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Want to Scale Your Content Strategy? Hiring Isn’t the Answer

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Want to Scale Your Content Strategy? Hiring Isn't the Answer

If you ask an actor or screenwriter about their career goals, they’ll almost all say, “But what I really want to do is direct.” Or so goes the Hollywood trope.

Ironically, the director participates the least in the creative work. A director’s role isn’t to write, act, play music, edit, or even point a camera. The director’s job is to direct the individual artists’ contributions to the film product.

Yes, some directors do double duty by writing or acting in their films or shows. But the director’s function remains clear: Guide, enable, and manage a team of storytellers to efficiently produce powerfully engaging work.

Successful directors shape the work of hundreds of independent artists so effectively the resulting film sings with one clear voice. The words, pictures, actors, costumes, music, and editing mesh so completely that removing any of them would pull the entire piece apart.

Transcendent directors do this so successfully that their signature style shines through even when they use different individual contributors for each project.

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This idea of the director role came to me as I talked with the head of content at a B2B technology company recently. She told me that her content studio had earned enough respect within the business that they’re considered the go-to team for getting something written or designed well.

But she’s frustrated that most people considered them just the team that produces “good words and pictures.” She wants the team to play a more important role. So, she asked me, “How do we become more strategic to the business without adding more head count? How can we take on more content?”

Without a doubt, scalability is the biggest challenge I see among businesses trying to succeed with content marketing. The ability to “create enough content” gets mentioned as one of the top challenges in our content marketing research year after year.

Somehow, adding more writers, designers, podcasters, and other skilled staff never seems to solve that challenge.

Here’s the thing: The ability to grow doesn’t lie in the capability to produce enough content.

To scale, a content strategy team must be more than the collection of skilled creators of “good words” or “good pictures.” The content team’s purpose must be more than to create great assets.

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It must also enable every other part of the business to do the same. What you need is a team that really wants to direct.

Your #content team must have a purpose beyond creating great content assets to be truly strategic, says @Robert_Rose via @CMIContent. Click To Tweet

Why you’ll never create ‘enough’ content

One of the biggest strategy mistakes I see is to equate establishing a content strategy with building a content studio filled with talented writers, designers, and multimedia specialists.

Even when there’s one person who manages the team, many in the business consider it a collection of individual contributors whose roles are to produce assets as efficiently as possible.

Spoiler alert: This approach rarely works. Why? Because businesses can’t get ahead of the content need.

Call this Robert’s Law of Content: The need for content expands in direct proportion to the number of resources allotted to it.

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The need for #content expands in direct proportion to the number of resources allotted, says @Robert_Rose via @CMIContent. Click To Tweet

An intelligent content strategy in modern business isn’t about creating a siloed group of individual content contributors.

Instead, it’s about creating a team whose role is that of a director. Everyone on the team should be focused on helping create, guide, and enable the entire organization to tell a consistent story.

“Now wait just a doggone second,” you say. “How can a team of people all act as a director? Isn’t the director one person?”

Yes, that’s true. I mean that the function of a content strategy team is like that of the modern movie director.

The team isn’t there to provide any single content creation skill on demand. It exists to enable the broader organization to develop and integrate its messages into a common voice.

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Like any seasoned director, the team also may do double duty as writers, editors, or designers. But that’s not their primary purpose.

They’re not simply providers of words that a sales professional copies and pastes, attaches to an email, or uploads to a website to create and deliver value to a customer, for example.

They should guide, shape, and develop the sales professional’s ability to deliver the best story regardless of who creates it. Occasionally, that might be someone on the content strategy team.

But an integrated, enterprise content strategy must work like a film project – it’s a director’s medium. The only way to truly scale is to shape, guide, and, yes, direct everyone in the business to do their part in telling the brand’s stories in one voice.

The only way to scale an enterprise #ContentStrategy is to direct everyone in the business to do their part in telling the brand’s stories, says @Robert_Rose via @CMIContent. Click To Tweet

My advice to any content leader looking to scale a team and become more strategic is to buy every team member a shirt that says, “But what I really want to do is direct.”

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Then, start coaching the team to stop acting as an internal content production studio and start directing all enterprise content regardless of who creates it.

