When most of us first start to dabble in storytelling, we fall into the trap of what I’ll call “and then” storytelling.

How many copywriters write corporate scripts that are nothing more than a list of talking points, brand promises and market-researched language? “We value the customer, AND we always respect your budget, AND we have on-time delivery, AND…”

We’ve all seen way too much of this.

That kind of writing is not storytelling because there is no causality. There is no cause and effect, no action-reaction. To quote Badass Digest blogger and “Screenwriting 101” author Film Crit Hulk:

“Stories are defined by cause and effect. Perpetually. Constantly. Vividly. Stories are built on that simplest of mechanisms. This causes that and that causes this and so on and so forth. It’s about setups and payoffs. It’s about action and reaction. It’s about information followed by dramatic consequence. Cause and effect lend meaning to events. They link scenes together. They give wholeness to seemingly separate ideas. Cause and effect are the linking of your chain. They make a story a story.”

South Park creators Trey Parker and Matt Stone have developed a simple rule to help you avoid the trap of “and then” storytelling. Watch them in the video below.

Trey Parker also explained this rule in the Comedy Central documentary “Six Days to Air,” about the making of an episode of South Park:

“[I call it] the rule of replacing “ands” with either “buts” or “therefores.” And so it’s always like: This happens and then this happens and then this happens. Whenever I can go back in the writing and change that to: This happens, therefore this happens, butthis happened; whenever you can replace your “ands” with “buts” or “therefores,” it makes for better writing.”

Take a look at something we produced to see how this works in practice:

Von was living a happy life playing pool and raising a family, BUT one day he got laid off his job. He felt he couldn’t continue to live the life he wanted to lead without going back to school, THEREFORE he found Herzing University. He quickly found that the instructors at the law program of Herzing University were currently employed legal professionals, THEREFORE he feels more confident going into his own career than if he was taught by teachers with no law experience. Von’s son watched him go through this whole adult education experience, THEREFORE his son now wants to graduate from college.

You’ll notice that I only have one “but” compared to three “therefores” in my above synopsis of the video, and this will be a common tendency in a lot of brand storytelling. But never tell a story devoid of “buts” because then you will be telling a story without any obstacle to overcome.

Traditional corporate video producers’ refusal to respect what causality brings to a brand message is a large part of the reason why you’ve never really seen a “corporate video” that you liked so much you’d bring home to show your family or share with friends on Facebook.

Trey Parker’s principle of “buts” and “therefores” is a safety net. It is something you should always apply to any story you’re writing, whether for entertainment or business. It will ensure that your story adheres to causality, which will lend your message meaning. If you fall into the trap of “and then” storytelling, as Trey said in the video, “you’ve got something pretty boring.”

The post Storytelling Tip: The Principle of “Buts” and “Therefores” appeared first on StoryFirst Media Website.

Today we will be breaking down a brand story released by Starbucks to promote its new Veranda (blonde) Roast.

First, Watch the Video

This is a great example of brand storytelling. Let’s take it beat by beat.

The Aesthetics

The very first image is a high-contrast black-and-white photograph of a hip twentysomething Starbucks barista at work. Immediately the audience knows what this video is selling, and they are either drawn in by the aesthetic of the black-and-white stills or they aren’t. The chosen style of the photographs over motion video is not for everyone, and Starbucks understands that. This video is not trying to please everybody, and that is one of its strongest assets.

Also, all of the voice-over used in this video is unscripted. As a result, the piece feels authentic, real, and touchable. When you’re dealing with non-professional actors, it is almost always better to go unscripted. Actors are paid lots of money to make scripted words sound off-the-cuff because it is a difficult thing to do, so don’t put that burden on the untrained.

It would seem, based on these aesthetics, that Starbucks saw their audience as somewhat corporate-resistant young people (not just millennials) who see themselves as appreciating the boutique, the specialty, and the hand-crafted product.

Inciting Incident: Starbucks Customers Are Unsatisfied

The first line of voice-over is: “A lot of customers come in and say, you know, I love Starbucks, but your coffee’s too strong for me.”

In the very first line, they are presenting a problem — Starbucks has left “a lot” of customers unfulfilled in the past. This statement is a disarmer for the audience and builds trust. The audience thinks, “Well, if Starbucks is willing to say they haven’t satisfied ‘a lot’ of their customers, they must be telling me the truth, because why would a business make up a negative?” It earns the video a lot of credibility. It also implies a personal, local touch from a major national brand.

