Social

Related Content

The Content Fuel Framework

Melanie Deziel is an award-winning branded content creator and author of the bestselling book, The Content Fuel Framework. Melanie discusses how she became the first editor of branded content at The New York Times and shares what she’s learned about the art and science of creating engaging and effective inbound marketing. We discuss Melanie’s framework and learn how individuals and teams can easily generate up to 100 content marketing story ideas on any given topic. 

Episode Transcript

Adrian Tennant: Coming up in this episode of IN CLEAR FOCUS.

Melanie Deziel: Every content idea is really made up of two things: the first part is the focus. So that’s “What are we going to say? What are we going to talk about? What’s the perspective?” That’s really the message. And then the second element is the format. How are we going to bring that idea to life, visualize it, and make it something people can consume?


Adrian Tennant: You’re listening to IN CLEAR FOCUS, fresh perspectives on the business of advertising, produced weekly by Bigeye. Hello. I’m your host, Adrian Tennant, VP of Insights at Bigeye. an audience-focused, creative-driven, full-service advertising agency, we’re based in Orlando, Florida, but serve clients across the United States and beyond. Thank you for joining us. Content marketing aims to provide relevant information that helps brands’ prospects and customers solve problems or address challenges. Content acts as a magnet, which attracts leads. The term content marketing was first used in 2001 by Penton Media, but it’s not a new concept. American businesses have been telling stories to attract customers for almost three centuries. Benjamin Franklin was probably content marketing’s first exponent, publishing the annual Poor Richard’s Almanack to promote Franklin’s printing business starting in 1732. At the very beginning of the 20th century, tire company Michelin developed The Michelin Guide to help drivers maintain their cars and find decent lodging when traveling; that guide is still published today. And a more recent landmark: in 2014, The Lego Movie debuted, making it the first example of a feature-length, major studio film that doubles as branded content marketing. So we’ve never consumed as much content in as many forms and in as many places as we do today. And yet in a 2020 survey, 60 percent of marketers said their biggest challenge is creating content consistently. So how can we fill web pages, social feeds, and YouTube channels with content that people actually want and respond to? Our guest today has some practical answers and advice. Melanie Deziel is a keynote speaker, author, award-winning branded content creator, and lifelong storyteller on a mission to share the power of compelling and credible content with others. Melanie is the Director of Content at Foundation Marketing and the author of the bestselling book, The Content Fuel Framework: How to Generate Unlimited Story Ideas. Prior to joining Foundation, Melanie was the Chief Content Officer of StoryFuel, and before that, the first editor of branded content at The New York Times. Melanie was a founding member of HuffPost‘s brand and storytelling team and served as director of creative strategy for Time, Inc. building branded content strategy across more than 35 media properties, including Time, Fortune, People, Sports Illustrated, and Entertainment Weekly. To discuss her career and share some of what she’s learned about the art and science of creating, engaging, branded content, Melanie is joining us today from her home office in Raleigh, North Carolina. Melanie, welcome to IN CLEAR FOCUS!

Melanie Deziel: Hi there. Thanks for having me.

Adrian Tennant: Melanie, how do you define branded content marketing?

Melanie Deziel: I think there’s a lot of ways that you could define it and I’ve heard people define it as specifically advertising content that you’re sharing to communicate with your audience. For me, I think it’s not just the advertising content. It’s also the organic content. So anything really that you’re creating that is a means to communicate with your audience and create a connection there to communicate some sort of value or information. I think that counts. So that would be anything from a blog post that you might create, a video you share on YouTube, a course you create, a map that you circulate. I mean, really anything that you are creating to provide value to the audience, that falls in that bucket for me.

Adrian Tennant: Today, you’re the Director of Content at Foundation Marketing. What does your role at Foundation entail?

Melanie Deziel: It’s a really fun role and very different for me. So I’d never worked in an agency environment before, I’ve always worked at a publisher. And so in this role, my job is twofold. On one side, I’m helping Foundation with our own content, right? I’m helping to increase the level of quality and the frequency of content on our blog and on our social channels, some of the info products that we have. But I also work on a lot of our client content as well. So I’m overseeing many of the writers and creators on our team, since we primarily focus on written content: overseeing that copy, helping them improve their writing skills. So basically I like to say that if anyone’s creating content and that falls under my purview.

Adrian Tennant: Melanie, you earned your BA degree in journalism at the University of Connecticut, and your MA in arts journalism from Syracuse University. From there to becoming the first-ever editor of branded content at The New York Times, what did your career journey look like?

