Momentum Expert Interview with Abby West & Pamela Slim Topic: Strengthen and Amplify your Story
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- Winfred Chambers
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1 Hello and welcome, Momentum. I am super excited to bring on a friend and amazing, amazing journalist and digital strategist, Abby West, who is the former executive editor at Essence magazine. She's worked at very well-known publications like my favorite always on airplanes People, Entertainment Weekly has really had a long history of understanding great content and what grabs people's attention. Thank you so much, Abby, for being here with us this month as we talk about story. Oh, I am so happy to be here and thank you so much for inviting me. You know how much I adore you and the work you do. Well likewise. So, the way that we're framing this month is a lot of folks in Momentum are entrepreneurs. They are wanting to be clear about who it is they're talking to for reaching their ideal clients and customers. In particular, given your background and experience, I really want to talk to them about how it is they can begin to think about content that is engaging. So, let's just start with what is that starting place as you think about creating great resonant content that really connects with your audience? Well, the word you just said is really my starting point who is my audience? Who am I directing this to? Who is this for? What do they need? What do they like? These are questions that all come into play whenever you're writing. The platform you're writing for is very important. If you're writing for personal satisfaction, that's fine. You're your own audience. What is creative and fulfilling for you is the only thing that matters. But if you're creating content for a consumer, you need to know who that consumer is, what they need, what they're searching for, how to give them what they even know they need. That is essential before they go into it. I was just going to say as a journalist, how do you do that work? How do you frame understanding your audience? It's sort of simpler when you're dealing witch niche publications. It's a broader base, a broader hit when you're dealing with a more mainstream publication like New York Times or something that's broadband and you have multiple streams and kinds of audience interest. But when I was at Entertainment Weekly, we had pop culture geeks who were interested in all things around TV, movies, books, all forms of entertainment, from the silliest parts to the business part. So, we knew what grabbed them and you had a user profile. They wanted to be in the know ahead of the curve and fully informed and you had your Page 1 of 10
2 marching orders to go from. So, creating some sort of user profile is really helpful moving forward. That's great. Then based on who it is that you want to reach... I think in particular given your background and experience of being a journalist, you've probably received thousands of pitches throughout the years from people who are wanting to get featured in the press. How do people begin to choose the kind of content channels that they should focus on? Choosing the content channels. Is this question being asked from the (3:30) perspective of someone who wants to be featured or who is making the decision on what is featured? Let's first start from being featured. Let's break down maybe from the first perspective of when I think about content channels, for some of the folks on the program, they have a message. They want to be connected with people doing work around career change or maybe they want to be connected with other educators that are interested in nature-based education. So, on one hand when you're thinking just from a content channel perspective first of like a blog kind of written form versus audio versus video, how do you counsel people to make some of those decisions about those kinds of channels? Again, it's a little bit about what is the best way that you reach the target audience. So, if you know what your audience is very visual, you develop an Instagram profile as well as... you're going for different ways of reaching your audience that are not just one avenue. If you know your audience is a particular demo, you target that demo as best as you can. In terms of reaching out to established publications, the best pitches to me were always ones that really showed me what they understood the publication, what we've done and what would be unique. So, if you can give a pitch or frame your branding, yourself, your story, your project in a way that seems even slightly unique to something that has been done before or is somehow tied into something that is currently noteworthy, that is everything. I hate to say it, but you guys need to do our jobs. You need to see what makes this worthwhile for me to slot this in. Why would I think that my readers would want it? Why would you think any reader would want it? And create that pitch. It is so important and people just kind of shove things out there, like, "Hey, my name is this. I'm doing this. Here I am." Like, "Okay, that's great you and 20 other people are doing that. Why do we need a story on you?" Page 2 of 10
