Video has proven itself to be a valuable part of a good marketing plan when it comes to attracting and promoting your business to your target audience. It goes hand in hand with other strategies – such as SEO – as it can help to increase the time people spend on your website and pages, and position you as a trusted source in your field.
But as Ed Lawrence and Dave Foulkes of Business Film Booth will attest, if your goal is to increase audience retention – and it should be – then you need to be following certain criteria to allow you to get your message out the right way in an engaging way that educates the masses, lands more sales, and proves your worth.
Rich: My next guests – yes, I said the plural – have been producing vlogs for businesses since 2005, where they started out filming 60 second pitches at networking events they attended. They quickly realized the problem. People struggled to appear on camera and come up with content that wasn’t boring and timid. As a result, they formed Business Film Booth, an uncorporate video production company, with the goal of helping business people create engaging vlogs that captured the true vision of themselves on camera and told their story without the cringe worthy experience for viewers.
Since then, they’ve produced close to – I can’t believe this – 10,000 videos, and have helped hundreds of businesses get over the fears and hurdles that appearing on camera can bring. At the start of 2019 they started producing three videos a week for their YouTube channel to teach people how to present and make their own videos and grow their own channel.
I discovered them when I was trying to get some tips on how to make a client’s video more engaging, and I knew I had to have them on the podcast. Please welcome Ed Lawrence and Dave Foulkes. Ed and Dave, welcome to the show.
Ed: Hi. Yeah, thank you.
Dave: Thank you. It’s good to be here.
Rich: I am really worried about my a transcriptionist who’s going to have to figure out who’s Ed and who’s Dave when she writes this all up.
Ed: No worries. Ed is the slightly more English accent. Dave is the slightly more Kiwi accent, if you can tell the difference.
Dave: The one she’ll think is Australian.
Rich: Right, we’re both from Maine, so she’s not going to know it all. She’ll recognize my voice and then she’ll just say, “Ed/Dave”. All right. It’ll be fine. Anyway, so I’m curious to know how did you guys meet up first and start a company?
Dave: Well you started talking about networking, Rich, and that’s oddly where we met, too. The first networking session I ever went to when I moved back here from Australia – because I’ve lived both in Australia, New Zealand, and the UK for extended periods – and the last time we moved back five years ago it was literally the first networking session I went to. Business networking, met Ed, and a kind of the rest is history. It was quite strange to meet him on the first networking event I’d ever been to here. So it was great.
Rich: Ed, does that jive with your story?
Ed: Yeah. Yeah. We sort of had different companies when David came over. He had lot of experience in production and direction on sort of slicker stuff. I was targeting a smaller businesses and we both realized the problem at the same time in what was out there, what people were putting out. Just when you hit play, made your face sort of snarl up like you were sucking on a lime or a lemon cause it’s not a pleasant experience. And we wanted to try and solve that.
So we just started chucking people at the networking event in front of a plain background, filming them, just their pitches, and then directing them and helping them present and then helping them make their pitch more interesting. And it worked.
Dave: And they did consent. They did consent. We didn’t just pull them in there against their will.
Ed: Yeah. It was the fact that we were getting briefed, I guess from a lot of businesses that were there that didn’t work. And it was really hard for us to just, just go with the brief. We had to start actually directing them and going, “Look, please try this. This is what will work”. And once we started doing that, then yeah, it was a pretty slippery slope into, here’s really what you should be making and here’s how you should be doing it.
There was an element of, you know, you sound shocked by the 10,000 videos. I’d say 1,000 of them just me and Dave just trying things, trying content for different platforms, different marketing uses, and basically trying to build a system that we could get everyone – whoever sort of came to us or stepped in front of a camera – making content that worked and wasn’t boring and you know, brought them to life. So that’s how it all began.
Rich: Awesome. Dave, you and Ed, do you do the same tasks at the company or do you each have your own specialty?
Dave: Certainly when we started out, we made it a definite thing for us to always be able to do everything. But that’s not sustainable, you can’t grow that. So over time we’ve started to specialize so it has moved much more into the marketing side, which I know he really enjoys.
There’s a lot of mechanical stuff to do with marketing as well as of course the messaging itself, and Ed’s very good at quickly understanding a lot of the technology and platforms, et cetera that can be done. I’ve concentrated more on the client facing side of things and helping with production and maybe much more of a hands on dealing with people day to day.
