Pro Blog Service

You are here: Home / Archives for All Posts / Communication

Communication

By

Copywriters, Use the Words Other People Use, Not the Ones You Use

Do you know what audio theater is? Does it make you think of something to do with speakers at a movie theater? Or maybe it’s a subset of home theater equipment. Or maybe you’re supposed to go to a play and shut your eyes.

It’s none of those. It’s what we used to call radio theater. (Or radio theatre, if you’re Canadian or British. Or a snooty purist.)

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

You know what radio theater is, right? Remember when Ralph and Randy sat in front of the big giant radio and listened to Little Orphan Annie? We all know what that is, even the people who only hear about it from their grandparents.

But the people who actually do radio theater want to call it “audio theater” instead. Why? Because people don’t listen to the plays on the radio anymore, they listen to them on CD players, iPods, computers, car stereos, etc.

So in order to be more accurate, they changed the name of the art form to more accurately reflect what it is that they produce.

And lost out on a large portion of their potential audience.

There are still plenty of people who used to listen to radio theater with money to spend, but they don’t spend it on the entertainment form from their childhoods because they don’t know it’s called “audio theater” now. Companies like Decoder Ring Theatre have worked hard to overcome this hurdle by being one of the most progressive and dedicated audio theatre troupes I’ve ever seen, embracing social media and Internet marketing, as well as podcasting. (Full disclosure: Decoder Ring Theatre produced and aired six of my Slick Bracer radio plays this summer.) But a lot of other companies have only seen a fraction of this success, and I believe it’s primarily because of this language disconnect between what is “correct” and what is “best.”

How many times have companies harmed their marketing efforts by insisting people call a term by what they want to call it, not what the customers want to call it? How many times have government agencies lost the respect and credibility they worked for, because someone who knows nothing about public communication insisted the agency use the accurate term, not the best term? How many news programs get laughed at because they try to change the commonly accepted term to something that better suits their political biases?

  • An agricultural equipment company I know calls its products by the term they want to use, rather than the more common term their customer uses. This is evidenced by the 1,200 Google searches for their term, and the 20,000+ searches for the common term. While they may rank well for their chosen term, they don’t rank at all for the term their potential customers are using nearly 8 times more often.
  • When the H1N1 epidemic flu first started, the public was calling it “swine flu,” but the media managed — with a lot of work — to get people to start calling it H1N1, because it was harming the pork industry. But the government agencies wanted to call it the human flu, and flu pandemic. Regardless of what they wanted to call it, the media ignored them
  • Fox News’ insistence on calling suicide bombers “homicide bombers,” as per the Bush White House, made them a laughing stalk among journalists and news watchers.

If you’re not sure whether people are using your terms or theirs, go to Google’s Keyword Tool and put in your term and any industry terms you can think of. See which terms have the most global (worldwide) searches and the most local (US) searches. The ones that win are the ones most people are using, and the ones you should be focusing on.

Update: Deleted “Audio” from “Decoder Ring Audio Theatre” above, because despite being a loyal listener for 5 years, and now a contributor, I still can’t get their name right.

By

Four Language Errors That Make You Sound Pretentious

There are some grammar errors people insist on perpetuating (not you, you’re awesome!). Some are just common errors that we all make. But others are errors people make in the hopes of sounding smarter or somehow official. (Think government talk or cop talk.)

I heard the first error — “an historic” — on NPR the other day, and thought of all media outlets, this one should know better. And it actually annoyed me so much, I not only shouted at the radio — “A historic, dammit! A historic!” — I wrote this post.

So here are four language errors people make that sound a little pretentious.

1) It’s Not An Historic

Just because you heard them say it on the BBC doesn’t make it true. The reason you say “an” anything is if the next word starts with a vowel sound. Not even a vowel — a vowel sound.

An apple. An MBA. An honorable profession.
A unicorn. A universal truth.

Say “historic” out loud. What sound does it start with? “H.” That’s not a vowel sound. Unless you’ve got a cockney accent, you didn’t just say ‘istoric. The only reason you’d say “an historic” is if you dropped the H sound in front of the word.

And since you’re not an 18th century bootblack, you’re going to keep the H and say “a historic.”

2) Bemused is not Amused

This is a tricky one, because “-mused” is the root word. People seem to think bemused is a form of amused, like it made you chuckle or smile slightly.

It isn’t.

Amused means you think something is funny. It means you found it slightly humorous. Bemused means confused or bewildered. It means you’re cocking your head like a puppy hearing a weird noise.

Bemused is not one step above amused. It’s not “more amused.” There certainly will never be “cemused.”

