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I don’t pretend to be a savvy shopper, but when I dive wallet-first into the clearance section at The Gap, I tend to stock up on accessories in my favorite color — black. Why? It’s a universal truth that black goes with everything.

So does branded journalism. In the words of veteran digital content guru Ann Handley, “Content is the new black.”

Handley is right, branded journalism (also known as brand journalism or branded content) has caught on like a wildfire this year. From Tory Burch’s fantastic branded blog to Mint.com’s MintLife section, brands realize the value of consumer-facing content like articles, photos or videos, and are rushing to create some with the company name on it.

Why? For a lot of the reasons we discussed in the first post in this series and mainly because consumers are demanding it. As brands become more accessible to fans through social media, people want more from brands than their products and services. So much so, even Twitter is looking to hire a Head of News. That leads us to branded journalism.

But branded journalism breaks the natural order of business that advertisers, journalists and businesses have subscribed to for decades. This makes some people nervous, traditionalists angry and opportunists jumping on the branded content bandwagon faster than Baltimore fans during the last Super Bowl.

So that leaves the question, if you’re going to start creating content for a brand, be it a local business or a Fortune 500 company, what are the best practices? Better yet, how do you do it ethically?

Try these simple steps for better branded journalism:

1. Build a process

Journalistic content should be more than an article or blog post thrown together quickly. Create an editorial plan, support whatever content you create with strategy, edit it, review it with key company team members and a set time to distribute it via a medium that will reach your intended audience.

2. Share something valuable

Share something that your target market will respond to. For example, Home Depot’s YouTube page features an array of do-it-yourself garden tutorials. Completely different from Red Bull’s adrenalin-pumping YouTube page that offers an array of video features on the brand’s extreme athletes.  Both give their fans journalistic content in the same medium, but do it completely different ways to reach separate audiences.

3. Know your boundaries

Producing journalistic content doesn’t equate to producing a Pulitzer winning news article, so stick to your industry and the topics surrounding it. Create content targeted at a company’s audience, on subjects related to your company’s industry. Find creative ways to make content relevant to trends and new stories without reporting the news.

4. Stick to the facts and cite your sources

People want transparency from their favorite brands. Always support your content with facts from experts and credible sources. Back up your claims with research, data or testimonials from credible experts that you mention by name.

5. Strike a balance

Don’t use branded journalism as an opportunity to knock a competitor’s product or service, use it as an opportunity to share valuable content. If needed, acknowledge competitors professionally when it’s appropriate. Focus instead on sharing real insight about a subject consumers are interested in.

6. List a byline

If possible, list the author or producer of a branded journalism piece. This gives your work credibility and gives audience members a face representing the brand to connect with. Melissa Lafsky Wall left her job at USA Today to head up content production at dating site How About We, where every article or column in the site’s Date Report section is credited with a byline.

7. Track results

Producing branded journalism is useless if it doesn’t reach the correct audience to support business goals. Use analytics to track your results and SEO to shape the strategy behind your content. This ensures that you don’t just produce quality branded journalism; you produce branded content that gets results.

In the pre-digital days there really wasn’t a need for brands to produce more than the ads that went on traditional media. Now they need to produce an almost constant stream of fresh content to keep up with digital channels and social media. For most companies it’s a pretty tall order because making content is a completely different business from what they know. And it gets even harder when so much of the content that they now need is video.

Since cheap bandwidth has made high-quality video so easy to get, people want more and more of it. Projections have video representing over 85% of all Internet traffic in a couple of years. So brands need to make lots of videos. The problem, of course, is not just the quantity, but how does a brand make videos that are good enough to stand out? While cameras and equipment are cheap and easy to get, creativity and know-how are still in short supply. Of course, what makes a video good is in the eye of the beholder, but most of us know bad video when we see it, and the last thing any brand needs is to be spreading bad videos.

So the challenge is for companies to put in place the capability to produce lots of “good” videos, consistently over time. The problem is that because the budgets are much smaller, it’s not like producing TV commercials, which brands have a lot of experience with. According to the 4A’s, the average cost to make a TV spot is over $300,000 — but for video content, that may be your entire budget for the year.

