How to Curate Knowledge, Turn it Into Wisdom, and Build Your Audience

Your audience expects a lot out of you.

As well as they should.

Which is why if you want to build a business you need an audience. But you can’t have an audience if don’t have authority. And you can’t have authority unless you have wisdom.

You need wisdom that enables you to paint the big picture while making obtuse concepts clear.

You need wisdom that inspires you to draw connections that other people in your niche don’t see.

And you need wisdom that empowers you to make connections and build relationships … so you can lead.

How do you gain this wisdom? By making a consistent habit of curating knowledge.

That is the subject of this week’s episode of The Lede — the fourth and final episode on our series on content curation.

In this episode, Demian and I discuss:

  • What is knowledge?
  • What is the difference between knowledge and wisdom?
  • What is the benefit of curating knowledge?
  • How does knowledge curation help you find hooks? (And why are they so important?)
  • Is it better to be a generalist or a specialist?
  • The benefit of obsessing about one topic per year
  • What do The Wire, Orange Is the New Black, and Benjamin Franklin all have in common?
  • How TV marathons, podcasts, and MOOCs help you curate the knowledge you need
  • How to store and organize the knowledge you curate
  • Demian’s warning about overlooking the importance of emotional intelligence
  • Does reading fiction help you develop emotional intelligence?
  • What are one or two specific actions you can take to improve your knowledge curation today?

And, yes, Demian mispronounces another rapper’s name. (And this time it’s a lot funnier than “50 Cents.”)

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React to The Lede …

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The Show Notes

The Transcript

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Please note that this transcript has been lightly edited for clarity and grammar.

The Lede Podcast: How to Curate Knowledge, Turn it Into Wisdom, and Earn Your Audience

Jerod Morris: Welcome back to The Lede, a podcast about content marketing by Copyblogger Media. I’m your host, Jerod Morris.

So far in our series on content curation we have broken down why you should curate and the big picture about how to do it, and we discussed specific tips and strategies for curating links and ideas.

In this, the final episode in the series, Demian Farnworth and I tie it all together, because ultimately the goal of all of this is to make ourselves and our audiences wiser. Here’s how to do it.

What is knowledge?

Jerod: So how do you curate knowledge? Well, you do what Ryan Holiday instructs subscribers of his monthly reading newsletter to do:

Treat your education like the job that it is.

In other words, you read and read actively, and you develop processes for storing what you learn and tying it all together when you need to. But before we get too far ahead of ourselves, let’s step back and define what it is we’re doing. So Demian, what is knowledge, anyway?

Demian Farnworth: (Laughs) Thanks for giving me the hard part.

Jerod: (Laughs)

Demian: Knowledge. When we hear the word “knowledge” we think of information. We think of facts. We think of history books. We think of coding languages, how to do coding languages. That sort of thing. But that’s really just a fraction of what true knowledge actually is, because we want to get from knowledge to, actually, wisdom.

But you can also accumulate knowledge through things like experience, intuition, and creativity. There is a creative knowledge. There is also an emotional and a social knowledge. And then there’s a knowledge about yourself, a sort of self-awareness. And we’ll get more into those last three towards the end of it.

But it’s this idea of knowledge as an understanding of your subject matter, but where experience and observation come into play. That’s how we accumulate that. We’ve been doing a lot of talking about accumulating that knowledge without actually defining what it is. But when we think of knowledge, it’s that idea of an understanding about a specific subject.

What is the difference between knowledge and wisdom?

Jerod: And with what you said, you seem to suggest that the end goal of this is getting to wisdom. What do you see as that difference between knowledge and wisdom?

Demian: Here’s a great example. You join a writing critique group, okay? And you will meet people who know everything about how to write and how to write well, but they don’t know how to actually do it. It’s not until experience, not until time, not until failure, not until trial and error that they actually channel that knowledge into wisdom to knowing.