So we have time to specialize, but we’d like to think for most of the business either of us can do it. So, yeah. Ed still fills in for me occasionally when I can’t cover it, for example.
Rich: Sure. Ed, I told you that I found you because a client of mine – well, actually my dad – wants to put together a series of talking head videos around resilience. And I feel that so many talking head videos these days are completely boring. How do we make talking head videos more interesting?
Ed: Wow. Where do I start? The problem we have and we find it is that people think video is all about filming and they also have a common misconception that video is there to make their own lives easier. So they just quickly hop in front of a camera and they film something. They don’t have to write it, they don’t have to worry with researching it, all of those things. It’s just a quick exercise that they can knock up in 10 minutes.
So really the first step to make video less boring is to research and plan it. It’s to look at what else is out there, what people are doing well, and also what they’re doing badly, and think how can I do this better. How can I put my own spin on it? And then to start planning your content purely around the fact that this needs to be more entertaining, this needs to be more informative and it needs to be more impactful.
That’s the first step. Filming is like in the middle, it’s one of the smallest steps. So I’d say if you’re going to jump in front of a camera, wait until you’ve researched, planned and written first. And that’s the most important bit.
So then you can also look at, there’s an equation as I call it, for how to make content more interesting. And there’s three parts to it and pretty much everything you’ll ever watch in the world has at least one of these three things in it. But ideally for talking head videos, that’s to make your content actionable, informative and entertaining. So you can pick two of them to make a great talking head video.
So let me give you an example. Informative. Well, it needs to be packed full of great information. That’s kind of an obvious one. But also actionable, giving people a task to then go and practice that information to get them drawn in to get a result. If they do that, it will pull them into the content and also make you look more like a pro when they get a result from it. But we like to aim for all three as well. So we look at really to make it less boring, focus on information and entertainment and there’s different ways of doing that.
Dave: Out of all of them that’s probably actionable and that people forget the most, and that’s because they’re in their own bubble about their information. So it’s very hard for people inside their own information to remember that others aren’t and to give them something that they can go and try. Just a small piece of the puzzle to go and try, practically speaking, so that they know they’re on the right track and that this information is real. And I think that gets missed in videos all the time. It’s very general, it’s abstract. It’s like you should make better content. That’s not actually very useful. But exactly break down those steps of what better content looks and sounds like and then you can start to make inroads into helping people better.
Rich: Now Dave, I find that I will often click away from a video if it doesn’t grab me in the first few seconds. What do you recommend we do to make our videos more interesting right from the opening frame?
Dave: Yeah. I’m glad you asked me that because that is such a terrible thing to fall at the first hurdle. This comes up a lot when people try to introduce themselves in a big long winded sort of spiel and it’s not needed. What you need to do is interrupt people’s train of thought immediately. And this is done in a novel, it’s done on shows. You do it on your show. They always take something interesting from the podcast and put it right at the front and it’s cool.
We call it a ‘shopper’s pivot’ and it’s because in video there isn’t really a name for it, not in business video. In a shopper’s pivot, if you can imagine someone walking past a store and they see something in the window that they like to look up and they stop and they pivot and look at it. And they may go into the store, then they won’t necessarily buy the thing that they saw first, but they’ll go into the store and they’ll shop around, they might buy something else.
And that pivot is what you need at the beginning of the video. So it’s the bit of information that is either an arresting hook, an interesting stat, a quote, something that gives some clue as to what the rest of the video is about. And that way you’re much more likely to have people continue because what you want them to do is go, “What just happened? I can’t quite follow that. Oh, now I see.” And then by that side it stays there into the video. That’s a really important thing to do. It’s a bit of an art, but as long as you know at first that you’ve got to be hooking people in those first five seconds, then you’re on the right track
Ed: We were just mentioning how they would do that with metaphors and so on. Dave, you can think of a good example. What’s that book that you always tell me about?
Dave: Yeah, well there’s the book I’ve probably told you a few different books and I can’t remember.
Ed: The exploding grandmother.
Dave: Iain Banks is a Scottish sci-fi and fiction writer. And he wrote a book, he wrote a fiction book, it’s about sort of coming of age tale. And the first line in it is, “I first met Verity Walker on the day my grandmother exploded”, and you are left going, what is he talking about? It’s a real phenomena. It’s something that happens in crematoriums apparently. So it goes on to explain what actually happens. But yeah, it was like a very odd thing to have at the beginning of a novel and you just can’t not read on. So you’ve got to do that.