Just remember, bemused = bewildered.

3) You Don’t End Your Sentences With a Preposition EVER

Regular readers know that I hate and despise the “don’t end your sentences with a preposition” rule, because it’s wrong. However, not everyone got the memo, and some people are just mentally locked in to this idea. So I don’t begrudge the people who write this way, because they were bullied into thinking this is correct.

But if you speak that way, it’s like fingernails on a chalkboard.

It makes you sound like you’re trying too hard to be grammatically correct. But even most die-hard word nerds don’t speak like they write. They end their sentences with prepositions. They use slang. They have weird accents. But they don’t try to speak correctly all the time like an overenthusiastic school marm.

The most famous example is Winston Churchill telling an aide who misapplied the preposition rule to a speech, “this is utter nonsense up with which I shall not put.”

If you contort your brain and vocal cords to speak like this, you sound stilted and overly formal.

When you talk, end your sentences with a preposition, if that’s the way you would normally talk. If you’re not comfortable doing it, try to figure out a different way of saying what you wanted to say.

Like adding, “you know?” at the end.

4. Stop Saying “Myself” When You Mean “Me”

A lot of people say “myself,” when they mean “me.”

“Please email your questions to Bob or myself.”

I heard this a lot during my state government days. I think people did this to sound smarter or more official, but it’s wrong, so it negated any effect they were going for.

Using “myself” in most cases is almost certainly the incorrect usage. There are a few times you can use it — as a reflexive pronoun or an intensive pronoun — like “I see myself in the mirror” (reflexive) or “I built the workbench myself” (intensive) but that’s it. You would never use “myself” as the object or subject of a sentence.

Wrong: Give the cookies to myself.
Wrong: Myself baked some cookies.

The best way to see whether or not to use “myself” is to remove the other person — Bob — and see if the sentence makes sense: “Please email your questions to me.”

In this case, “email your questions to myself” just sounds wrong, so you know to use “me” instead.

We’re starting to learn that a lot of our hard-and-fast grammar rules are changing, either because common usage is rendering them unnecessary, or because they were never right to begin with (see #4 above). If you can avoid these, you can feel morally superior to people who make these mistakes in an attempt to sound smarter than everyone else.

I feel that way myself.

Photo credit: ranil (Flickr)

By

15 Social Media Tactics to Promote Your Upcoming Theatrical Show

We just finished the 10-day festival of independent theatre and weirdness known as the Indianapolis Fringe Theatre Festival, and I had a chance to see a few shows, including a couple of old favorites.

I also had a chance to talk social media — because I’m an annoying geek that way — with a couple performers, and decided to write a blog post based on what I told a couple of them.

Didi Panache and Wayburn Sassy of the Screw You Revue

This post is written for any musician or performer, especially the independent theatrical types who depend on ticket sales to make their living. For some of these performers, they bounce from festival to festival and make a good portion of their income from their take. Some even use one festival to pay for the next one.

This is a strategy they can use to improve their take next year.

What You’ll Need

  • A laptop computer
  • A digital camera with video capabilities. If not, your laptop’s camera will do.
  • A Twitter account.
  • A blog (WordPress.com or Blogger.com are great free platforms, as is Posterous.com and Tumblr.com)
  • A YouTube account.
  • A Facebook page. (This is different from a personal profile. You want an Artist’s page.)

What You’ll Do

These are in a general chronological order, but not in a do-one-then-the-next lockstep order. I’m using the Indianapolis Fringe (#IndyFringe) as an example, but this will work for any concert, performance, show, or festival.

 

  • First, make sure your Twitter bio includes a line about the name of your show, or your most famous character’s name. If you only performed in one festival, put the name of that in the bio too. “You may have seen me at the #IndyFringe Festival!” You can always change your bio, especially as you move from festival to festival, or follow specific groups of people.
  • Start following people on Twitter. People will follow you back, especially once they see that you’re a performer at the festival they went to, and even moreso if they were at your show. To find people who were at the festival, do these steps:

 

  • Go to FollowBlast.com and do a search for #indyfringe, and follow anyone using that term. Keep in mind that these hashtags only work for about 30 minutes, so it’s actually a good idea to access this site while you’ve got some downtime at next year’s show.
  • Build a hashtag archive at TwapperKeeper.com. I’m still trying this out, but I’m hoping it will collect old hashtags, unlike FollowBlast.com. However, it only goes back 7 – 10 days, and back for 1,500 tweets. It will then go forward and continue to save tweets. You should set this up before your next festival starts. Work in conjunction with the festival organizers, because they may want to use your archive as well. Also, before you start, search to see if anyone else set up an archive before you so you don’t duplicate efforts.
  • Go to search.twitter.com as another way to search for #hashtags. Put in #indyfringe and see what you can find. Search results are somewhat limited, but you may be able to find older tweets that FollowBlast and Twapper Keeper couldn’t, especially if you’re seeing this now, and are scrambling to recover those old tweets.
  • If all else fails, try Topsy. It’s not 100% accurate, but it gives you more than you might get if you’re looking for a festival that ended three weeks ago.

