Listener Mailbag & Season 2 Teaser: Episode 108: STORY + AUDIENCE podcast
In the last episode of the season, screenwriter Jill Golick and I answer some great listener questions like how does creating kid's content affect the STORY+AUDIENCE approach & what are the biggest mistakes made in both story and audience development. We also share some of our ideas for Season 2 and invite others to join our conversation.
ALSO, check out my latest project: the Storypreneur Working Group 2020. Call for submissions is now open. Learn more &/or submit by July 1, 2020
Mentioned in this episode:
Please rate & subscribe on iTunes, Google Podcasts, Stitcher, Spotify or wherever you like to get your podcasts. And share our story with YOUR audience on the social media platform of your choice!
You can also send your thoughts, questions & suggestions for Season 2 of STORY+AUDIENCE to both of us at STORYplusAUDIENCE@gmail.com
NB: You may have to refresh this page to see the embedded player below, or you can also find the podcast here: storyplusaudience.buzzsprout.com
Your Fandom & the Power of Data: Episode 107: STORY + AUDIENCE podcast
In this second last episode of the first season, screenwriter Jill Golick and I look at the "care & feeding" of the audience (and the storyteller) through the power of data. For this week's homework, Jill and the listeners will dig into the analytics of their website and social media to figure out what is working and what is not and stopping the latter.
Mentioned in this episode:
Please rate & subscribe on iTunes, Google Podcasts, Stitcher, Spotify or wherever you like to get your podcasts. And share our story with YOUR audience on the social media platform of your choice!
You can also send your thoughts & questions about STORY+AUDIENCE to both of us at STORYplusAUDIENCE@gmail.com
Discoverability: Episode 106: STORY + AUDIENCE podcast
In this sixth episode, screenwriter Jill Golick and I explore how to use the STORY+AUDIENCE approach to help you and your creative work get found more easily online. This is about more than appealing to the algorithms of the search engines (by using search engine optimization) and includes thinking strategically about social sharing and the first few minutes of your television show, web series or film. I encourage Jill and the listeners to revisit the homework from episode 103 and gather more data on what language to use and what to share where.
Mentioned in this episode:
Also check out my recent blog post for some specific basic & advanced search engine optimization (SEO) tips
Please rate & subscribe on iTunes, Google Podcasts, Stitcher, Spotify or wherever you like to get your podcasts. And share our story with YOUR audience on the social media platform of your choice!
You can also send your thoughts & questions about STORY+AUDIENCE to both of us at STORYplusAUDIENCE@gmail.com
Fandom 101: Episode 105: STORY + AUDIENCE podcast
In this fifth episode, screenwriter Jill Golick and I explore the concept of fandom and how to write scripts that inspire & invite these superfans into your storyworld. The homework this week is to walk in the shoes of fandom and for listeners to find existing fan influencers, conversations and communities that align closely with their own work.
Mentioned in this episode:
And for another perspective, read this article: Superfans: A Love Story
Please rate & subscribe on iTunes, Google Podcasts, Stitcher, Spotify or wherever you like to get your podcasts. And share our story with YOUR audience on the social media platform of your choice!
You can also send your thoughts & questions about STORY+AUDIENCE to both of us at STORYplusAUDIENCE@gmail.com
Career Building: Episode 104: STORY + AUDIENCE podcast
In this fourth episode, screenwriter Jill Golick and I discuss how writers and other creatives need to grow their own audiences. Jill explores how she can use the tools in her writer's toolbox to create an online version of herself, a persona, to only share as much of her life as she strategically needs to and I challenge her to use what she's learned so far in some very practical and applied ways.
Mentioned in this episode:
Please rate & subscribe on iTunes, Google Podcasts, Stitcher, Spotify or wherever you like to get your podcasts. And share our story with YOUR audience on the social media platform of your choice!