Object of Desire: Starbucks Wants to Satisfy These Unsatisfied Customers

After that line of voice-over, the video cuts to a title card that reads: “So we wanted to create a lighter roast for them.”

The main character is identified as “we,” or the Starbucks brand, and the character’s object of desire is stated plainly: “to satisfy customers who want a lighter roast.” The major dramatic question has been presented: “Will Starbucks please its customers?” We, the audience, intrinsically know that this story will end with an answer to that question.

This title card also follows the storytelling principle of “Buts and Therefores”. The sentence only makes sense when taken in context with what came before it. All stories are a series of actions and reactions, causes and effects. It’s what creates the push-pull of story. Where people get into trouble is when they start writing “and then, and then, and then,” instead of “but,” “therefore,” or in this case, “so.”

Presenting the idea of brewing a lighter roast as a reaction to customer complaints (instead of a disconnected thought) tells the audience that a) Starbucks listens to its customers’ criticisms, and b) Starbucks is inclusive and wants everyone to be happy with their product, not just the customers that “get it.” Remember, it is in the main character’s reaction to obstacles that tells us the most about him/her.

Obstacle: The Challenge of Craftsmanship

The next line of voice-over is “Light roast? I mean, this is something that we had never done before.”

Everyone can relate to the fear of the unknown and the struggle to accomplish something new you’ve never done before. In order for our main character (Starbucks) to get its object of desire (satisfy the unsatisfied customers), they will have to jump into the deep end of the pool and sink or swim.

Progressive Complication: 80 Tries

Immediately following the voice-over, we are presented with a montage of title cards that read, “Ver. 1,” “Ver. 2,” “Ver. 3,” and so on.

Seeing these titles intercut with more photographs of coffee roasting tells us that Starbucks has begun the process of crafting the lighter roast. This is the most cinematic aspect of the video in that it plays on the montage theory pioneered by Russian filmmakers Lev Kuleshov and V.I. Pudovkin in the 1920s — two unrelated images (a photograph of a man sipping coffee and a title card that reads “Ver. 1”), when cut together, create a third idea in the mind of the audience (“They are testing new product”).

Film is psychological magic.

The next line of voice-over: “When we were developing blonde roast, it was crazy. It was the whole coffee team in there roasting different kinds of coffees. Tasting all the flavors again and again.”

So, our main character’s effort to satisfy the unsatisfied customers is not easy. This is where what’s good for business storytelling and what’s good for business in real life diverge a bit. No doubt, Starbucks would’ve loved to nail it on their first try — it would’ve saved them time and money. But the fact that it didn’t come easy is fantastic for the story. In storytelling, everything moves forward through conflict.

More title cards flash across the screen: “Ver. 47,” “Ver. 48,”…

More voice-over: “One minute we knew we had it, or we thought we had it, then the next minute were like, ‘Ah… I don’t know if this is actually right.’ We had to make sure it was perfect.”

I’m impressed that Starbucks was willing to imply so much struggle in their story, because this is not a comfortable thing for a business to do. Most companies are afraid to show challenges, problems or struggles because they perceive it as a risk to their brand image. But Starbucks, with guidance from the agency that produced this video, understood that every story needs an underdog. The end product may be “perfect,” but nobody relates to easily-acquired perfection.

With each new version of the roast, “Ver. 50,” “Ver. 51,” the dramatic stakes are rising. More money is being spent. More time is being invested. The audience interprets, “Boy, Starbucks must really care about this thing they’re making!”

Voice-over: “… and that took 80 tries.”

Turning Point: Success

The final bit of voice-over “Holy cow. This is really light. This is really good! With blonde roast, we have something for everybody.”

The initial setup of the object of desire, “we wanted to create a lighter roast for them,” is paid off directly with “we have something for everybody.” The major dramatic question has been answered, the narrative arc has been closed. Our main character (the Starbucks brand) has achieved success.

If StoryFirst Media had produced this spot, here is where we might have made one adjustment.

Instead of just cutting from “that took 80 tries” to the success of developing the perfect light roast, it may have been better to include the final dramatic decision that brought about the success. After 79 versions of the roast, what was the last thing that pushed it over the edge from good to great? What was the dilemma? Were they about to give up until someone had the perfect idea? Were there two (or more) perfect ideas that had to be pit against each other?

Including a final dramatic decision or action is what really creates the turning point. As it stands in the finished video, the decision to develop 80 different roasts effectively doubles as the progressive complication and final dramatic action, so it certainly works. The choice to not include a final dramatic action may have been made in the interest of time (the video’s total run time is 1 minute, 2 seconds), and that would be understandable. It would be difficult for every business story to include every storytelling element, and this one certainly does more than the vast majority.