Melanie Deziel: It was an interesting journey. I always struggle to connect the dots because I think honestly, a lot of it was just following the opportunities that popped up. It wasn’t necessarily a plan or a journey that I had planned out ahead of time. It was really saying “Yes” and figuring it out later in many cases. So, when I graduated from graduate school, I had a really hard time finding a job, I think like many people around that time. The newsrooms were downsizing, they were going from print to digital. And there weren’t as many journalism jobs as I would have imagined – and certainly not when you try to specialize in either in-depth investigative or arts criticism. Those are generally the first two teams that lose budget. So it was actually a really savvy recruiter who said “I have this role at The Huffington Post and it’s creating content. So it’s like journalism, but it’s for brands.” And at the time I thought, “Okay, well I’ll take a job. And I’ll certainly take a job in New York”, which was part of my goal to get there. So, you know, it wasn’t something I thought I’d be doing for life but what I discovered is that my journalism background was incredibly helpful in a branded content environment. And luckily from a timing perspective, other folks who are on the team moved on to new positions. And so I found myself very soon after arriving you know, sort of leading this team overseeing our interns, overseeing our fellows. And suddenly I became an expert in a thing that I didn’t know existed a few months prior and it’s all gone from there.

Adrian Tennant: Which examples of branded content produced under your leadership in any organization are you proudest of, and why?

Melanie Deziel: So my gut reaction is to talk about a piece we did at The New York Times for Netflix, for their show, Orange Is The New Black. We created a piece for them around what it’s like to be a woman in an American prison. And that piece won a number of awards. It was very well-trafficked, very well-liked. But what’s interesting to me is I actually like a different piece that we made that got a lot less fanfare. It was very similar in its design, its layout, the features that it included, but the topic was the New York City ballet. And so we were working with a shoe company who had sponsored some of these ballerinas to be their spokespeople. So once again, I embedded with the ballerinas for a series of days seeing all the things that it takes – we called it “Grit and Grace” – seeing how much hard work and pain and struggle goes into making something look so completely effortless. And to me, that was wonderful because it was tying back into that arts criticism background that I had to be looking at the arts and talking about dance and the costumes. I think I enjoyed creating that piece the most.

Adrian Tennant: Your bestselling book is called The Content Fuel Framework: How to Generate Unlimited Story Ideas. Melanie, what prompted you to write the book?

Melanie Deziel: So the book actually came out of necessity as well. If you’re noticing a trend here, I guess I’m a “go with the flow” and “follow the opportunity” kind of person! I had been thinking about this idea. It was something I was using in my workshops – it didn’t have the structure and the name that it does in the book, but conceptually, I was working on this kind of thing with clients all the time. And the opportunity that struck was when I was on my way to a conference where I was slated to give a speech. And at the very last minute, while I’m boarding the plane, they tell me that the speaker before me has had an emergency, and could I do two talks? Could I do a completely separate, second talk to help fill the time slot? And so I had this opportunity of, “Hey, I’ve got to come up with a 45-minute talk out of nowhere.” And so I fell back on that idea. I sort of forced myself to articulate it in a new way: to build visuals to complement it. And what happened is after that conference, that talk got much more traction and positive response than even the keynote that I had planned and rehearsed and put all this effort into. And so I realized that you know, it resonates with people, it connects with them, it’s helpful for them. And so I sort of decided I need to further develop that idea. And ultimately it turned into the book.

Adrian Tennant: Well, there’s a couple of themes there. Number one: necessity being the mother of invention and second of all, actually not knowing necessarily when you create content until you look at the analytics to figure out how it’s going to land.

Melanie Deziel: That kind of is true of all kinds of content. I think that’s universal in many ways. If all of us knew the exact recipe to do it perfectly, we’d all be doing it. You know, It is still very much experimentation. And I think as a speaker, you generally get that feedback in real-time. You could see people’s faces if you’re in person, you can hear them gasping or laughing or clapping. So it’s really interesting to be able to take that live feedback – you know, the feedback you’re getting on a human level – and then take a look at the data you get afterward, which would include things like speaker ratings or I like to measure how many people proactively reach out to me, because to me that’s a lot of effort, to track me down or, or send an email. That to me is a good indicator of resonance. And so that is how I knew that this concept that people really are drawn to this idea of “How can I create better content? How can I come up with more ideas? I need some structure around that process.” So I just leaned all the way into that.

