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Have maternity leave gaps in your resume? Let Pregnancy Pause help

(MARKETING NEWS) The Pregnancy Pause is an organization aimed at helping moms re-enter the workforce from maternity leave sans the explanation for the employment gap.

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Mamas getting hosed

Our country’s totally sad policies around maternity leave – companies are only required to give pregnant women and new moms 12 weeks of unpaid time off – mean that many working women opt to quit their jobs in order to birth and raise infants.

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When a mom is ready to reenter the workplace, she often has an awkward, unexplained gap in her résumé that make it harder to get hired.

Honesty works best

While moms have traditionally been advised not to mention their maternity leave unless asked directly, studies show that moms are more likely to be hired if they actually explain what they’ve been up to.

A branding agency, Mother New York, has come up with a creative way to help moms clarify the résumé gap, and to “make it clear that maternity leave – whether 12 weeks or 12 years – isn’t a vacation.”

The company is encouraging LinkedIn users to list their job title as “Mom” and their company as The Pregnancy Pause.

Hiring managers who click on the link are taken to a website that explains the unfair disadvantages faced by working moms.

Nothing to be ashamed of

According to Corinna Falusi, CCO of Mother New York, “New mothers in the U.S. often feel forced to quit their jobs due to a lack of adequate maternity leave policies, which leaves them penalized for the subsequent gap in their résumé.

We wanted to give working mothers everywhere a simple tool for this problem, and make it easy for them to own maternity leave as the full-time job it truly is.”

Besides a website, The Pregnancy Pause also has a LinkedIn page and a phone line. When a hiring manager calls the phone line, they’ll hear a voicemail explaining that during the candidate’s résumé gap, “she spent innumerable hours raising a child, which has surely offered her invaluable experience as a prospective employee.”

Listing The Pregnancy Pause as your employer can be a great way to explain a résumé gap on sites like LinkedIn, where the lack of face-to-face contact with a hiring manager can often leave many unanswered questions.

Full time mom

Women in the workplace shouldn’t be penalized for having children. Our federal policies and company cultures must come to support working moms.

Until they do, The Pregnancy Pause at least offers a way to explain maternity leave on your résumé.

#PregnancyPause

Ellen Vessels, Staff Writer at The American Genius, is respected for her wide range of work, with a focus on generational marketing and business trends. Ellen is also a performance artist when she's not writing, and has a passion for sustainability, social justice, and the arts.

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Business Marketing

Facebook adjusts how much repeat video views matter

(MARKETING) For video creators and marketers alike, Facebook updates can mean a world of difference. What’s new now?

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For Facebook Video, intent and repeat viewership matter. Recently, Facebook updated video distribution methods to build more effective monetization tools and improve viewing experiences for users, namely regarding video distribution, ad breaks, and pre-roll.

Most video watching on Facebook takes place in the news feed, making this a great place to reach target audiences. It is the primary hub of activity, featuring status updates, photos, app activity, and video posts.

New ranking methods promote videos people seek out or want to return to, like serial episodes from creators regularly publishing content. Partners fostering communities by actively posting weekly or daily content get a boost as well.

If content publishers link a Show Page with their regular Page, they can distribute episodes directly to followers. This makes it easier to maintain and grow audiences, connecting users with relevant content.

However, although New Feed is a popular zone for creators and publishers, Facebook expects video engagement to eventually move to Watch, the platform for shows. In Watch’s Discover tab, shows people come back to will be prioritized for more convenient access.

After all, News Feed isn’t the easiest place to go for returning viewers since they have to sift through a constantly changing barrage of status updates. Watch offers a place more akin to YouTube, where episodes and content are contained in one place.

Creating a Facebook Group for the show adds another level of engagement, providing viewers a social viewing experience to connect with other fans.

Putting videos and content in an appealing, easily accessible area makes your viewers likelier to stick around. Grouping similar content will encourage binging, keeping your viewers in one place to engage with your content.

If content is difficult to find, or re-find when showing friends, it’s less likely to spread.

Revisions to Ad Breaks will hopefully drive up engagement as well. Previously, videos were eligible for Ad Breaks if they were at least 90 seconds, and the ad could show up as early as twenty seconds into the video.

Starting in January, videos must be at least three minutes long to have an Ad Break, and the break won’t come until at least one minute has passed.

Although Ad Breaks benefit content creators with a share of the revenue, disruptions to already short videos can drive users away. Delaying the break may improve viewer satisfaction, keeping people watching longer.

Creators now have an Ad Break insights tab to better understand video monetization performance, tracking impressions and clicks per minute.

Additionally, Pages with over fifty thousand followers can now have Live Ad Breaks. Smaller Pages and Profiles aren’t eligible since Facebook determined these publishers are less likely to comply with their monetization guidelines. Plus, their audiences are typically smaller, meaning it’s more difficult to gain significant revenue from Ad Breaks.

Facebook also plans on testing six second pre-roll ads, but only in places like Watch since viewers are already actively seeking out this content.

Combining metrics tracking insight and updated distribution tactics with intentionally crafted content may promote repeat viewership, leading to more success for publishers.