 

  • Check out the festival organizer’s Twitter page and follow everyone they follow (not everyone who follows them). If they have been good Twitter stewards, they have vetted the people they’re following. Those people will include other performers, supporters, festival-goers, and other people in the industry or festival business. (This last group could be a good connection to getting into other festivals!) Do this with any festivals you plan on going to next year as well.
  • Use Twellow.com and Twellowhood.com as a way to find other people who are in the cities where you’ll be next year.

  • Why You’ll Do It

    Okay so far? You’ve built your Twitter list for a very important reason: Promoting stuff! You’re going to promote next year’s show through videos, your blog, and even email newsletters. Here’s how.

    Zan Aufderheide of Welcome to Zanland
    • Now you need your camera. Start shooting some short videos. Update us on what you’re doing, where you’ll be, thoughts on stuff you did this year. Treat it like a diary. If you’re an actor playing a part, do it in character, especially if that character is going to be back at the festivals next year. Shoot the videos in character, or tell some jokes, or give people a preview of what you’ve been working on. Shoot some rehearsals, some special messages to individuals, or perform a new song.
    • Post those on YouTube.com (make them public), and make sure you fill out all the details, like Title, Description, etc. (all this stuff is indexed by Google, which makes your videos found more easily by people searching for you or the festival).
    • Share these videos on Twitter and your Facebook page, and post them to your blog (do the same with any photos you take). This will accomplish a lot of pre-show promo before you ever set foot in the city. And if you can get people buzzing about the show before you start, you’ll be selling out more shows.

    You can get a Flip camera for as low as $170 now, and if you think that’s still high, use the money you were going to spend on fancy-schmancy postcards and spend it on the camera instead. The postcards are immediately dated once the festival ends, and you can’t reuse them. The video camera will pay for itself with all the videos you shoot and the postcards you don’t buy.

    Finally, there are a few things you want to do next year, to get ready for the next off-season.

      • Build a mailing list of all your attendees. Send around a clipboard before your show begins, or have them sign up before they leave. Ask people for their HOME email, not their work email — especially if your show is laden with profanities and cross-dressers. Guard this with your life. Promise to never, ever spam them. Use it only for newsletters and occasional social media communication.
      • Load that list into a Gmail account (here’s why you should use Gmail), and then either use the Rapportive.com Gmail plugin, or upload the email list to Gist.com, to start finding where your list members can be found on the different social media networks. Follow them on Twitter, and connect with them on Facebook.
      • Send out an occasional newsletter — no more than once a month — and email it to them. Let them know what you’re working on for next year so they get excited about your upcoming visit. Give them an opportunity to unsubscribe, but try to give them useful information so they won’t want to.
      • Use your video camera to shoot post-show testimonials and get them up on your blog as soon as a show ends. Tweet the new blog posts to your Twitter network during the show, so you can continue to remind people you’re there and you’ve got an awesome show. Ask your Twitter network to retweet your show information, so they can help you spread the word.

    There is so much more you can do with social media. Believe it or not, this is just scratching the surface of what can be done. But while it seems overwhelming, keep in mind two things:

        1. This will get easier as you do it more often.
        2. It beats the hell out of busking and handing out postcards in 90 degree heat.

    Photo credit: Erik Deckers

 

By

Crisis Communications Needs Social Media to Be First, Be Right, Be Credible

Crisis communications has one overriding mantra, one foundational principle that drives every emergency they respond to: “Be first. Be right. Be credible.”

If you’re not first, you’ll spend your time playing catch up for hours, days, or even weeks.
If you’re not right, your mistake will be repeated, or worse, cited as the truth.
And if you’re not first or right, you will never, ever be credible.

Crisis communication — also called CERC, or Crisis Emergency and Risk Communication — is what emergency first responders use to communicate with the media and the general public. It’s how the health department communicates warnings and updates during a public health emergency. It’s how Homeland Security communicates with the public during a terrorist attack.

CERC, compared to corporate crisis communications, is all about getting the right information out as soon as possible, and being seen as the source for news and information about an incident.

