EP 243: Tips And Tricks To Product Placement Partnerships In TV and Streaming Series with Susan Webber Gatto | SWG Consulting

In this episode, Stacy sits down with Susan Webber Gatto, who is the president of SWG Consulting. The two discuss how content creators can fund their programming through sponsorships and product placement, as well as the errors that many producers and brands make along the way.

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Stacy Jones (00:01):
Welcome to marketing mistakes and how to avoid them. I’m Stacy Jones, the founder of influencer marketing and branded content agency, Hollywood Branded. This podcast provides brand marketers, a learning platform for topics first to share their insights and knowledge on topics, which make a direct impact on your business today, while it is impossible to be well-versed on every topic and strategy that can improve bottom line results. My goal is to help you avoid making costly mistakes of time, energy, or money, whether you are doing a DIY approach or hiring an expert to help. Let’s begin today’s discussion.Speaker 2 (00:31):
Welcome to Marketing Mistakes And How to Avoid Them. Here’s your host, Stacy Jones.Stacy Jones (00:36):
Welcome to Marketing Mistakes And How to Avoid Them. I’m Stacy Jones, and I’m so happy to be here with you all. Today, we’re switching things up a little bit and I’m bringing you a special interview session I had with a guest from our agencies, Marketers Content Playbook virtual summit, which we launched last year.

Stacy Jones (00:53):
Our August virtual summit series is created to help business owners established or rising brand marketers and students have access to over 100 speakers who provide the latest and greatest insights on how to create content market and advertise it and get others to market your brand for you. Marketers Content Playbook virtual summit grew into reality from my last four years of interviewing hundreds of business and marketing experts on this very podcast. And today, I’m excited to share one of the sessions held from this last event. Get ready to listen and learn and welcome to our Marketers Content Playbook session sneak peek. Hello everyone. I’m Stacy Jones, the founder and CEO of Hollywood Branded. And this event, the Marketers Content Playbook. I’m happy to be bringing you another incredible interview session. And I’m sitting here today with Susan Gatto, who is the president of SWG Consulting. Susan’s going to be diving in with me to discuss how content creators can fund their programming for sponsorships and product placement and the errors many producers and brands make along the way. Let’s get this Marketers Content Playbook session started. Susan, welcome.

Susan Webber Gatto (02:00):
Thank you. So nice to be here.

Stacy Jones (02:02):
I’m happy to have you here. And for all of our attendees, Susan and I go back quite aways. We work together in this wonderful wild West world of product placement and Hollywood connecting brands with productions and have negotiated over the table many times on different deals. And Susan, I’d love for you to share with us kind of your background and what got you to where you are today, where you are very active and making sure productions are more successful.

Susan Webber Gatto (02:33):
Sure. Delighted. I’ve sort of had a circuitous route. I would say to this area in that, I started my career in print. I spent many years working at Condé Nast, selling advertising, which is a little different than selling television. Mainly because what you do when you sell advertising and print is you sell a marketing idea to the cost of which is advertising. In television, when you sell advertising, you’re really selling a cost per 1000 and it’s about the number of eyeballs, and the topic is often less important than the cost. When I realized that the print business was in some serious trouble and I was in denial for quite a while about that, I looked around and ended up getting a job at A&E Networks where Amy Baker, who’s a spectacular human being, made me a job at Lifetime. And she created this role for me as VP of business development.

Susan Webber Gatto (03:27):
And my job was to not call on the media buyers and the media planners, but to evangelize the content, to call on brand managers and to find alternate revenue streams for the content. So that’s what led me to some degree to you and to a lot of your colleagues who are in the branded integration space. I worked primarily on Project Runway at the beginning, but over time, my job marked and I worked on the entire portfolio. So I worked on a lot of the launch programming for FYI, on History, on A&E Proper, and also on Lifetime.

Susan Webber Gatto (04:01):
And it was a great run. I was there for several years. I really enjoyed it. And when that job ended, I started freelancing mostly in self-defense. I got an opportunity to work on a client supply show called American Beauty Star that was coming to Lifetime. And I worked on that show successfully putting several brands in it. And then I got another opportunity and another opportunity, and I realized six months in that I had a job already. I didn’t need to get another job. And for the last four years, I’ve been representing networks and production companies and other platforms for brand sponsorship and product placement with you.