That’s the thing that I run into a lot too, when I am mentoring writers. It’s easy for me to tell them what to do, but it takes time and it takes patience to actually get them to do that, and to understand that. Because you want that knowledge to become native to your being so that when you are writing, you can just know that — it’s sort of like muscle memory. You know that this is the time in which a good parallel structure for bullet points would work really well. This is a good time to sort of close it. You have that sort of intuition. That intuition is fed by that knowledge, and with a combination of experience and failure, and education, and being taught, and everything that you learn. It’s in that trial and error.

What is the benefit of curating knowledge?

Jerod: Yeah, okay. And to kind of tie that back into our purposes here, obviously, wisdom is that point where now you can build an audience and develop authority with that. To get there, then, you have to have the knowledge first. So let’s talk about this then, Demian. What is so important about not just gaining knowledge, but curating knowledge?

Demian: Curating knowledge, again: it’s about appearing as an expert.

For example, nobody’s going to listen to somebody like Matt Frazier who’s the no-meat athlete unless he is an authority on exercise and plant-based diets. And nobody’s going to listen to Marcus Sheridan unless he is an authority on swimming pools. And nobody, of course, is going to listen to Pam Slim unless she knows early-stage entrepreneurship.

So it’s that idea of appearing as that expert, having that knowledge, and then sharing that knowledge, which positions you as an expert.

Jerod: And part of appearing like an expert, especially online, is not just doing, right? Though obviously that comes first. But it’s also about showing and telling, and this means using the techniques in episodes #2 and #3 of this series to give your audience material that they can read and ideas they can latch onto, and it means both understanding and being able to paint the big picture for your audience — which you know how to do from that wisdom that you’re hoping to develop from this knowledge that you’re gaining.

And so this is what knowledge curation in our context is all about.

How does knowledge curation help you find hooks? (And why are they so important?)

Jerod: And one of the ways that you do that, besides just being able to paint the big picture, being able to conceptualize for your audience, is by finding hooks. And that is what knowledge curation allows you to do. Right Demian?

Demian: Yeah. So for example, when I think about knowledge curation as a writer, as a web writer, one of my very first jobs is to research a topic in depth, and we’ve spoken about this before. What you’re sort of looking for? How can you present this content that makes it unique, that makes it stand out?

Because in the marketplace of products, services, and content, life is a lot like a New York City street where your prospect is one of seven million people stiff-arming thousands of messages competing for their attention.

And your ideal prospect, or reader, has her own agenda. That agenda does not include you, your product, or your idea, or your latest dumb link article.

So you have to earn her attention, and you need it to be drastic, and the best way to do that is with that seductive hook.

Here’s a great example from about a year ago. Brian and I did this Authority webinar called “How to Find the Seductive Hook,” and we explained the best way to find that hook is simply to be relentlessly curious about everything, which is what we’ve been talking about in the last few podcasts. But someone challenged that notion. Someone asked us if it is better to be a generalist or a specialist, and in order to answer that question we had to back up a bit and eat our words.

We’d just finished telling everyone that you needed to be a generalist, but what we should have been saying specifically is that what you need to be is a specialist in your field of expertise.

Jerod: Okay, so you want to be a specialist in your field of expertise. Literally, know everything or at least most everything there is to know about it, understand the current trends, et cetera.

But you need to be a generalist in terms of your overall knowledge, right? Because this will allow you to find hooks that you can pull your audience in with. Again, painting the picture or putting the puzzle together, which is what your audience comes to you for.

Did I get that right? Is that what you were getting at?

Demian: That’s absolutely right because as a specialist, you dominate your own discipline. As a generalist, what that allows you to do from having that relentless curiosity, it gives you a lot more landscape in which to find things to make that hook. And to discover that hook you have to have a lot more inventory for unique ideas and curious ways to bring topics up to the top.

The benefit of obsessing about one topic per year

Demian: In order to get to that point, there are a few habits you have to cultivate, and here are a few habits that I do.