You can also send your thoughts & questions about STORY+AUDIENCE to both of us at STORYplusAUDIENCE@gmail.com
Development: Episode 103: STORY + AUDIENCE podcast
In this third episode, screenwriter Jill Golick and I discuss how the research many writers do during the development phase for their scripts, can be deepened and repurposed for strategic audience development (and which can probably start earlier than you think). I also give everyone a long list of free tools and a process for enhancing the research for your writing to help find your audience
Mentioned in this episode:
Please rate & subscribe on iTunes, Google Podcasts, Stitcher, Spotify or wherever you like to get your podcasts. And share our story with YOUR audience on the social media platform of your choice!
You can also send your thoughts & questions about STORY+AUDIENCE to both of us at STORYplusAUDIENCE@gmail.com
The Power of Specificity: Episode 102: STORY + AUDIENCE podcast
In this second episode of our podcast, screenwriter Jill Golick and myself discuss the power of specificity and how it can help increase the authenticity of your story and the effectiveness of your audience development. I also give Jill and the listeners homework and a process that will help segment specific audiences for a story.
Mentioned in this episode:
Please rate & subscribe on iTunes, Google Podcasts, Stitcher, Spotify or wherever you like to get your podcasts. And share our story with YOUR audience on the social media platform of your choice!
You can also send your thoughts & questions about STORY+AUDIENCE to both of us at STORYplusAUDIENCE@gmail.com
Announcing the new STORY + AUDIENCE podcast
I am so excited to finally announce the release of a new podcast I have been working on for a few months with my colleague & brilliant writer friend, Jill Golick. The launch got delayed slightly because of, you know, a world pandemic, but here it FINALLY is!
The first season is eight episodes long with a new episode being released every week starting this week. So, without futher ado, I give you STORY + AUDIENCE with Jill Golick and Annelise Larson.
“Screenwriter Jill Golick and digital marketing strategist Annelise Larson invite you to join their conversation about creating stories that connect deeply with audiences and how to use that connection to build a long-term career as a storyteller (especially of film, TV, web series and other screen based stories). Each episode will include practical, applied homework for writers and other creators to start to develop their own STORY + AUDIENCE strategy.”
In this first episode, Jill & I discuss the inspiration for this podcast series, which episodes we are looking forward to and I give everyone their first homework assignment.
You may have to refresh this page to see the embedded player above, or you can also find the podcast here: storyplusaudience.buzzsprout.com
Please share, like, follow & subscribe on your podcast platfrom of choice (it may take a few days or even weeks for it to populate) and send your thoughts & questions about STORY+AUDIENCE to both of us at STORYplusAUDIENCE@gmail.com
My #DigiCanCon Thoughts: Audience, Data & Diversity
The federal consultations on Canadian content in the digital world (#DigiCanCon) are winding down, and I have been very interested in the discussions happening across the country. I have found them both frustrating and inspiring and feel driven to add my thoughts to this important conversation. Here are some of the questions and answers I have been mulling over:
First of all, how could my input help?
I have been lucky enough to work with many Canadian and international content creators of film, television, web series, narrative apps, transmedia experiences and games. I have developed and been involved with the implementation of digital marketing and audience engagement strategies for many of these projects and have researched the online space and consumer behaviour from this perspective extensively. It has given me insights that could be invaluable as the Canadian government tries to figure out how to “strengthen the creation, discovery and export of Canadian content in a digital world.” I have some definite arguments about what makes CanCon viable, the value of audience, how niche global strategies are key to the future, and how Canada, perhaps more than any country in the world, has everything it needs to take advantage of these digital opportunities.
First real question, what the heck is VIABLE Canadian content?
The word “viable” has come up in the documentation provided by the government as well as in the online conversations around #DigiCanCon, although I would argue not as often as it should. What is viable Canadian content or, for that matter, a viable creative economy, business model or career? The answer to this question or questions is far from simple.