Stacy Jones (04:42):
You have indeed. And so, with working with these production companies, are you always looking for dollars? Is that under your view? There’re so many different things, with our clients, with product placement, we will look for opportunities where our clients can have no fee opportunities or we’ll look for heightened opportunities where there’s fee opportunities. And some of this is where there’s large trade out opportunities, which save the production a lot of dollars so that they don’t have to go and rent or buy or purchase or shoot at a location. What typically are you looking for?

Susan Webber Gatto (05:16):
So it sort of depends on what stage in the production process of project comes to me. A lot of the stuff that I get often is what’s called client supplied, meaning that the production company wants to own their own IP. And they’re planning on purchasing the time from the network or whatever the delivery mechanism is. So a lot of times they have this idea in their mind that they can find brands to fully sponsor the content, but they won’t have to take any money out of their pocket. And they’ll be able to get the million, $2 million, $3 million budget that they need in order to make it, which is, I would say exceptionally rare. In those cases, I’m looking for money and they don’t want to see production offset because they really need the cash to make the show. And that’s a whole other topic that we could go into because I could speak for hours on that challenge, but I’m just going to put it out there that it’s practically impossible to get brands, to fund your content for you.

Susan Webber Gatto (06:20):
You’re going to have your own money, resources already available to produce. And then, often I can find you incremental money that will go towards the profit or towards the bottom line or towards making the show better because you have more money to spend against production. When a production is either green-lit by a network or in a different stage and process, then production offset can make a big difference, for example, in a travel show. So if you have to travel to South Korea or Africa or somewhere really far away, and we can get the tourism board or the country to front the money to fly eight, 20 people there, to house them and feed them. That is a significant number that was in the production budget that can then come out because we got the cash for it, but there’s still going to be cash that’s involved. I don’t know if that answers your question.

Stacy Jones (07:17):
It does. Actually, my team knows it. And a lot of producers hear this from me all the time where I like saying that when you think of brands, you have to think of them as the icing on the cake, not the cake. You have to figure out how to get funding so that your production actually exists before the brands even really going to want to get involved in it. And it doesn’t matter, unless you are a production that has such high top tier niche, a list or cast, you’re not going to command the types of dollars typically that are going to get something completely funded. And even in those top tier production cast opportunities, they’re not doing it either and brands are just not there to open their wallet and pay endlessly for movies and TV shows.

Susan Webber Gatto (08:13):
A lot of times the people that I work with have come out of a network stable. So they have experienced in the past of producing these huge, amazing shows where Pepsi or a big brand was the underwriter. And they don’t understand why MasterCard or Pepsi don’t want to come in and take on their show because they saw how easy it was to do it when they were in that network stable. And what they don’t often understand is that a lot of that had to do with the relationship that the brand already had with the network, the millions and millions of dollars the brand has already spent in advertising and the history that they had and all of the other ancillary elements that the network could provide. Brands don’t want to underwrite, absolutely to your point, unless it’s their idea. And they’re the ones who came up with the idea for the show and they’re hiring a producer to produce the show, fantastic. They’re off to the races. Usually, there’s going to be more costs than they expected, and that’s where I come in.

Stacy Jones (09:18):
So this magic of brands working productions, because it is magic when it comes down to product placement, the fact that the brand actually gets incorporated in the scene at the end of the day. That the producer has leveraged and showcased the brand in such a way that the brand is happy with that and they’ve gotten their marketing messaging points across, all of that really is magic. It doesn’t just naturally happen, it is something that’s a work of progress. That’s what my job is, that’s what Susan’s job is. We ended up being these middleman brains, where we’re translators, where we can talk the brand speak, we can talk the production speak, and we bring the bridges together of that. So that both sides are happy and neither side is ever going to be completely happy. I mean, any type of deal that you have, usually both sides are wanting a little bit more here, a little bit more there, but there’s a common ground where there’re wins.