Rich: So you can either share something where somebody’s going to get and make it really interesting, or say something that is so intriguing there’s that information gap that people have to keep watching to scratch that mental itch of theirs.
Ed: That’s right. And not be afraid of leaving your audience for a moment there wondering what’s going on. As long as you satisfy the curiosity, of course, explain what the pivot is about in some way, whether that’s a stat or a quote or a metaphor. Then that’s fine.
And if you don’t satisfy it, if it’s just an absurd thing to say for no reason, just to get attention, then it will feel cheap and look cheap.
Rich: All right. Another thing, I’ll give this one to Ed, you say is ‘ditch the script’. Yet I’m sure a lot of people feel that the script is their friend. It’s their safety net. What can you do to be able to leave the script behind when it comes to these talking head videos?
Ed: So the video that you’re talking about where we shot quite a while ago and our thought process has changed significantly. So I’ll talk you through the thought process behind that.
Originally we used to work because people used to feel more comfortable. They used to get overwhelmed with the prep side of things. So you know, they’d bullet point and then we’d help them present from those bullet points. Because we didn’t want them getting bogged down in the nitty gritty details. But what’s happened is as, as online has sort of developed actually businesses need more and more content. We switched to saying, “Look, we need to speed some production areas up here because you need more video”. And especially for ourselves putting sort of three a week on YouTube. So we found the only area we could speed up was production.
So we switched actually saying no, do write a script and spend most of the time on that. And use an auto key to deliver it. And what happened with that is we noticed that people were spending actually a lot more time on the script and our fears that they might get bogged down were in fact incorrect. And they were producing better content. But it was also taking the strain off them from filming. And as a result of that they were filming faster.
You know, a video might take an hour before where they were stumbling through it and they were getting tongue tied to having written something that we could check with them and give them feedback on an edit before we shot. So now our advice is the exact opposite because the processes have changed and we find that, you know, we do need to speed up as a production to get as much content made as possible.
Dave: There was a learning curve in that once we try doing it, not necessarily without a script or just bullet points and going through it, we realized that the thing that is missing when people do have a set script is of course that woodenness, because you know exactly what you can say next, and the trouble is you can have it come across quite wooden. And so having done it without a script, we knew those pitfalls and we were actually quite engaging when we did make a video. So we’ve taken that bit though and we’ve now helped people introduce all that energy back into even a scripted piece of content so they can still come across quite well.
Rich: Dave, I wanted to talk about chunks. And I wonder if that’s one way of overcoming the woodenness that comes with scripts. Can you talk a little bit about chunks and how you use it when you’re putting together a video for your clients?
Dave: Yeah, sure. So even when you’re, let’s say you’re even using a teleprompter and yet old chunk of information that’s right there in front of you, ready to go. Just by doing it in chunks, you can take the pressure off yourself in trying to do the whole thing in one go. So a few minutes of content, let’s say as an example, it doesn’t of course have to be all done in one take. And it can be done in multiple bits, which you concentrate on as you go. Forget everything else that’s going on. Just concentrate on that chunk and make sure that the energy you put into it is right.
So I’m kind of going over a couple of points here, but chunks are useful so that you can compartmentalize and not feel the pressure. But they’re also useful so that you can apply what we call ‘panto mode’.
So over here in the UK, I don’t know if you have anything like it in the US, but the pantomime is a British thing. It’s an institution where you take your kids along and it’s like watching an over the top stage show. It’s very funny, the kids love it. But pantomime is of course overacting. And so ‘panto mode’ helps you gauge just what level you should be doing these chunks so that you’re neither being too silly and wacky and over the top, but you’re also not being too hidden away and reserved.
And just by doing one that’s really over the top and silly, you can then play it back and you can see how that chunk worked. And once you’ve done that a few times, you work it out and you’ll understand what level to be projecting at a middle, and it’ll make life easier. And then you can carry on just doing those chunks one at a time until you’ve done the whole thing.
Ed: And that will solve the whole deer in the headlights sort of problem that people often have. You’ll no longer look terrified of the camera you’ll come across as a pro.
