Crisis Communication in the COVID Era

The president violated every lesson in crisis communication when he downplayed the seriousness of the COVID-19 pandemic earlier this year.

His claimed intent was to prevent panic, which is a worthy goal, but how he did it is NOT what ANYBODY with experience in crisis communication would do.  What should he have done?

Facebook and Twitter probably CAN legally censor your posts

A recent Supreme Court ruling may put the damper on efforts by the president and his defenders to stop social media giants from censoring and blocking accounts of people who make abusive, bullying, fascist, or other extreme posts, political and non-political. 

Manhattan Community Access Corp. v. Halleck, was actually about cable TV public access channels, but the court's ruling sheds light on the right of media companies to censor user-generated content.

Remember that the First Amendment does NOT guarantee free speech in all situations.  What it does is prohibit the Government from taking actions that limit free speech (including all levels of government).

The cable company in this case censured and eventually banned the plaintiffs from providing content for the company's community access channel, as the result of a program they produced that was critical of the cable company itself. The plaintiffs claimed that because the community access channel was set up as a public forum, their rights were violated.

The Supreme Court majority noted that although the cable company had a contract with the city, it was essentially operating as a private company, and not as an agent of the city.  Therefore, the court ruled, the cable company is not bound by the First Amendment.  It returned the case to the federal district court for review, taking into account this guidance.

It seems to me that this is VERY relevant to the question of social media companies removing content or banning users.  Facebook and Twitter are not in any way agents of the government. They are clearly private companies.  Thus they have the right to set rules and boundaries about allowable content, known as the Terms of Service. 

Of course, there are complications, like the false positives resulting from the use of algorithms to try to identify violating content, which implies that the companies need functional appeal processes. 

But when people post in social media, they need to remember that they are still really playing in somebody else's sandbox, and nastiness CAN have consequences.

Facebook

There has been a lot of angst recently about how Facebook uses data from user profiles. But pretty much every organization that uses advertising does essentially what Facebook does, i.e. collecting information about customers and using it to target advertising messages to them.  So how do we make sense out of current events in social media?

Yes, Everybody does it

It is a standard postulate of advertising and marketing that we respond most favorably when the messages we receive are relevant to our interests. So ALL advertising companies do research to find out where their preferred customers (and prospects) hang out in the media, and they advertise in those locations.

They also do various kinds of research to understand us better.  For example, the bar code scanning in our favorite supermarket.  Everything goes into a database, and if we pay by credit card for check, they know a lot about us, personally.  Have you ever noticed that the coupons that print out while we're checking out are usually for something we already buy (or a competitor)?

Data collection about customers is not new, by any means.

• For centuries, newspapers and later radio and TV created interesting content in order to get people to also see advertisements.
• Starting in the 1970s there was an explosion of specialty magazines, allowing advertisers to reach audiences they knew was already interested in the specialty products the advertiser sells. 
• The hundreds of cable channels now provide this same pre-selection of specialty interests for advertisers.
• When businesses started using the WEB, the same thing happened -- specialty websites sprang up allowing advertisers to find the audience interested in their particular specialty products.

Modern mobile technology has certainly taken this way of doing business to new heights, like knowing your exact location so they can text you discount coupons when you are near a certain store. But it is more of the same and NOT something unprecedented.


How does Facebook Advertising work?

When you make a post on a Facebook business page, some people see the post "organically" because they already follow the page, or they see a friend comment or like the post.

But as page administrator, you also have the opportunity to pay money to extend the post so more people see it.  You can select friends of your current followers, or use a variety of other criteria, such as geographic area, age, and gender.  Facebook also watches what members post, like, and share, so you can select people based on a variety of interests which Facebook has identified, resulting from your history of posting.

In doing this, Facebook does NOT actually share your data.  The advertiser provides the criteria, and Facebook does the match internally in its system, and "serves" the post (advertisement) to the people who match the criteria.


So how did Cambridge Analytica get the data?

