Social Web Advocacy: Do’s and Don’ts

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A canvasser knocked on my door last night to sign us up for a petition in a community clean water campaign.  On the same day, I got an email link to a new candidate’s YouTube Senate campaign video. Both campaigns offer case studies for things to do and those to avoid in issue advocacy.

An engaging, passionate, and very cold (it was below freezing outside) canvasser made a great case for lobbying our county council against development along Ten Mile Creek, which eventually makes its way into the Potomac. We asked for more information and he left us with a printed fact sheet. I wanted more information so I emailed a friend who works at an environmental organization and he asked me for the sheet. That’s when the problems began. I couldn’t find the talking points anywhere online–not on the organization’s web link provided, not anywhere on its website, not by Googling it.  Having a physical person come to my door to sign me up for the petition was great. No one loves those telemarketer phone calls–even for a good cause. And he was able to engage in more in-depth conversation about the issue. But the handout was too long (front and back of a page!) for today’s short attention spans and there was no way to share it other than scanning it. The website doesn’t feature any way to Tweet, promote on Facebook, or otherwise connect socially to this campaign–boo hoo.

Takeaways: Handouts are great. Emails are even better, with web and social links. But all physical page handouts should include easy ways to share the content in social forums.

The next campaign came via email. Shenna Bellows is running for Senate in Maine and looks like a great candidate from her YouTube campaign video. I love the personal interviews and the way they cut together people looking straight to camera to convey the variety of her prospective constituents. What I HATE HATE HATE (can you tell I hate it?!) is how she is reading “off-axis” from a teleprompter. Don’t get me wrong, I’ve had to do this reading from prompter thing. But the axis is entirely too severe to be believable as an interview setup. [Insert shameless self-promotion here:  See my Lynda.com Art of the Interview class for more on best interview setups.]  It would have been better to cull these points during a real interview. Or to just do the prompter-over-the-camera and have her deliver straight to the audience. Either way, the great techniques of the rest of the spot are undermined by this rookie mistake.

Takeaways: Real people, real interviews are key to believability in social web.

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Art of the Interview: Making Personal Stories Work

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For mission-driven nonprofits, telling stories–obstacles to overcome, successes won–can be one of the best ways to show people you are delivering on the mission.  Human stories compels viewers and listeners in a way that other communications just don’t.   But if you’ve ever had to interview someone–whether for a podcast, video or audio program–you know that drawing out the best story can be difficult.

So I’m pleased to announce my new course on Lynda.com–taught with my good friend and colleague Rich Harrington– called the Art of the Video Interview (we also cover audio-only interviews).   We’ve put our years of experience into this practical course, and cover everything from location scouting and interview preparation, to how to build rapport with interviewees, what equipment to use for audio-only interviews, getting the best interview out of difficult subjects–people who are subject matter experts, young children, couples. And finally, we address all the things that will help you prepare for a better edit–including how to minimize narration and using transcripts effectively for workflow.  We had a lot of fun putting together this course, so I hope you enjoy it!

 

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Fall Checklist

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Coming up next month, I’ll be speaking on two topics near to my heart: how to develop a personal “brand,” and how to design video projects for a longer, multi-platform life span.  Both of these issues are front and center as we all launch back into fall busy-ness. I find the need to re-assess my workflows and systems, to accommodate new technologies and new platforms for production and distribution. It’s also important to  keep building our professional reputations–often across those same social media platforms.

I’m also excited about my upcoming class The Art of the Interview, to be available on Lynda.com. Watch this space for more details and free preview links!

October 9 – Brand U: The Art of Personal Branding Networking Consortium, Washington, D.C.

October 17 –  Repurposing Your Video Content: Efficient Workflows & Strategies Interagency Visual Media Group, Bolling Airforce Base IVMG Conference

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Big Data and Social Change

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Sky at Sunset With whistleblower or traitor (take your pick) #edwardsnowdon in the news this week, everyone’s talking about our government collecting Big Data.  But guess what? Google, Verizon, Facebook, CVS Pharmacy, Giant, Safeway and all the rest have been doing the same thing all along. The difference is this: these companies are monetizing our habits, but we aren’t.  Hey come on, people, why do you think Facebook and Google and Linked In are free?! At least the local pharmacy and grocery store offer me discounts in exchange for my personal buying habits. Jaron Lanier’s thoughtful and interesting article in the New York Times this week Fixing the Digital Economy got me thinking. He talks about how we could build a new, robust middle class if we stop giving away all our personal data for free, and letting only big players and their investors reap the rewards. (Ironically, Facebook’s investors aren’t rich enough yet.)

