News & Views

Job title: Content Executive

New Narrative, Asia’s leading content consultancy, is looking for the newest addition to its editorial team. Full job details are below. Interested parties, please email a CV, cover letter and two examples of your writing to careers@new-narrative.com.

About the role

We are looking for a dynamic and ambitious content creator who will work to deliver written, visual and digital content across a variety of media, for a range of blue-chip clients.

As a core member of a dynamic and fast-growing editorial team you will be responsible for researching and producing top-quality content, from short-form articles to infographic concepts to social media copy.

The appeal of the job lies in its constant variety: no two client briefs are alike. One week you might be researching a blog series on blockchain; the next you could be crafting tweets live from an asset management seminar in Shanghai; the next developing a social media strategy for ground-breaking European healthcare research.

This is the ideal role for an ambitious self-starter keen to develop their content creation skills in the new territory emerging between media and marketing.

About New Narrative

From our offices in Hong Kong and New York, New Narrative creates agenda-setting content campaigns on behalf of the world’s biggest companies in diverse sectors, from financial services to technology to healthcare.

Our clients rely on our unwavering dedication to editorial quality and our deep understanding of their businesses – and what resonates with their target audiences – to help them publish world-class research and thought leadership.

New Narrative’s management team has decades of experience in senior editorial roles in leading international media organisations. By joining our team you will get the chance to learn rapidly and work on high-profile campaigns in a fast-growing, vibrant and welcoming environment.

Skills/Experience:

The successful candidate should have:

• Experience or demonstrated interest in a journalism, marketing or research role, ideally with a focus on financial and professional services

• Experience producing content across a range of formats to tight deadlines

• Knowledge of the digital and social media aspects of publishing

• Strong research skills

• Impeccable English language skills; other languages (particularly Cantonese and Mandarin) preferred

What we offer:

• Unmatched opportunities for advancement, to develop new skills and to shape the future direction of a dynamic young business at the forefront of the rapidly expanding regional media and content marketing industry

• The opportunity to exercise and showcase your creativity on high-visibility projects for industry-leading clients

• A highly competitive salary to the right candidate, along with benefits such as a company medical plan and paid holidays

• The chance to be part of and learn from a diverse and global team of professionals with decades of combined experience in journalism, digital media and publishing

• A flexible, progressive environment where work-life balance is a priority

New Narrative is an equal opportunities employer.

Interested parties, please email a CV, cover letter and two examples of your writing to careers@new-narrative.com.

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While statistics can make content more credible or help make a point in fewer words, it is tricky getting numbers to tell a story, and developing actionable insights from data is among the top challenges for marketers. By considering these key factors you’ll be off to a good start.

The Message

To keep the story on point, try to summarise it in a single headline or tweet, as this post in the Harvard Business Review suggests. Select one or two key data points or insights – the more unique the better – that support this core message and lead with them. Also resist the urge to cram as much supporting data into a piece as you can; few things provoke as many yawns as a sea of numbers and just a couple of strong statistics can add more weight than dozens of middling ones. Any data you leave behind can always be used in the future.

The Sourcing

Especially when working with external data, take extra care to ensure its provenance. Always look for original sources and vet their reliability. Databases of governments and world bodies, research agencies, industry associations and renowned think tanks are good places to start. Also make sure to be transparent about where your data came from and how any conclusions are reached. Attribution is key, especially when working with third-party data, as it burnishes a campaign’s and the organisation’s credibility — whereas failing to attribute data properly does quite the opposite. Read more about that here.

The Analysis

To cut through the jumble of data, make comparisons and look for trends, patterns and relationships to coax out relevant findings. However don’t overstretch in the desire to make connections, and make sure you’re comparing rough equivalents. Contrasting the economic data of cities with vastly different population sizes, for example, is unlikely to yield anything worthwhile. Most importantly, look for (and test) findings that are genuinely counterintuitive or run against the grain, which are virtually guaranteed to attract attention and provoke debate.

The Narrative

To paraphrase behavioural economists Amos Tversky and Daniel Kahneman: No one ever made a decision because of a number. They need a story. Data-driven stories are as much about the narrative as they are about the numbers. So, it’s necessary to step into the audience’s shoes and ensure a piece flows logically from one data point to the next. Keep it simple, avoid jargon, and include anecdotes and real-life examples that will help the audience readily relate to the information. Here’s an example from the South China Morning Post that weaves a compelling narrative about the Belt and Road Initiative through interactive charts, maps and graphs.