Stacy Jones (10:15):
Susan is so great about finding is how to make it a win for a brand to work with a production. And how can she make the producer super happy that they’re getting these dollars or they’re getting these large trades so that it works for them as well? Susan, with all of that, there are things that just commonly come up that brands don’t understand, that producers don’t understand. Can we dive in there a little bit? And have you share some of the things that you see on a consistent basis where the interpretation of the end result is not always what each has in mind from the beginning.

Susan Webber Gatto (10:55):
Well, I’m going to say, first of all, that having someone like you or me in the process will make that go a lot better. One of the challenges I see often is by the time I finally get brought in, there’s already a lot of debris on the ground. So the producers, the production has already tried really hard to connect with brands. They have had some bad experiences where there was miscommunication and misunderstanding of exactly what the trade off was going to be. My experiences, in most cases, producers are absolutely willing to do almost anything. They understand the quid pro quo that comes with somebody writing them a check, that there is no such thing as a free lunch, and they will have to be accommodating and manage the messaging. And a lot of times they don’t have total control. So one of the challenges that brands have to see is that the circumstances sometimes dictate the situation.

Susan Webber Gatto (11:55):
We’d go out to try to get XYZ scene and the weather changes or something happens, or the talent’s allergic, or there’s something that happens and we’ll do our best. But I had a situation once where the talent was not able to pronounce the line that explained what the brand was, their messaging point, her accent was such that it made it basically impossible for them to capture that line and having tried and tried and tried, I get a call, literally, at two in the morning, “We need a different line and we need it now.” And so, some of it is being accessible and accommodating and ready at the moment. It’s really hard on both brands and productions that the turnaround on these things has to be five seconds. I mean, if you call me up and say, do you have an idea for me on this brand?

Susan Webber Gatto (12:51):
I have to have that idea ready for you within 24 hours, or that ship has sailed. I can’t come back to you in a week or two or three with, “Oh yeah, I forgot to say, I could also do this.” Because you’re onto the next and it’s the same way for producers. So I think part of what I’m seeing is that everybody needs to take a breath and relax, rely on the experts to some degree and be able to be a little flexible. But if we are communicating and we are doing a deal, I can promise you I’ll make sure you get what you were looking for to the best of my ability.

Stacy Jones (13:24):
Yeah. And it might not always be the exact thing that was talked about at the very beginning, I’ve seen it’s great. I love it when brands are amenable to this where the contract does not say, “You will do X, Y, and Z.” It says, “You will make best efforts to do X, Y, and Z. We understand this is a creative process that things may change, that they may be some shifts. These are the mandates that we must have included.” So that it’s more so known in a contract versus sculpted out of the varying must be because the producers may be up there and the director and the cast, and they may be filming. And all of a sudden something comes up that would be better for their brand. And they would rather actually position the brand that way or showcase the brand that way. And they don’t want to be locked into a contract where they can only do the X, Y, and Z, because this is a creative process. This is not something that is a commercial shoot, where everything is mandated. It is a flowing being that comes to life.

Susan Webber Gatto (14:29):
And I agree. I think the other piece of it is that sometimes in order to get the deal done, the requirements are that we spell out everything because literally you’re going to have 11.02 minutes of brand identification in the show. And then when they come to make it, they get to 10.28, and they say, “In order to get us to this last 30 seconds, we’d have to wallpaper the bedroom with the brand.” It’s not going to feel right. But the only way we’re going to get the dollars to transfer for one side to the other is to be at that 11.08.

Susan Webber Gatto (15:13):
And what I do, my job is to help translate to producers and to brands because I speak both languages as do you so that everyone who wouldn’t otherwise understand each other can begin to see what the other side’s issues are. And maybe we can come up with a solution and it might not be the extra 30 seconds. It might be the way that I then go back to that brand and describe how we’re going to give them 12 in a different episode, or there’s some other way. But we all have to hear the language and not everybody speaks the same language. So our job is to translate.