5 strategic enterprise content strategy roles

To facilitate this evolution of a content strategy, you need a new team charter that defines the content strategy team’s roles, responsibilities, and functions.

I see five primary responsibilities for the team. Each balances individual contribution with skills to foster in the broader organization.

5 strategic enterprise content strategy roles: Planning and prioritization, creation and management, scheduling and distribution, insights and improvement, and publishing and promotion.

1. Strategy: Planning and prioritization

This piece is missing in most content strategies where the team is seen as individual contributors. “Random acts of content” happen when no team accepts the role of leading the planning and prioritizing for which content will be produced and when.

A great director provides a consistent storyboard, shot calendar, timeline, and plan so everybody knows what gets created and when. Likewise, a content team must help the business with setting content objectives, distributing resources, and balancing priorities and business needs.

2. Content creation and management

This step is the most misunderstood because it’s the one most people think they understand. (“It’s just creating the assets as they’re needed, right?” No, it isn’t.)

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Once you have prioritization, scheduling, and resource planning under control, the process becomes less linear yet more efficient.

Does that seem confusing? Think of it this way: A movie director might send one team off to shoot what’s called b-roll. (Think establishing shots, crowd shots, or filler shots that establish context).

This kind of filming can happen any time (not just as needed) because everything is planned out. The director describes what’s required but doesn’t have to provide it or even be present when these scenes are filmed.

Likewise, a great content manager might lead (but not create) content captured by someone in account services. The assets the account services staff captures can be remixed into case studies, marketing pieces, advertising, thought leadership, and so on. The person in account services knows what to produce because the content team member provided a complete “shot list,” set of interview questions, etc.

3. Merchandising: Internal scheduling and distribution

Merchandising is another area missing from many content strategies. Most companies conflate the idea of content assets and digital assets. They think, “We’ve created X e-books, web pages, and emails, so we’ve created X content assets.”

So much time ends up wasted by having to “undo” digital assets to retrieve content for repurposing.

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One of the most critical roles on a film set is the production asset manager. That person ensures every asset (film, audio, video, photos, and so on) gets tagged and routed to the artists who need to create content with it.

Likewise, a great content strategy team ensures that both raw content and the resulting digital assets are easily findable, routed correctly, and available ready for reuse, repurposing, and activation.

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4. Activation: Publishing and promotion

The responsibility here is not just completing the asset and saying, “Here it is.”

Equally important is the broad communication that it’s available and the plan for distributing it. While film producers (studios) typically promote a film, directors often have creative input into the marketing, trailer, and sometimes distribution.

A strategic content team also should ensure assets get launched appropriately.

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5. Measurement: Insight and improvement

This final responsibility may seem, at first, to be the furthest from the director metaphor. Certainly, business content should be evaluated based on how well it was activated, promoted, and used. That usually means the responsibility should lie within whichever function of the business was responsible for distributing and using the content created.

You may be surprised to learn how much technology, data, and measurement processes are used on film productions to create more efficient scheduling, creation, and post-production efforts.

Likewise, the content team should, at the very least, be squarely focused on an efficient and effective lifecycle of content creation, management, production, and distribution.

Content strategy as artful, efficient production

These five responsibilities form the core of a content strategy. In addition to being a creative engine for artful experiences, a functional content strategy guides the entire process of content.

The team sets standards, develops playbooks, molds the scripts, chooses the lenses, fosters the talent, guides the process, and helps structure the output.

Like a movie, television, or stage director, your content team may sometimes, but not always, serve as the storyteller. But it should always, not just sometimes, enable everyone in the company to tell the business’s stories.

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Once your team accepts its role as the “director” of enterprise content, it can start influencing vision, words, story, and experience to deliver on a business strategy poised for box office success.

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Get Robert’s take on content marketing industry news (in just three minutes)

https://www.youtube.com/watch?v=videoseries
Want to learn how to balance, manage, and scale great content experiences across all your essential platforms and channels? Join us at ContentTECH Summit this March in San Diego. Browse the schedule or register today. Use code BLOG100 to save $100.

