workingatanonprofit:

Honorable mention:

  • When a board member proudly announces he completed a task that was a month overdue.

  • When your boss assigns you an impossible project, but you’re quitting soon so it doesn’t even matter.

  • When your auction chair announces that she secured a $10 gift card.

  • When the financial folks ask if you are going to hit the grant revenue targets you guesstimated at the beginning of the fiscal year.

Thanks everyone who submitted ideas! Stay tuned for the next contest!

Newsworthiness is defined by timeliness, relevance, significance, prominence, and human interest. The fact that you want articles about your company (or your clients) does not constitute newsworthiness, and disseminating pitches that meet none of those criteria is likely a waste of time.

https://medium.com/changing-journalism/5ddafba1d4d4

This, a million times, for every company in every industry.

"The whole concept behind the CAP is to send notes of appreciation to customers.  This is built on Zappos’ concept of building personal emotional connections with their customers.  What better way to cement this emotional connection than to send a thank you note at the end of your interaction?  In our office, the station looks a lot like a craft station where our more creative types can create their own notes from scratch.  We also supply pre-made thank you notes for the less creative types.

As a way of getting everyone in the practice of using the CAP, we started “Thank You Thursdays.”  Each Thursday, everyone is encouraged to send at least one note of appreciation to a customer.”

I absolutely love this! I have blank note cards in my office to send to members and volunteers; my commitment in 2014 is to use them more frequently. Who doesn’t like a handwritten note, especially a thank you?

True listening has to focus on paying attention to what the networks of people we are trying to reach care about and talk about, on their agenda rather than ours. We should start by devoting time on a regular basis to listening to what real people we are trying to reach care about and talk about.
Just because you have had a previous relationship with someone doesn’t mean you have permission to email them.

Seth’s Blog: Eight email failures (and questions for those that want to do better)

This is so important! The whole list is worth reading - and taking to heart - for anyone who manages email marketing.

Sandra Bullock’s box office take over the last five years is as good or better than most male leads. The same can be said of Melissa McCarthy, who also has the attention of about 10 million viewers a week on Mike and Molly when she’s not on the big screen. Both of them have been integral to the marketing and promotion of their films, so it’s clearly not that moviegoers won’t watch a blockbuster with a woman in the lead.

But in very specific terms, Gravity was marketed as a co-headlining movie from Bullock and George Clooney, but anyone who saw it knows that it was Bullock’s film. Clooney was perceived as being necessary to market the movie in spite of the fact that since 2008, his movies have generated about $634 million total at the domestic box office, compared to Bullock’s $891 million. During that time, Clooney made nine films to Bullock’s six, meaning that the per-film average is even more heavily skewed in Bullock’s favor.

During that time, the total budget for Clooney’s films came to a minimum of $307 million and the budget for Bullocks clocked in at $214 million. That means that for every dollar spent producing a George Clooney film, the studio saw $2.07 back. That isn’t half bad, really. You know what it is half of? The $4.15 they saw on every Sandra Bullock dollar they spent during the same five-year period. Each of them had a couple of low-budget indie films and a couple of failures during the five-year period, but Clooney–the name Warner Bros. was convinced was necessary to promote the film–averaged just over $70 million per film during that period while Bullock averaged upwards of $148 million.

The Hunger Games: Catching Fire: What Marvel, DC and Hollywood Can Learn  (via wheremermaidsdwell)

Fascinating.

(via yanbasque)

So, what you’re saying is - we can’t get a Wonder Woman movie because movie executives can’t count?

(via chashlet)

This bothers me on a feminist level, and it super bothers me on a ‘our government is being privatized’ level. Corporate executives are not doing the right thing EVEN WHEN IT’S IN THEIR FINANCIAL INTEREST TO DO IT. There is ACTUAL MONEY TO BE MADE here, and they’re leaving it on the table because they can’t look past their own biases long enough to assess the concrete data. And this is just media production. We’re asked to entrust our health care, our schooling, our security, to private industry with assurances about efficiency and practicality? Right. Look how clear-sighted they are.

(via nomoreuturns)

(via kennamckay)

Oh, I really love this manicure!

(via beautifulnewadventure)

Creativity guru Saul Kaplan, founder of the Business Innovation Factory, warns that too many competitors in too many fields are content with being “share takers”—tweaking at the margins to win a little more business. (That, to me, is what Gone Nutty! Pop-Tarts are all about.) Organizations that do something genuinely creative, he says, are “market makers”—they create a one-of-a-kind presence, a unique offering, unlike what anyone else can do.

Some excellent, relevant statistics in here for my fellow social media managers. For me, the most intriguing takeaway (given my audience):

"The fastest growing demographic on Twitter is the 55–64 year age bracket.”