The Lasting Impact on the Audience

Now that Starbucks has told a complete brand story to promote its Veranda (blonde) Roast, the audience can now see themselves in the story and tell their own version to others. With this story, Starbucks has fostered an environment for customer loyalty and word-of-mouth. One can easily imagine the conversation among friends.

“I can’t drink Starbucks. Too strong for me.”

“Yeah? Have you tried their new blonde roast? I heard it took them 80 tries to get it right.”

In an age of increased digital connectedness at the expense of real-world interaction, people everywhere are drawn to the specialty, hand-made product — a product that was made with all the care and humanity of the development team. Just like the pleasure of a handwritten letter, Starbucks Veranda Roast took time, thought, and effort to craft.

Starbucks was smart enough to mold that message into a story instead of just a “video,” and their audience will carry the story with them.

The post Great Brand Stories, Vol. I : Starbucks appeared first on StoryFirst Media Website.

StoryFirst Media was founded in Wisconsin, and as such, we are Green Bay Packers fans (another clue would be our 2012 award-winning documentary Last Day at Lambeau).

This past Sunday, the Packers completed the biggest comeback for a win in their illustrious 94 year history.

The game was against the Dallas Cowboys, and the Packers’ season was on the line. In all likelihood, the team would have to win all of their remaining games in order to make the playoffs.

The problems: their all pro quarterback was out with an injury, their defense was a sieve, and the Cowboys had their playoff future to play for as well.

At halftime, the Cowboys led 26-3.

The stakes were incredibly high. In the locker room, head coach Mike McCarthy told the team that they were facing “the biggest adversity situation that we’ve been in in our time together” and that “our season’s on the line.”

To keep a long story short, the Packers came back out in the second half and rallied to a magical 37-36 victory.

Needless to say, my dad and I were jumping up and down and high-fiving like mad. It was an incredible amount of emotion, and despite all the problems we saw in our favorite team in the first half, some small part of us actually started to believe they could go on a playoff run.

Why was this game so emotional for us? Because we knew how hard/unlikely it was for the team to come back and win!

So where is the brand storytelling lesson? Here it is:

In the story of your brand/product/service, showing how you went down 26-3 in the first half is every bit as important as showing how you rallied for the second half comeback.

The amount of positive emotion we feel is directly proportional to the amount of negative emotion we feel. To face overwhelming adversity and succeed in the end inspires us to believe that any hardship can be overcome.

In football, when your favorite team destroys opposing teams without much of a struggle, it can actually be kind of boring. There’s no jumping up and down, there’s no sitting on the edge of your seat, and there’s no yelling at the top of your lungs. Those games have no stakes, no suspense, and they go down easy by the fourth quarter.

If you’re selling a product, your amazing new feature means nothing until you show me the problem the world faces without that feature (even better – show me the hardships your R&D department faced while developing the feature. If you struggled and had to invest a lot of time and resources into the project, it means it must be pretty important).

Showing your audience how hard it was for you to accomplish your goal, build your product or develop your service teaches them that you have the drive and ability to overcome any challenge. Dramatically speaking, the steeper you can make that mountain you had to climb, the better.

All stories are metaphors. Stories say “life is like this.” Stories live in our hearts forever because they allow us to make sense of our challenges, to feel we are not alone, and to believe that anything is possible.

But you’re only telling a story when you invite your audience to traverse your challenges with you and feel a part of the struggle to bring your product/service to the world.

Because after all, if it wasn’t hard to achieve, it must not be worth much. Show us how hard it was to achieve your goals and you will become a better storyteller for your brand and your life.

The post A Brand Storytelling Lesson from the NFL appeared first on StoryFirst Media Website.

In 1994, astrophysicist Kip Thorne wrote the book “Black Holes and Time Warps: Einstein’s Outrageous Legacy”.

The title of the book sounds daunting. One would assume it to be filled with scientific theories and language that would surely alienate any readers without a degree in astronomy or cosmology. So Mr. Thorne opened his first chapter with a story.

The story put the reader in the role of captain of a spacecraft commissioned with exploring the black hole called “Hades”. Your mission: study the black hole and radio back your findings.

As your spacecraft approaches the black hole, your sensors detect evidence of the hole’s presence. “The atoms of gas that sparsely populate interstellar space, approximately one in each cubic centimeter, are being pulled by the hole’s gravity. If something isn’t done, your starship too will be sucked in.”