The Presentation

Given that the numbers are the story, make the presentation as visual as possible to break down complex findings and drive home the message. Research has shown that the human mind can’t process numbers beyond a certain level (read more about that here) so it helps to provide visual aids. Charts, infographics and interactive tables, used with a strategic combination of colors, can convey the data in a striking yet easy to digest manner. This selection from the New York Times provides a good overview of the various ways data can be presented.

The Engagement

Considering that the entire exercise is aimed at engaging the audience, make sure to create an opening for interactions. Invite, encourage and drive discussions around the story; guide the audience to information that complements the material at hand; and, seek feedback. Gathering statistics on what your audience likes and dislikes can provide you with fresh data to inform the next stage of your publishing plans.

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Amid all the comment about Europe’s General Data Protection Regulation (GDPR), the most commonly heard complaint was about the flood of spam from companies who realised, a little late, that they needed people’s “freely given, specific, informed, and unambiguous” consent to keep receiving their emails. (NewsCred has a good explainer on the impact on marketing here.)

I’m sure like me you deleted most of these “Don’t Miss Out on Our Bumf!” emails with nary a second thought – the first thought often being “I didn’t realise I was even on your mailing list.” (The ones I received may have sounded more plaintive than those sent to people who aren’t EU citizens: requirements obviously differ outside the EU, but the rest of the world won’t be far behind in legislating data protection.)

More interesting perhaps is the jolt of alarm I felt about the prospect of not receiving something I actually valued or relied on. I had that a few times and didn’t mind the extra steps of confirming my interest or re-entering my details.

This raises the question, what was the crucial difference between the two reactions? It all boils down to quality of content.

In the information economy there is plenty of content you need and are happy to pay for: reputable news sites and data feeds have all but stopped giving away content regularly in exchange for advertising reach. They needn’t worry about GDPR-related complaints from loyal readers (assuming they’re not over-using the privilege and flooding their inboxes): nothing screams informed consent like giving up your credit card details.

But paid content is still a minuscule sliver of what’s coming into your inbox. Email, for all its faults, is still a great means of receiving regular digests of news and comment from informed sources. Most companies rely on it to reach their best customers and hottest prospects and will need rapidly to work out how to keep doing so.

What GDPR has brought home is that if you’re giving away content in the hope of building a willing audience, it had better be as good as the stuff people are paying for. Because if someone signs up for “free” content with an email address and explicit consent for you to use their information, they are in fact paying for it – with their data, rather than their money.

The upsides to this are twofold. For the recipients, it should mean pure dross won’t get through: marketers will have to raise their content games.

For companies forced to get to grips with their audience, it offers the opportunity to find out at a more granular level what they’re interested in (and prepared to sign up to receive). This means that if companies can deliver it, their content will be all the more likely to help them achieve their commercial aims.

Of course, getting to professional-standard content isn’t easy. Which is why we’re here to help companies reach a bar that’s getting raised all the time. With GDPR, it’s even more vital to make the jump.

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It’s right that truly original ideas are celebrated. That’s because they are exceptionally rare: it was said of Einstein that he only had two new ideas; they just happened to be the Special Theory of Relativity and the General Theory of Relativity. One of the most famous original thinkers before him, Isaac Newton, acknowledged that he got his ideas through “standing on the shoulders of giants” (though this might have been a mean dig at a short rival).

In business it’s often a struggle to identify more than a handful of ideas without precedent. Steve Jobs was a genius for launching the first phone with a touchscreen and apps? Nope: IBM got there fully 13 years earlier. Today’s dominant ETF providers, BlackRock and Vanguard, popularised an idea conceived first by the Toronto Stock Exchange. Even Henry Ford, according to his contemporary at Ford Motor Co, Charles E Sorenson, wasn’t the father of assembly line production, he was just the sponsor of it.

The same is true in just about any field of human endeavour (particularly creative ones). For most of us, there’s not much point wringing our hands about not being geniuses. When it comes to publishing and content marketing, we can all be sponsors and developers of others’ good ideas and, in the process, create arresting and useful content that burnishes our brands. After all, what most people mean when they talk about original thinking (or thought leadership, if you like) relates instead to original modes of expression or exposition.