Stacy Jones (15:48):
Yeah, it’s definitely a very unique language that’s spoken. And it is so foreign that it’s amazing the number of times I’ve been in a room with a production and our brand and just in a deal, and they both are saying exactly the same thing. They really are the exact same thing, but they’re not hearing that it’s the same thing from each other. And so, it goes almost on the offensive there and everyone’s digging in when they’re just not listening and able to hear that everyone’s on the same place. Brand markers don’t want something that is going to be crammed down a viewer’s throat, because it’s going to turn the viewer off the brand. Producers don’t want to not give brands exposure because they know that the brand is helping the production, but it’s just a matter of finding the way to make it all come together where everyone’s happy in general.

Susan Webber Gatto (16:45):
Absolutely. And that’s why they call it sales. I mean, my feeling is that once we’re at the table, I’m not getting up. We’re getting that deal done.

Stacy Jones (16:54):
Yes. And then once the deal’s done, that’s only when it started, because then there’s actually the whole production shoots. Susan, as you already said, changes in production, it goes through until that thing has been actually delivered on air. There are changes for months and months and months, and months and months.

Susan Webber Gatto (17:12):
Right. And the contract does need you to your point. Because we can’t anticipate, I can come to you and say, “This is the production date. This is the air date. This is the network. This is the time slot. This is all of this stuff.” And after we get the show in the can and edited and delivered, COVID happens and we’re not airing for six months.

Stacy Jones (17:36):
Yeah. Lots of things can happen [inaudible 00:17:39] productions. Where are some of the things that you’ve seen brands ask for that are just not reasonable within the world of production, besides that guaranteed timestamp of how many minutes and seconds?

Susan Webber Gatto (17:57):
Well, often they’re looking for a talent deal for free, which they can’t get. So if we have, let’s say for argument’s sake, Khloe Kardashian in the show, it’s her show. She’s the talk, she’s the host. She’s not going to be able to pick up that product, talk about how great it is, and then take it with her when she leaves the set and walks the streets of LA and show it off to her friends and be on Instagram with that product, because that is what we would call a talent deal. So while she’s on set, in theory, if that was her agreement with the show, then yes, she can talk about the cereal or whatever it is. But once she walks out the door and she’s her own person, if you want her to carry your product or eat it or use it or do something, you’re going to have to pay her a lot of money.

Susan Webber Gatto (18:49):
That is often where I think there’s a misunderstanding that I own this conversation and if we can get it, you own it while we’re shooting, period. [crosstalk 00:19:03] I think that’s one.

Stacy Jones (19:04):
Yeah. [inaudible 00:19:05] says, I think a lot of people come to the table with that, where it’s much like a celebrity endorsement deal where they say, “Oh, Kim’s going to be doing X, Y, and Z with my brand. And it would just be so easy for her. Doesn’t she want to do more for me? Doesn’t the production want to do more? Wouldn’t they like to add this element on? I know we didn’t negotiate it upfront and this isn’t part of the deal, but aren’t they vested in me? Don’t they love my brand? Don’t they see what a great partner I am? Don’t they want to help me?” And that’s just not how it works in Hollywood.

Susan Webber Gatto (19:50):
Well, there’s no such thing as a free lunch. So if you paid for it, and this is what it says in the document, this is what you’re going to get. As long as I’m standing there, making sure. And then, I do think that in theory, producers are willing to over-deliver if they can. I mean, they do want the brand who gave them the money to walk away happy, but they kind of also feel like, “You’re lucky we let you on set in the first place.” So when you show up with 25 people and their priority is getting 12 episodes in the can, it’s not taking care of the cereal brand, it is taking care of the cereal brand this minute, in this day, in this moment, in this episode, but not ongoing because when you leave, five other brands are on their way and other problems and other situations, and they’re charged with delivering this product perfectly on time, on budget, that’s their priority.

Susan Webber Gatto (20:42):
So I like to believe that everybody is trying to do the right thing. And one of the virtues of working for yourself is you can pick and choose who you’re going to work for. So I try to work for people who I think are honest and straightforward and we’ll do the right thing because I treasure the relationships that I’ve built in this business with people like you and with brands that they trust me. That when I come to them with this product and this idea of being involved in the show, that I’m going to be able to deliver for them. So I don’t want to work with producers who are taking the money and then not coming through. That’s probably the worst case scenario, right?