Kip Thorne didn’t decide to open his book with a story just because it’s fun (though it is!). There is very deliberate purpose behind this. By opening with a story where the “reader as spaceship captain” is teetering on the brink of a black hole, he has put the audience in the position of needing to know how the story ends – how the captain maneuvers around the black hole. In essence, the reader is now asking for the science of black holes.

This is the essence of purposeful storytelling. By telling stories, we create a gap – a void – that the audience desperately wants to fill in, and the answer to their call – the thing that will satiate their desperation – is your data, features, messaging, facts, etc.

In Thorne’s book, the power of drama compels the audience to seek out how black holes work in order to find out how the story ends. Without the story, many readers would have a hard time just dryly learning the facts. The story gives the facts meaning – a place of momentary priority in their lives.

As brand storytellers, we spend a lot of time talking about the differences between traditional advertising and storytelling. Sometimes it’s easier to articulate what storytelling is not.

Storytelling is not:

–       a list of features and benefits

–       product specs

–       data

–       a mood

–       a style

–       a sequence of events

–       a slice of life

–       your brand messaging

In business, storytelling is the art of making your data, features, benefits and messaging vital to the lives of your audience. This is not a foofy, soft, or intangible thing. It’s grounded in a series of straightforward, practical principles and human psychology.

You want your audience to care about your message, your product specs, or your data. Fair enough. Ask yourself, “When in my day-to-day life do I crave information?”

Human beings seek out information when there is a gap of understanding, resources, or knowledge that they need to fill. So as storytellers, our job is to create that need – a carefully crafted absence of information that begs a solution.

In storytelling, you craft a narrative with a turning point that causes the audience to subconsciously ask for your information. So what is a turning point?

World-renowned storytelling guru Robert McKee believes there are four components to a turning point:

–       Surprise (“Wow! I didn’t expect that to happen!”)

–       Curiosity (“Wait… why did that happen?”)

–       Insight (“Ahh… that is why it happened. And here is how I can avoid this obstacle in the future.”)

–       New Direction (“With this new information, I will take this new action moving forward to make sure I avoid this obstacle in the future.”)

If we revisit Kip Thorne’s short story, what if in the next moment, the starship is sucked into the black hole and everybody on board dies? The reader would first experience surprise. “Whoa! I didn’t expect that to happen!” The very next thought would be, “Why did that happen?”

And with that question the reader is right where Mr. Thorne wanted them. They are now asking for his scientific theory.

This is the major boon of brand storytelling, for how else do you get your audience to consciously ask for your data?

The post How Storytelling Creates a Need for Your Data appeared first on StoryFirst Media Website.

The human brain is hardwired to receive information in narrative form.

If you wake up looking forward to wearing your new outfit to work and spill coffee on it, this thought might cross your mind: “My day just got off to a bad start.” This thought in itself is your brain taking the inherently meaningless event of coffee falling on your shirt and placing it in the larger temporal context of “your day.”

When you’re watching a football game, you see the running back take the ball two yards before being tackled. But that is not what your brain sees. Your brain interprets this single, inherently meaningless event as but one point in a larger sequence: the drive.

Three years after the September 11, 2001 terrorist attacks, many people were irritated by Hollywood’s desire to produce two 9/11 films. There is an ethical argument to be made there, but the impetus for the storytellers was to bring meaning and context to what appeared on its face to be meaningless death and destruction.

Emma Kafalenos defines narrative in her book Narrative Causalities as “a sequential representation of sequential events.” Narrative provides context and perspective for meaningless facts.

This is why it is actually not a good idea for brands to lead their marketing efforts with facts, figures, features and benefits. Each feature is important and places your brand in a good light, but only when received by your audience in the context of the narrative you have constructed. To hang naked, dry facts out there is the riskiest choice of all.

For example, Google has on its website the following quote describing ideal prospective employees: “Other companies screen for intelligence and experience in potential recruits. But Google also looks for “‘Googliness’ – a mashup of passion and drive that’s hard to define but easy to spot.”

This naked statement is dangerous because it could either be interpreted as an invitation to the ultimate go-getter career or as an ominous indication that Google will expect you to work excessively long hours. Google has ceded the ground of narrative and is allowing its audience to interpret its statements however they will.

Clothe your naked statements in the robe of story and your audience will receive your facts, features and benefits in exactly the way you want them to.

The post Humans Interpret the World Through Narrative appeared first on StoryFirst Media Website.

When was the last time you actually enjoyed watching a traditional corporate video? If you’re like me, it’s been a damn long time (if ever). So why do we keep making them?