According to this article, the researcher, Dr. Kogan, made an agreement with Facebook which allowed collection of data for research purposes, but forbade transferring the data to third parties.

At face value, this is reasonable.  Academic researchers collect personal data all the time, but ethical research does not allow the identities of the participants to be known by anyone outside the study. Institutions have mechanisms in place to ensure this, called "Human Subjects Institutional Review Boards."  I have served on HSIRB at my school and have written proposals seeking approval for my research plans.

In keeping with this, Facebook prohibits collected data from being sold or transferred “to any ad network, data broker or other advertising or monetization-related service.” Dr. Kogan apparently collected the data, then violated the agreement with Facebook and transferred the data anyway.


What was the real failure here?

One can certainly argue that Facebook needs a stronger way of enforcing it's terms of service policy than simply trusting people to comply.

One can argue that websites and apps on which we post personal data should not be allowed to use that data, but this has been happening for 20 years or more on almost every commercial online platform you visit.  It is the REASON they exist, i.e. to make money (not to "serve the public.")

One can argue that users need more warnings about "the information you are about to post may be used for advertising, and delivered back to you in individually-targeted messages."  Most people will still ignore the messages, as they do the terms of service and other warnings.

One can argue that the people in Congress who are charged with regulating this stuff have no clue about what they are trying to regulate (a fact made clear by the questions from members of Congress to Mark Zuckerberg).

I wish I could boil this all down to a single failure with corresponding solution, but the social media environment is too complex.

The vast majority of these web and app systems are for-profit undertakings, meaning that they either need to charge fees, or depend on advertising.  The tried and true business model is to attract an audience with interesting content, and then expose them to advertising, ideally focused to the interests of the audience because what is advertised aligns with the content.

But most consumers conceptualize these content sources as "services" and do not understand that they, themselves, are an audience being sold to advertisers.  This makes them gullible and prone to impulse when they encounter memes, quizzes, and other means of data collection.

There is no simply way to change this paradigm, but public education is part of it.  Caveat Emptor (let the buyer beware) is critical.  Stop and think what information you are entering into the app or website.

If you don't want the entire world to know something, don't put it on the Internet (including ANY communication transmitted via technology).

Formula Scripts in TV and Movies

The growth of original series on streaming video services and cable has resulted in an explosion in the demand for scripts and "pitches" for series, not to mention movies, many of which never end up getting produced.

Nevertheless, many of these scripts, as diverse as they are, follow the same basic formulas.  One could argue that a "formula script" lacks creativity...but creativity actually resides in how new it feels, i.e. what is different, as opposed to what is similar to other uses of the formula.

Here are three storytelling formulas that we see over and over, including one that I consider to be particularly troubling:

1.  The Hero's Journey.  

In the 1940s, Joseph Campbell studied myths from many cultures (mostly Western) and found common elements.  A young reluctant hero is called to a journey that takes him out of his ordinary experience and discovers a villain or threat to which he has a hidden connection.  He has fellow travelers who help him as he is tested, and an older mentor.  The older mentor is taken away, and the young hero most stand up to the villain alone, eventually triumphing and returning to his ordinary life.

Star Wars, Harry Potter, and Lord of the Rings are all basically this same "Hero's Journey" story.  Even the original Die Hard movie used a lot of elements from this formula.

Because this formula is so familiar, writers use it all the time, or at least elements from it. The familiarity allows readers/listeners/viewers to easily engage in the story.

2.  Save the Cat

Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
was published in 2005 and rapidly became the "bible" for many movie writers.  Save the Cat software is even available to help writers structure their story to Snyder's sequence of "beats."  If you know what to look for, you can find these "beats" in many movies and even TV shows.

At one level, Save the Cat is an interpretation of how to translate Joseph Campbell into visual storytelling terms.  At another level, it allows writers to make use of the psychology of the audience in terms of primary and secondary (A & B) stories, major milestones in the plot, and pacing.