3 Sometimes it's a unique personal background. Great. People don't always feel comfortable exploiting their personal stories. Whatever got you into the work that you're doing might be the selling factor, what experience you may have had in the work you're doing, that might be the selling factor. How it connects to something on a national landscape right now, that might be the selling factor. If it ties into one bit of news, anything that's made news or been on social, that might be a selling factor. It's really important for anyone creating content to understand that a lot of content is created and sort of gets thrown up against the wall. The more unique you can make it, the better. That's great. It's interesting. My dad is a journalist and my sister is an editor. So, I was always raised with paranoia about sending s to my dad and sister. I don't know if you relatives feel the same way, but I'm like, "I hate ing an editor." You're judging me every time I send something. My son won't let me read his college application essays. So, you totally get what I'm saying. Exactly. What I love about that from a journalistic perspective is that now, as we often say, anyone can be a creator of content, which is great and liberating, putting content in the hands of everybody. However, the profession of journalism is a profession for a reason and there are some really great things as you said that can make something truly compelling and interesting as a story. Correct. What's going to get people that are really interested in it? I like how it applies to a pitch where you're thinking about how does your story about what you're doing in your work really connect to the body of work for that particular publication. So, as you're talking about understanding what your editorial perspective is, understanding who your audience is, understanding what you have written before, what would be a good homework list for somebody that wanted to be pitching to a magazine or a publication? What kind of research should they do before pitching to make it targeted? Page 3 of 10
4 You know, the best case scenario that you're very familiar with at a (8:15) publication, you know how they've covered your industry, your profession, anything even surrounding anything around what you want to write about and talk about in even ancillary ways. That's the ideal scenario so you can say even in your pitch, "I saw that you wrote about one of my competition." Actually you wouldn't frame it as competition, "About TK company and the great strides that they're doing here. I think your readers would really love to know how we've really improved on that avenue and how this is really going to help anyone who's looking for this service moving forward. That's a very dry way of putting it, but essentially something that builds on the fact that shows, "You know what we do." A lot of editors, a lot of content creators are going to go, "We did someone who does that six months ago. Why would I do that again?" It seems silly because we put out hundreds of pieces of content a day, but there's still an old school mindset of it's very selective and if we're just going to do one or two, they have to be very well spot lit and highlight and what makes you unique enough to be highlighted? Again, it may be about you, the person in charge of the project or the one spearheading the project or intimately involved in the project or it could be about the project itself or just even a tenuous tie to something else. It really takes a little more thought than I think some people give it. Yeah. That is so helpful, just being a blogger, I've received similar kinds of pitches of people who might want to be featured on the blog. It's stunning what difference it makes when you can tell that someone who's paid attention to what it is I've written over time or people will pitch topics that are obviously completely off-brand given what it is I did. Yes. Those are the funniest. It is entertaining sometimes, but you also feel for the person who's doing it. That's the ideal scenario. Sometimes you don't intimately know a publication or a platform or a forum enough to go, "I know everything you've done in this field." But there's a way to approach it acknowledging that, yes, you may not have known someone similar was featured six months ago. You're pushing forward the best possible reason why you should be featured now. You give some other passing reference to the content that's on there. I cannot stress enough that it's important to show that you have done some sort of research on who you're pitching to and reaching out to. Not Page 4 of 10
5 that we need our ego stroked, it's just a matter of going, "I don't have to start from scratch," and you at least have some basic understanding of what we do. That's great. And I really love as you were saying earlier of like helping you do your job because one thing I've found was really interesting that was different, I think, from what I thought when I began to work with more journalists or help with stories is that we think of sometimes this huge steel gate. It can be really nerve-wracking as an entrepreneur wanting to pitch ideas, thinking about trying to reach some of these big publications. But then you get to know journalists and realize day in and day out, you're looking for the next great story. You're under pressure constantly to have great ideas. So, if somebody shows up at your door with something very well thought out and interesting and compelling, that helps you, right? It really does. Generally we're not going to sit and take everything you say (12:09) and run it, for the most part. That's why I really hope no one does. But that idea that you are helping the... it is sometimes a big gate. I get that. I've been counseling a few people trying to break into entertainment journalism right now. That is a hard thing to break into at some of the top publications. I get s weekly from newly graduated folks and other folks just trying to get into the doors of People or getting in the doors at EW and asking for help in doing that. While I can recommend people for it, the best thing I can tell them to do is to continue to produce quality content. If you're really going for this kind of a job, you showed that you can do that kind of writing. If you're going for that kind of content, your story, your pitch being picked up at a publication, you have to really be targeted and show that you get it and you can give them a little bit of a shorthand way into it. Journalists should not take everything you've sent them and, "Hey, you've got a story." There's got to be some reporting to it. You have to in some way and I hate this phrase soft serve it. You have to serve it up to them. Yeah. Being a partner maybe is a way that I can think about it. You've really done your best work to be well researched and prepared and present yourself in the best possible light so that it's easy for you to do your job. So, you're not having to jump through unnecessary hurdles and as you said, then the journalist will do the job to dig in and find different angles and so forth in the story. Page 5 of 10
