Pro Blog Service

You are here: Home / Archives for Erik Deckers

Erik Deckers

About Erik Deckers

Erik Deckers is the President of Pro Blog Service, a content marketing and social media marketing agency He co-authored four social media books, including No Bullshit Social Media with Jason Falls (2011, Que Biz-Tech), and Branding Yourself with Kyle Lacy (3rd ed., 2017, Que Biz-Tech), and The Owned Media Doctrine (2013, Archway Publishing). Erik has written a weekly newspaper humor column for 10 papers around Indiana since 1995. He was also the Spring 2016 writer-in-residence at the Jack Kerouac House in Orlando, FL.

Find more about me on:

Here are my most recent posts

By

How a Radio Theater Troupe Uses Social Media to Gain a Worldwide Audience

Social media has played a big part in the success of Decoder Ring Theatre, a Canadian radio theater troupe that produces audio plays reminiscent of old-time radio. Their two mainstay characters, Red Panda and Black Jack Justice live in Toronto (Red Panda during WWII, and Black Jack a few years after). Decoder Ring Theatre also produced six of my radio plays last summer.

I interviewed Decoder Ring founder and leader Gregg Taylor, and asked him about how social media has played a success in what they’ve done, and what their strategy has been over the years. These are his answers.

Decoder Ring Theatre cast
Cast of Decoder Ring Theatre, an audio theatre company in Toronto.

1) How much of your success do you attribute to your own social media networks vs. sheer doggedness and word of mouth?

I kind of lump our social media presence under the broad heading of “sheer doggedness and word of mouth”, so it’s hard for me to seperate the two! Really, Facebook and Twitter have evolved into ways for us to be a part of the daily lives of those listeners who want that kind of relationship.

I started both pages at the specific requests of listeners, and I do try and keep the content on each a little different, for the benefit of those who follow both pages and also our fan boards at audiodramatalk.com.

Yes, I certainly do let our corner of Facebook and Twitter know when a new episode goes up, or a new book comes out, because let’s be honest, everyone loses track of these things sometimes, even when you’re as predictable as we are (new episodes on the 1st & 15th of every month, year-round!).

But I do want our social media presence to be just that… social. Facebook offers those listeners a chance to react not just with me, but with each other, to discuss what they like and what they don’t (and of course, in the process, have us appear in the timelines of their friends)… Twitter started out as a little more “behind the scenes/this is what I’m working on right this second”, and still is that kind of sneak-peek for those interested, though by extension it also has become a “welcome to my brain”… again, it’s like the DVD extras for the really big fans. I think we pick up some new listeners that way, but for me, it’s about the enhanced experience, being a part of the extended Decoder Ring family.

2) Are you seeing a lot of traffic coming in from outside referrals (i.e. Twitter, Facebook), as opposed to repeat listeners? Where do they come from?

Listenership has been solid and steady. It’s often hard to tell where it comes from, in a way… when you’re just starting out and you get an extra 80 downloads it’s like “Holy Hanna, look at that spike!”. It has to be a pretty big event for it to really register as an abberation in our patterns these days. Well, big by our standards anyway. I think we’re getting to be big enough now to really properly understand just how tiny we are… we’re comparing ourselves to outfits with gobs of money and wondering just what we’d have to do to make an impact. There have been some serious spikes.

Roger Ebert gave us a shout-out a year or two ago, and that was nice. He tweets a LOT though. I’ve followed him on and off, and there’s no way you can check out everything he mentions unless you have a powerful amount of time on your hands. Still, I have a lot of respect for him and for him to think we were worthy of a mention was exciting.

I guess the biggest single event in terms on new listenership was when we unexpectedly got profiled by the BBC’s technology program last year… just a little piece, but it played all weekend on BBC and around the world on the world service. That was large. Our UK numbers passed Canada immediately and never looked back, which is pretty surprising, considering that the Red Panda Adventures is pretty much the only pulp hero universe in which you’ll hear about the Dieppe Raid, or have a cameo by WLM King, our wartime PM.

I guess what’s great about our listenership is that once we have someone hooked, they tend to stay with us forever, and they get that wonderful evangelical zeal that folks on the internet so often have when promoting things that they love to everyone they know. That’s what really makes us go.