Stacy Jones (21:23):
Yeah. 100%.

Susan Webber Gatto (21:24):
So part of the job is just making sure that everybody’s as transparent as we can be, and our goals are aligned and we’re trying to speak the same language and then I’m translating as best I can as we go along. And that we’re going on this journey together and we’re experiencing, and then we come out happy. And if for some reason things don’t go right, we have thought of some contingencies to help put some band-aids on there. So no one walks out bleeding.

Stacy Jones (21:59):
What else have you seen that has not gone necessarily light always?

Susan Webber Gatto (22:09):
Well, look, production’s a moving target. So with the very best intentions, I come out saying, “This is the production schedule. This is the geography. This is the timing. This is the network. This is the time slot. This is the anticipated rating. This is all of the stuff.” And then, the network gets sold, a tsunami hits, something happens, we have to change location. And there’s a lot of backing up and going left and going right that happens to get us all to that place. And the hard part I think is on your desk where you have these clients who have very heavy expectations of you, and you’re expecting me to answer every one of those questions and I want to deliver those answers to you. So I’m answering them for you, but sometimes, I’m not sure.

Susan Webber Gatto (23:04):
And I will always tell you when I’m not sure or where I’m not sure because I don’t like there to be that unknown, but that’s the nature of the beast is it is going to be a project to get us to that end. And hopefully along the way, we’ll make friends and we’ll come out the other side. So however it comes out, you’re going to still be content. But I would say, nothing goes according to plan, nothing happens the way it stated. The contract is just there to protect us from the worst case scenario. It’s really not how it’s going to lay out.

Stacy Jones (23:40):
So with all of that, there’s the magic because at the end, something happens, it’s delivered and it’s fantastic. What are some of the partnerships you’ve created or you’ve seen created over the years that you think were really Stellar partnerships?

Susan Webber Gatto (23:56):
Well, I’m particularly proud of the Revlon partnership that we did with American Beauty Star because it started as a talent deal. So the second season of American Beauty Star, we brought Ashley Graham in as the host of that show. And she had a relationship with Revlon. And while I have called on Revlon, my entire career, and I know everyone at Revlon, it really was a huge joint effort of her talent agent, the producer of the show, me, five other people who had a hand in the process of getting us into the brand. And through that process, it was a huge multi-zero deal. And they were involved with every aspect of 13 episodes and they had challenges and there were Revlon hair walls and Revlon makeup walls, and the whole thing was huge, really huge. It was on the order of magnitude of what I would have expected on a Project Runway project.

Susan Webber Gatto (25:07):
And I think that the show did not go on to make another season. So there’s that, but I know that I came out of there, they came out of that project happy with the results. Ashley was thrilled with her first opportunity to host a television show. She’s gone on to be even more successful since Revlon got hours and hours of coverage and content out of it. And I kept my relationships in a really positive way coming all the way through it. So I felt really good about it, and it looked beautiful on set.

Stacy Jones (25:45):
That’s always nice lawn looks good too. Oh, a good case study. Okay.

Susan Webber Gatto (25:49):
Yeah. Yeah. It was hard though. It took a bunch of years off my life. I mean, my family, if I say Revlon anymore, they’re like, “Stop it, stop it.”

Stacy Jones (25:58):
I have many clients, Susan. [crosstalk 00:26:00].

Susan Webber Gatto (26:00):
Yeah. It was a lot of work, but it was worth it and to some degree, it wasn’t even the money as big as the money was to the show. It was when you do those kinds of deals, it can be a catalyst experience for the show. You want to have blue chip brands associated with your programming if you can. Most of the brands that participate in programming that I bring to you or your colleagues, or that I associate with are usually going to be challenger brand because Pepsi and Coke don’t really need us. They’ve brought everything.

Susan Webber Gatto (26:38):
So we’re not going to usually be talking to Pepsi and Coke. And that’s the mistake I feel like almost every producer makes when they first… When we make first tee up the conversation, they’ll say to me, “You know what would be great in my show? MasterCard or Heineken.” And I agree that they would be great in your show and they unfortunately don’t need your show. They have a million shows to choose from. And so, and their priority, isn’t on a one-of your show. Their priority is on a million other things. So what we’re going to go after are brands you probably aren’t thinking of or challenger brands, the brands that are number four, five, six, seven in that category, not one, two, three. And those brands are lucky that they’re being brought these opportunities, but they don’t have the same infrastructure in place that the big brand does.