Every year I try to obsess about one subject. One subject that I kind of adore, that I’d like to get to know better, that I’d like to get better at. For example, last year I tried to obsess about classical music. This year I’m trying to obsess about chess. So that just means reading books, playing chess. Last year it was listening to a lot of different kinds of classical music from the early 1100s and forward, reading books about it, and watching videos.

The beautiful thing about the Internet is you can find almost anything on anything.

Jerod: And let me ask you a question about that, really quick. You hadn’t told me before that chess was your thing that you’re doing this year, but it makes sense when you tell me now because you’ve mentioned it already a couple of times just in this podcast series. You’ve used chess as an analogy and compared items that we’ve been talking about to chess in some way.

Do you find when you do that, that you start to naturally make those links, those connections? And this “other thing” that you’re obsessing about for the year, now it’s kind of this new prism through which you can view the thing that you’re specializing in? And maybe you are able to find those hooks then that are applicable to a certain subset of your audience?

Demian: Yeah, absolutely. That tends to happen. I’m also looking at a chess set about 10 feet away, so that will help trigger those thoughts.

But yeah, you actually do, and I think what’s interesting too, for example: Benjamin Franklin wrote one of the very first pieces of American literature on chess, and it’s called The Morals of Chess, and it’s a simple page and a half. But he talks about what learning how to play chess does for an individual. You read that list, and you can almost go through a lot of different, other sort of exercises. A lot of different other things in life that will teach you the same kind of lessons.

So I think there is a lot of overlap in a lot of the things that we do, but you would never have those sort of ideas, or you wouldn’t be able to make those associations or connections, unless you were constantly poring in that type of information. So that’s my point, and our point here.

Good writers, good content creators, good media producers can make great connections. And they can’t do that unless they’re putting those ideas together.

Jerod: Well, in the modern-day context of that: For people that watch The Wire, and even Orange is the New Black, chess has been used as a way to explain the drug trade. So again, this is knowledge that is outside of the specific context, subject matter of the show that the writers had that they are now able to bring in and find that hook, and those become iconic scenes in the show.

And it’s again, another example of how you gain this knowledge and it provides that hook that can explain something to your audience in a way that makes sense to them.

How TV marathons, podcasts, and MOOCs help you curate the knowledge you need

Demian: Yeah, and it’s interesting that you bring those two shows up. Because another one of my habits — I don’t exercise this one nearly as often as I probably should — is this idea of running a TV series marathon. The beautiful thing about services like Netflix is that you can sit down and binge on a show like Orange is the New Black, and watch an entire season of shows in one day.

I’m not ashamed to say that I am the cultural idiot within Copyblogger, and probably most of the world, but the thing with that is that — I find that you make the mention about chess and that show, they’re making connections there that as a writer you watch that, and you learn how people are just taking knowledge and using wisdom to spin it in a certain way to make a point. And so even watching those, you’re sort of accumulating new information, but you’re also watching real, live writers transform that knowledge into wisdom to something that’s interesting.

So binge on a number of TV shows, because you’re not only accumulating the cultural equity out of that, but you also see how to put a good story together. And another thing is, of course, it’s always a great idea to listen to podcasts …

Jerod: Yes.

Demian: … and there are lots of really great podcasts out there to listen to. And also you can take an online class. There are massive amounts of content out there.

Schools like Yale, Oxford, and MIT are offering their courses — Massive Open Online Courses (MOOCs), basically free. You can listen to them. You can download, a lot of times, their syllabuses. So you can get the books on those. But just listening to those, accumulating that information, building the inventory to where you’ll be able to make the associations. And when you’re sitting here and you and I are talking, and I’m trying to make a comparison — that is all content that I can draw from in order to make that comparison, so I just don’t rely on chess all the time.

But I think the other thing, too, that people sometimes miss, and this is what we talk about, a sort of creative knowledge, a creative intelligence, is that I get a lot of inspiration from creating unique music playlists, and then listen to those playlists and see how they work together. And kind of accumulating that knowledge, and of course a lot of times you have that playlist. You have the artist, and I’m always interested in the artist behind the music so I’ll go and look them up. You just curate a lot of knowledge that way too.