Rich: Using those chunks, that idea of chunks was actually something that I took away from your video immediately and started putting into my own video when I was creating a preview video for my Social Media Marketing World presentation. I did that and I also use your tactic of not always standing in the same place and sometimes standing closer, sometimes standing further away, and then editing it down as quick cuts as possible. And I definitely thought that the final result was much more entertaining than if I had just spoken directly to the camera for 90 seconds.
Dave: Oh yeah, definitely. It gives it energy and it gives it engagement. Those constant switches actually wake the viewer up and it’s one of the things that helps bring it to life. That’s, you know, a quick fix.
Ed: Just a quick word of caution. It’s useful to stick to the chunks that you’ve got as paragraphs. So it should be every time there’s a change it should be a new piece of information. Otherwise it will feel a bit sudden and a bit, you know, staccato. So what you want to do is make sure at least that you do a few takes of it, so you want to get the whole chunk in rather than splitting mid-sentence if you see what I mean. But anyway, that’s a small thing, but it’s just worth mentioning.
Rich: It makes sense because I know when you’re doing stage presentations, like when you’re a speaker, very often people just walk back and forth or they’ll stand still. And the advice that I’ve been given is, move with purpose. So when you’re changing to the next slide or to the next thought or you’re transitioning, that’s a time for movement. Otherwise you should be standing still. So that kind of, there’s a little bit of similarity there when it comes to ‘chunking’ as you described it.
Dave: That’s it. And there’s a lot of crossover there with what we do in theater and film. So that makes sense. Definitely.
Rich: I’ll throw this out to either Ed or Dave. Are there any other tactics we didn’t talk about? Like one more tactic that you feel is really important to create a more engaging talking head video?
Ed: Oh, good one.
Dave: What have you got on the top of your head there, Ed?
Ed: Well to me, there’s editing, is a big one. But it’s also one that is often, you know, people don’t want to have to learn that as a skill and it’s time consuming. Was there one you were thinking of, Dave?
Dave: Well I was thinking actually it’s the feedback. Because it’s not something that people think about, they’ll just make it and then that’s it. But there’s always a steep learning curve and I think feedback is one way of short-cutting that process so that you don’t just put out the first thing you made.
You might apply all of these techniques but still get feedback. And there’s a tip to asking for feedback and getting the right feedback so that process has sped up. And that is to find people that are in the same sector or understand the same issues, and then put it in front of them and say, “Look, I really need some feedback. Can you tell me does this work? Here’s what I was trying to achieve. Does this work?” Because if you ask, “Do you like it”, you will get warm, fluffy feedback or terrible feedback that’ll crush you? You need to know what is the thing that does or doesn’t work about it. And you’ll find people who are really good once you ask them, “Does it work?”, it’s amazing what that changes. But the feedback is a way to speed up the process of making better video, I think.
Ed: Yeah. And we’d also say steer clear from asking your wife or kids. One of our client’s wives once said to him that his head looked too much like a potato and could we edit it better to make it look less round. I mean it’s not really feedback. So they’re not really looking at the right things.
Rich: So you brought up something. Ed, about editing. So I’m kind of curious how much time, you know, a lot of people are doing their own stuff or somebody in their office is doing this work with them. How much time do you recommend spending on postproduction? And I guess as a follow-up, what are some of the tools you use in postproduction?
Ed: Yeah, sure. So if you write it, if you spend all the time in writing, the filming and editing should be far quicker, because like we’ve spoken about the chunks. When you film in chunks so you record a bit, stop recording, record the next scene, you can just drag them all into your editing software. They should hopefully be in running order and you just clip off the front and end and piece them together. So that actual basic edit can be incredibly quick. IBV if you’re on a Mac has great free software for doing that. There’s a few others. Is it Frame.io, Dave?
Dave: Frame.io is a free one.
Ed: So if you’re using a PC, they got rid of Windows Movie Maker, but it’s hard to say how much time to spend on it. You can spend as long as you want on it. You need to look at it and go, is it slick, is the timing right, is there no clear errors? And what we tend to advise is add some text to backup your key points.
So for example, if you say a stat or you really want to hammer home a message, it brings some texts on screen so that people read it and they also hear it and they take it in. And again, it helps with engagement. So that that should be the basic edit line up for presenting. If you can get images in there as well, you know, from Shutterstock or video blocks for stock video to sort of compliment your message and then use texts. That’s all you really need for a vlog. Of course it will take a while until you get to that in the software. But for us, for YouTube if I have a couple of minutes, I don’t want to be spending more than half an hour on them, but that’s just as a professional editor.