3) What’s your biggest source of listeners?

America. I know that’s not exactly what you’re asking, but I think I ran on a bit in the last question. We have listeners all over the US, but seem to have some super-concentrated pockets in Washington State, in Southern California, in Texas and New York and in Iowa. Lots of Iowans. Don’t seem to have a lot in the Boston area, though. I keep shouting-out to my beloved Patriots and I rarely get a holler back. It is just possible that the crossover audience between NFL football and on-line old-time-radio-style mystery and superhero adventure programs isn’t as great as I imagine it must be. Still, never hurts. Go Pats.

4) You were recently in a radio theatre voting contest. When I last looked a few weeks ago, you were 3 – 4 TIMES ahead of the entire pack, if you had combined all their scores. How did you spread the word about that?

Yeah, I try not to do that stuff too much. I did mobilize our social media folks/fanboards to push for the Podcast Award in 2010, mostly because I was sick and tired of not winning it. Then we won it and it really changed absolutely nothing. Nice to win, made no impact on our audience. In all fairness, I’m not sure “Cultural/Arts” is really a high impact category for a lot of people. I’m sure it carries more weight in other divisions. Actually, come to think of it they never even sent us an award, or certificate or anything. Still, like I say, it was exciting to win, and I bugged people quite a bit about that. But I don’t like to do it too often.

The New Radio Theater contest was different because rather than competing for a non-existent trophy, it’s a cash prize, and I’d love to be able to give a little scratch to some of the folks who have worked so hard on the shows over the years. Really, I think the contest was devised to get people excited about either writing a script for their broadcast radio program New Radio Theater or allowing them to play something already created. It doesn’t take a prize to get me up for that, I love a little radio play wherever I can get it (Can I give a little shout out to Midnight Audio Theatre on Central Ohio’s NPR station WCBE 90.5, now playing Black Jack Justice? – Oh-me-oh, oh-my-oh, Columbus, Ohio! Thank you)

5) Did you end up winning?

Well, it actually runs until January 31st, and I’m writing this on Jan 26th, so I don’t know. (After the 31st, Decoder Ring’s play “The Albatross” ran away with online voting at 1,013 votes.)

Voting is only one part of the process. There are 6 official judges, and the on-line voting counts as a 7th judge. Who can tell? Maybe winning the popular vote in a landslide will actually work against us.

There are also some folks in the audio theatre world that don’t like what we do because we’re old-school. We’re telling stories set in the era when radio was king, but we’re not doing that because it makes us more or less marketable, we’re doing it because these are the stories we want to tell. You have to love what you do, or you can’t expect anyone else to.

We focus on the story and the characters, rather than sound effects, because those are the stories I want to write and we want to create. And also to hear. I think that love comes through in the work, and I think it’s why we have the audience that we do. In any event, there are some great shows in the running, and the judges are some very, very qualified people, I’ll respect their decision whatever it is.

6) Did you feel even a little guilty for exercising your social networks for this contest, almost like you had a social media cheat code?

No way, baby. We have an audience. That’s what everyone putting themselves out there on the Internet hopes for first, and most never find. We’ve developed a group of people who are passionate about the work that we create, that want to be involved and to help where they can, and we’ve developed networks that allow us to reach out to some of those most passionate people directly.

We’d be fools not to use it. It would be like wanting to fail. We can’t influence how the judges will vote, but if you put something out there that’s in our power to effect, by golly we’re going to go out there with our small but hardy band of internet ruffians and get it done.

7) How have you gotten most of your social media connections?

 We promote them on the website, and periodically give them an audio plug in the programs themselves, for those 50% or so of our listeners who get the programs from a podcatcher like iTunes and probably never visit the site directly. It gives our champions one more way to try and convert their friends to our cause.

8) Are they listeners who found you on social media, or are they people who found you on social media and started listening?

 I think both. It’s a bit of a longer shot on Twitter… “Hmmm… this guy seems to share my love for the wisdom of @GoddamnBatman, maybe I’ll listen to his radio show…”, but it happens.

9) How would you incorporate your social networks into a Decoder Ring production or promotion?