Adrian Tennant: As I mentioned in the introduction, one of the key challenges marketers face is producing content consistently. The Content Fuel Framework provides a straightforward process for generating up to a hundred content ideas around any given topic. Briefly, could you explain how the system that you’ve developed works?

Melanie Deziel: Absolutely. So, In short, every content idea is really made up of two things. Whereas our instinct is to maybe say, “I need an idea.” What we really need to think about is the two parts of the idea. The first part is the focus. So that’s “What are we going to say? What are we going to talk about? What’s the perspective?” Right? That’s really the message, when you talk about the focus. And then the second element is the format. How are we going to bring that idea to life, visualize it, and make it something people can consume? And the book really walks you through, “Here are a bunch of options for focuses, for approaches you can take through your stories, and here are a bunch of options for formats.” And it kind of helps you create this system. I visualize it as a matrix with all the focuses on one side, all the formats down the other side, and that creates all these possible intersections, these different ways you could bring stories to life. The goal, of course being, you know, you don’t need to make all of these ideas, but it’s just to help you see the potential and to not feel like there’s nothing to draw from. That when you have an outline like this, you could choose one or the other and see how they match up. It really makes it a lot easier to come up with ideas that fit a prompt versus staring at a blank screen or a blank whiteboard and just hoping something comes to you fully formed.

Adrian Tennant: Now you recommend that content creators start with the focus, then determine the format. Melanie, why that approach rather than the other way around?

Melanie Deziel: I like to answer this best with analogies because I think we see the value of this type of approach in other parts of our lives. So my guess is all of us have received a package in the mail, probably from a big box store that we won’t name, where they undoubtedly chose the box before they chose what was actually going to go inside of it. And it either barely fits and it’s horrible, or most often it’s this tiny little thing in a box that’s far too large, right? So I like to think of choosing your format first the same way. You’re saying, “Okay. No matter what I create, it’s got to go in this container”, and oftentimes, when you do that, just like with your deliveries, you get something that’s not well-suited to the container that you’ve picked. And so if we start with, “What is it that we’re actually delivering to our audience? What are we giving them? What are we telling them?” And then we can figure out what’s the best package to put that in, to bring that story to life. I think it really is a way to make sure that your story shines and that you’re not getting distracted by the various tools or technologies available to you, that you really focus on your message that way.

Adrian Tennant: I’ve certainly been in meetings where we hear, “We need a lead magnet. Let’s do a PDF.” That’s the wrong way round, right?

Melanie Deziel: Right. Cause people don’t download PDFs because they like PDFs. They download the lead magnet because of what’s inside of it. So it’s – yeah, we gotta refocus on the message oftentimes.

Adrian Tennant: Let’s take a short break. We’ll be right back after this message. 

Seth Segura: I’m Seth Segura, VP and Creative Director at Bigeye. Every week, IN CLEAR FOCUS addresses topics that impact our work as creative professionals. At Bigeye, we always put audiences first. For every engagement, we commit to really understanding our clients’ prospects and customers. Through our own primary research, we capture valuable data about people’s attitudes, behaviors, and motivations. These insights inform our strategy and guide our creative briefs. Clients see them brought to life in inspiring, imaginative brand-building and persuasive activation campaigns. If you’d like to put Bigeye’s audience-focused creative communications to work for your brand, please contact us. Email info@bigeyeagency.com. Bigeye. Reaching the Right People, in the Right Place, at the Right Time.

Adrian Tennant: Welcome back. I’m talking with Melanie Deziel, the award-winning branded content creator, and author of the bestselling book, The Content Fuel Framework: How To Generate Unlimited Story Ideas. Within agencies, content marketers typically work in small teams. Do you have any tips for collaborating effectively as a group when generating ideas?

Melanie Deziel: Absolutely. So, we’re in a blessed position at Foundation that we focus only on content and so we have a robust content team, it’s really nice to have that support. But I know that most content teams, like you said, they may not even have a full-time dedicated staff or not more than one. And so that is often a challenge. You often do have to collaborate with folks outside of your team. I walked through in the book, there’s a way you could use this system to give everyone guidance and be on the same page as you work through your ideas. But there’s plenty of other ways too. The most important thing is to follow that focus before format approach when you’re in those brainstorms. Asking questions, like “What are the things we could share on this topic?” Or “What would be important for our audience to know?” And have the group focus on solving those things. Once you’re clear on what it is that you want to share, then have them put their mind to, “Okay, now what are the different ways we could bring this to life?” I have found that as you mentioned, oftentimes the conversation starts with a format and it’s, “We need a video idea” or “A lead magnet” or whatever else. And those situations are often much tougher to get collaboration and to get original ideas. So guiding everyone to put their attention and their mind toward the focuses is a really good place to start.