Dave: So two things I would add to what Ed was saying there. For people that aren’t in the Mac world, Shortcut is a free platform for editing, which is very good. It does work on Mac as well. It’s not a bad one so maybe check out Shortcut.
And also on just whether you’re adding text to a video in particular, text is a difficult one and it’s tempting to use to clarify points, but make sure it’s backing up with somebody’s talking about at the time because the brain can’t absorb different text and different dialogue. You see what I mean, it’s confusion. And so you need to be making sure that it’s just very short text. Just use it sparingly, basically.
Rich: So I noticed on the videos of yours that I watched that the text is visually interesting. And I’m a fan of using ScreenFlow, which I think may only be Mac, but Camtasia is a similar product that’s on both. The text is fairly generic and boring looking. What are you using to make your text look so interesting?
Dave: That’s just Final Cut Pro. So when you move to Pro Solution, you know Adobe Premier Pro as well, they’ll allow you to add more to it. So it’s simple. Our text that we’ve used in those videos is just a stroke like you would get on Photoshop. It’s just an outline. My movie and things that you can import any texts that you like and you can use it to keep stick with your brand. But yeah, depending on the software using and how basic it is, you might just be given some set fonts, which isn’t particularly great if you’re coming from a business point of view because you want it to match your brand.
That’s a bit of a rabbit hole though, just adding in that text, because of course all the tricks and things that you can do in final cut when you’re starting out can be overwhelming. So at least at first just so you don’t get discouraged, you just probably need to just keep it basic. And then you’re right, if you upgrade to a new software like Final Cut, then suddenly you do get these new options and maybe you can start to see what to do with them.
Rich: Walk before you can run.
Ed: That’s it.
Rich: I also notice that in your videos, you’re very often not in the center of the screen. You’re usually off to one side, which allows you to show images or text on the right hand side. But that also may be, does it make it feel more dramatic and more interesting when the talking head isn’t directly in the middle of the screen?
Ed: It’s more just to put something in, to fill the gap with some text. So we try to avoid doing that unless there’s going to be something going in the gap. It’s the kind of ‘rule of thirds’ that you get in photography that people might be familiar with. But yeah, we tend to find if we go to the right or left of the screen, then that means we’re going to fill that space with some big text.
Rich: Now we’ve talked a lot about some great ideas for before we get going and then ways of making the video more interesting while we’re filming, and some post stuff as well. But I know a lot of people are still, they’re just not comfortable in front of the camera. What advice do you have? And I’ll throw this went to Dave, Dave, how do we come across as more relaxed or more authoritative when we’re doing these videos?
Dave: So a couple tips apart from trying that ‘panto’ mode I talked about earlier. So panto does help you set that level so that your energy level is something you’re in control of. So you want to try, first of all, just going too far over the top because often that’s the problem, people aren’t projecting enough on camera. But you can see then how much it takes to maybe project at the correct level.
But for a bit of more authority, the best advice I can give is listen to how many times there are ‘ums’ and ‘ahs’ in what you’re saying. And if you can manage to just drop any of the ums and ours. So instead of there being an um or an ah, just leave a gap. And that space is confident, right? So for authority, just cut out the gaps or don’t fill the gaps should I say. Don’t fill them with ums and ahs. That’s the first thing.
And I think, take your time. It’s very difficult I think when you’re on camera to notice just how much time is passing, but not much time is passing. So if you can take your time and slow down, you’re going to come across a lot more confident and happy to be in that space because that’s what you’re combating. It’s not a natural thing to be doing. Remember that it’s not natural and it’s weird and it’s okay. And then you can, once you’ve kind of give yourself a thinking, that then you can use some of these techniques to actually work at it
But definitely don’t be too hard on yourself. I think that’s what a lot of people are, especially when we work with speakers that do this for a living. And because they’re very good in front of crowds, they expect to be confident in front of the camera. And then when they’re not, it’s of course, it feels bad for them. So have patience with yourself, give yourself the time to try different techniques and you’ll get better. You’ll speed up the learning curve.