We have done a number of “live tweet recording days” from the studio, with various members of our ensemble popping on with comments throughout the seasion. Those were pretty fun. A lot of tweets in a short time though, and I try not to take up too much real estate on anyone’s feed.

10) What advice would you give to radio theatre and live theatre troupes who want to start using social media for their own promotions?

 Do it, but be yourself. You can’t just be out trolling for listeners/customers. You have to be giving something of yourself in the process, and it can be hard to keep up. I still haven’t gone near Google+…. really, I just haven’t had the time. I need to see some evidence that it’s going to stick before I can carve off another piece of myself for that!

11) Have you ever thought about video taping a show and editing it together for a YouTube promotion? Sort of a behind the scenes look at a Decoder Ring show? Better yet, how about uStreaming a taping one night? (I’d watch that one in a heartbeat.)

Yep. We’ve thought about it. It hasn’t happened for a few reasons (a) We run about a year ahead of releases, so it’s spoiler city (b) Making good video is a lot more time/trouble/expense than making good audio and (c) It can be a pretty big distraction when we’re already trying to get a lot done in a short time. Someday!

By

What Malcolm Gladwell REALLY Said About The 10,000 Hour Rule

Too many times, people misquote Malcolm Gladwell’s 10,000 hour rule regarding being an expert.

“Malcolm Gladwell said you have to have 10000 hours in a subject to be an expert,” they will often state. The problem is, they’re repeating a misquote from someone else who has never read the book.

The 10,000 hour rule is from Gladwell’s book, Outliers: The Story of Success (affiliate link), which if you haven’t read it, I highly recommend it.

The problem is, Gladwell never said you needed 10,000 hours to be an expert, you need 10,000 hours to be a phenom. To be so freakishly awesome, to be such a standout among your peers, that sometimes your first name is enough to tell people who you are: Peyton. Tiger. Venus. Kobe. Oprah.

But in the meantime, here’s what Malcolm Gladwell said about the 10,000 hour rule and being an outlier:

“In fact, by the age of twenty, the elite performers (violinists) had each totaled ten thousand hours of practice.” — p. 38

“The emerging picture from such studies is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert—in anything,” writes the neurologist Daniel Levitin. — p. 40

“To become a chess grandmaster also seems to take about ten years. (Only the legendary Bobby Fisher got to that elite level in less than that amount of time: it took him nine years.) And what’s ten years? Well, it’s roughly how long it takes to put in ten thousand hours of hard practice. Ten thousand hours is the magic number of greatness.” — p. 41

So who is Gladwell talking about? Is he talking about the people who are merely “pretty good” or “very good” in their field? Is he talking about the Carson Palmer’s of the world? (Palmer is the QB for the Oakland Raiders. He’s good, but he’s no Peyton Manning.) Is he talking about the people who know enough about their subject to perform at a master’s level?

No, he’s talking about those surprising success stories who stand head and shoulders above the elite performers in their industry. That one guy who is way better than the 31 other “best quarterbacks in the country.” That one woman who fearsomely dominates all other female tennis players in the world.

“This is a book about outliers, about men and women who do things that are out of the ordinary. Over the course of the chapters ahead, I’m going to introduce you to one kind of outlier after another: to geniuses, business tycoons, rock stars, and software programmers. — p. 17

So, let me reiterate: an expert is someone who has a level of mastery about a special skill or knowledge in a particular field. They are not the freakishly good. The world class. The first-name-only celebrities. Those are the “outliers.” The “experts” are everyone else.

My point is, it doesn’t take 10,000 hours of deliberate practice to become an expert. It takes less than that. Don’t get me wrong, you have to know a lot about your field. You have to have spent thousands of hours doing it. But that’s not the 10,000 hour rule.

By

Calling ‘Bullshit’ On Four Social Media Myths

There are days I just want to shout at somebody for all the misinformation I hear about social media. I hear all these myths and bad information being passed around the business community, because some know-nothing shyster tried to sell a business owner on social media, and cocked it up so badly, the poor guy is going to just stick with the Yellow Pages and door hangers for the next 10 years.

Here are four social media myths that, if I hear someone mention them with a straight face, I’m going to throw something heavy.