Susan Webber Gatto (27:28):
They don’t have a dedicated entertainment brand person. They’re going to be making it up as they go. And they’re going to be asking for things that you’re not expecting, and they’re going to be wanting things that your thinking is too much. And it’s going to be the president of the company that signing the check, they’re going to expect everything. So it’s the pro con of the big and the little, and I prefer the challenger brands. I feel like there’s more opportunity there. There’s more chance for the marketing to really make a difference for them. And for them to see incremental change, big brands, it’s much harder to measure. And you sort of often feel like you’re a cog in the wheel. So it’s a trade off.

Stacy Jones (28:10):
Yeah. I mean, product placement, partnerships and integration partnerships for brands who are not these mega brands, that can still be top brands in their category, but they’re just not the ones that you see everywhere. They have the best chance with product placement. I mean, those are the ones that where the opportunities to leverage the television show or the feature film to do extensions with premiere parties. And wrap parties, and to do additional advertising campaigns around the content are also going to be something that’s more affordable and reasonable versus the opportunities for your brand to be on. If you’re a top scripted sitcom on ABC or NBC, that’s going to require a $5 million media buy commitment along with a million dollar integration for something that is not going to last a lifetime and give you that many results.

Stacy Jones (29:07):
So there really is a differential in the dollars that are paid and the results you get, but there’s plenty of things that are smaller dollars that really give you a ton of content that you can repurpose. Your ABC or NBC or CBS shows are not going to let you take your content from the show and share it on your social media. They’re not going to talk to you about creating behind the scenes, additional content for you to run on your website. They’re not going to say, “Yes, let’s explore doing a sweepstake that is really going to be a localized or regionalized event and not something that is an absolutely every national store.” So there really are a lot of opportunities.

Susan Webber Gatto (29:51):
Yeah. And I think that actually is most important of all, is that brands who can afford, who have the time and the attention to take advantage of these opportunities will benefit the most. And that’s usually the B or C brand because this is their priority, and a brand has 10 agencies and 500 million people. And this is just one of many hundreds of things they’re doing, and they probably won’t take full advantage of it. And that’s too bad because this is somebody’s baby, the show.

Stacy Jones (30:30):
Susan, how can people find you? Where should they go to learn more about you and your productions that you’re working on?

Susan Webber Gatto (30:40):
Well, I’m launching my website in my quarantine project. So I should have it live and going connected to my LinkedIn and at the bottom of my signature within a week. But I’m on LinkedIn and shockingly, I would say in the last two months or so, I’ve been getting a lot of just people reaching out to me from LinkedIn. Some of it, I guess, is just… Now, where I’ve reached critical mass, where I’ve worked at enough different kinds of productions from enough different places that I’m getting some recommendations. I get a lot of my resources, I would say from the network itself, sometimes it’s A&E Networks where I worked for many years, they will send me programs and producers. And I think some of the brands that I’ve worked on have recommended me, but you can find me on LinkedIn, Susan Webber Gatto, SWG Consulting, and please call me. I respond to everyone.

Stacy Jones (31:35):
Well, Susan, any last words to our audience about things they should know, about working with productions, if they are a brand or things that producers should know.

Susan Webber Gatto (31:45):
Well, I’m going to say this, which is, sometimes I feel like this is the very last area that producers go to, even though they consider it a crucially important piece. And by the time you get to it, you’re a little jaded and start to think to yourselves, “I guess I don’t really need to pay anybody to do this for me.” And I’m going to tell you that’s just not true that you do get what you pay for, and there is no such thing as a free lunch. And if you are looking to get $100,000, $500,000, $1 million to your bottom line, you need somebody who knows what they’re doing, and you really do need to hire an expert and pay them the same way you would pay everybody else that’s on your payroll and treat them the same way that you treat everyone else that’s on your payroll. This isn’t the dirty money, this is frankly good money. This is good brands and good productions who belong together. So that’s my last word of advice. You get what you paid for hiring an expert.

