Sentences with phrase «where audiences need»

Not exact matches

In short, you need to focus your marketing efforts on those areas of the digital realm where your audiences are most likely to be — inside messaging apps.

Using CRM to monitor social networks is one of the best ways to find new leads, audiences and opportunities, as well as seeing where you need to improve.

Instead, stay focused on the needs and behavior of your audiences — where they're consuming content and the challenges they face that ever - changing technology can exacerbate.

Speaking to an audience in Florence, Italy, May said that businesses and citizens will need a period to adapt to a world where the UK no longer belongs to the EU

To nurture your existing customer relationships, you need to meet your audience members where they are.

You need to know where your target audience is based, their gender, interests, age, etc..

First, you need to figure out where your audience spends most of their time.

If your target audience includes online marketers, this is where your content needs to be.

For this to be successful, you first need to understand where your audience lives online.

In an era of dwindling ad revenues and splintering audiences, Glee represents an emerging revenue model for broadcast television, where a show does not need to be in the Top 10 — or even the Top 25 — to make money.

«The idea behind it is, if you want to go out there and just make noise, you don't need us... but if you want to find that sweet spot where what you have to say resonates with what your audience is listening for, that's where we can make a difference.»

If you don't believe you can own the relevant conversations around the content niche you have chosen, you may need to narrow your focus to an area of content where you can have a bigger impact on the audience.

Yes, it takes time and resources to create a cross-platform video strategy, but you need to be where the audience is, and understand how they are going to interact with your content.

You can visualize your audience, where they are in the process, what information they might need at that time, and which information advances them to the next level.

Where will organic reach be strong enough to meet your needs, and where will sponsored opportunities be your best bet for reaching the right audieWhere will organic reach be strong enough to meet your needs, and where will sponsored opportunities be your best bet for reaching the right audiewhere will sponsored opportunities be your best bet for reaching the right audiences?

We need Sunday morning liturgies when worshipers are in an audience mode typical of discipleship, and we need soma group liturgies for smaller gatherings where worshipers are in a participatory mode typical of the transition to life in the Spirit and of maturing in the church and in mission.

Consequently, if you have a product you know will appeal to an audience, it is relatively easy to cater a creative message and know that that message is getting exactly where it needs to go.

In our mind, a fair of this size with 10,000 or more wines needs to appeal to audiences, to channels where there is the need for multiple wine styles from multiple origins, multiple grape varieties — and that is mainly the independent off - and on - trade markets as well as the growing number of specialists on - line.

The popular conference speaker was speaking to a Christian gathering where he sought to charge up him audience on the need for righteousness.

He assured his audience that «the mainstay» will be the individual investigator; anybody who thinks otherwise «need look no further» than the genome institute's intramural program, where research is «driven by ideas» and where he will keep his lab.

But in a world where spontaneous mass audiences are increasingly commonplace, we need a more collaborative model.

In a world where audiences are used to seeing the impossible made possible, and even more used to seeing the good guys always save the day and the bad guys always slink away defeated, the stakes need to be high, and the sacrifices need to feel like they matter.

This film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I think, really, the film is just the byproduct of global DVD residuals from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming from, what her dramatic need is, who she interacts with, and so on.

Where the problem begins however is that Woods seemed to forget that she needed to give the audience a reason to care.

Specifically I love the idea of him in Deadpool, where neither he nor the character needs to be watered down for general audiences.

But where Hong relentlessly deconstructs his narratives, laying bare their artifices and exposing the lonely needs that drive us to invent them, Bogdanovich the classicist is content to faithfully recreate the form of the old (his zooms are subtle and patient, not Hong's wild, drunken lurches), with nothing but a sly wink to the audience to remind us of the precariousness of our ideals.

Unknown delivers where it needs to, has the star power to succeed, and audiences favor it a great deal more than critics.

Issues like this can make the game frustrating at times, and for kids, who the target audience really is, they just may need help getting by areas where some of these issues pop up.

For me, character is most important, and if we're telling a story like this where I need the audience to really connect with Moonee and Halley — to love them so much that the end will be impactful, but they'll leave the theatre thinking about the real Moonees and Halleys out there — the only way to achieve that is to spend time with them in those moments that have nothing to do with plot.

Visually, that felt quite strong, and also we needed to remind the audience of where we left the last movie.

Even though the game is pretty easy, there are a lot of instances where it does a poor job of explaining to you what you need to do next, or where you need to go; that's a big problem for a game that is clearly intended for a casual audience.

He always seems to know the perfect amount of time needed for each scene and where to place the camera so the scene is the most effective to both the actors as well as the audience members watching the film.

Chazelle's script rides a fine line between intensity and levity, as well as success and failure, by taking the story to places not many are expecting, but it's right where things need to go to keep these characters — and subsequently the audience — on their toes.

«The Artist» — being a black - and - white silent film with no major stars — needed that early Cannes love and push, but this is a different animal, a film strictly in the crowdpleaser mode that seems far more suited to a Telluride or TIFF premiere where audience reaction and buzz will much more helpful for this film's inevitable Oscar campaign.

This is where the work on my part comes in: I need to help students identify an audience for their work.

Discover obstacles that are keeping your audience from being where they need to be.

It is a safe space to express what they like, Fitzgerald adds, and a place where it is more likely they will find the audience they need.

They need to know what to share, where to share it, and how to attract an online audience.

«We need to be honest, this is super new,» Mote told a packed audience during a session at the New Schools Venture Fund Summit on Wednesday, where she described how letting students learn at their own pace is transforming Brooklyn Lab School, a New York City charter school she co-founded in 2014, which has a waiting list of 1,600.

As business people / book sellers, we need to realize we're in a retail business, where just because something worked yesterday, doesn't mean it'll ever work again, and our job as promoters / marketers is to find our audience and communicate to it that we have what they want.

«There's another equally crucial area of investment that forks off in at least two ways, and that's in audience data... Papers need to get the best understanding they can about who is consuming their content, on what devices, where and when, starting with their loyal subscribers.»

One of the things you need to consider while you're planning your social media strategy is where is your target audience.

If the latter model is correct (i.e. you can only charge when you've built up a reputation) then we enter a world where the publishing industry needs to learn how to engage directly with readers to build their audience.

It can make sense to self - publish a book with a national audience once you have acquired considerable knowledge of publishing, and know where to find the design, editing, illustrating, marketing, promoting, sales, etc. help you will need.

It informs the audience on where to find one if need be.

Here is where you need to understand who your target audience is and what they're interested in.

That needs to be shared with the appropriate social media, dependent on where your audience lives.

With fewer options to browse books in - stores, publishers need to replicate the ability to browse books online, and that's where Nielsen Book2Look can help you reach a wider audience for your books.

If you can't find places online where your target audience hangs out, then maybe your book idea needs a rethink...

Who is the audience; what is the value you bring to the reader; who do you need on your team to create and produce the book; who will be fans to shout out to others about your masterpiece; what are your financial costs in creation; where will revenues come from; what formats will you create your book product in; what about your personal time to create and support the book; what will you do to market the book?