1. You can’t measure the ROI of social media.

This has got to be the biggest pile of BS I come across. And to make matters worse, I hear it from so-called professionals in this industry, who apparently have no clue that this is even possible. Olivier Blanchard just recently ranted about a recent South by Southwest panel where the audience was treated to these little nuggets of stupidity:

  • There’s no ROI for measuring ROI – it’s just too difficult.
  • You can’t put love and trust into a chart. Why? Because love and trust defies logical reasoning.
  • Social doesn’t always need to be quantified. Its not a spreadsheet metric only – trust, relationships, advocacy.

If you’re doing social media for your anarcho-syndicalist commune, then sure, you can’t measure trust, love, or that warm squishy feeling you get when you hand someone a fistful of daisies. But if you’re doing social media for a business that gives you money, then you’d damn well better measure it. Your boss is not going to want to hear about trust and love when she asks you to justify why she just spent $30,000 on your social media campaign. How are you going to demonstrate that the $120,000 your company made was a direct result of your efforts? If your job is on the line, you’ll figure it out.

There are plenty of tools for accurately measuring this kind of thing, the least of which is Google Analytics. It’s free, fairly easy to use, and there are big books you can use to learn how to use it. There are also books about measuring social media ROI, with real formulas and techniques and everything. And I can guarantee that not one jot of ink is spent discussing how to measure trust, love, or warm squishy feelings.

Granted, asking about the ROI of social media before you ever start on a campaign is a bad question to ask, but once the campaign is up and rolling, you’d better be measuring how well you’re doing, or you’re going to be out of a job three months after you launched this thing.

Read these blog posts about how, why, and how easy it is to social media ROI:

2. Social media can replace everything

Social media is just another tool in the marketer’s toolbox. It’s not a tool that can replace everything marketers have been using for the last 100 years. As much as the hipsters like to say newspapers are dead, TV is dead, radio is dead, and any other medium that’s more than five years old is dead, those things are still viable strategies.

As long as there are people who don’t have computers or smartphones, we’ll need TV and radio advertising. As long as there are people who don’t use computers and tablets, we’ll need newspapers and magazines. There are two very large groups of people who don’t use computers, smartphones, and tablets: the poor and the elderly.

In fact, because of these two very large populations, we will still need books and libraries, print publications, the Yellow Pages, broadcast television, and FM and AM radio. Not everyone has a satellite dish, a smartphone, satellite radio, and a laptop with broadband. We need to quit making the assumption that everyone in this country does.

As long as these media channels exist, there will be a need for that type of marketing. Until then, social media is completely ineffective for those two very large populations.

3. More impressions = good, fewer impressions = bad

Marketers who still believe their TV commercials are being seen by hundreds of thousands of people hate social media. They look at the social media stats and freak out when they see that only a few thousand people came to their sites and bought anything.

What they don’t realize is that they’re really seeing the actual size of their audience. They’re getting a real glimpse of what their true customer base looks like, and not the hyperinflated numbers from advertising salespeople.

Want to do a test? Launch a TV commercial, and set up a special URL specifically for that commercial. If you sell hammers for ABC Hammers, get the domain ABCHammersonTV.com, run it only on your commercial, and see how many people actually come to it. Use your commercials to drive web traffic, and then count the results. Those are the people who were inspired enough by your commercial to gather more information. Did it cause them to buy a hammer? We don’t know. But we can measure (there’s that word again) how many people that commercial drove to the website.

Want to quantify it some more? Let them download a 10% off coupon, redeemable within the next 21 days. Then count how many people redeemed the coupon. It’s not a completely accurate measurement, but you do know how effective your commercial was in driving traffic, how effective your website was in driving coupon downloads, and how effective the coupon was in driving sales.

No, it’s not the couple million viewers you were told would see your commercial on Monday Night Football, but it’s a better picture of who liked the commercial enough to take action. There’s still no mechanism to show you how many of those commercial viewers were in the bathroom. And there’s no way of knowing whether people went to the store and bought your hammer because of that commercial.

So if you keep thinking more impressions means success and few impressions means failure, you’re going to be in for a big shock.