These are obviously crucial. You can’t go plagiarising other people or repeating exactly what you said yesterday. You can, though, pay homage to other people’s thinking – if it is worth repeating, and assuming you give them due credit – and reiterate points you made yesterday that remain valid today. Both can lead to good quality content if they are expressed with clarity, brevity and perhaps a modicum of wit.

It’s important to recognise this point when planning a content campaign. At the broadest level your competitors are likely to be talking about the same topics, and you are likely to encounter the same issues time and again. That doesn’t mean you should stay silent, even if you don’t think everything you publish is staggeringly original. After all, the internet has a (very) short memory.

And when you do have something to say that no one else can (because it is truly original) or will (because it is brave or contrarian), then make it work doubly hard. So you invested in a lot in a truly ground-breaking study last year? You can come back to it again and again, focusing on slightly different angles each time. So you called the crash when everyone else was piling in? Keep referring back to it to remind your audience of your perspicacity.

Of course, judicious editorial judgement is required. But if you are used to reading the op-ed pages of respected newspapers (which had to fill pages for many decades before the internet came along), you’ll see that repeating yourself is hardly a cardinal sin – unlike not publishing anything.

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It wasn’t so long ago that ‘brand newsrooms’ – in-house publishing operations that companies staffed with armies of keen journalists, editors and producers to crank content out around the clock – were all the rage. And indeed some of the model’s early adopters, from Marriott to Alibaba, still maintain the kind of publishing resources that would turn most newspapers green with envy. But no one seems to want to use the term anymore; it’s a lot more fun to dismiss it as a  “myth” or one of the “most lampooned marketing buzzwords.”

That might be for the best. Having come up in real newsrooms we’re wary of any attempts to equate what brands do with actual news operations, or to obscure the lines between marketing and journalism. Newsrooms also aren’t a realistic goal for most companies: they’re massive, complex and hideously expensive to maintain, populated with a rotating cast of prematurely world-weary cynics migrating bleary-eyed between hangovers, the coffee pot and the next big scoop… okay, maybe that was just my last job.

For all that, it would be a shame to throw the idea out completely, because there’s so much newsrooms can teach other industries about effective publishing. There’s a reason virtually every publication adopts an editorial ‘chain of command’ that since the dawn of mass media has remained largely unchanged.

In newsrooms, while journalists may collaborate on stories, they’re rarely produced ‘by committee’, and the number of people with a say on any given piece is strictly limited. Content also moves through a strictly defined process, from production to quality control through to signoff, simply because there’s rarely time to do things any other way. Companies may not be dealing with breaking news-variety deadlines, but there’s a lot to be said for newsroom-style structure in enabling anyone to produce articles (or graphics, or videos) in an efficient, consistent way. Let’s look at some typical newsroom roles, how content progresses from one to the next, and how this structure might apply to other environments.

Journalist/reporter: The content writer/designer/creator; in many companies this will be someone on the marketing team. Bigger publications (and firms) may have dozens. They occasionally tackle pieces together, but in general have designated ‘beats’ (areas of specialisation) that they cover in-depth and independently to cultivate sources and develop expertise on a topic. It’s their job to build relationships with sources in their areas of specialisation (in the case of companies, these will be internal subject matter experts), checking in with them regularly with an eye to their next story. Reporters may have to consult with editors on what they have planned, but are given a high degree of autonomy on the assumption they have an ear to the ground and knowledge of their topic. In the words of one of my former editors, “nothing kills the creative impulse, or more good stories, than meetings and micromanagement.”

Subeditors: Once the reporter produces a story (or graphic, or video), it will be reviewed by a ‘second pair of eyes’ — the subeditor, who’s responsible for fact-checking and poring over the piece for spelling, grammatical and/or design errors, as well as general sense and flow. In most firms this would be a senior member of the marketing team. Again, several subeditors may get involved in a larger story, but most newsrooms will control this, conscious of the old adage about too many cooks. The subeditor may have the authority to publish the piece then and there, or it may go to the managing editor for a final review.