Adrian Tennant: Melanie, based on your work with publications and clients, which focuses or formats are often overlooked by marketers that could be differentiating their content?

Melanie Deziel: One of the focuses that I think we forget about so often is history. I think, especially as marketers, we’re focused so much on what we’re doing right now, what we’re launching next month, what we’re promoting next year – we’re very present- and future-focused. And I think there’s so much we can learn from looking back at the history of some of these topics, whether it’s the history of a product, of the company, of an industry, the background of a person who’s joined the organization. I think when you pause for a moment and look to say, “What can we learn about what brought us to this point?” there’s often some really great historical content that could be added into the mix.

Adrian Tennant: In The Content Fuel Framework, after introducing each focus and format, you present ways in which they can be applied in a business communications context. What led you to structure the content of the book this way?

Melanie Deziel: You know, one of the things is that I hear very often is some version of “This doesn’t apply to me” or like “My business is special and different” for some reason, right? We all… I mean, not that your business isn’t special, I’m sure it’s wonderful and special… but it’s not an outlier in that you can’t use content as a way to communicate with your audience. And so I felt it was really important to include a large volume of examples like that, even though they’re hypothetical. I’m not naming specific brands, but saying, “If you run a hair salon, here’s how you might use that.” Or “If you run an auto mechanic shop, like here’s how you might put that into practice.” Because I think it’s important to see it in a tangible way, to understand, “Okay, if they can do it, I can do it”, right? “If that works for this type of business, that works for me.” And I was very cognizant of trying to hit on as many possible industries and types of businesses as possible so that everyone can see themselves in the book somewhere.

Adrian Tennant: Melanie, a lot of coffee examples in the book.

Melanie Deziel: You know, I’ve just been a coffee person my whole life. When I was younger I had some lung issues and a doctor had recommended that coffee might help dilate the – I don’t know who knows what? – but coffee was the recommendation, even though I was four or five years old. And so I started drinking coffee at that age because it was medicine. And so we know now that’s not necessarily as helpful, but it’s become a ritual for me. So it’s something that I feel, I don’t want to say my identity is tied to it because that may be strange, but what I will say is it’s my comfort zone. And I find that I get my best work done when I’m in a coffee shop. I very much like that atmosphere, that I drink coffee every day. It’s just I like the ritual of it. And so, yeah, I tend to make a lot of analogies cause it’s something I’m familiar with. Even when I was in college, I actually wrote a column for our newspaper about coffee every week. I managed to find something new to say about coffee!

Adrian Tennant: For a new business or a brand committing to content marketing, it can be really hard to know where to start. How do you recommend establishing a strategy for content creation?

Melanie Deziel: When you’re new to content, it can feel very overwhelming. It can also feel oftentimes to your leadership, that this is a big bet or a big investment on something that we don’t know how to see the ROI on immediately, right? It’s not as clear as a direct-to- consumer campaign or something. My advice is always to start with whatever your version of a customer story is. So if that’s a testimonial or a success story or a case study, whatever makes sense for you, do that. Because starting there, everyone sees the value of those kinds of things. We see them more as a sales tool, right? So if you start with a sales tool, like a case study or customer story, and you present it in more of a narrative way, you’re able to turn that into not just a quote, a first name, and a photo maybe – but a full story about what they wanted and what was at stake for them and why they chose to work with you. And you know, what they’ve been able to do as a result of the success you’ve helped create. You’re taking that more narrative approach and that’s going to help you slowly win over and say, “Look how much more detail we can provide. Look how much more valuable this is when we approach it this way.” Once you get that buy-in, you can then start to explore other types of content: educational content, lead magnets, like we talked about before. But I think those customer stories are usually the best neutral ground to start on because everyone can see the benefit of them.

Adrian Tennant: Prior to your current position at Foundation, you founded a consulting firm, StoryFuel, which taught marketers, publishers, creators, and companies of all sizes, how to tell better brand stories. This also led you to speaking engagements at conferences and events around the world, gracing the stage of industry-leading events including Content Marketing World, Native Ad Days, Social Media Marketing World, and South by Southwest, among others. Melanie, do you find that marketers outside the US prioritize different focuses or formats than domestic teams?