4. The ‘I’ in ROI stands for influence, integration, intent/should be Return On Engagement

This is the hippie tree-hugging bullshit that Jason Falls and I wrote No Bullshit Social Media against. Social media is notYes, you want people to like you. Yes, you want people to trust you. Yes, you want people to be your raving fans.

But do you know what you really want from them?

Money! Being liked and being trusted are all fine and good, but it doesn’t mean a thing if they’re not buying from you. I’ve had plenty of potential customers who trusted me, but until I had a check in my hand, they did not contribute to my bottom line.

 
Social media marketing is all about marketing. It’s a business tool. And to be a business tool, it has to make money. And to show your boss that it’s making money, you have to measure it. You may even have to show that it’s as good as, or better than, the traditional marketing tools you’re competing with. (Of course, you should be measuring the performance of all your traditional marketing tools too. You’re doing that, aren’t you?)

Until people quit spouting all this nonsensical crap about what social media can and can’t do, it’s going to be slow going for businesses to adopt it. Hopefully the “professionals” who keep spreading misinformation like these four myths will eventually stop doing what they’re doing and go back to bartending, and let the real professionals clean up the mess they’ve left.

Photo credit: Oli R (Flickr)

By

One More Method to Breaking Writer’s Block

Yesterday, I shared six methods for breaking through writer’s block. But I forgot one of my most favorite ones.

Writer's Block

If you find you’re stuck for a way to explain something or can’t quite figure out a direction of a story or article, explain it to a friend. I mean actually sit down face-to-face with someone and tell them what you’re trying to accomplish. If necessary, pull out paper and pen, and diagram what you’re talking about.

I’ve often found that in order to be able to put my thought process into words, I have to be able to crystallize my thoughts. It causes all the thoughts that are pinballing around my head to get into formation, and I can express them clearly and logically.

Once I do that, I get unstuck for what I’m trying to say, and everything makes sense. I will occasionally pop open my laptop or notebook and scribble down the thoughts in a brief outline, which I can go back to later. It especially helps if I have several minutes after talking to that person to put everything down in a complete idea dump, which I can go back and fix later.

By

Six Sure-Fire Methods to Break Writer’s Block

A lot of writers suffer from writer’s block. That big mental wall that sometimes get in the way of getting any writing done. But it doesn’t have to be permanent. Only a few times have people suffered career-ending writer’s block, but when that happens, we’ve gone beyond just plain ol’ writer’s block, and are getting into some serious performance anxiety.

Here are six sure-fire methods you can use to break through your own writer’s block.