Cover image by Joseph Kalinowski/Content Marketing Institute




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How To Develop a Great Creative Brief and Get On-Target Content

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How To Develop a Great Creative Brief and Get On-Target Content

Every editor knows what it feels like to sit exasperated in front of the computer, screaming internally, “It would have been easier if I’d done it myself.”

If your role involves commissioning and approving content, you know that sinking feeling: Ten seconds into reviewing a piece, it’s obvious the creator hasn’t understood (or never bothered to listen to) a damn thing you told them. As you go deeper, your fingertips switch gears from polite tapping to a digital Riverdance as your annoyance spews onto the keyboard. We’ve all been there. It’s why we drink. Or do yoga. Or practice voodoo.

In truth, even your best writer, designer, or audiovisual content creator can turn in a bad job. Maybe they had an off day. Perhaps they rushed to meet a deadline. Or maybe they just didn’t understand the brief.

The first two excuses go to the content creator’s professionalism. You’re allowed to get grumpy about that. But if your content creator didn’t understand the brief, then you, as the editor, are at least partly to blame. 

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Taking the time to create a thorough but concise brief is the single greatest investment you can make in your work efficiency and sanity. The contrast in emotions when a perfectly constructed piece of content lands in your inbox could not be starker. It’s like the sun has burst through the clouds, someone has released a dozen white doves, and that orchestra that follows you around has started playing the lovely bit from Madame Butterfly — all at once.

Here’s what a good brief does:

  • It clearly and concisely sets out your expectations (so be specific).
  • It focuses the content creator’s mind on the areas of most importance.
  • It encourages the content creator to do a thorough job rather than an “it’ll-do” job.
  • It results in more accurate and more effective content (content that hits the mark).
  • It saves hours of unnecessary labor and stress in the editing process.
  • It can make all the difference between profit and loss.

Arming content creators with a thorough brief gives them the best possible chance of at least creating something fit for purpose — even if it’s not quite how you would have done it. Give them too little information, and there’s almost no hope they’ll deliver what you need.

On the flip side, overloading your content creators with more information than they need can be counterproductive. I know a writer who was given a 65-page sales deck to read as background for a 500-word blog post. Do that, and you risk several things happening:

  • It’s not worth the content creator’s time reading it, so they don’t.
  • Even if they do read it, you risk them missing out on the key points.
  • They’ll charge you a fortune because they’re losing money doing that amount of preparation.
  • They’re never going to work with you again.

There’s a balance to strike.

There’s a balance to be struck.

Knowing how to give useful and concise briefs is something I’ve learned the hard way over 20 years as a journalist and editor. What follows is some of what I’ve found works well. Some of this might read like I’m teaching grandma to suck eggs, but I’m surprised how many of these points often get forgotten.

Who is the client?

Provide your content creator with a half- or one-page summary of the business:

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  • Who it is
  • What it does
  • Whom it services
  • What its story is
  • Details about any relevant products and services

Include the elevator pitch and other key messaging so your content creator understands how the company positions itself and what kind of language to weave into the piece.

Who is the audience?

Include a paragraph or two about the intended audience. If a company has more than one audience (for example, a recruitment company might have job candidates and recruiters), then be specific. Even a sentence will do, but don’t leave your content creator guessing. They need to know who the content is for.

What needs to be known?

This is the bit where you tell your content creator what you want them to create. Be sure to include three things:

  • The purpose of the piece
  • The angle to lead with
  • The message the audience should leave with

I find it helps to provide links to relevant background information if you have it available, particularly if the information inspired or contributed to the content idea, rather than rely on content creators to find their own. It can be frustrating when their research doesn’t match or is inferior to your own.

How does the brand communicate?

Include any information the content creators need to ensure that they’re communicating in an authentic voice of the brand.

  • Tone of voice: The easiest way to provide guidance on tone of voice is to provide one or two examples that demonstrate it well. It’s much easier for your content creators to mimic a specific example they’ve seen, read, or heard than it is to interpret vague terms like “formal,” “casual,” or “informative but friendly.”
  • Style guide: Giving your content creator a style guide can save you a lot of tinkering. This is essential for visuals but also important for written content if you don’t want to spend a lot of time changing “%” to “percent” or uncapitalizing job titles. Summarize the key points or most common errors.
  • Examples: Examples aren’t just good for tone of voice; they’re also handy for layout and design to demonstrate how you expect a piece of content to be submitted. This is especially handy if your template includes social media posts, meta descriptions, and so on.