However, at its core, the answer to the viability question for every CanCon creator is that they need to have an audience for their work and that hopefully they can make a living from their creations (for which an audience is key). In our government-subsidized content ecosystem, the revenue model for creators has often had more to do with triggering public money than about finding an audience or generating revenue directly from growing that audience. While we should be grateful to have this kind of public support for creative work, it has insulated our creators from current market realities significantly.
Our existing funding system for media incentivizes plugging into the old model of broadcast television, theatrical distribution and film festivals, a model that is out of touch with the way most consumers demand their content in the digital world. The reality is, the audience has never been more empowered and creators, funders and traditional gatekeepers need to understand them better than ever or risk becoming obsolete. The digital audience holds the key to the future and there is lots of opportunity for those who understand their digital audience best.
OK, so what do we need to know about the digital audience?
Here is a re-iteration and update of some of the observations I have made in the past about the digitally empowered audience:
Audiences are the new gatekeepers. We are living in an age of content abundance, and there is no putting that genie back in the bottle. But while the amount of content continues to grow, there are still only 24 hours in each day. The one thing, perhaps the only thing, that is in short supply is audience attention. Content consumers are unbelievably empowered in the digital world by the amount of choices they have for their free time and their control over their attention. For this reason, every marketing and engagement strategy needs to be led by deep knowledge of its target audience(s) and there is no one-size-fits-all.
Audiences are VERY impatient. We live in an age of instant gratification. We have forgotten how to wait for things, mostly because we don’t have to. This impatience contributes to online piracy and is something that creators should be taking into account when it comes to marketing and distribution of their content. Once the awareness and demand is created, people will want it NOW. They don’t want to wait for six months, one month or even a week. The old media business model is based on scarcity of content and access, with geographic territories and release windows maximizing sales. This methodology no longer fits with how consumers DEMAND content. They don’t care about the revenue model or technology limitations or IP ownership. They want what they want, when and how they want it and that is not likely to change.
Audiences want more. When people love a story they often can’t get enough. MORE can mean behind-the-scenes tidbits, additional story conveyed through different media, opportunities for fans to participate in conversations, the ability to act inspired by the story, and so on. A single linear storytelling medium like a movie is often not enough to feed an insatiable fandom. Content creators should figure out ways to create stories that stir up these kinds of passions, and to fulfill that desire across not just one installment but an entire body of work. Content creators also have to become more comfortable with the audience taking more ownership of beloved characters and storyworlds and even find ways to collaborate and participate in the fan creations. It is also tapping into this kind of passion that leads to successful crowdfunding or micropatronage campaigns.
Audiences are fragmented. Because we have so many choices when it comes to content, audiences are very fragmented. This means content creators outside of the mass mediaverse (aka Hollywood in the North American context) do not have a chance of reaching EVERYONE, or even a demographic slice that includes, say, all women between 18-34. The road to success for most content lies in leveraging niche appeal wherever possible. Speaking to the hearts of a relevant niche about themes and issues that mean a lot to them, can stir up those passions I mentioned above. And once the right niches are engaged they will amplify and spread the word for you (because every audience member has an audience now). Luckily, identifying, understanding and reaching niche audiences has never been easier because of the opportunities created by the digital world.
So how do we make the powerful, impatient, ravenous and fragmented digital audience work for viable CanCon?
Bottom line, public funders need to help content creators better understand and work WITH digital audience behaviour instead of working against it. We need to build a system that rewards and incentivizes a wider definition of success, and help creators include their audience in every step of their creative journey. Here are some of the things that could help establish and support a viable DigiCanCon ecosystem:
Get out of the mass media business. We live next door to the huge Hollywood machine and do not have the money to effectively compete for the attention of the masses, especially on purely Canadian funded English language projects. When looking at the traditional model of broadcast television (which is driven by subscription and ad dollars that are declining), conventional theatrical distribution (where even blockbusters let alone indie films struggle), we have not had many recent Canadian financial success stories. The business models based on (pre)selling into geographic territories and/or reaching a mass global audience is in great jeopardy and does not favour the smaller players (as can be seen in the heated discussions around the single EU digital market). Canada IS a smaller player and should look for more strategic opportunities based on its own cultural assets. Mass media should not be the goal for Canadian content.
