five days, writing everything on Google Drive and using Google Chrome to update my client blogs. I had an old MacBook, but it bit the dust last month, which means I’m using the ultimate in dumb terminals.

Luckily I’ve used this kind of setup before, so I didn’t waste a few hours trying to figure out how to get everything to work. I fired up Google Drive, connected the keyboard, and I was off and running. But I was able to do it because I’ve already practiced this setup before.

Identify your backup gear, and try to spend a day using it. Find the holes in your knowledge and equipment, and fill them both quickly.

2. Store things in the cloud.

I have two external hard drives, but I also recently started backing up my important documents to my iCloud account, as well as Dropbox. So even if I don’t have access to everything on my hard drives, my important files are easily accessible.

Basically, I’m writing everything on Google Drive, including this article, since that’s how I share my client documents anyway. And while I normally keep my works-in-progress on my laptop, I uploaded everything to Drive before I headed to the Apple Store, just in case I got some bad news. I could also download my current articles from my iCloud and open them with Pages on my iPad.

And if my computer was completely destroyed, I can still restore everything from one of my hard drive backups.

3. Use cross-device apps and services.

I also use other cloud-based services for my business. My bookkeeping is on Freshbooks (they have an app, as well as their website), Todoist is my to-do list (which runs on all my devices, plus online), and I keep track of important information on Evernote (cross-device, cross-platform, as well as web-based). And my email portal is Gmail, which I can access from anywhere. (I could even go to the local library and answer emails if things were especially bad.)

However, the major DDOS attack last week reminded us how vulnerable we are if our access to the Internet goes down. This is why I don’t operate completely in the cloud, and still store things on my laptop. It’s why a cloud-only setup is not ideal. Even if we were cutoff from the rest of the world, anyone who still keeps documents on their laptop can still function. So don’t put all your electronic eggs in one basket. Strike a balance.

4. Keep everything powered up.

One lesson Hurricane Matthew reminded us of is to keep your devices and your batteries powered up at all times. Since my Bluetooth keyboard is cordless, that means I need to have batteries on hand. Since I’m working at home most of the time, I’m fine. But on those days that I’m working in a coffee shop, it’s smart to keep a couple batteries in my bag, just in case.

I also have to keep an eye on my iPad, which is running wifi and a Bluetooth. It slowly loses power over time, even when it’s plugged in, so I try to take a break every couple hours to let it recharge faster.

5. Use a password vault.

Security is also important, which starts with secure, hard-to-remember passwords. The problem with having everything on the cloud means trying to remember every password you ever created. Or worse, you can easily remember the one password you use on all your accounts. (Don’t do that. It’s extremely unsecure).

I use a password vault that syncs my various passwords between my laptop, tablet, phone, and the cloud. I never have to remember my passwords, I can either retrieve them from the vault by hand, or have them fill in directly. So I only remember the master password to get in, and my vault handles the rest.

This means I can even use a backup computer, and still access my various web services without using the Forgot Your Password retrieval function. I recommend a password vault like LastPass or 1Password, which both work on different devices and platforms. Even if you have a Windows laptop and an iPad, they’ll still sync up your passwords.

6. Practice, practice, practice.

When I was in crisis communication, we were always training and preparing for terrorist attacks, as well as natural public health emergencies, like avian flu. But rather than wait for years for one of those things to happen, we decided our best practice was to work on any small emergencies, like an e. Coli or salmonella outbreak.

My staff and I would put together a press release, gather the necessary information, and share it with the appropriate media outlets. We worked to get it out within an hour of our first notification, because we knew that would be our benchmark if we ever had a real emergency. While an emergency never arose, we were even prepared when we participated in full-scale exercises that involved the entire state, and would have been ready for the real thing.

Similarly, I try to spend a few hours every frew months working solely in the cloud or working on this iPad-and-keyboard setup to make sure I can make it all run efficiently when the time arises. I’ve still managed to meet all deadlines and respond to my emails, without any problems.