Melanie Deziel: It’s interesting. I think one thing that I do find overseas is that there tends to be more of an emphasis on the people surrounding a product. And I don’t know whether – I can’t say for sure, I don’t have data to back that up – but one thing that I noticed anecdotally is there’s a lot more celebration of the craftsman, for example. There’s a lot of richer history, longer history, of some of these fields. And so we’re able to celebrate the watchmaker whose family has lived in the same town for 200 years. There’s a lot more of that sort of legacy, heritage, people-oriented content that I think is really compelling when you have a heritage brand in that way. We don’t have as much of that here: we’re a little younger in the US, as you know, from a historical standpoint. But that’s that kind of content I think is so rich, so engaging, it’s so brand-aligned, but also so valuable for the audience. They’re always curious you know, so I love that people-focused content that celebrates craft in that way.

Adrian Tennant: Melanie, which country that you visited for a speaking engagement, would you most like to revisit as a tourist and why?

Melanie Deziel: I think I’ve been very lucky that for some of these cities, I have been able to tack on a couple of extra days here and there, and even bring my husband along on a few occasions. So I’ve managed to do my best to turn those speaking engagements into a vacation while I’m there. What I will say is I would love to go back to Paris. Paris was one of the places where we did spend a few days there, but I was feeling under the weather and so I don’t feel like I got to do the full range of exploring that I’d like to do. So if you are in France, feel free to call me up. I’d love to come!

Adrian Tennant: What are some of the most common mistakes you see teams making when it comes to consistent content creation, and how could they be avoided?

Melanie Deziel: I think a lot of us feel pressure that we have to produce content at such a rapid pace that we allow quantity to overtake quality in terms of our preferences, our priorities and I think that’s a place where you can really use a reset to be reminded it’s less important that you produce something every day and more important that you produce something good consistently. So I always tell my clients, “I’d rather see you produce something once a week that is really good than something mediocre four or five days a week.” And that’s going to get you much better results. So, looking for that consistency doesn’t have to mean that it’s every single day or every single hour. One of the best newsletters that I love to read is Anne Handley’s and it comes out every fortnight. That’s how she brands it. You know, that’s fine, it doesn’t have to be every day. I think the consistency and people knowing that they can expect quality from you is much more important.

Adrian Tennant: And for listeners that are unaware, Anne Handley was the founder of MarketingProfs and wrote the book, Everybody Writes.

Melanie Deziel: Highly recommend – one of my favorites.

Adrian Tennant: Based on your experience developing and leading teams, in what ways can learning to think more like a journalist help people become better content marketers or develop more creative mindsets?

Melanie Deziel: One of the things that they teach you early on in journalism school is that it’s really not your job to tell your audience what to think or how to feel. It’s your job to collect information on their behalf and present it in a way that they can make an informed decision on their own. And so I think that type of mindset being of service to your audience, acting in service of them, allows you to provide something that is much more valuable. It gut checks us to say, “Is my brand the best authority on this topic? Or would it better serve my audience to include studies that were done by someone else?” So that kind of mindset of saying, “What does our audience need?” versus “What do I want to tell my audience?” That reset can be very helpful. And the other thing is that there’s no idea of content as scarce. There’s no scarcity mindset around content in the journalism world. For better or for worse, you don’t see a cable station say, “We’ve got nothing to talk about right now. So we’ll be back in 15 minutes or an hour.” Right? They just keep going, they find something to talk about.

Adrian Tennant: You studied journalism in school. Given how the industry has changed in the years since, would you still recommend journalism as a major?

Melanie Deziel: I would. Something that I’ve seen play out many times is that a lot of folks who are on the marketing side would like to make the transition into the content world. They want to be creating. And it is so much more difficult to teach someone instinct around what makes a good story, or resourcefulness on how you can find sources and information about things. Those skills require a lot more practice, a lot more cultivating than maybe understanding the formula for a CPM or understanding how we can position something. I think to have that instinct as a storyteller, you’re gonna have a much easier time fitting into that content world, and being able to study and pick up those marketing bits that you need to know along the way. The best recommendation would be to do both or minor in one, right? You need that basis. But I do think that the resourcefulness and the mindset that you learn being educated as a journalist is very valuable.