Embrace Canada’s diversity & niche appeal. We are one of the few countries in the world that has been built, for better or for worse, on mass immigration over the last 150+ years. It has left us with a very diverse population who have many unique stories to tell. Unlike the American melting pot, we have talked the talk of embracing the diverse mosaic of Canadian citizens. Our media, however, has been slow to reflect this multiplicity, being primarily driven by investment in stories mainly championed by straight, white men. While they are an important part of the Canadian story, it is only one part. Increasing public funding and support for diverse voices and stories dovetails beautifully with the fragmentation opportunity. In the digital world, creators can find deep and passionate niche audiences across the world who can create community and conversation around their content, which can become a path to a viable business model.
Invest in and incentivize strategic experimentation & early development that is audience driven. In the new digital paradigm, there is a lot more that could be included in development beyond scripts and prototypes. I would argue, in fact, that a story or project without an audience is not viable CanCon and that the two should be explored together. For instance, early development deliverables should not just include the delivery of a treatment or early concept, but also proof of audience & interest (through identification of target niches, influencers, online conversations and a demonstration by the content creator that they understand who their audience is and how this project/story will resonate with them). As script and concept development progresses, so should a more fully realized plan for audience development and engagement, perhaps with some early focus group testing and experimentation to further hone the strategy. Special provisions and support should also be provided for those without a track record in the funding system so that more diverse storytellers are encouraged to apply and are on-ramped into the public system.
Invest in and share content/audience data with creators & MAKE IT EASY. In the old media content model, there was very little data available to content creators. While there are still black holes in the digital dataverse (hello Netflix!), there is more data available than ever before. Data is the story of your audience, the one they tell with every action they take online. Data can make creators very powerful if they listen and respond. Giving creators access to tools they wouldn’t otherwise be able to afford and training to maximize this opportunity will be key for success in the digital world. Besides data on their own projects, it would also be great to get anonymized data from across Canada that could be sampled by different criteria (i.e. content type, genre, content length, etc). This information could provide important intelligence so creators can understand what has gone before so every project can start ahead of the game, set realistic goals and refine their strategies based on relative market intelligence. Every CanCon creator who gets public money should be required to contribute to this collective knowledge base. No data sharing should mean no money.
Incentivize & invest in audience development & engagement. Tools like Telefilm’s Success Index incentivize participation by creators in the old content business model, and keep diverse and innovative creators out who have not been a part of the public system in the past 5 years. No value is currently given to any metrics in the digital world. This needs to change if the government truly wants to get serious about DigiCanCon. Proof of a digitally engaged audience must be part of such criteria. Serious money also needs to be invested in the content creator taking ownership of growing this audience. I would suggest the equivalent of at least 10% of the production budget should be allocated for digital marketing and audience development by the CanCon creator. This audience should be a long-term asset that follows the creator throughout their body of work increasing the viability of their content and careers.
Some final thoughts…
Canada has everything it needs to help our content creators be successful in the digital world. We are lucky enough to have public money to invest in the creative economy, but we need to acknowledge the most powerful force in this context is the digital audience and we must leverage that knowledge as much as possible. A path to DigiCanCon success means we should:
Embrace our digital superpower, which is our nation of diverse voices, and get out of the mass media business.
Weave audience development into every part of CanCon financing.
Incentivize data sharing by our content creators and pay for access to data tools they couldn’t otherwise afford.
Ensure there is significant budget set aside on every project for digital marketing and audience engagement by content creators.
Incentivize better participation in the digital world with a new Success Index that includes key digital audience engagement metrics.
And, finally, leverage the brand of Canada outside of the country by curating Canadian content on a digital hub, that itself actively cultivates and engages with key niche audiences around the world (walking the digital walk and setting an example for content creators).
