Best practices in merging social media and nonprofit marketing Marc W. Halpert connect2collaborate.com Maria Semple The Prospect Finder, LLC Too many workshops give you plain vanilla information on social media. This one is different. It’s geared to truly help social media practitioners. Two social media experts will offer their views on best practices in merging the branding of your organization to the proper social media platforms. Case studies will add to the impact and show you ways to boost your reach. From a concentration on LinkedIn and email marketing, the speakers will show you how to connect and collaborate with your donors. Many nonprofits wonder how they can use their time and resources effectively to engage more people. Adding and managing new social media channels takes concerted efforts, especially if you want to leverage their email communications to grow your base. We’ll provide you with some nuts and bolts ideas you can begin to implement immediately. AND, we’ll show you some simple time management strategies. LEARNING OBJECTIVES/TAKEAWAYS: Best practices for online marketing by intertwining both email marketing and social media for maximum impact on branding, volunteer recruitment and fundraising.

1. Best Practices in Merging
1
Social Media
and Nonprofit Marketing
AFP-NY Westchester
National Philanthropy Day, Nov. 7, 2014
Presenters:
Marc W. Halpert, connect2collaborate @marchalpert
Maria Semple, The Prospect Finder LLC @mariasemple

2. 
 
 


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
 





3. Why use social media?
Your competitors are social
93%
Nonprofit
Source: Nonprofit Social
Networking Benchmark Report
86%
B2C
Source: Uberflip
87%
B2B
Source: Clearpoint Agency

4. Why use social media?
It influences decisions
68%
learn more about
a charity if they
see a friend
posting about it
Source: MDG Advertising

5. 5
Email + Social
Email & Social
You have to use both
Amplify your email
Drive traffic back
to your list, email, etc...

6. 6
Email
Repurpose & Reuse

7. Top 6 social networks
7
Which social media?
The top networks
Facebook
Pinterest
LinkedIn Twitter
Instagram Google+

8. Low volume/high value
Minimum: 3 X per week
Maximum: 10 X per week
Quality vs. quantity
8
Facebook
Facebook content

9. High volume/low value
Minimum: 5 X per day
Maximum: none
Quantity is key
9
Twitter
Twitter content

10. Low volume/high value
Minimum: 2 X per week
Maximum: 5 X per week
More formal and technical
10
LinkedIn
LinkedIn content

11. 11
Google uses an algorithm
You need to create fresh
content regularly
Use the right keywords
Google  Google
Google+
Let’s talk about SEO

12. Medium volume/high value
Minimum: 3 X per week
Maximum: 10 X per week
Keywords = searchability
12
Google+
Google+ content

13. High volume/high value
Minimum: 5 X per day
Maximum: 10 X per day
Quality images = important
13
Pinterest
Pinterest content

14. 14
90% of information
transmitted to the brain is
visual
Photos are liked 2X more
than text updates
67% say images are very
important in selecting and
purchasing a product
Pinterest
Why visual content is
important

15. What do I say?
What do I say?
Get likes, shares,
comments
Entertain, invite conversation, ask
questions, images & video
50%
Be useful & informative
curate content 30%
Industry info, hints + tips,
About your business
Calls to action, not “buy now” 20%

16. Case Study: Waveny LifeCare Network (waveny.org):
16

17. 17
Waveny’s Email Marketing:
Branding consistent
with website.
Clear call to action
and Waveny’s social
media icons.
Mobile Responsive
Template
Good Use of Photos
Only one message

18. 18
Facebook.com/wavenycarenetwork

19. 19
Twitter.com/waveny

20. “You don't get to decide
which device people use to
access your content.
Karen McGrane, author of Content Strategy for Mobile
20
@karenmcgrane
They do.”

21. 30%
of users UNSUBSCRIBE
from email lists after
receiving mobile email
that doesn’t look good.
Source: Blue Hornet
21
29%
of Americans use ONLY
mobile devices to access
the internet.
Source: ondeviceresearch.com

50%
of email is opened on a
mobile device.
Source: Litmus.com

22. Tip 1
What to do today
22
Avoid
using too
much text.

23. What to do today
Tip 2
Avoid
multiple
columns.
23

24. Tip 3
What to do today
24
Clear and
easy calls
to action

25. What to do today
Tip 4
Avoid tiny
fonts.
Minimum: 22-point
headlines, 11-point
body text, improved
contrast
25
9-point font,
headlines don’t
stand out

26. What to do today
Tip 4
Avoid tiny
fonts.
Better: 22-point
headlines, 16-point
body text
26

27. What to do today
Tip 5 Use images carefully.
27

28. 28
Next Steps
Tools to expand your reach
Social media buttons

29. 29
Next Steps
Tools to expand your reach
Simple Share tool

30. Tools to Manage Social Media
Hootsuite
Social Media Management Dashboard
30
Free Plan: up to 3 social networks
Pro Plans start at $9.99 per month.
Allows up to 50 social networks

31. 



 

32. 
• 
• 

• 
• 
• 
 

33. 

 

34. • 
• 
• 
• 
 

35. • 
• 
• 
• 
 

36. 

• 
• 
• 
• 
• 
• 

 

37. 
• 
• 
• 
• 
• 
 

38. 
 

39. 


 

40. 









41.  
 


 
 


 
 
 


 
 

 

42.  
 


 
 

 
 

 


 


 

43.  

44. 
 

45. 
 

46. 
 

47.  

48. 


 
 
 

49. 
•
•
•
•
•
•
•

 

50. 



51. 

  

52. 




 

53. 




 

54.  
 
 

 


 

55. 




 

56. 









57. 


!


58. 
 

59. 

 


 




 

60. 










61. 
 

62. 













 

63. 

  

64. 
•

•
•
•
•

•

 

65. 