Rich: Makes sense. And I would just add to that, that whenever we first start doing a new medium, we’re going to suck at it and we’re going to feel super uncomfortable. Like the first tweet you ever send out and you spend like 47 minutes trying to figure out how to make it the perfect tweet. And I found the same thing when I was doing my podcast and just about anything else. So, you know, just like riding a bike, you got to put in the hours and then all of a sudden it becomes very natural.
Ed, I was Zoom chatting with my dad the other day and he was asking me some questions about recording a webinar where people could see him. And he mentioned that people like seeing his bookcase behind him as it added authority. And I noticed that so many social media gurus do the same thing when they’re creating their vlogs or videos. The bookcase has become a trope of talking head videos. Do you have any tips? And I know I’m just throwing this out of like left field, which is a U.S. term anyway. Do you have any tips on how to set up your background for a talking head video, whether you’re going with a bookcase or maybe you’re going against the grain to stand out?
Ed: Yeah. It’s funny, me and Dave were literally just talking about this earlier. We were writing a video just on this, or Dave is. So I think actually I’m going to hand that over to him because he’s just been preparing something just on this exact topic.
Dave: Yeah, it’s a funny one because what you have in the background is important. Especially since we’re now, well a lot of us are remote working, I think it’s thrown it into clear relief. So what I would say is that putting things behind you should be suggestive. There’s nothing wrong with the bookcase per se, but it also clutters the space behind you. So if you’ve got nowhere else to be, well of course what else can you do? But if you’re designing the space, then what you want to do is leave just enough to be suggestive of your world, but not so much that people are really thinking deeply about your personal environment. Because that can be distracting. If they’re trying to take in your information but all they can see is the type of curtains you’ve got – which are quite leery – or what books there are on the shelf if you can see the titles, then that will become a distraction.
I think that’s the big problem with bookshelves is if you can see what’s on them, you’re going to start making value judgements about a person rather than listening to what they’ve got to say. And that’s the biggest issue with that grounds is that it pulls people out. So keep it spare, keep it spartan. Think how little can I put in the background or white wall is not going to work. That’ll just look like a white wall it won’t look like a white background. But puts some things in there sparingly that just suggest what you had. So maybe a couple of books on a table where the spine is not facing the camera, for example. It’s going to be better than a whole bookshelf, if you’re thinking about books and looking academic. Do you see what I mean?
Ed: Let’s set the scene. But I think it’s important. You know, right now there’s a lot of people doing webcam videos from the spare room and I’m glad they’re doing it. But there’s some people I follow and it’s suddenly changed the way I view their personal brand, because where they’re filming is not how they usually come across. They’ve just rushed something, the lighting is not great, it’s a bit of a mess and it’s not actually doing them any favors. So I think, spend time on it, but don’t overcomplicate it.
Dave: I think an immediate situation, of course everyone’s in an emergency situation to some degree, so of course there’s some forgiveness. But something that’s a great tip for people that are suddenly on their webcams a lot is to download iGlasses. There’s a free one, but there’s one for $20 and software enabled but it allows you to play with the settings. So aperture, color, temperature, all these things, which they will just change your webcam completely. It’s brilliant. It’s called iGlasses.
Rich: iGlasses. All right, I’ll definitely check it out. That’s awesome. Guys, this has been so helpful. For people who want to learn more about you and kind of see what you’re offering out there, where can we send them?
Dave: I’d probably say if you want to learn, go to our YouTube channel. It’s just Google, just type on YouTube ‘Business Film Booth’, and there’s three videos a week all about making videos that go up there and promoting them and whatnot. And then also maybe to just check out the websites, businessfilmbooth.com. Otherwise, that’s probably the best two resources we can offer, both of them just full of education.
Rich: Fantastic. And we’ll have links to those in the show notes. Ed, Dave, thanks so much for your time today. I really appreciate all your expertise.
Ed/Dave: Thank you. Thanks so much for having us, Rich.
Rich: Oh no, Ed, Dave, thanks so much for your time today. I really appreciate all your expertise.
Ed Lawrence & Dave Foulkes know how to create videos that send the right message to your clients. Check out their website for more information on how they achieve this. And definitely head over to their YouTube channel for inspiration.
Rich Brooks is the President of flyte new media, a web design & digital marketing agency in Portland, Maine, and founder of the Agents of Change. He’s passionate about helping small businesses grow online and has put his 20+ years of experience into the book, The Lead Machine: The Small Business Guide to Digital Marketing.