Follow those links and you may be surprised.

3. Dystopia

Dystopia is the opposite of Utopia.  In dystopian stories, times are dark, there is little hope, and people are generally bad.  Such stories are often set in the future, with totalitarian governments, dehumanized citizenry, rampant crime, and environmental disaster.  Brave New World, 1984, and Lord of the Flies were dystopian, but in the last decade, we have been deluged by dystioian settings for movies, books, and TV shows.  Sometimes the heroes are admirable, but sometimes not.

Science Fiction writer and futurist David Brin has call dystopian stories lazy, cliched, and cookie cutter.  They are easy stories to tell, resonate with conspiracy theory and suspicion of authority, and they often do not require nuanced characters, which makes it a lot easier for the writers to create.

What does it mean?

The main goal of the movie, television, and publishing industries is to make money.  To make money, they need to produce content that audiences will buy.

That is why so many stories today follow the Hero's Journey, Save the Cat and Dystopian structures.  They resonate with people and gain acceptance more easily than some unusual storytelling approach, but to their foundation of familiarity.

The question media critics and even psychologists must ask is how these stories affect our psyches. The media has incredible power to influence people's perceptions and actions.  Heroes, like Luke, Harry, and Frodo, may well subtly influence people to do what is right in the real world, not just what is easy.

But how about the modern dystopian orientation of story after story? Does it subtly influence people to see conspiracies everywhere, distrust authority, accept thoughtless ideology, and expect people to conform to the dictates of the perceived majority?

Waves of dystopian fiction usually come during times of social unrest and war.  Brave New World, 1984, Fahrenheit 459, and Animal Farm all stemmed from the Cold War and deep concerns about communism. Today's stories are written against a background of seemingly endless war, unstoppable terrorism, and fake news.

This recent New Yorker article suggests that for every present-day dilemma, there is a dystopian novel to match it, and that the resulting "radical pessimism" has resulted in the unravelling of trust in science and the weakening of a commitment to political pluralism.

I think that dystopian story after dystopian DOES affect our national mood and makes "the ends justify the means" more and more acceptable, when it shouldn't be. So if the "heroes" are unlikable and do unethical things to each other, don't expect me to watch.

Why you SHOULDN'T watch your favorite shows on-the-air (or cable)

If you REALLY want to help a TV show you love, don't watch on the networks (including cable). Watch a (legal) streaming feed or DVR.  Why?

TV series live and die by the ratings, but many people do not realize that weekly ratings that lead to cancellation or renewal are only collected from the top 50 markets (cities) in the country.

On top of that, only a random sample of homes with "people meters" actually get counted, and then are project statistically.

So, if you live in a big city, but do NOT have a people meter, you don't get counted.  If you live anywhere else you do not get counted...if you watch your show over-the-air or on cable, that is.

On the other hand, ratings today take into account how many people streamed or DVRed the show in the seven days after the network/cable broadcast.  When you stream or DVR the show you DO get counted.

(Of course, this means streamed legally, or DVRed with a system that can "phone home" to report your viewing.  Bootleg copyright infringed streams, downloads, and old-style home video recorders don't get counted.)

The reality is, there are some shows that get twice or more as many views via legal streaming/DVRing than they do in the network/cable feeds. This is particularly true when you look at certain desirable demographics, like 18-49-year-olds. A three-times increase is not unheard of.

Because these streaming/DVR viewers still get commercials, the networks make money from every commercial you see, and profitability and return on investment is what gets a series renewed, or canceled if the return is too low. 

So the "broadcast plus seven" ratings are influential, and streaming/DVRing allows you to contribute to the ratings of the shows you like.  Or, if you still like the context of gathering for the broadcast at a specific time, watch the live feed but make sure you also stream it again, at least once, before seven days are up.

(Of course, this does not address original series from Netflix, etc, that are never on the broadcast and cable channels.  They are not counted in any ratings, other than the company's internal tracking of hits, downloads, and streams, which they rarely reveal.)