Stacy Jones (32:47):
Yeah. There are so many productions who want to work in brands where, “We’ll only pay if you land us the deal.” And there’s so much work into getting the deal. There’s actually more work into getting the deal than the backside of getting the deal home. [crosstalk 00:33:04] I will be fixing that and editing that, my phone just started talking.

Susan Webber Gatto (33:08):
100%, 100%, all the pre-work. First of all, you’re paying for the contacts, the relationships, the credibility that your representative brings to begin with and their knowledge in terms of how to structure a deal and how to manage the moving parts and get you to contract and beyond. And all of that is not free. I don’t work for free.

Stacy Jones (33:34):
You shouldn’t. So it makes sense.

Susan Webber Gatto (33:36):
I did at the beginning because I was starting out and I did, but I don’t anymore. I don’t need to.

Stacy Jones (33:42):
People in our industry really shouldn’t be. So, Susan, thank you so much-

Susan Webber Gatto (33:46):
Thank you-

Stacy Jones (33:47):
…for sharing your insights.

Susan Webber Gatto (33:48):
…for all the work we’ve done together. Thanks for all the deals. Thanks for the future deals. My pleasure.

Stacy Jones (33:53):
Of course, of course. Always happy to work with you and to all of our attendees, thank you so much for tuning in to another Marketer’s Content Playbook session, hope you that you enjoyed this, got some learning from it. And look forward to having you join us on another. Have a great day.

Also, kindly consider taking the 60-seconds. It takes to leave an honest review and rating for the podcast on iTunes, they’re extremely helpful when it comes to the ranking of the show.

Lastly, don’t forget to subscribe to the podcast on iTunes, to get automatic updates every time a new episode goes live!

Listen to our other episodes:

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Marketing Mistakes and How To Avoid Them Reviews 

Must-Listen For Every Brand Marketer (And Owner)

This should be required listening for everyone who owns a business, works in marketing, or is interested in the business of entertainment. Great stuff!

The Best Marketing Podcast Ever!

Stacy is a brilliant branding strategist and she really knows how to bring out the best in her guests! This show is fun AND educational! If you’re looking to understand the world of marketing, branding, digital marketing, influencer marketing and more, look no further. This show has awesome insight into some of the greatest marketing minds out there today, and they provide practical advice you can use in your business today. #FanForLife

Awesome podcast for all marketers!

Keep them coming

Practical and pointed advice.

Stacy does a really great job making this a highly actionable podcast for business owners. With a focus on marketing, she covers a wide range of related topics as well and is always very specific with her questions so that the listener gets pointed advice instead of vague concepts to take away. It’s also really helpful to the hear the why behind any marketing tactic so that we can decide if something sounds like a good fit for where we are at in this moment.

Love this marketing podcast!

Lori has a way of finding new insights to share every week. I loved being a guest, but I enjoy hearing her many fascinating conversations with other marketers even more. Great show!

I love Stacey Jones!

I absolutely loved being on this podcast! Stacey is amazing – real, down to earth, and genuinely curious and interested in learning – this makes for a very engaging conversation and valuable podcast!

Thank you for your podcast! I LOVE IT

I just listened to the episode named Insights To Product Placement Brand Marketers Need To Know, and I really enjoyed every minute of it! There are so many ways to approach product placement in a manner that provides wins for many – and it is not always driven by money. I am looking forward to listening to more!

Stuff we need to know!!

Anyone who is in business should be listening to this podcast! Incredible insights and advice.

Such a wealth of knowledge! 🧠

This is one of the most insightful podcasts that I have ever come across! Stacy does such a great job of sharing her wisdom and I love how she leads meaningful conversations with guests who bring so much experience to the table. Highly recommend checking this show out – you won’t be disappointed!

Awesome Podcast!!!

Stacy, host of the Marketing Mistakes (And How To Avoid Them) Podcast, highlights all marketing and more in this can’t miss podcast! The host and expert guests offer insightful advice and information that is helpful to anyone that listens!
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