Appreciating the Audience

The most important part of successful communication is to appreciate the audience. Hillman Curtis styles it, “Eat the Audience”. It means to know, to have empathy for. It also means to honor, or value their perspective, their biases, and their preferences. And it means to understand and have emotional intelligence regarding how our own perspectives as storytellers and filmmakers on behalf of a business or institution contrast with that of their audience. Perhaps it’s merely a gap in awareness or knowledge. The institution or company knows something the audience doesn’t know.

But more likely, there are subtle differences of viewpoint or experience. Or significant differences of values and beliefs, or the entire cultural point of reference. Whatever the source of the difference, it is the communicator’s task to do the bridge-building, and that means starting where the audience is, honoring their current place and viewpoint, and then providing a framework for movement that is acceptable and relevant to them. If they like the framework we have provided, they will choose to take a step toward us… we cannot and should not try to manipulate their response, either in terms of feelings or conclusions.

In this real-life example, I was tasked first with helping build a bridge to Ohio Wesleyan alumni. It is a given that the alumni love their school, and are interested in meeting its new President and expressing their views on how to best preserve the institution. The client had three communication objectives: reassure the audience that the school is effective in changing the lives of contemporary students; set out a vision of three aspirational objectives for the school; and build a shared emotional touchpoint for future fundraising conversations. It was not a fundraising video, per se; and it was used as part of a conversation, not a presentation in the more traditional sense.

This clip is the first minute of a 10-minute alumni video. I chose to begin with an iconic timelapse of the Ohio Wesleyan campus, accompanied by a student a capella version of a classic Madonna song, “Like a Prayer”. Since most of the alumni in the audience are Boomers, this song delivers a familiar and emotional memory touchpoint with their youth. The next images are static institutional affirmations by famous OWU alumni — Norman Vincent Peale, Branch Rickey — and a cornerstone quote from the Gospels. These paving stones, cornerstones and pillars become the visual framework for contemporary student expressions of what they appreciate about Ohio Wesleyan. These student expressions (rather than alumni testimonials) are vitally important, because unless the institution is effective in changing the lives of contemporary students, it will not be seen as a good investment by even the most loyal of alumni. Notice the third interviewee, Jesika Keener. She says that Ohio Wesleyan has become her home: a statement that surely resonates with the alumni audience. A slight editorial change to that comment makes a big difference as we repurpose the same creative elements for an entirely different audience — prospective students:

Though sharing the same basic interview and shooting budget, there are a number of important editorial differences between the two approaches … and these flow from an appreciation of each audience. Jesika now leads the interviews, but we leave out the home reference, because incoming freshmen are more interested in getting away from home than finding one. It’ll take them a couple of years before the college they pick, whatever it is, feels like home to them.

Then, the music: instead of a familiar piece performed by OWU students, I chose a very fresh song by up-and-coming artist Jamie K: Dare to Dream. Instead of making the institution the frame of reference, which is an emotional connection with alumni, I changed the editorial emphasis to “what I was looking for” … small school, diversity, specific subject areas, etc. Instead of quoting profs on what they like about the school, I let students share what they like about professors — especially the personal relationships with profs. No emotional connection with the school is assumed. All we wish to do here is to establish a credible testimony by students who may or may not resonate with the viewers. It’s up to each audience member to decide if they “fit” that authentic brand.

Finally, there’s a big difference in pacing. The Boomer piece has 21 cuts and 4 interview clips in the first minute, while the Millennial piece has 34 cuts and 10 interview bytes by 7 interviewees in about the same period of time.

It is an appreciation and honoring of the audience that leads to approaches that are authentic in both cases, but decidedly different because the audiences are different.

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