6 Right. That is a much more elegant way to put that. Yes. I think it is also important for you to understand the twists and turns that it may take, particularly if it's anything digital these days or in print, the person you're working with has got a million things on their plates and deadlines change. It just may be a lot more circuitous a route than you may have expected. Just be willing to go with that flow. That sounds great. In particular, when thinking about developing relationships with journalists or publications in the long-term, are there any recommendations that you have, maybe thinking about people in the past that have been really great sources for stories or people that you might go to for information. What are some of the things that they do that you really liked in that role? Responsiveness. We're almost always on some sort of deadline. Just being responsive, being clear on answering the question and understanding the bigger picture and then also being really good about follow ups. That was some of my favorite reporting, and this is going back to when I was a newspaper reporter and doing health and housing, that kind of thing, digging in. Most of the time a reporter, yes, is covering a beat. But they're also trying to learn something that you are a master at. It is not our main thing. What I love about journalism is jack of many trades, master of none almost, but the chance to learn about so many different things. We want experts who know their field and know how to communicate that to us so that we can distill it to an even less engaged public who may not be as committed to digging into every detail of it, but we need to understand it. So responsiveness and ability to clearly communicate. That sounds so good. That's something I learned so early on. One little tip I've done on a press page, and again, this is for people who might see that the type of work that you do might be something that would really be boosted by some press coverage. It can be a good part of the overall marketing package. So, I always put at the top of my press page my cell phone number right at the top if you're a journalist and on deadline. Perfect. Literally what I'm looking for. And then as you said, drop everything in that moment in order to get back and respond. So, that's been something that's been really successful. Another thing, as you said, it really depends on who people are recognizing, that journalists are people too. You have a job. You want to do it well. You are pitched all the time. Page 6 of 10
7 I did one thing once and it happened to turn out well, but there was a new blogger at the New York Times that was doing one the New York Times small business blogs. So, I just saw she was moved there in some news story. So, I just reached out and introduced myself and said, "Here's who I am. I have access to a whole bunch of different entrepreneurs. If you ever need sources for stories, feel free to reach out. I'm happy to help." Genius. Genius move. It was sincere. Well, sincere and yeah, it's nice to know somebody at the (17:10) New York Times. But I did. I want to help because it helps me to be featuring stories of my clients and other people I know. She ended up reaching out and doing a whole feature on me and my book in the Times, which was pretty amazing. But I wasn't pitching her a particular story. It was in offering support for people who could help her in her stories. Yeah. It's along the same lines as doing those information interviews when you're not looking for work. It's cultivating a network in that field. I think that lack of pressure, lack of being hard sold is really helpful in getting people to remember you, particularly coming in when she just started. That was great. Yeah. It happened to turn out super well. So, in general, knowing right now you're expanding into looking at all kinds of digital content, for people who are entrepreneurs, who are passionate about what they do, focus right now on the program, who are thinking about creating great content, what is some of your best advice as you're counseling others and thinking about the content that you can create? The context that I'm talking to them about this month in this topic of story is, I think, about the content that you share as being these breadcrumbs behind you, where people can find you. They tell the story of your brand based on what it is that you're sharing, right? So, what you do share I think really matters. What kind of advice do you have about creating great content? I think it's really important to think of it as a 360 approach. The content is a (19:07) piece of your brand as you're saying. It's something that will support your getting new business. You're getting out and evangelizing your work. You're living in a social space. So, for the clients that I'm working with, it is both about I'm doing a lot of social branding with executives and getting them to understand the importance of it and how it's relatively easy. You know what you do. You know your organization and you know your industry. You know the little Page 7 of 10