All the elements in a documented brief

Here are nine basic things every single brief requires:

  • Title: What are we calling this thing? (A working title is fine so that everyone knows how to refer to this project.)
  • Client: Who is it for, and what do they do?
  • Deadline: When is the final content due?
  • The brief itself: What is the angle, the message, and the editorial purpose of the content? Include here who the audience is.
  • Specifications: What is the word count, format, aspect ratio, or run time?
  • Submission: How and where should the content be filed? To whom?
  • Contact information: Who is the commissioning editor, the client (if appropriate), and the talent?
  • Resources: What blogging template, style guide, key messaging, access to image libraries, and other elements are required to create and deliver the content?
  • Fee: What is the agreed price/rate? Not everyone includes this in the brief, but it should be included if appropriate.

Depending on your business or the kind of content involved, you might have other important information to include here, too. Put it all in a template and make it the front page of your brief.

Prepare your briefs early

It’s entirely possible you’re reading this, screaming internally, “By the time I’ve done all that, I could have written the damn thing myself.”

But much of this information doesn’t change. Well in advance, you can document the background about a company, its audience, and how it speaks doesn’t change. You can pull all those resources into a one- or two-page document, add some high-quality previous examples, throw in the templates they’ll need, and bam! You’ve created a short, useful briefing package you can provide to any new content creator whenever it is needed. You can do this well ahead of time.

I expect these tips will save you a lot of internal screaming in the future. Not to mention drink, yoga, and voodoo.

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This is an update of a January 2019 CCO article.

Get more advice from Chief Content Officer, a monthly publication for content leaders. Subscribe today to get it in your inbox.

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Cover image by Joseph Kalinowski/Content Marketing Institute

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Quiet Quitting vs. Setting Healthy Boundaries: Where’s The Line?

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Quiet Quitting vs. Setting Healthy Boundaries: Where's The Line?

In the summer of 2022, we first started hearing buzz around a new term: “Quiet quitting“.

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Microsoft unveils a new small language model

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Microsoft unveils a new small language model

Phi-3-Mini is the first in a family of small language models Microsoft plans to release over the coming weeks. Phi-3-Small and Phi-3-Medium are in the works. In contrast to large language models like OpenAI’s ChatGPT and Google’s Gemini, small language models are trained on much smaller datasets and are said to be much more affordable for users.

We are excited to introduce Phi-3, a family of open AI models developed by Microsoft. Phi-3 models are the most capable and cost-effective small language models (SLMs) available, outperforming models of the same size and next size up across a variety of language, reasoning, coding and math benchmarks.

Misha Bilenko Corporate Vice President, Microsoft GenAI

What are they for? For one thing, the reduced size of this language model may make it suitable to run locally, for example as an app on a smartphone. Something the size of ChatGPT lives in the cloud and requires an internet connection for access.

While ChatGPT is said to have over a trillion parameters, Phi-3-Mini has only 3.8 billion. Sanjeev Bora, who works with genAI in the healthcare space, writes: “The number of parameters in a model usually dictates its size and complexity. Larger models with more parameters are generally more capable but come at the cost of increased computational requirements. The choice of size often depends on the specific problem being addressed.”

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Phi-3-Mini was trained on a relatively small dataset of 3.3 trillion tokens — instances of human language expressed numerically. But that’s still a lot of tokens.

Why we care. While it is generally reported, and confirmed by Microsoft, that these SLMs will be much more affordable than the big LLMs, it’s hard to find exact details on the pricing. Nevertheless, taking the promise at face-value, one can imagine a democratization of genAI, making it available to very small businesses and sole proprietors.

We need to see what these models can do in practice, but it’s plausible that use cases like writing a marketing newsletter, coming up with email subject lines or drafting social media posts just don’t require the gigantic power of a LLM.



Dig deeper: How a non-profit farmers market is leveraging AI

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