  • Carry a notebook with you at all times: I keep a little black Moleskine notebook and pen with me close at hand. Whenever I have an idea or a thought that I know I’ll want to use later, I write it down. If I have several minutes, I’ll write as much as I can about the idea that inspired me. Oftentimes, when I’m stuck for a topic or struggling with an idea, I’ll pull out the notebook and refer to what I’ve already written. Or if I’ve written enough, the material from the notebook is what I needed in the first place. I just transcribe it and clean it up.
  • Write something else: Most writers I know get hung up on one particular project. They can’t write this blog post, they can’t write that article. So write something else. If you’re a professional writer, or even a persistent amateur, there’s always something else to write. So write that instead. It often gets the juices flowing, and you can break the block. When you feel it break, immediately switch over to the project you were stuck on.
  • Write it in an email instead: Most writers seem to get stuck because they’re writing for posterity. They’re thinking not only of The Reader, but The Reader in 50 Years. I don’t know how many journals and notebooks I started and then trashed because I thought, “what if my grandchildren read this in 50 years” or “what if someone wants to study my writings in 100 years? What will they find?” I immediately froze up, got two entries into the journal, and then quit. I lost count of the notebooks I’ve pitched because of this.
    If this happens to you, regardless of what you’re writing, write it in an email instead. Start it out with “Dear Mom, this is something I’m working on right now.” Then write your project/article/blog post to your mom. We love our moms, and they love us. But they don’t always get what we’re working on. So write this in terms your mom will understand. Then, go back and delete the greeting, and you’ve got your piece. Stop writing for The Reader and The Future Reader. Write for yourself. And your mom. And call her once in a while, she misses you.
  • Pick a different environment: I have two offices. My regular office and my favorite coffee shop. Some weeks see me in one office more than the other. And there are times that being in one place or the other is not conducive to getting work done. So I go to the other office. The change in environment is often enough to jolt me out of my stuckness. But if it doesn’t work — and I can usually feel the torpor coming on — I’ll go somewhere completely different. A different coffee shop, a friend’s office (Tip: Make sure they own the business. Don’t stop by your friend’s place inside the giant corporate building.) The new setting is usually enough to jolt me out of my complacency and get my creative juices flowing again.
  • Write nonsense:I’ve never been a fan of writing exercises to get warmed up. This isn’t running. I’m not going to injure my brain if I don’t write something “creative” before I start real writing. But that doesn’t mean there’s not some validity to just writing complete and utter crap for the first 20 minutes. If you’re stuck on a particular topic, write stream-of-consciousness stuff about your subject, maybe even the piece itself. As you write, do it in an over-the-top voice and style, like Sideshow Mel from The Simpsons. As you do this, you’ll find yourself breaking through the block and starting to write some real material. But don’t delete the crap. Cut-and-paste it into another document, and then go back and read it a couple days later. You may find some nuggets worth keeping.
  • Quit waiting to be inspired: Once you become a professional writer, you don’t have the luxury of having writer’s block. You also don’t have the luxury of “being inspired” or “waiting for the right moment.” Real writers don’t get inspired. Real writers plant their asses in their chairs and start writing. If the words aren’t coming, try one of the other five things I mentioned. If they still aren’t coming, put your head down, and keep writing. They’ll come to you eventually.
    Most professional writers ignore the writer’s block, because they have a job to do, and they do what they need to to get it done. There’s no such thing as an accountant’s block, where the figures just don’t add up. Or a chemist’s block, because they can’t get the formulas right. When you reach this level of writing, the words just come automatically, like breathing and eating. You may have times where your work is better, but as a professional writer, even your “good enough” should be pretty good.

What about you serious writers? How do you break through writer’s block? How do you prevent it? Has anything worked or not worked? And did any of those involve alcohol?

Update: After I wrote this post, I thought of one more method to breaking writer’s block, which I published the following day.

By

5 Changes to Make to Your Blog After Google Panda 3.3

Google Panda 3.3 has caught some people off-guard and made a lot of SEO professionals freak out. After perusing SEOMoz’s discussions on the matter — these are the guys who do SEO for a living — it seems no one really knows what Panda 3.3 has done to their sites. I just know a lot of people aren’t happy about it.

There was one particular change, out of 40, that has everyone freaked out: “Link evaluation: We often use characteristics of links to help us figure out the topic of a linked page. We have changed the way in which we evaluate links; in particular, we are turning off a method of link analysis that we used for several years.”

Now, no one knows for sure what it means, but chances are, if you have been relying on a backlinking strategy to increase your search engine ranking, or you’re painfully agonizing over your anchor text’s keywords, that may become a problem for you in a few days or weeks. We’ll have to see.

In Wednesday’s post, I discussed four changes Panda 3.3 is bringing to bloggers.

  • Improvements to freshness: Google can put fresh content in their results more quickly. Newer posts, articles, and pages are found more easily. This means the quicker you are in hopping on a trending topic, the more likely you are to win search.
  • Consolidation of signals for spiking topics: They can see when a new topic is spiking in popularity, and makes it easier to identify in realtime. If you search for breaking news, you’ll be able to find it sooner, and start writing about it.
  • Improved local results: They can more easily detect whether search queries and the results are local to you. If you search for “Topeka plumber,” and you’re sitting in Topeka, they’ll make sure you see those results first.
  • Link evaluation: This is the big one that’s freaking SEOs out.

Based on these four important changes, what kinds of changes can/should you make to your blog to take advantage of the Google Panda 3.3 update, as well as past updates over the last 12 months? These are five long-term changes you need to start making right now, and make as a part of your regular blogging habit.

1. Focus on local content whenever possible.

If you own a local business, or you’re a local businessperson, you need to write about your business in your city whenever possible. If you’re a real estate agent, write posts about real estate in your city. “How to Stage Your Minneapolis Home Before a Showing,” “Five Things To Fix Before Your Next Minneapolis Home Inspection.” Be sure to use the name of the city in the body copy too.