8 tips, the little things that are important that you can write a 140-character tweet about but you can also build into a 500-word post on LinkedIn. There are things in the conversations that are going on in your industry. That's fodder. It's always fodder. You have to think about it not just as yes, it's content you're pushing out, but it has to be part of a larger context. It has to be part of a larger conversation. You need to be able to take that and move into a conversational space. A very small viewpoint of it, I'm going to write a post about my son going off to high school and some emotional components of that. I'm going on a podcast next week to talk about that. I was originally just going to go on the podcast. I was like, "No, I'm going to do a post and I'm going to do another couple of components about that." It is not just something you push out in one way. When you're working as an entrepreneur, you want people to really understand you and your brand. There is not one lane for that. It has to come in multiple lanes, for most business folks, there's LinkedIn and there's Twitter that work the best. If you are in a more visual field and anything that would benefit from Instagram, you do that as well. I really think it's important for entrepreneurs and all manner of business folks to understand that the content that you're creating should never exist in a vacuum. It has to represent you. You have to be able to evangelize it both on social and in person. It has to really speak to your entire brand. When you're looking at content, just think of, "I have to create something and push something out," what is that conversation? How will you discuss that? If you had to get up and be part of a panel on that topic, how would that come across? The best content is semi-conversational and it has to feel like it doesn't live in a vacuum. Yeah. And by live in a vacuum, it's just like one static piece that you might (22:05) write, like thinking about how you would take that in and start conversations and participate in conversations around it. Is that kind of what you mean by it not being in a vacuum? That's exactly it. It has to have... the best one has extensions. The conversation branching off from this is this. It naturally leads into this other part. Or it's building on something else that I've spoken about or that's happening in this industry right now. How will I be able to discuss that beyond here? It's a portion of it. I think a lot of people think, "I just have to write something." Page 8 of 10
9 Yes, there is a push to get content out and you have whatever your content strategy is in terms of volume, but I'm a real stickler for quality over volume. The quality of it matters. That means why would anybody care about this six months from now? A year from now? When you're writing content for your business, for your brand essentially, it has to remain viable past the moment. So, while it's keyed into a conversation, it either has key points that are of interest that can stay viable six months to a year from now, two years from now. They're either standing points within your industry or they're acknowledging the fluidity within your industry or it's talking about the fact there's nothing constant but change. It has to have something that shows an eagle eye view of your industry while being able to go through details. That also speaks to your expertise and builds your brand in other arenas. Yeah. It's so useful to think about it that way. As you're describing it, it just feels (24:05)much more alive than what we think about being in a factory where you're generating content, which is always a bit dismaying. It's dismaying to read content that's generated that way too. I'd rather it was a couple of weeks to get a really great post rather than just have "Five Ways to Do This," or, "Fifteen Ways to Do That." I think people tend to confuse volume with good content. It's good to hear that from you as well. I'm glad you appreciate that as well. There are five ways and ten ways you can do all over the place. But sometimes it's literally a conversation you had with a colleague or you saw going on on social somewhere that could spark a think piece that is really helpful for you and your brand and your company and isn't something that's a throwaway. It's a think piece and can be built on and can be the basis of a speech you give. Think of your content as really part of your brand and your company, not just this thing that you have to get out. Yeah. I love that. that's so helpful. Well, I so appreciate your time and focus. I think it's so useful. I'm a huge fan of really thinking about ways to be connecting with the press in a way that gets your message out. It can be a really important part of the overall piece of brand credibility. It's not for every business or every business owner, but I found every time I was sweating talking to a journalist, realizing they asked a question and I didn't have a crisp answer, it also helps you to get very crisp as to what you believe and what kind of advice you want to give. Page 9 of 10
10 That's perfect. That's exactly right. Again, remember that you know your field, your industry, your business. You have insight to give. You have information to share and trust in that. If it's not a picture perfect quote, we may ask to rephrase it. You may get asked, "Can you tell me that again?" That's fine. We're sometimes looking for you or give it to us in a nice, neat quote, which may or may not happen, but get across the information, that's the most important thing. That's great. How can people connect with you? Where's the best place to reach you online? You can reach on Twitter or on Instagram and at Perfect. Well thank you so much for sharing your wisdom with us. I so appreciate it and know everyone else does too. Have a great rest of your day. You too. Thank you so much for having me. Page 10 of 10
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