Jerod: Do you have a lot of “50 Cents” and “Jay-T” on your music playlists?

Demian: (Laughs) I do not, unfortunately.

How to store and organize the knowledge you curate

Jerod: So as you’re doing this, all these different ways that you’re able to gain this knowledge, take notes — both of the specific skills and lessons that you’re learning as well as the inevitable connections that your brain starts to make.

And when I say “take notes,” those can be in a lot of different forms. Whether it’s Evernote, whether it’s handwritten on note cards, whether you use Demian’s process of making connections inside of your mind. Whatever “take notes” means to you. Take notes.

And we talked about this in the last episode: As you gain these new ideas, the way you turn it into useful knowledge is to make connections between the new information and the old, and these connections a lot of times will hit you during seemingly random times, when you’re doing something with your body that Demian describes as “mindless”: walking, or mowing, or gardening, whatever it may be. Record and remember these connections. Whatever strategy works for you.

This is the knowledge your audience expects you to be synthesizing. If you put the info into your brain, your brain’s going to do the hard work of connecting it for you. You just need to listen. But it’s not just quantitative knowledge that’s important — dates, data, facts, figures. Qualitative knowledge is also important.

And Demian, you actually have a warning to offer on this subject, right?

A warning about overlooking the importance of emotional intelligence

Demian: Yeah. A little history, here. I grew up with a father who put a huge premium on intelligence, and we were obviously a very bookish family. My form of punishment was to be sent to my room to read the encyclopedia. The only problem was that I actually enjoyed that. There was a high premium put on intelligence, but we lacked social and emotional intelligence. The Farnworth men lacked the social and emotional intelligence, and here’s a classic story:

My grandfather as a young man went into the insurance business, and he’s a very abrupt, curt, some would say sort of verbally abusive. He just spoke his mind and he was very forthright. And to help him, guide him as an insurance salesman, they gave him Dale Carnegie’s book, “How to Win Friends and Influence People”. Well, he told them to take that book and shove it, and he quit there, and bought himself a couple of apartments. He rehabbed them, and bought a liquor store, and ended up being very successful.

I mention that because that’s kind of where I come from. I always put a high premium on intelligence, but I’ve learned over the years that there has to be an emotional and social intelligence if you want to communicate and be successful in life.

Here’s my warning:

Everybody should read Daniel Goleman’s book, “Emotional Intelligence,” and the lesson you will learn from that book is that a high IQ or just knowing all sorts of things is not an indicator of future success. But a high EQ, or emotional quotient, is.

Malcom Gladwell. He also makes this point in his book “Outliers,” another book I think everybody needs to read. He discusses the story of Christopher Langin, who is a man who ended up owning a horse farm in rural Missouri despite having an IQ of 195. Einstein had an IQ of about 150. So it just sort of gives you an idea of how smart he was.

But then Gladwell compares Langin with Oppenheimer, who is the father of the atomic bomb, and Oppenheimer was way more successful even though he had a significantly lower IQ. And the difference was that Oppenheimer had the support and the cultivation and the practical knowledge, the social and the emotional, to navigate life’s trials and tribulations, whereas Langin did not.

And the example that he gives in this book is where Langin — the way he dealt with pressure or rejection was to hide and run away and/or not compromise. He would just stick to his principles and never force outside of that. But of course, he has nothing to show for that.

But we know this by now: Having that emotional capital, that emotional ability to sort of swim easily in the social waters. The New York Magazine spoke about two different papers recently, and one of them was by Cameron Anderson at Berkeley, and his colleagues. They published a paper supporting this idea of showing that overconfidence increases one’s status, and then there’s another paper that had a few more striking findings and said that people that overestimate their skills so grievously, and you think that there would be some backlash when they’re exposed, that’s not true. Think of Donald Trump or Cayenne West …

Jerod: Kayne. Yeah, “Cayenne” West. He’s the best rapper…

Demian: (Laughing) Whatever!