Learn the html schema code for your particular data types, and tag the appropriate content. (More on schemas in a minute).

2. Use the rel=author tag in your Author bio, point it at your Google+ profile.

First, make sure you have a Google+ profile. (There’s plenty of stuff out there about why you should be using it, so I won’t go into that here. Just know that it’s especially important to SEO now.)

Next, make sure that every blog post you write, whether it’s your own or a guest post, links back to the Google+ profile, and uses the “rel=author” tag. Here’s an example:

<a href=”http://bit.ly/xyLk6s” rel=”author”>Erik Deckers</a>

Hint: By shortening your Google+ profile link with Bitly, it gives you another analytics measurement point. If you really want to get creative, use campaign codes with each article you publish or guest publish, and you can see what kind of click-through traffic you’re getting from a post to your profile.

3. Use schemas whenever possible.

Schemas are a new web classification system created by Google, Bing, and Yahoo. Among other things, this is going to help with local search, as well as personal branding, because you can add your city and your name to your blog posts. This will help Google and the other search engines identify you and your town. You’re going to get a boost in local results and a boost on searches for your name.

There are a few hundred schema types, and you’re going to have a hell of a time trying to learn and use them all. In the meantime, there are plugins to use, and you can also identify a few useful schema tags for yourself to use on a regular basis.

For example, if you’re using the PostalAddress schema, to tell Google “this is my local address,” you would write:

<span itemprop=”streetAddress”>5348 Tacoma Ave.</span>
<span itemprop=”addressLocality”>Indianapolis</span>,
<span itemprop=”addressRegion”>IN</span>
<span itemprop=”postalCode”>46220</span>

We’re starting to use schemas here at Pro Blog Service, but we’re still learning the best ways to use it, and are limiting ourselves mostly to the SchemaFeed plugin for WordPress. Suffice to say, schema is a giant, complex system, and by using it only for blog posts, it’s like using a race car to drive down the block. Still, we’re just bloggers, so what do you want?

We’ll have more about using schemas for blogs in a future post. For more information in the meantime, visit Schema.org.

4. Fix your grammar and punctuation errors

One of the changes that Panda has wrought, starting back when it was first introduced was, that it even started looking at grammar and punctuation errors. While Google has not said they are evaluating pages for grammar and punctuation quality, we have discussed in the past how they are looking at user-generated indicators — time on site, bounce rate, click-through rate — to determine the quality of a blog or website. If your page is filled with errors, and visitors don’t like reading what you wrote, they won’t stick around for very long, and Google will determine that your page must not be a good one.

The same is true for the quality of your writing. If you’re a good writer, or even a fairly passable writer, you have nothing to worry about. If your writing has all the quality of a 10,000 word conspiracy theory manifesto that was written at 3 am in someone’s parents’ basement, then you’re going to have problems.

5. Don’t worry so much about anchor text and backlinks

Like I’ve said, no one is sure exactly what Google meant by “we are turning off a method of link analysis that we used for several years.” Some people think it means anchor text is no longer a factor, other people think it means they have devalued backlinks. Google already devalued backlinks when they first released Panda, but others have tested this and found that links still carry some weight.

We do know that Google has been seriously knocking many of these link farms and poor quality sites that did nothing but create thousands upon thousands of backlinks. Any SEO strategies that were built on this tactic are now (or soon will be) on the scrap heap, completely useless.

If you have been knocking yourself out trying to earn backlinks and you agonize over anchor text, you may want to pull back a little on it. Don’t give up on it yet, because until someone knows for sure which indicator has been shut off, it’s still a viable strategy. All we’re saying is don’t give yourself an aneurysm trying to figure out exactly the right keywords and placing all the right backlinks in all the right places.

While these five changes are rather involved, they’re going to be important in the coming months as Google continues to force us to focus more on the quality of our writing and content, and less on the automated SEO strategies that many people have been employing as a way to game the system.

If you’ve already been writing good stuff, and earning your links organically, you’ve got nothing to worry about. You’re good to go. Keep up the good work.