While this setup isn’t ideal for someone who focuses strongly on high-scale production work, and needs access to a lot of local information — photos, videos, and past work — it’s at least a great way for me to stay productive and give my clients what they need. It’s put a few of my wish-list projects on hold, but I’m still managing the important work.

By keeping backups of everything, and being very familiar with the way my backup equipment and services work, I was able to come home from the Apple store, switch everything on, and get back to work without missing a beat.

How to Use a Fiction Throughline in Your Content Marketing

In novel writing, there are certain elements or themes that run through the book like a thread. You can find this thread in movies as well. They’re common themes like “Debbie is afraid of commitment,” “William wants Scotland to be free,” or “Captain America hates bullies.”

This is the throughline.

It’s the running theme, a character’s reason for being, a plot or sub-plot, or even the language that’s used in the story.

Every few scenes, we’re reminded of the throughline once again, though only a touch, as the author or screenwriter tugs on it once in a while to remind us it’s there.

When scrawny Steve Rogers stands up to the bully. When he dives on a hand grenade during basic training to save his squadron. When he ignores Colonel Tommy Lee Jones and rescues his best friend, Bucky.

As Chuck Wendig of Terrible Minds says:

The throughline is an invisible thread that binds your story together. It comprises those elements that are critical to the very heart of your tale — these elements needn’t be the same for every story you tell but should remain the same throughout a given story.

Basically, Chuck says, it’s “the rope that the audience will use to pull itself through the story.”

Find Your Throughlines

What is the thing your company wants to be known for?

Not your mission statement. Nobody talks like that. Besides, most mission statements suck. Hard.

We will operationalize bleeding-edge strategies in order to maximize our core competencies to that we may holistically leverage best-of-breed solutions.

That’s not a throughline. That’s complete crap. (I sure hope that’s not someone’s actual mission statement. I made it up, and I had to shower afterward.)

Every kind of content marketing should use a throughline. Even solar panel manufacturers.

Instead, what do your salespeople and marketing staff brag about? What excites you about what your work? Why does your company do what it does?

That’s your throughline. If you’re a pharmaceutical company, your throughline is saving lives. (Or helping old men get erections. I’m not judging.) If you make solar panels, your throughline is saving the earth and reducing our dependence on coal. If you’re a business improvement consultant, like my friend Robby, your throughline is helping others be more efficient.

Once you know your throughlines, you’re ready to weave them into your story.

What Do Throughlines Have to Do With Content Marketing?

In content marketing, your throughline runs through your company’s overall story.

Your story is made up of chapters — blog articles, white papers, videos, podcasts — and your throughline should pull potential customers through on their buyer’s journey.

Your company’s throughline are those things you stand for and can truly deliver. If you know your company’s USP, a unique selling proposition, that’s your throughline. It’s the top benefit you offer your customers.

For Chick-fil-A, their throughline is chicken-not-beef. Their advertising is all about the cows telling us to eat more chicken. For Apple computers, it’s thinking different(ly). Their computer ads are about doing great things with the right side of your brain. For Pro Blog Service, it’s about providing high-level professional writing. So I write articles about advanced writing skills.

Not everything Chick-fil-A does is about their cows. Not everything Apple promotes is about being a creative professional. And at Pro Blog Service, we write about things other than writing.

But every so often, you’ll find that theme, that element, that throughline to pull you through their stories, on to the next chapter.

For our solar panel manufacturer, they can spend most of their time talking about the quality of their panels, their low cost, available financing, ease of use, money saved, and benefits over wind power.

But every so often, they need to tug on their throughline to remind us it’s there: “if we can use more solar power, we use less coal to create electricity. And less coal means a cleaner tomorrow.”

Content marketers like to call themselves storytellers, so here’s a real story element they can use. Novelists and screenwriters use them all the time, and so can you.

If you can weave your throughline into your content marketing, it will tell you what comes next, and it will move your customer down the right path. You can more easily plan your content schedule if you can follow the golden thread that’s waiting for you to wrap a story around it.

Photo credit: Gray Watson (Wikimedia Commons, Creative Commons 3.0)