So again, of you REALLY want to help your favorite shows, make sure you stream them at least once in the seven days following the original network/cable feed and add your ratings into the renewal calculations.

Five strategies to get the most from your online marketing

I have worked and taught in the field of media all my life, so I know the important role that advertising plays in providing the profitability which allows content that serves the public.

But online advertising often isn't accomplishing what it should.

This article makes a couple of important points, showing that online advertising is far from a mature industry, and often does not accomplish the goals of the advertiser.

Procter & Gamble cut more than $100 million in digital marketing spending in the June quarter but there was little impact on its business, proving that their digital ads were largely ineffective. 

The two most common complaints about digital advertising are that 1) advertisers are paying for ads that are viewed and clicked on by bots, not humans; and 2) ads are placed by thousands of automated “ad exchanges” that are out of control of the advertiser on sites and pages that don’t match the advertiser’s products.

I have been teaching for almost 20 years that the Internet should be seen in terms of the relationships it facilitates, not in terms of the technology.  I am fully convinced that the Internet, websites, and social media can be used to foster beneficial relationships between businesses/organizations and their customers/constituents.  But I am not convinced that display advertising, inserted into websites and social media feeds, is the way to do it.

It is relatively easy to create an ad and then pay one of these ad exchanges to place the add in various sites and feeds THEY choose, based on the demographic information YOU specify. They later tell you how many users saw or clicked on the advertisement.  As the article explains, there is great potential for the advertiser to be deceived about effectiveness, due to automated click bots, or the ad exchange putting the ads in bogus (or shall we say suboptimal) locations.

So how SHOULD businesses and organizations use social media and the Internet to promote their brand?

Here are my five strategies to get the most value out of your online marketing communications:

1.  You have to engage in TWO-WAY interaction with your audience

Give them content that is relevant to their interests and when they respond, respond BACK to them to show them you are listening.  This takes time, planning, and smarts.

The social media, itself, may be free, but the bigger your organization is, the more people hours and budget it takes to plan and create the content, to listen around the clock, and to make replies and help solve problems, all while perfectly aligning with your brand image and brand promise.

This process doesn't work via one-way advertising.

2.  Use strong CONTENT MARKETING 

People respond positively when the messages they receive are relevant to them. Messages that are not relevant get ignored, and frequent irrelevant messages may result in unfollowing.  This is why businesses and organizations need to REALLY understand their customers -- who and where they are, their interests, and why they are or should be interested in what WE have to offer.

The highly-relevant content we create may be posted right in our social media feeds. It might be in a blog or other format that is linked to from our social media.  But is also needs to be well-optimized for search engines, because the specific topic of the one particular content piece may be what allows someone to find us and decide to like/follow us.

This content will surely include text, but also video, graphics, and photography custom-produced for your social media posts.

3.  Time of day you post is really important

Post your content at a time when YOUR people are most likely to be reading, so your content does not scroll down and get lost in the clutter.  Some platforms may TELL you when your people are on.  If not, you can experiment with posts in different day parts.

4.  Call to Action

Every post should be crafted to stimulate some kind of action, even as simple as liking the post.

In persuasion theory, the way to get people to do BIG things is to first get them to agree to little things, and to then lead them along, step-by-step, toward the bigger things. These little things, as simple as liking or sharing, gets their thinking aligned the way you want, so when the bigger need or opportunity arises, they are pre-disposed to take the important action steps you want.

So EVERY content post should include some form of call to action.

5.  Seek both frequency and reach

For decades, the dual emphases for advertising have been frequency and reach.

Reach means you DO want to get your message to as many people as possible, to help find prospects, i.e. people with whom you are not in contact.  Your goal in online reach should be to get people to like/follow your feeds, or otherwise make initial contact.

But for building and strengthening the relationship between you and your constituents, the frequency of interaction is vital. The more positive contacts your audience has with you, the more likely they are to buy (or do whatever the action goals of your organization are), and this is driven by the frequency of contacts.