Adrian Tennant: Bigeye has an internship program and our current insights intern, Camilla, is actually a journalism major. She was very excited to learn that you were going to be our guest, partly because it’s her dream to intern at Rolling Stone magazine one day. So Melanie, since you also entered at Rolling Stone, what advice do you have for Camila and any other students listening about landing their dream internship wherever it may be?

Melanie Deziel: So, one of the things that I think is overlooked is that you can learn so many skills on your own. We’re being taught many things in school, but a big part of what I did was seeking other opportunities to learn, which is even easier now with Skillshare and Udemy, and YouTube, you can pick these things up anywhere. I think a big part of what helped me stand out in a number of my internship opportunities is having those outside skills. That it wasn’t just what was being taught in school, but I also had picked up other tools, other software, other certifications. So I think that’s one way you could really help yourself stand out. Because anyone who’s applying, they may have the same major that you have, they may have the same minor, they may have the same GPA. So it’s going to be those other things that help you stand out. And the other thing is when you’re given any sort of test assignment or assessment, which is often the case with internships, particularly if it’s writing-based, go above and beyond. That’s my best recommendation. Having been on the other side of it and when we’re bringing interns in, seeing someone who has that initiative to say, “Okay, they didn’t ask for supporting imagery, but I’m going to make something anyway.” Or “Here’s some examples of tweets that could go with this sample article that I wrote.” Just thinking a little bit bigger. I think that really signals to them that you are someone who can thrive in their organization and that you have skills beyond what you might see on a resume.

Adrian Tennant: Melanie, how do you foresee content marketing evolving over the next few years? And I’m particularly interested to know your thoughts on these AI-based copywriting tools that seem to be popping up everywhere at the moment.

Melanie Deziel: Yeah, so I have been paying attention to these such tools as well. I will say, I do feel like I don’t want to panic. I know that a lot of times new technology comes around and we think that everything is dying now, that it’s replacing everything. But to your point, it is evolving, right? I remember it was what, five, eight years ago that the Associated Press started having auto-generated, I believe it was sports reports because it was very databased and they could turn those out with a smart AI. And we all thought, “Oh, no! Sports journalism is dead. There’ll never be any more reporters.” And it’s just not the case. Robots are very good at some things and humans are very good at other things. So as long as you’re focusing on those things that are the human things – the interviews and the human element – that’s where we can keep our cool. I have played around with a couple of these AI copy tools. And I think it’s helpful if you need somewhere to start. But I haven’t used anything that those tools have output exactly as is. So it’s a little bit like getting a prompt in my mind. It’s very helpful for coming up with some little seeds, but it’s still going to be on you to plant those and grow them into something useful in most cases.

Adrian Tennant: Melanie, what’s the one question I didn’t ask you that you wished I had done? And what would be your answer?

Melanie Deziel: I don’t know. I always like when people ask about a hidden talent or a secret skill because I think that’s something that at least from the journalism side, that’s where you tend to pull out really interesting stories from people. When you ask them about a hidden talent or something people wouldn’t guess about you, people light up because it’s not something they get to talk about as often. I would probably talk about the fact that I know how to play the didgeridoo, which is a sort of a long, tube-like Aboriginal instrument. I won’t say that I know how to play it very well, but that’s probably my most random, hidden talent.

Adrian Tennant: If IN CLEAR FOCUS, listeners would like to learn more about you, your work with Foundation Marketing, StoryFuel, or The Content Fuel Framework, where can they find you?

Melanie Deziel: If you happen to be a B2B business and you want to learn more about what we’re doing at Foundation, our website is FoundationInc.co so you can learn more about us there. If you’d like to learn more about me, my website is StoryFuel.co. You can head over there and you’ll find all the information you need about the book, about where you can buy it. You’ll find my contact information, all kinds of things so that you can reach out and connect with me in whatever way makes the most sense.

Adrian Tennant: Melanie, thank you very much for being our guest this week on IN CLEAR FOCUS.

Melanie Deziel: Thanks for letting me share my story.

Adrian Tennant: Thanks to my guest this week, Melanie Deziel, author of the bestselling book, The Content Fuel Framework: How To Generate Unlimited Story Ideas. You’ll find a transcript with links to the resources we discussed today on the IN CLEAR FOCUS page at bigeyeagency.com under “Insights.” Just click on the button marked “Podcast.” If you enjoyed this episode, please consider following us on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, Audible, YouTube, or wherever you listen to podcasts. Thank you for listening to IN CLEAR FOCUS, produced by Bigeye. I’ve been your host, Adrian Tennant. Until next week, goodbye.

Back to Articles