The big question is — do you try and do it in-house or hire pros? While you may need a lot of videos, you may not need enough to justify the large expense of hiring a full-time team. So another approach is to hire an in-house video producer whose job it is to put together freelance teams for each production. This is not a creative person, but a video project manager, and you still need to be doing enough work to justify a full-time person.

For most brands the answer is to hire pros. The advantage, of course, is the wide range of talent and capabilities you can access. The problem is how to keep the costs down. Most agencies focus on developing the creative, and then hire a production company for the execution. As a result, the costs mount quickly. Some TV production companies do creative, but their focus is really on the production and they are rarely able to develop the creative or the strategy for the video, which is critical. So that leaves companies and agencies that specialize in video content for digital channels.

The ideal is to have digital content strategy, plus creative, plus production under one roof. A company that can do all of that — and that is set up to produce a lot of video content over time, cost-effectively — has found the perfect solution. Of course, the videos still have to be good in the eye of the beholder, which to start with would be you.

As a growing copywriter with a print journalism background, I love the idea of “branded journalism.” Editorial content written for brands, targeted at consumers, supported by analytics, published in digital spaces, that raises a big middle finger to the rule that advertising and journalism can never mix? Sounds good to me.

For brands, the need for journalistic content stems from growing branded communities in social spaces. As brands and consumers engage in more personal conversations via social, consumers simply demand more from them.

More than ever, consumers want brands to give them things of value outside of their products or services. A sense of community that includes transparency, responsiveness and quality branded content. That’s where brand journalists and copywriters come in.

Last week, I stumbled on the work of Kevin Maney, a veteran USA Today reporter who turned his attention to advertising after two decades of writing and reporting as a journalist.

After a successful reporting career, Maney made an interesting move. He started working with big brands like IBM to create journalistic content.

Maney co-authored a book in conjunction with IBM, but branded journalism can include works of art, articles, blog posts, books, photos or videos produced by a brand to reach an identifiable market.

Couple creating content with the market downturn, and many wannabe journalists and former reporters are turning to jobs in advertising, marketing and digital. Many seek jobs that offer more security but still challenge them to use skills from writing in the newsroom like critical thinking, deadline management and creativity.

According to Robert McChesney, co-author of Will the Last Reporter Please Turn Out the Lights: The Collapse of Journalism and What Can Be Done to Fix It, public relations professionals now outnumber reporters 4-to-1. With print journalism seeing a continual decline in revenue, it isn’t surprising that some journalists are now writing for brands. Market aside however, branded journalism still causes some debate.

Critics fear that branded journalism might fully eclipse traditional journalism. Will the news report about a damaging tornado suddenly be sponsored by a home insurance company? I highly doubt it. The audience would be too quick to call a news organization on it, like they did with The Atlantic’s big advertorial fail in January.

The Atlantic fiasco highlights that we’re working in a time where the line between advertising and journalism is blurrier than ever. Marketing, digital and journalism just came crashing together, giving us a choice. We can either sit here staring or use this opportunity to create new, innovative content that people will respond to.

By we, I mean brands or agencies working on behalf of brands. New organizations don’t have the freedom to pepper advertising content in their editorial work, but ad professionals now have the unique opportunity to produce journalistic content. If done right in digital spaces, that journalistic content will likely produce results.

The key lies in planning responsibly. Branded journalism needs to be intentional, driven by strategy as much as it is by good writing. It must be targeted and audience-specific and not overstep it’s bounds. Producing journalistic content doesn’t equate to producing a Pulitzer winning news article, so brands shouldn’t try to.

How each company executes branded journalism will vary, but hopefully by the end of the year we will see more fact-based, journalistic content reaching consumers and generating revenue.

To track branded journalism, its growth and the debate surrounding it, a good place to start is Maney’s blog. Ignore the clunky WordPress theme and focus on the journalistic content. After all, content is becoming very valuable.

As captured on video, IQ’s CEO & founder Tony Quin braved the mechanical bull at the annual SXSW SoDA (Society of Digital Agencies) party. Tony, who chairs the board of SoDA, said nothing but his dignity was bruised and he is ready for a rematch as soon as he finds the same bartender who prepared him for this outing.