Of course, don't overwhelm them with 147 posts a day.  Find the daily or weekly frequency that is right for you and them.

The balance between frequency and reach may be different for different businesses/organizations, but remember that they do different things and your online marketing content should never be only one or the other.

Reach is making initial contact.  Freqency is about cementing the relationship.


Final Thoughts

Lots of people think that if they USE social media, they will automatically be effective at marketing via social media.  Not really true.

There are many dimensions that must be accounted for and planned in social media marketing that go way beyond being a user.

I'll be teaching an online course on social media marketing in the spring semester through my school, Wayne State College. It will be regular tuition, but anyone anywhere can enroll, in a degree program or not, for undergraduate or graduate credit.

If you're interested, let me know.  Registration will be in October.

 

The Orville

The Orville premiered on FOX this evening.  What did I think of this new series that combines comedy and drama in a space travel SF series?

I must confess that I have been looking forward to this series since I first heard about it, because I like science fiction about likable characters who are professional, yet fun.

The reviews from people who have seen advance screenings were not helpful helpful. Predictably, reviews from science fictiony sources tended to be more positive, whereas reviews from other kinds of media observers were not.  So I have been waiting to see for myself.

Well -- I liked it.

I'm not talking about the plot in this post, other than to say that there was some nice drama, with lots of comedic asides thrown in.

One of the things I liked most was something that some of the reviewers have panned -- that so much of the pilot episode was so familiar.  Stylistically, The Orville draws on Star Trek, plus a few tributes to GalaxyQuest and at least one scene that reminded me of a Firefly scene.

I think the producers made many of their scenes familiar as a way of drawing in viewers.

Fans KNOW that the captain does a grand fly-around of the new starship. It just seemed right.  We know that when the ship first leaves the spacedock/space station, there is grand music as it pulls away.  We are not surprised by a holodeck, but a certain plot twist involving a holodeck character feels creative.

When I teach media criticism, we learn that so many stories are similar in broad brush strokes because familiarity makes them accessible to the audience.  The Lord of the Rings, Harry Potter, and the original Star Wars all follow basically the same plot outline, based on Joseph Campbell's "Heroes Journey."

Because many stories are so similar, the creativity is in the innovation, or what is different and surprising. Joss Whedon is particularly good at appearing to take a story in a familiar direction, but then having it turn into something unexpected.

Malcolm Reyonds saying "If I'm not back in one hour you take the ship and you...come rescue me" is a perfect example of this, because we EXPECT him to say "get the crew to safety."

The Orville makes use of this expected/unexpected formula.  There are many elements that we find familiar from Star Trek and other past space travel series, which give a comfortable feel to the story. But there are surprises and new situations, as well.

Truth be told, there are also a few juvenile echos from creator and star Seth McFarland's "Family Guy" which I could have lived without, but they did not overwhelm the story.

First episodes of any series are usually a little uneven.  Episode one of The Orville is enough to get me to watch again next week, which is the main goal of a pilot episode. I think that there is some good potential here.

The Psychology of Colors

I tell my marketing communication students that every detail of the communication between a business or organization and its constituents must reinforce the fundamental positioning and brand promise of the organization. This includes the colors used in visual communication.

My friend and former student Rhea tweeted a link to the infographic at the bottom of this page, reminding me of a design course I previously taught in which we addressed the meaning conveyed by colors.  It shows why businesses select the colors used in their logos and marketing materials VERY carefully.

Take oil company logos, for example.  Many of them make strong use of red to signalled power, energy, and boldness. Blue represents trust and loyalty, and the white stands for cleanliness and purity.  Gulf's orange represents nature, confidence, and innovation. These colors support the image the company want to project, or at least did in years past, when the logos were created.



But British Petroleum uses green, signalling health, nature, and prosperity, with shades of yellow for optimism and happiness, and white for cleanliness and purity.