But what if Big Data could move the needle even more, and not just benefit the middle class? What if it could change the world for the seemingly permanent underclass?

Nonprofits need to start harnessing Big Data to serve mission-driven outcomes.  Only that can topple this robber-baron economy we have created. In a knowledge-based economy, it’s important to know what people are thinking and doing. And if you’re selling change, that becomes even more critical.   In fact, collecting and understanding data is really just another way of looking at and telling your Mission Story. (Sidebar: fabulous blog post about mapping data and storytelling by @eSpatial–I now reveal my wonkiest side!)

Of course correlation and causation are two different animals–just because most axe-murderers drink milk doesn’t mean milk turns you into an axe-murderer! So you need quantitative data–real people collecting real stories of what is happening in the field–to know the difference. And you don’t just want to collect data on your own programs; you need to know who else has tried certain approaches to the very same issues your nonprofit is working on–whether it’s homelessness or environmental degradation or education for girls in Africa.  Organizations are turning to tools like Flux or Social Solutions or a mapping tool to build their own data–even while they are out in the field changing the world. But collective data-sharing would be even more effective, and less costly wouldn’t it? It’s the direction in which the philanthropic and nonprofit sector is moving and I think really must move to be effective.  Places like Global Impact Investing Network and others are already doing it. More should follow. And every nonprofit umbrella association can be doing the same.

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4 Essential Tools for Your Brand Story

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Sky at Sunset 1. Compelling Images.  Photos have been proven to increase click-through rates, and video is a highly searched medium on the web. And most organizations have access to digital photography, and even can make their own video clips. But one of the downsides of the digital revolution is Volume. When helping organizations produce effective multimedia outreach, I’m often faced with trolling through literally millions of photos that an organization has taken during various events in order to find the ones that might be effective in a marketing or fundraising video. Try to have someone go through images as soon as they are shot—or have the photographer curate them and only send you the best selects. Consider opportunities to crop and focus on what really conveys your mission, who you serve and how you do it. Here’s a great resource on how to design and use still images more effectively, from Georgetown University’s Center for Social Impact Communication (CSIC)

2. Compelling People. Personal stories are one of the best ways to connect an audience to your content. But getting authentic video interviews can often be challenging, even for experienced interviewers, if you are forced to conduct interviews in a conference room or other impersonal space. So your interview technique is critical. In my Art of the Interview classes, I go in depth on some of the tools of the trade, but here are a few areas to focus on:

-Build rapport at the start of the interview—preferably before the person walks in, by conducting a phone pre-interview. But worst case, chat with them before they come into the room with all the lighting and cameras.

-Memorize your questions so you can maintain eye contact at all times with your subject

-Create a “story arc” so that there is a beginning, middle and end to your questions, and both you and your interviewee have a satisfying conversation

-Don’t interrupt—with your voice. Rather, if an interviewee is going on too long, you can break eye contact and get a little squirmy. This will let them know they need to stop, without ruining your audio track for editing.

4. Cross-platform Story Strategy. When starting a communications project, consider different iterations that could help different communities you can reach through different mediums. You might tweet a great photo of a successful well-digging project in Africa. A video clip of the same project can be posted to Youtube and your Vimeo channel.  If you can boil your story down to 6 seconds, consider Vine–the new app for iPhone (promising to be released soon for Android) that allows you to make and post mini-videos. (Here’s a good explanation of how to make this platform work from @Mashable.)  An extended video of how the project came about, with interview clips from the well-users can be showcased at your annual meeting. A teaser 20-second clip can become an email embed for a fundraising campaign. The list is as endless as your imagination and your ability to organize and plan at the Outset of production. You can make a planning form like this ADeLouiseStoryPlanDoc when mulling all the possibilities for a project.