Jerod: (Laughs)

Demian: But you know, people….

Jerod: He’s married to Kim “Crashdian.”

Demian: Yeah. “Crashdian.” Right. Right. Okay. So these people, Kanye, he said he was like Jesus or The Beatles, and clearly he’s not. But it hasn’t affected his career, really. It’s shown that he still has stayed in people’s higher elevations of higher status.

And so the point comes down to this: Having that kind of confidence with that knowledge, that ability to be able to — and this is what it comes back to, what I was talking about earlier — having that self-awareness of who you are. Because you can have the knowledge but not have the ability or the confidence to translate that knowledge into any kind of meaningful or controversial association that might stick out. Because that’s really what it’s about.

And I mention this because I get asked a lot of questions. One of the questions I get asked as a freelance writer is how do you set prices or charge prices? My answer was always it depends on the value you bring to the table, but it also depends on your experience and your confidence, too. If you can bring a lot to the table, you usually have a lot of experience. But if you don’t have the confidence to ask for that, to ask for that higher fee, you’re probably going to get underpaid. However, people who have a lot of confidence but don’t have the experience can usually get away with that, because people respect people with confidence.

So that’s what I’m meaning by having that intelligence about your self awareness. Knowing who you are, being able to grow in that, and be able to cultivate who you are so that knowledge is just not, again, just items you’re sticking into an inventory and cataloging.

Does reading fiction help you develop emotional intelligence?

Jerod: Let me ask a question about the subject of emotional intelligence. Because I read something somewhere, I don’t remember where it was. I’ll try and find it and link it in the show notes.

But it was some study talking about how reading, fiction specifically — and a lot of the books that we’ve talked about in this podcast series have been nonfiction books, books that help you get better at certain elements of business or whatever it is — but they were talking about one of the benefits of reading fiction is that you develop deeper levels of empathy and emotional intelligence. And they posited that the reason for this was that as you’re reading a fiction story, you’re having to use more of whatever subconscious emotional intelligence you have to read into the words, to understand the relationships between characters, and that helps you develop this emotional intelligence, for lack of a better term. I think they use a different term for it, but it’s the same idea.

And so on the topic of knowledge creation, we haven’t necessarily recommended any fiction books or recommended reading fiction for people who are looking at this topic through the prism of improving their business and moving their business further, but I’m curious. You, Demian. You are a reader, a big-time reader, of nonfiction, fiction, everything. And you even grew up a reader, even though you say that you grew up perhaps not having as high a level of emotional intelligence as you wanted to or as you have now.

So do you, from your own personal experience, buy into those findings? Do you think that there’s anything to that? And what benefit would you place on reading nonfiction materials for the audience that will be listening to this podcast? From a knowledge-curation point of view.

Demian: That’s a great question. I think the word you’re looking for is “empathy,” and that’s what they’re saying. Reading fiction cultivated that empathy, the sort of feelings for other people and compassion for other people. And I think personally there’s a lot of truth to that.

Because really what it amounts to is a sort of playbook for life situations where you may not always have that opportunity to get encounters. You may not have the experience, and that’s what it serves for, as a surrogate for experience. That’s what novels do. Especially ones that deal with relationships. I’d probably say ones that are plot-driven, less so than ones that are sort of character-driven. Not to say that plot-driven, say your fantasy, Lord of the Rings, for example, can’t be.

I recently just read that with my son, and great storytelling. And there are some pretty high elements of relationships and dealing with it, and empathy. But say, reading something by Jane Austen. Emma, for example, which I’ve never read, or something by Dostoevsky, which I have read. You are going to see the psychological dynamics of people, and have a better understanding of human nature.

So yeah, there’s definitely a huge benefit to doing that. And kind of what I like to do, just to help people grasp this, is I try to read one fiction book every month or two months, something like that. And I’ll have four or five other books that I’ll be reading at that time on certain disciplines. So when I’m reading a certain fiction book, I’ll tend to read a series of books. Recently I was on a kind of a Faulkner kick, so I was reading a lot of his books, and then I switched over to Tolkien, and there’s a huge difference there, but there is a lot of benefit. Again, it’s storytelling, so you can’t go wrong with that either.