See also how the symbolism of these colors reflects how BP wants to be seen today? NOT as polluting and reaping windfall profits but rather as safe, clean, and worthwhile?

Colors are a powerful tool for conveying meaning in visual communications.  They are "subtext," or meaning below the surface, and connotations.  But the meaning is still there, serving the desired brand image of the company.

(The colors and meanings in the infographic are for Western culture.  In Eastern, culture, there are some differences.)

Next time you look at a favorite company's logo, check to see what meaning the color(s) convey.

The original post is at: 

https://iconicfox.com.au/2017/07/27/colour-in-branding-infographic/

Killjoys renewed, Dark Matter canceled - It's just business

Fans are scratching their heads because the Syfy Channel has announced the cancellation of Dark Matter, but the renewal of Killjoys.

This is a perfect example of the disconnect between how the fans see entertainment TV, and how the networks are actually run.

The simple truth is that every TV network, cable channel, and streaming service exists to make money.  Decisions about programming are always driven by considerations of profit.  Serving the audience with good programming is HOW they make money, but the business GOAL is making money, not serving the audience. It's just business.

I have been looking through the ratings information at tvseriesfinale.com and trying to understand the Syfy decision to renew one series but cancel the other.  Both were promoted in 2015 as the cable channel returning to its roots of space-based science fiction.  Both were outside acquisitions, not projects developed internally by Syfy.

Dark Matter averaged 614,000 viewers this season compared to 676,000 viewers last season. Killjoys averaged 627,000 viewers this season, down slightly from 644,000 last season. Industry-wide, declines of 25% are not unusual, as more and more people "cut the cord."

Those totals seem pretty close together, and it may seem bewildering that Syfy has renewed shows with considerably fewer total viewers, like The Expanse (562,000), Channel Zero (543,000), and Wynonna Erp (499,000).

But when we look at ratings from the 18-49 demographic, it makes a lot more sense. Advertisers love the 18-49 demographic because they are most likely to spend money. It's just business.

Killjoys captured an average of 17% of all television households in its timeslot this past season, which is down 5.56% from the previous season. Dark Matter got 15% of television households, down 12.67%, compared to the previous season.

Dark Matter WAS getting high viewership in online and time shifted viewing via DVRs and trackable (non-pirated) streaming views, sometimes doubling its audience or more, compared to the "live" cable feeds.  But such additional viewers may not be as valuable to the Syfy revenue stream.  

Syfy has renewed every current show getting 17% or higher of television households, and canceled every show with 16% or lower.  There is obviously some sort of threshold above which they consider a series to have profit potential, and below which there is not enough return on investment.  It's just business.

Television IS a business (broadcast, cable, and streaming). They spend money to develop and air series, or to purchase outside productions, and they need a return on investment from those expenditures. They make money by selling advertising. Advertisers spend their money on shows that will give them the best audience for their specific products, at appropriate cost. It's just business.

If the ratings of a show are too low, meaning not enough people watch, Syfy can't sell enough advertising in the program, because it's not a good enough deal for the advertisers. Or they have to charge less, meaning Syfy makes less money.  When Syfy makes less money, the investors also don't make as much money, and they consider firing the executives who didn't make enough money.  It's just business.

Syfy is owned by NBCUniversal, which also owns NBC, The Weather Channel, E!, Oxygen, Bravo, and the USA Network, among others.  Each one provides advertisers with a different demographic, not just in terms of age, but also in terms of interests that advertisers can match with their products.

Note that the network and advertiser analysis of ratings includes online viewing within a week of the cable broadcast (via legal DVR and streaming services).  But if your plan is to wait a few months and then binge-watch a series, your viewing is NOT part of the calculation about whether to renew or not.

Consumers generally to not understand these business considerations.  Cost versus revenue, and return on investment, however, are the primary considerations for which series are picked up and renewed, and which are not.  It's just business.

If you are interested in more about the Dark Matter decision, read this blog post from executive producer Joseph Mallozzi.