4. Organized Media Assets. Cross-platform storytelling is all well and good, but the problem is often wrangling all those image assets from multiple sources throughout your organization. Most DSLR’s (and even many prosumer video cameras) will create non-unique and sort of gobbledegook (technical term) labels for your images that don’t tell you anything about them. Lovely stuff like IMG_4033 and DSC1050.MOV. You can use a number of software systems to batch rename your files so that they include the original name, but also some useful information such as the date shot and the initials of the photographer/videographer.

Adobe Bridge is a handy batch renaming and organizing tool. It comes with Adobe Creative Suite and can work with your photo and video assets too.

If you need something free, you can try the Amok Exif Sorter, which I haven’t personally used but comes with high marks from the “Mythbusters” guys.

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10 Reasons to Hire a Pro for Your Next Photo or Video Shoot

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Red Wheel

  1. Results– A professional video producer or photographer is only as good as her last happy client. The focus is always on what will make your message most compelling, effective and memorable.
  2. Knowledge– Professionals need to know how to work with a wide range of technical tools  and creative techniques. A professional keeps up with new developments in everything from lenses and cameras to font design and animation trends—all to know the best equipment and techniques to tell your story with impact.
  3. Releases—There are Rights of Privacy and Rights of Publicity to consider—among others—when doing a photo shoot, even when it is on your own company’s property. A professional photographer or video producer will know what releases are needed for your project.
  4. Liability— Professionals carry liability insurance to cover any property damage during your photo or video shoot.
  5. Gear — Professionals have the right equipment to get your job done, even if there are variables like a sunny day turning cloudy, or a sudden change of location (which may change the lighting and sound environment).
  6. Efficiency— Professionals are experienced at working in “real world” environments, and will know how to design the shoot for minimal disruption at your workplace or event.
  7. Budget – Professionals document the scope and cost of each job. They work to stay on budget and inform you immediately if a change will alter the price.
  8. Copyright— Professionals understand copyright law and how it impacts the use of images and music. Ignoring these laws can cost you much more than the price of your professional hire.
  9. Customer Focus— Professionals treat you, your staff, your vendors and your clients with courtesy and respect.
  10. Deadlines — Professionals meet deadlines.

Thanks to the American Society of Media Photographers website for inspiring this post with their great list.

 

© Amy DeLouise and Amy’s Brand Buzz, 2013. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Amy DeLouise and Amy’s Brand Buzz blog with appropriate and specific direction to the original content.  Video content may be copyrighted by others and may not be used without written authorization. Seriously.

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Are Some Kids Branded Academic Losers?

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thumbsdowniconIf failing finals is an indicator, then they are. In my county—with some of the highest-ranking schools in the nation—we just learned this shocking data  : 61% of our high schoolers failed Algebra 1, 62% failed geometry and 57% failed Algebra 2.  Wow. The thinking goes that since these are the “on-grade-level kids” (aka “losers” in our lovely system), they are less motivated to study than their “above grade level” peers, and therefore more likely to fail. But look at the  stats we are presented with for these supposedly more motivated kids taking honors courses: Geometry: 36% fail; Algebra 2: 30% fail. Seriously?

Here’s my worry:  too much relying on testing, which feeds into kids getting branded as certain types of students, which leads to their loss of self-confidence, which is then fed by not receiving the best possible teaching.

On a personal level, we got a little dose of this with our high schooler.  One semester, his (young and inexperienced) math teacher refused to take questions in class because she couldn’t do this and still get through all the to-be-tested material.  A previously favorite subject suddenly became a world of lost confidence. We were lucky enough to be able to work with a tutor, who answered questions and offered the missing support.  And the result was our student did just fine.  But while he was struggling, the guidance office–where we were already signing up for the next year’s classes–was already ready to demote him to the dreaded “on grade level,”  suggesting he couldn’t hack math. Fast forward to a new math teacher in the next semester who was more experienced and fielded questions in class, and voila, test scores improved.

How many other kids is this happening to every day? Probably plenty.