But it’s not happening anymore.

Five years ago, it was enough to just email a press release — which had been approved by a committee — to the mainstream media. Then you answered media calls and arranged interviews. You didn’t communicate with the public, you communicated with TV and newspapers.

But the definition of “the media” has changed. Today, anyone with a smartphone and YouTube is a TV journalist. Anyone with a smartphone and Facebook is a photojournalist. Anyone with a laptop and a blog is a newspaper reporter. The citizen journalist is the person with news to share and a way to share it. Quickly.

This makes the mainstream media crazy.

Not only are the citizen journalists breaking news before the media, they are becoming the first, right, credible sources of information, not CERC.

These days, news is coming from the people who are on the ground. They’re repeating everything they hear and see, and everyone else is passing it on.

CERC communicators need up-to-date technology if they’re going to stay up to speed. They need access to the various social networks if they want to reach the public. Using 4-year-old Blackberries and laptops is not enough anymore. And letting IT block all access to social media networks only makes the problem worse.

(I’ll save the discussion about why IT should not be involved in communication issues for another time.)

If CERC communicators want to stay on top of a situation, rather than being third in the race, they need to remember their roots. They need to use the technology that will make them first. They need to learn how to be right without committee approval.

Because until that happens, they’re not going to be credible.

By

Social Media Crisis Communication Lessons Learned from Indiana State Fair Stage Collapse

At least 4 people died and 40 people were injured when a stage collapsed at the Indiana State Fair before a Sugarland concert as part of the State Fair festivities.

As I flip around the three main TV stations (I have forgotten to check out WXIN, Indianapolis’ Fox affiliate), and watch Twitter, I’m amazed by the level of activity I’ve seen on Twitter. I’ve also seen some things happen with social media crisis communications that I never dreamed would happen when I was in that role at the Indiana State Department of Health. Other things I have seen (or not seen) don’t surprise me one bit.

  • The main sources of news are the four main news channels here, WTHR (NBC), WISH (CBS), WRTV (ABC), and WXIN (Fox), and the Indianapolis Star (@IndyStar). Several people are retweeting news they see on TV. Nothing is coming from any of the official channels, and TV stations are left to interview witnesses and replay the same cell phone videos over and over. One station looped the same video at least 14 times in 10 minutes.
  • Officials have been asking people to update their Facebook pages and send tweets to let loved ones know they’re okay. The cell phone towers were jammed, especially as first responders were also using cell phones, and people weren’t able to call in or out. A friend, Elizabeth, was searching for information on one of her friends, Jenn, and finally received word that she was okay, a la her Facebook page.
  • The first response agencies have done or nearly nothing with social media (compared to the London police, which updated people about the status of the riots via Twitter).
    • The Indiana Department of Homeland Security (IDHS)* has a Twitter feed, but has not updated it since August 8th. Their Twitter feed reads more like a list of press release announcements.
    • Mayor Greg Ballard’s Twitter feed has basic announcements every 30 minutes.
    • The Indiana State Police never even mentioned the tragedy, and the Indianapolis Metro Police Department haven’t updated since June 5.
    • The Indianapolis Department of Public Safety (@IndianapolisDPS) was providing basic information via their Twitter feed.
    • Other than @MayorBallard, there was nothing from official channels.

    While I don’t expect these groups to give us a minute-by-minute update via Twitter, if they are involved, they should be communicating with the public, even if it’s to tell people to tune in to local news for more information. If they’re not involved, they should at least refer people to the proper agency.

  • The first rule of crisis communication is to “Be first. Be right. Be credible.” The very agencies that people are depending on for this information were not. And now that social media has become more prevalent, the days of depending on emailed press releases written by committees and regularly rescheduled press conferences are way over (a press conference was originally scheduled for midnight, and then rescheduled to 1:30 am. But they could have kept the news media up to date with occasional tweets and quick blog posts).
  • I’m struck by the irony of the authorities asking people to use social media to give updates while they barely use it themselves. Hopefully this will convince the first response authorities start to use it themselves.
  • When I was in crisis communication, one of our roles was to respond to and squelch rumors and bad information. Not only was there not any of this happening from official sources, like IDHS, Indiana State Police, or even the Indianapolis Police, it was the Twitter users who were correcting information. This represents a major shift from who is the trusted source of news: social media has just shown that it’s the people, not the authorities.
  • The crisis communicators responding to crises like these need to start including social media in their own responses. Not only can they get news out to the public, they can respond to rumors and bad information immediately, squelching it, and getting out good information instead.
  • The news media would be smart to start streaming their news programs on their websites during emergencies like this. I was communicating with people in Chicago, Alabama, and even Toronto about the incident. All I’ve been able to do is send them to stories on sites, but they could watch this live if the stations would stream their emergency news broadcasts.
  • People on Twitter are affecting the news coverage, or at least are being heard. At one point, WTHR had shown the collapse of the stage (via a cell phone video) more than 14 times in 10 minutes. Shawn Plew tweeted this fact, and @WTHRcom responded and said they would mention it to the producers.
  • One of the reporters from WISHTV (the CBS affiliate) downloaded different videos from YouTube to his computer, so he could play them on screen with a double-click, rather than worrying about streaming from YouTube itself. He’s using a large screen TV so we can see the videos more easily.