Thank you for this opportunity to contribute to this inquiry, both the online conversation and this platform. I am sure there are many great ideas pouring in, and a focus on audience, data and diverse niche content will help set Canada up for great digital success in the future.
The Importance of the Discoverers (aka the Audience)
There is a lot of great discussion in the Canadian film, television and screen media industry right now about “discoverability.” A report was just published by the CMF on the topic, and there is a Discoverability Summit happening in Toronto right now co-hosted by the CRTC and the NFB. I am watching the livestream of the two days and following along on Twitter.
The CanCon Question(s)
Our Canadian government financing and programming for this industry has been about supporting our creative storytellers and getting their CanCon (Canadian Content) out into the world, whether it has been television series or movies. For the past year, the CRTC has been exploring the issue of discoverability and the challenges CanCon faces in the digital space. It’s huge. The online world is truly global (despite the artificial boundaries of geo-blocking). Do we still want to nurture CanCon? If we do, how do we do it? If we thought being cultural neighbours to the blockbuster that is the US, how can CanCon fare well in the wild west of the Internet? How do we help people discover CanCon? The answer lies in those very people. We cannot have discoverability without the discoverers.
The Audience & Discovery
While it is still very important to understand the landscape of online discovery, the mechanisms (search engines, algorithms, social media recommendations, online reviews & suggestion lists, etc) and on-demand delivery systems (Netflix, YouTube, iTunes, etc), there can be nothing discovered without people to discover it. I am more than halfway through the livestream of the Discovery Summit and am happy to hear lots of comments about niche audiences and audience behaviour (especially when it comes to those troublesome teens and millennials). However, a lot of these comments seem to be in passing. There’s no dedicated deep dive into this topic. This is worrisome to me as audience should be front and centre, and at the heart of everything when we are talking about discoverabilty.
3 Reasons to Focus on Audience First
Here are just three reasons to think about audience first for your CanCon story, cultural product or company/brand, especially in an online context:
We create to connect to an audience. Everyone creates to eventually connect with other people, to have them react to our work.
Audiences can be activated. If your work moves and connects to people, they can be inspired to some kind of action. It might be as little as a recommendation to a friend and as big as taking action to effect change in the world. Stories and cultural product have great power in this regard.
Audiences can be monetized. Without an audience you have no opportunity for revenue. Although it sounds crass, it is true that an audience provides eyeballs to look at ads and wallets to pay for that cool T-shirt or digital download.
And never before have creators been more empowered to build their own audience, to create an appetite for discovery of all you have to offer, to leverage those online mechanisms and platforms for discoverability.
5 Truths About Your Audience
In the online context, all of these things are true:
Your audience is niche. Everything CanCon is going to be niche, we just don’t have the time, resources or local population to be of mass appeal. The good news is that this is very powerful. Niche audiences require niche targeting, speaking to people’s passions and to their hearts. These is so much strength in this kind of connection.
Your audience already exists. You do not have to build an audience from nothing. Any kind of interest has a community around it already online. And once you know WHO your niches are then you just have to find WHERE they already exist and get to know them. What do they care about? What devices do they use? How do they consume content? Where do they spend there time? Answers to all of these questions are available to you online (often for free).
Your audience can be grown before you have work to share or sell. Because these communities exist online already, all you have to do is join those communities. Become a valuable and welcome member. Participate in conversations. Spread the word about the things they care about. All this can (and I would argue, should) be done long before you start talking about your work.
Your audience wants connection. The reason communities grow is because people want to find other people just like them. They also want stories and other creative works that reflect their experience. Connection is key and the digital world provides many tools for connection, for helping you to build the necessary trust to grow an audience for your work.
Your audience wants to discover. The audience has become empowered like never before. They have so much choice and control. They want more of the stuff they love (in fact, they often cannot get enough). You just need to tap into this desire in an authentic, trusted way. This is the foundation of being successful in the discoverabilty game.