At a national education conference, I interviewed Salman Khan, the founder of Khan Academy . He shared his theory about how kids get branded as certain types of students and what we can do about it.  You can watch his video answer to my questions here…

Khan’s ideas have been revolutionary in changing the school systems that have adopted his platform.  One of the many changes his method has brought about is the “flipped classroom”—that is, where teachers let kids work on material in advance, often using technology to access tools and materials. With the outcomes of this work (Khan can provide metrics), teachers learn what their students’ strengths and weaknesses are BEFORE they plan their lessons, then plan and teach accordingly.  Children who need more work in a particular skill can then continue to do that work both inside and outside the classroom. That way, more students gain mastery of the material, the teacher becomes a guide rather than someone spouting facts, and students learn strategies they need to overcome challenges in the subject matter.

Wouldn’t it be great if my county could get on board with this new approach to helping children succeed as lifelong learners?!

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The “Foreign” Brand

As we focus on Tsarnaev brothers, their country of origin, and if we should worry about threats from other ethnic Chechens, I’m reminded of my Italian ancestry and two terrible legacies when our nation branded Italian immigrants and Italian-American citizens as “traitors.”  One is the still mostly unknown internment of Italian-Americans during World War II. In September 1939, when Britain and France declared war against the Axis nations of Germany and Italy , President Roosevelt asked FBI Director Hoover to compile a list of people to be arrested in case of national emergency. The authority for these arrests was based on the 1798 Alien and Sedition acts, which gives the government power to detain aliens in times of emergency. By June of 1942, the total reached 1,521 Italian aliens arrested by the FBI, many

Alien Registration Card required for people of Italian origin during World War II

Alien Registration Card required for people of Italian origin during World War II

simply for curfew violations, with hundreds sent for up to two years to military camps in Montana, Oklahoma, Tennessee, and Texas. In Fort Missoula, Montana, these American citizens joined 1,000 Italian nationals who had been interned there since May, 1941. [American-Italian Historical Association, and the book Una Storia Segreta: The Secret History of Italian American Evacuation and Internment during World War II]. Given that most of these people lived in east coast cities, and many of them had family members fighting in the American Armed Forces, the shock and sense of betrayal of dislocation was significant and lasting.

But the precedent for unfair treatment of Italian immigrants had actually been set decades earlier, with the famous—or should I say infamous—trial of Ferdinando Nicola Sacco and Bartolomeo Vanzetti, anarchists accused of armed robbery and executed in 1927. It’s too long a story for this blog, but the short take is the public was afraid of these foreigners, and partly for good reason. Two days after they were indicted, an anarchist sympathizer—also Italian— allegedly orchestrated the Wall Street Bombing, where  a time-delay dynamite bomb packed with heavy iron sash-weights in a horse-drawn cart exploded, killing 38 people and wounding 134. [Wikipedia, relying on Paul Avrich’s book Sacco and Vanzetti: The Anarchist Background] Sounds eerily familiar, doesn’t it?

Sacco and Vanzetti trial protest

Sacco and Vanzetti trial protest

There were no questions that Sacco and Vanzetti were members of an anti-government, militant organization. But there have been ongoing concerns about the fairness of the trial. Historians and legal scholars agree that anti-Italian, anti-immigrant prejudice affected the way the trial was conducted, and ultimately the outcome. And in 1977, Massachusetts Governor Michael Dukakis issued a proclamation to that effect, declaring “any disgrace should be forever removed from their names.”

Today we love our Italian brands. Ferrari and Fiat. Ferragamo and Fendi. But in the new normal, when we are under a constant state of threat, a foreign name or heritage that is as unfamiliar today as “Italian” was in the last century, can be a negative brand that is hard to overcome, even in a country founded by immigrants.

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Musings from #NABShow

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I’ve been giving workshops and hanging out at NAB (National Association of Broadcasters, for those of you who aren’t in this field).  Three questions I think worthy of consideration (and future blog posts by moi):

–Are ubiquitous digital tools causing us to overshoot photos and video (well, yes), thus making workflow overly focused on dealing with quantity as opposed to creative and quality…and what are we going to do about it?

–How are issue advocacy nonprofits leading the way in terms of the convergence of multi-platform media and communitiy-building, and what can the rest of us learn from them?

And a question for those of you here in Vegas: What’s the coolest “new thing” at NAB that will change the way we think and work creatively? Comment below!

(Shameless plug: See the post before this if you want to come to some of my remaining sessions!)

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