I’ll define what I mean by ‘corporate video’. A corporate video (in the traditional sense) is a piece of video that forgoes an authentic, emotional connection with the audience so that a company can squeeze in as many message statements, facts and data as they can.

Brands have messages that need communicating. There’s no doubt about that. The thought of communicating these messages through video sounds like a fun alternative to a white paper or memo – and it is! When you make a video for your company, you’re thinking your audience will enjoy receiving your message this way because it’s like a little movie — and who doesn’t love movies?

But people love movies when the filmmakers’ goal is to connect with and move the audience. The goal of traditional corporate videos is to dress up and stylize a brand message. See the difference?

Video alone won’t do the trick. As we all know, there are plenty of booooring videos out there. Video is not inherently “fun.”

Boring corporate videos are typically made when brands take their white paper copy and dryly put the words into the mouths of on-screen faces. For example, if your brand message is “We Value Our Clients,” it is a boring decision to put your company’s president in front of a camera and have him utter the words, “we value our clients.”

Instead, show your audience that your company values its clients. Make me care about what you do.

Anything you can capture visually through action will speak a thousand times louder than the words “we value our clients.” Did you have your clients to the office holiday party? Did you join hands with your clients at a recent charity event? Even better – is there a specific problem you solved for your client that reflects the core values of your brand?

Now, if you stopped here you would be fine. You will have taken your brand messaging out of the black abyss that is traditional corporate video. But if you want to add that little extra sauce to make your communication even more authentic and impactful, resist the urge to say “we value our clients” after showing that you do.

I know it’s hard. You want to make it explicitly clear how awesome your company is. But it’s good to let the actions on the screen speak for themselves. Your audience will appreciate it. Why?

What if every time your friend did something nice for you he then said, “I value my friends”? It’s like patting yourself on the back, and nobody likes someone who only does things for the recognition.

This is all about respecting your audience. While every brand has something to communicate, the method of communication must start with listening to your audience. How can your video actively contribute to your audience’s lives? How can you show them you understand them? How can you overcome the natural human resistance to “being sold” so that your audience will listen to your message?

Take a cue from Hollywood and make the goal of your video connecting with and moving your audience.

If you truly listen to your audience with an open heart and mind (don’t just wait for your turn to deliver ‘the message’), finding the best way to connect with them in a relevant way becomes clear. Traditional corporate video will never be the most effective approach.

And then we can all live in a world without traditional corporate videos. I’ll drink to that.

The post Stop Making Corporate Videos! appeared first on StoryFirst Media Website.

It may be a surprise to realize that people can have trust in someone who is unethical or even criminal. Having trust is more about believing in another person. However, the degree to which one person trusts another is a reflection of belief in the other person’s honesty, fairness, and benevolence. Important for establishing initial trust in business is that fact that a failure in trust is more easily forgiven if it is due to a failure in competence rather than a lack of benevolence or honesty. As a result, sometimes a business providing inferior services may fare better with their customers than a company providing superior services – at least temporarily – if people feel the first company is honest and means well.

The phenomenon of trust is summed up in the following definition. It is described as a “heuristic decision rule, allowing the human to deal with complexities that would require unrealistic effort in rational reasoning.” Lets break this definition down. Heuristic processes are trial and error approaches to problem solving which begin with the most accessible solution and go on to another solution, only if the first solution doesn’t solve the problem. In terms of business, if a customer finds himself interacting with a business owner that he intrinsically wishes to trust because the owner appears benevolent, good-natured, and well meaning – then the customer will prefer to trust the owner and do business rather than get involved into complex rational thought about what might go wrong in the business relationship.

So, what does this have to do with putting a video on page ONE of your website have to do with trust?. When a surfer goes onto your website and thinks about doing business with you – someone he’s never met – he can rapidly be won over by a short online video of you talking with him. If he is engaged by your story and connects with your personality then he will immediately wish to trust you and do business you – because that will be the easiest solution for him to take.

And this leaves us with one more important take-away lesson. A front page video needn’t trouble itself with a description of company features and benefits. It simply needs to provide a relevant reason for the user to trust the owner / business. A short 1 to 2 minute story, passionately told by the owner saying that he established the family potato chip business 30 years ago because he wanted to provide people with a crispy chip that wouldn’t lose its favor in the package is a fine example that will win trust right away.

The post Establish Trust With A Front Page Web Video appeared first on StoryFirst Media Website.