Managing editor/editor in chief: While they will sometimes get involved in day-to-day publishing matters, the managing editor’s real responsibility is to set the overall direction and drive the editorial agenda. The managing editor may want to see everything prior to publication, or review only the most high-profile content — either way, they have the final say. In the corporate context, this could be the role of the CMO or head of branding/communications. The complexities of contemporary business can make a single point of sign-off difficult — at many companies legal or compliance may need to get involved — but if the editorial process is working well this should be largely a formality.

Editorial lessons

Even if a firm doesn’t formally establish editorial roles or titles, there are some valuable takeaways from the newsroom blueprint:

*Content is born from on-the-ground research and relationships — someone has to be thinking about it regularly

*It helps to give people areas of specialisation — it creates a sense of ownership and builds their expertise, meaning what they produce just gets better

*Content should flow through a formal process overseen by people with defined roles. Be open to cooperation and other views, but don’t attempt to involve everyone or collaborate your way to production; very likely nothing will get done

*Everything, no matter who produces it, should be reviewed by someone else

*The buck has to stop somewhere; some decisions can’t be made by committee

Call this if you will, ‘newsroom lite’, or perhaps newsroom discipline — just don’t use the dreaded ‘brand’ word.

 

 

 

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HONG KONG, Apr. 24, 2018 — New Narrative Ltd., Asia’s leading content consultancy, today announced that Arjun Kashyap, former Hong Kong Bureau Chief at S&P Global Market Intelligence, joins the company as Managing Editor.

Kashyap will help the Hong Kong-based firm expand its growing business producing strategic content for leading financial institutions and corporations in Asia, the Middle East and beyond.

Kashyap, an analyst turned journalist, has over 15 years of experience at publications in the US, India and Asia. As a correspondent he has reported from around the globe, interviewing investors in New York and Washington, technocrats in Silicon Valley and Bangalore, central bank officials in Mumbai and Nairobi, and women entrepreneurs across rural India, among others.

As an editor, he has led coverage of major business and geopolitical news from around the world, with a focus on Asia and the Middle East. Among other initiatives he helped launch and scale up audience engagement platforms for Thomson Reuters and overhauled IBT Media’s newsroom operations in India.

Kashyap’s work has appeared in various outlets, including The New York Times and CNBC. He has also been an invited speaker, panelist and moderator at numerous industry events.

Kashyap holds Masters degrees in Journalism from Michigan State University and Columbia University, and a Masters in Management Studies from Mumbai University.

“As Asia’s importance as a driver of the global economy grows, New Narrative, with its deep content expertise, is perfectly placed to help companies raise their brand profiles in the region,” Kashyap says. “I’m very excited to be part of such a great team.”

About New Narrative

Founded in 2013 by former financial journalists, New Narrative works with leading professional and financial services companies to give them and their executives a distinctive voice. New Narrative helps them communicate their views to clients, employees, investors, governments and regulators through sustained, compelling content campaigns in a variety of written and visual media.

Press enquiries:

Joseph Chaney, Partner:
joseph.chaney@new-narrative.com
+852 9411 7441

 

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Those of us in media businesses are surrounded by freelancers. In fact, many of us at one time or another have chosen to be freelancers ourselves, until other opportunities arose (or the need for job security got acute).

Whereas freelancing was once seen as a risky decision, today it is a major feature of the ‘gig’ economy. Many new firms aim to link freelancers with clients: Upwork and Fiverr are just two that come to mind.

In the gig economy, the view of freelance life has changed: it’s now less about going it alone, and more a celebration of individuality, flexibility and the entrepreneurial spirit.

(Full disclosure, n/n – like most businesses — hires freelance contributors on a project basis from time to time. But the issue is knowing when and where to use them.)

One crucial area of media work not suitable for the ‘gig economy’ is the task of developing a coherent, detailed and cutting-edge content strategy for large companies. This takes more than one freelancer – or even a group of them.

It takes a unified team of media consultants who are able, and willing, to formulate an overarching publishing program that is aligned with the client’s messaging goals over a long time horizon.

At n/n, we find some marketers assume that whomever is writing the report or designing the infographic should also formulate the vision behind it. They ask a writer to guess what works, without a coherent strategy in place before writing begins.

This is the proverbial ‘throw something at the wall and hope it sticks’ approach. It’s a waste for everyone – a waste of both the writer’s and client’s time, when, after four weeks of drafting a 5,000-word white paper (or whatever), the client decides it’s not what they wanted.