If you’ve ever had any doubt about the need for a smartphone, or the power that citizen journalists wield, know this: all of the footage and images that all the newscasts are showing, and the ones that the national news outlets will be playing over and over, came from people and their smartphones. Not news cameras recording the aftermath of an event, but real action shot by real people who were on the scene.

Most of the information people were getting via Twitter was coming from anyone who was discussing the event, watching it on TV and passing word along, or even listening to the live stream of the scanner traffic online.

Once again, social media has broken the news, and gotten images out before the news broadcasts could. That’s not an indictment of the mainstream news, it’s a testament to the power of social media and citizen journalism. But it should show government agencies and corporations that they can no longer rely on traditional media to break the news or even discuss the story.

*The IDHS coordinates the efforts of the Indiana Police Department, emergency managers, fire departments, and other first responders. They would sometimes be involved in a large-scale event like this, even in an advisory capacity.

By

No Bullshit Social Media: One Jujuflop Away from Civil Collapse

There’s a great piece of narration from the Hitchhiker’s Guide to the Galaxy that talks about how certain words, which were once distasteful and unspeakable, are now perfectly acceptable to say.

Like “jujuflop.”

In today’s modern Galaxy there is, of course, very little still held to be unspeakable. Many words and expressions which only a matter of decades ago were considered so distastefully explicit that were they merely to be breathed in public, the perpetrator would be shunned, barred from polite society, and, in extreme cases, shot through the lungs, are now thought to be very healthy and proper, and their use in everyday speech is seen as evidence of a well-adjusted, relaxed, and totally unf**ked-up personality.

So, for instance, when in a recent national speech, the financial minister of the Royal World Estate of Qualvista actually dared to say that due to one thing and another, and the fact that no one had made any food for awhile and the king seemed to have died, and that most of the population had been on holiday now for over three years, the economy had now arrived at what he called, “One whole juju-flop situation,” everyone was so pleased he felt able to come out and say it, that they quite failed to notice that their five-thousand-year-old civilisation had just collapsed overnight.

I feel that way about No Bullshit Social Media, the book I wrote with Jason Falls. I’m not embarrassed by the title. I’m only worried that this is America’s jujuflop: 1) That no one is shocked by the title because we’ve all heard and said worse, and 2) that everyone is so pleased to see it in print that they fail to notice everything else has collapsed around them.

I can’t remember whose idea the title was, but when we pitched it to our editor, Katherine Bull (@katherinebull) and her department, there wasn’t a whole lot of pushback on it. There was some concern over what some of the bookstores might say, but they were all “meh” about it, so we knew we were golden.

I’m proud of the “No Bullshit” title and I’m proud of the work. There’s no question about that (although I won’t let my kids repeat it). And I know there are still some people who, despite my best efforts, will not speak or even write out the name of the title, despite my entreaties that they should honor the literary integrity of the book’s title.

(I actually respect them for this. But that doesn’t mean I’m going to quit trying to get them to say it.)

We picked the title, because that was the only way to describe the approach we were going to take in the book. That, and because we thought Gary Vaynerchuk might want the title . . .And The Horse You Rode In On for his next book.

So, don’t worry about whether you like the title. If you don’t believe social media is right for your company, you need to read it. You don’t have to say the name, you just have to read the book. This book is for you, whether you like the title or not.

No Bullshit describes the approach and it describes the attitude. We’re not going to snow you with lilting chants about “be a part of conversations with your customers” or other tree-hugging hippie bullshit, as Jason calls it. Social media marketing is about the bottom line. About making money. About finding a way to turn this free marketing channel into one that brings in revenue.

Because the executives and business owners who pooh-pooh social media as a passing fad or merely for young people are missing out on a chance to make more money, win new customers, and ensure their company’s very survival.

And that’s no bullshit.