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Business Marketing

How Snapchat earns over $1M a day on just one lil’ feature

(SOCIAL MEDIA) Marketers are jumping on the bandwagon, giving Snapchat more and more money – but what little feature rakes in so much cash!?

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snapchat 3d filters

Although Snapchat is still struggling to net a profit, they make a million dollars a day with branded AR lenses. If Snapchat can remain crazy popular with its users, this may help the company get out of its revenue slump.

Snapchat’s shares dropped 22 percent since their March IPO, and their Q3 earnings saw a revenue loss of $0.14 per share with the slowest user growth ever. But there’s still growth, and Snap has never really been profit focused anyways.

CEO Evan Spiegel certainly isn’t worried, publicly at least. Spiegel’s product strategies have been mirrored by Facebook and Instagram, and a huge chunk of teens prefer Snapchat over these other social media giants.

Which is why Snapchat can charge upwards of one million dollars a day for augmented reality lenses. Snap’s popularity, especially among teens and young adults with disposable income and social influence, bodes well with media agencies.

AR lenses are one of many features offered on Snapchat, allowing users to superimpose augmented reality images on pictures and videos. If you’ve spent any amount of time on the internet, the dancing hotdog is a testament to how easily an AR lens can turn into a meme.

In September, Snapchat introduced sponsored 3D World Lenses, giving advertisers the opportunity to feature targeted campaigns on the platform. Bladerunner 2049 was the first campaign at the launch, and since then Budweiser, BMW, and McDonalds have jumped on the bandwagon.

Pricing varies depending on when the lens goes live, if it’s a “premium” day like a holiday or anticipated movie release, and the targeting criteria of the agency. If a lens is specific to a region, for example, it’s not going to cost as much as a nationwide campaign.

In a report from Digiday, one NYC-based ad executive stated AR lenses are currently Snap’s most expensive ad product, and for some agencies it’s offered as a standalone purchase. Others reported Snapchat offered a “holistic media-buying plan,” including stickers and filters as well as AR lenses.

James Douglas, SVP and Executive Director of social media for Society explained Snapchat Ads are all about media negotiation, with some of his clients signing annual media contracts, while others may try out shorter stints.

“If it’s a well-known consumer packaged goods company, Snapchat may quote $200,000 for an AR lens, but not on a premium day,” he stated. “Snapchat is very flexible to negotiate media investments with agencies, and I like that.”

According to a Snapchat spokesperson, the base price for a 3D lens running up to 12 months is $300,000. However, the final price depends on if the lens is based on audience impressions or a national takeover on a premium day.

While the AR lenses are not necessarily driving sales for featured brands, users are completely engaged with lenses. Featured lenses are widely shared among users, and screenshots of particularly popular, interesting, or funny lenses end ups shared on other social media platforms.

Even if the lens is being mocked, that still leads to impressions since ultimately the ad is being spread when people send Snaps to friends and feature lenses in Snapchat Stories.

Right now, Snapchat is doing all the engineering for AR lenses. Agencies provide the ad assets and Snapchat creates the lens. Future plans involve opening up creation to select brands, as Spiegel announced in November.

Snapchat is testing a pilot program with Lens Studio, a self-service toolkit allowing advertisers to create their own lenses in as little as an hour. Eventually Snap plans on offering the AR toolkit to advertisers for free, but for now it’s only available to top clients.

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Business Marketing

Pantone’s 2018 color of the year (that you’ll see everywhere now): Ultra Violet

(MARKETING NEWS) Check out the Pantone color choice for 2018, and prepare to see it splashed across the internet and in print.

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pantone 2018

Much ado about a hue. Over the past year, Pantone encouraged us to reconnect with nature and once another through the promotion of Greenery, the fresh yellow-green color of 2017. It’s now time to take our personal and business potentials to a whole other level, as inspired by Ultra Violet, PANTONE 18-3838, which is the 2018 Color of the Year.

Now technically, Ultra Violet isn’t a shade of purple as the Pantone color square suggests. In fact, Ultra Violet is a spectrum of light waves that can’t be detected by the human eye in natural circumstances. But that’s kind of the point. Pantone purposefully selected this color to encourage inventiveness and imagination.

The color purple has long represented individuality and artistic expression. Think Prince, David Bowie and Jimi Hendrix. When Ultra Violet was dubbed the iconic color of 2018, this symbolism was not overlooked. They are using Ultra Violet, a blue-based purple, to encourage individuals – and companies – to push boundaries and blaze their own trail.

Ultra Violet can have mystical and spiritual undertones, too. It’s been associated with mindfulness practices such as meditation, which can be a way to detach from today’s non-stop, information overloaded environment.

As a reflection of this new Color of the Year, we will likely see bright nail polishes, funky home décor, and vibrant fashion bring Ultra Violet into the marketplace. However, while material goods and designer’s color schemes are splashed with this dramatic shade of purple, Pantone encourages brands to use this color to inspire consumers to push for a better, and brighter future.

“The Pantone Color of the Year has come to mean so much more than ‘what’s trending’ in the world of design; it’s truly a reflection of what’s needed in our world today,” said Laurie Pressman, vice president of the Pantone Color Institute.

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