This isn’t how professionals create good content. When you walk into any newsroom you will see there are journalists cranking out the stories and bureau chiefs and other news planners driving the broader agenda.

The same should apply to companies aiming to make an impact with their content. The business heads, working in collaboration with marketing and editorial consultants, should formulate the broader agenda before the writer or designer works his or her magic on the blank page.

The first step in devising a high-impact publishing program is to conduct an ideation workshop in which campaign stakeholders identify key campaign goals, analyze what’s already been published to see what has worked (and what hasn’t), and try to carve out a unique voice in their sphere of influence. Only then will a long-form campaign have a chance at succeeding in the marketplace of ideas.

Without a doubt, some of the greatest journalism is produced by freelancers, as they are mostly (and blissfully) free of the office politics and corporate constraints that inevitably shape the work of full-time employees.

But the fact remains: effective content strategies can’t be worked out on the fly by a team of disconnected individuals. Rather, such work requires the sustained effort and consistent analysis of a unified team, whether that team sits in-house or out.

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“I know half my marketing budget is wasted. The trouble is I don’t know which half.”

Any marketing professional will have come across that quotation by Philadelphia retailer John Wanamaker. Or it might have been said by Henry Ford, JC Penney, or any other of a half a dozen early twentieth century titans of commerce.

Its dubious provenance is only part of the problem I have with it: its superficial folk wisdom doesn’t bear much scrutiny (as WPP’s Jeremy Bullmore wrote in a thoughtful essay on the sentence in 2013.) Its biggest problem is that it is has never been true. There has never been a good excuse for marketing expenditure to be “wasted”, as long as campaign goals and metrics are defined in advance.

In Wanamaker’s heyday (or Penney’s, Ford’s, whomever’s) it would have been a straightforward job to establish the impact of a marketing campaign, especially since most such pre-mass-media spending was geographically isolated. By taking the gross sales for a defined period after a campaign, subtracting the pre-campaign average, and dividing the difference (hopefully, a positive figure!) into the marketing dollars spent, Wanamaker could work out, say, whether billboards in Harrisburg did better than those in Wilkes-Barre, or if radio spots in either city beat print ads. Of course, other factors might have played a role in sales performance over time, but Wanamaker wouldn’t have been flying half-blind in calculating the return on marketing investment.

Maybe the quotation bemoans the fact that many people who saw the billboards or ads, or heard the radio spots, would have been unmoved to buy. That’s not really the point, though. Other things being equal if, after a campaign, sales went up, the marketing expenditure would have been amply justified.

Made to measure

Today it’s doubly more pointless to wheel out this maxim as a get-out-of-the-CFO’s-office-free card, for the simple reason that you can be much more targeted in your marketing—and since our bread and butter is B2B content, I’ll stick to that—on platforms like LinkedIn, Facebook and Twitter, together with old-fashioned media.

There are also many thousands more ways to measure the impact of that expenditure, through numerous engagement and brand impact metrics—as well as the plain old top line. Of course, too much choice isn’t exactly helpful here. That’s why for all content campaigns, marketers need to establish the precise business goals and what kind of measurements would constitute success, before pulling the trigger.

The key thing to remember is that every campaign is different. Among our clients, for instance, a tech firm selling a specific solution to a specific decision-maker in a specific industry measures the impact of their content in terms of its power to earn marketing qualified leads, benchmarking the marketing budget against their average cost per lead.

A major bank, meanwhile, seeking to raise the profile of its senior staff among corporate treasurers in a certain country, prefers to track LinkedIn engagement as the most important figure to focus on. Select other social media stats are used as supporting evidence, along with brand awareness studies.

It’s important to get the buy-in of the budget decision makers on these metrics in advance. Otherwise, when it comes to talking about the impact of your content, the temptation is to wheel out every stat under the sun to justify its success—which won’t win you any friends among time-poor senior management. And they certainly won’t accept the excuse, given with a shrug, that half the marketing budget has always been wasted, so what are they worried about anyway?

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New Narrative recently celebrated its fifth birthday, and though we’re still not quite sure where the years went, we decided to mark the occasion with an evening of drinks, canapes and good cheer at LOT88 in Central, Hong Kong. Some photographic highlights from the event are below. A massive thank you to our clients, colleagues and friends old and new who took the time out to join us — we couldn’t have done it without you.

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