You’ve heard of mobile-first organizations, those that launch first on mobile devices prior to web. That can be a good idea for some, but being a consumer-first organization is a universal necessity.

Gone are the days of relying on clever messaging aimed at grabbing the attention of distracted consumers. Awareness is easy, right? You can even buy awareness in digital and convince your boss that it’s edgy just because it’s digital. But being a sales-first organization that prioritizes short-term bumps in numbers should not be your goal. Building an army of dedicated, loyal followers should. Today, consumer-first brands are winning consumer loyalty and, as a result, their money.

The music industry is a great example. For decades, the music industry succeeded by making consumers pay for records, tapes, or CDs of pre-packaged music. But as soon as the tools were invented that allowed them to collect just the songs they wanted, the music industry suffered. The blame was placed on cheap consumers who just wanted everything for free. But we’ve learned that that isn’t true. Consumers, and music fans especially, WANT to pay for the things they love. In fact, artists have given away their music, allowing fans to make donations and received millions of dollars.

Amanda Palmer was a street performer turned professional musician who grew a large following and eventually received a record deal. After selling 25,000 copies of her debut album, her label considered it a failure and they parted ways. Determined to prove them wrong, she started giving away her music to her fans with the simple request that they help her out financially. She received almost $1.2 million from an ironic 25,000 donations.

I think there is a story here bigger than the music industry, which, as we all know, has seen the light (if you will) and is again experiencing growth. We’re seeing a dramatic shift in consumers’ expectations that is literally decimating entire industries. In marketing we like to talk about how social media is changing everything. It isn’t. It is simply enabling consumers to be as social as they’ve always been but now with the tools to ask for more personalized service. And that should frighten any company that is ignoring not just social, but more broadly, campaigns that genuinely connect with consumers.

Let me be clear, if your model is dependent on pulling in consumers rather than providing easy ways for them to get your product naturally, you will ultimately fail. Companies that do it right, the ones that connect with consumers and build the tools that make it easy for them to pay for the things they want, will survive. That is the difference between making consumers pay for your product and letting them.

Don’t be that brand. Don’t use social as a channel for more awareness and push messaging. Build loyalty. And then build or leverage tools to help those consumers pay you.

Hilarious and insightful perspective:

Thanks to motionographer.com

Everyone knows that digital channels and devices have changed how consumers connect to brands. So today we are focused on enabling the consumer’s journey rather than just talking at them, as in days past. But it’s a trap to believe that people are enamored with process and mechanics. Even with the never-ending stream of technologically driven consumer empowerment, the dynamics of connecting to human beings are the same as they were a million years ago. Stories that speak to our archetypal drives are the most powerful buttons we can press. Stories that touch on family, love, loss, death and safety cut across culture and geography. They can be expressed in many ways, and offer endless opportunity for creativity and originality, but in the end the archetypal story is what resonates. Our challenge is to integrate today’s growing number of consumer touch points into, not only a connected process, but into an archetypal story. It’s easy to think in terms of content, functionality, usability etc. but the need for a resonant story is as important as ever. The difference is that the narrative now happens over many connections and many channels. So keeping the essence of an archetypal brand story at the center as we create and connect tactics is the new challenge for brand’s and their agencies.

Hands down the most fun we’ve had with the IQ rebrand this year —  the motion ID. Here are some motion tests the team has been working on. Big nod to Stefan, Boutte & Edwards on these. Make sure your speakers are up because the sound really makes a big difference. So which one is your favorite?

This TED talk by Simon Sinek has sparked much conversation at IQ:

Pennington TV Commercial from Pennington Birds on Vimeo.

Today we went live with our latest piece of the Pennington Wild Bird Seed campaign, a TV spot featuring the Wild Bird Band, four animated birds in the tradition of Pixar style movies that brings home the promise of “Great Entertainment for your Yard”. The TV commercial features the four birds wisecracking at a bird feeder and includes their rendition of “A’int we got fun”. Tactics also include radio spots, outdoor, banner ads, in-store display, print and a Facebook page complete with a yard entertainment guide. This is a really fun consumer campaign that shows off not only our well known digital skills, but even more so our design and traditional advertising know-how which is where we started.