By Roger Dooley
I tend to be more of a consumer of public relations than a creator. I’ve done my share of press releases and media interviews, but I’m bombarded with many times that quantity of public relations messages — news releases, book review requests, story suggestions and so on. Sadly, most of what I see is ineffective.

Want to craft a public relations message that engages the recipient? Use our understanding of the human brain to create that message. While there are many ways to play to brains of those readers, likely the most effective single technique is to tell a story.

Stories have a special appeal to human brains. The ability to process information from fellow humans was an important evolutionary advantage to our early ancestors. While they learned from direct experience like other creatures, they could also learn from the experiences of others. Whether this involved avoiding the lair of a dangerous animal, or locating a source of food, being able to readily absorb this second-hand information made these early communicators far more efficient than other species.

This preference for stories affects the way we process information, even in today’s high-tech environment. You can read statistics about the reliability of Toyota cars in reliable publications like Consumer Reports, but if your neighbor recounts a detailed horror story about a transmission problem and how he made three trips to the dealer to get it fixed, that one story will outweigh all the numeric data.

Our brains learn far better from specific examples than abstract information.

Brain scans show the potency of stories, even when they are merely text on a page. In a post about the efficacy of stories in advertising, I describe research showing that stories actually activate the parts of our brain related to the content. If we read about pedaling a bicycle up a hill, our brain will mimic that activity even if our legs remain still.

Never underestimate the power of text when it tells a story. One of the top-rated ads of this year’s Super Bowl was Google’s “Parisian Love” commercial. [youtube=https://www.youtube.com/watch?v=rS4Lb-ie4Lc]As I described in my post, “Power of Text,” there are no actors or CGI animation, no cute animals, no zooming cars, nothing but a series of words typed into a search boxes and their search results. A “neuro-engagement” study using EEG brain scans placed the Google ad in the top-five, ahead of almost all of the big-budget productions. This ad’s secret of success was that it told a compelling story.

One remarkable characteristic of spoken stories is that they actually synchronize the brains of the speaker and listener. If the listener is following the speaker’s story, his brain activity will become almost synchronous with that of the speaker.

In short, whether your goal is to inform or persuade, you first have to connect with your audience by engaging their brains. Statistics and dry facts won’t do that. There’s simply no better way to initiate and maintain that engagement than to present your message in the form of a story.

The post Engage Your Audience With Stories appeared first on StoryFirst Media Website.

Successful online advertising isn’t just about the channel — from search to display to video — it’s about storytelling. When ads incorporate narrative elements, they increase interaction rates and the audience’s willingness to consider the product, react, or even move towards a purchase. Savvy advertisers know that nothing tells a story better than video. I would propose that the power of storytelling through sight, sound and motion is the reason why video is the fastest growing form of online advertising. eMarketer estimates that online video ad spending will grow 48% to $1.5 billion this year and hit $5.5 billion by 2014.

It’s now easier than ever for advertisers to choose online video, whether they’re national retailers or political candidates at the local level just beginning these efforts. The issue isn’t why use online video to tell your story, but how online video should tell your story. Even more important, how do you use online video to further your marketing strategy, tell a great story and generate concrete results? Let’s start by agreeing that not all online video advertising is created equal — or equal to every task — and start to build a holistic online video advertising strategy. Storytelling should move your audience emotionally and logically through the purchase funnel. Understanding how video works across that funnel and where to apply your resources at each stage is the key to unlocking that value.

Introduction – Create Awareness. The beginning of a story should grab viewers’ attention and introduce them to new places, characters, and concepts. At this stage, your video advertising must be disruptive and impactful. In-stream video is most effective in this case because it takes a short time to introduce and create awareness of your product or service. Much like television, the ad is presented in the course of viewing. So, if you are introducing a new product, then focus on driving awareness via broad in-stream buys. The goal is to disrupt, be brief, and be broad-based. And how do you know if you were successful? Research can clearly show when audiences exposed to your advertising have a higher awareness of your product than those who saw nothing.

For the rest of this article, click HERE.

The post Tell Me A Story: How Video Ads Can Drive The Best Results Online appeared first on StoryFirst Media Website.

By telling a story – Google is the vehicle instead of the concentration – the audience can stay engaged and exposed to multiple Google business units.

Below, I share a couple that I liked – let me know your thoughts!

Parisian Love
[youtube=https://www.youtube.com/watch?v=nnsSUqgkDwU]
Out of Office
[youtube=https://www.youtube.com/watch?v=7EEPU65nF1U]

The post Google Joins the Storytelling Bandwagon: Still Room for You! appeared first on StoryFirst Media Website.