What are one or two specific actions you can take to improve your knowledge curation today?

Jerod: So to close, I want to make sure that we leave the listeners with specific actions they can take away.

This conversation here in the fourth episode about curating knowledge has been much more qualitative, and necessarily so, than the other ones. This is more of a bigger picture-type conversation. But there are still some specific takeaways, some specific actions you can implement around this, and this is going to be a little bit of review because we’ve talked about these in other episodes.

Two concepts that have really changed how I go about curating knowledge, and I’ve mentioned them on previous episodes, but I want to mention them again. Number one is how I read. And Demian, I actually have you to thank for this. Posts of yours from Copybot, How to Read a 291-Page Book in Two Hours, and How to Absorb a Book In Your Bloodstream, have really helped me create better habits and not only read more efficiently, but get more out of it too.

And being able to read efficiently and ensure that that time is well spent, and that you’re learning and taking something away from it, is so important with how busy that we all are. It’s a challenge to make time for reading, and so you want to make sure when you do that you’re really getting something out of it. So I highly recommend those two posts as kind of an introduction to that topic. We’ll link to them in the show notes, of course.

And then #2 is how I keep track of what I’m learning, and as I mentioned in the last episode, I like Ryan Holiday’s idea of a commonplace book. I’ll link to his post again in the show notes if you missed it last episode. It’s a way to merge what you’re learning in books and articles and TED talks and random conversations, and just everything that happens to you in life, everywhere else that you gain knowledge, so that you organize it and actually use it. Because it can be a little overwhelming sometimes when we get all these notes, we have all this stuff, and then it comes time to use it, and if there’s no process there you might not get anything out of all this time that you put into it.

And there’s another step I may end up taking, and that’s taking advantage of a program like Scrivener when I write. I haven’t used it yet, so let me offer that caveat right now. But it was strongly recommended by Michael Hyatt recently, and I like the features. It provides a number of ways to organize the information you need for a particular piece you’re writing, like digital note cards you can arrange like we talked about in the last episode, and outlines, and more. So I’m going to try it, and I’ll be sure to write about it or tweet some thoughts once I have some experience with it.

But again, the overall theme of this series has been to understand the “why” behind curation and the different types, and then to devise a system or process that works for you. And because I’ve found in my own work that curation only becomes consistent, and therefore useful, as part of my work flow when it is consistent. And when it’s not, or when I fall into bad habits, it falls by the wayside. And when that happens, now I’m not fulfilling my duty to the audience I have and to the audience I’m trying to build because I’m not bringing that bigger picture, that conceptualization, that higher level of wisdom that they’re expecting and that builds authority.

And kind of the step-by-step process that we’ve gone on in this series on content curation is how you do that. It’s how you acquire it, it’s how you communicate it to your audience. And it’s how you use it to your advantage to build and maintain that audience that helps you build your business.

Demian: I will say that Sonia Simone swears by Scrivener.

Jerod: That’s a good enough endorsement for me.

Demian: I think Chris Garret as well. I think he’s a convert also.

Jerod: Okay. That’s about two of the best endorsements you can get from Copyblogger. So if Sonia and Chris like it, then I think we can safely endorse it.

Demian: That’s right.

Jerod: And with that, Demian, I have to wipe away a tear as the content curation podcast series comes to a close. It’s been fun.

Demian: I am virtually handing you a tissue right now.

Jerod: Thank you. Thank you. And just so everybody knows, we will be going on a summer schedule. The blog is already on the summer schedule. We’ll be doing that with the podcast too, so there will actually be no more new episodes of The Lede during July and August. We’ll be back in September.

We are doing this with a purpose. It’s not just to kick back, relax, and drink lemonade on Fridays. But we’re going to be turning The Eleven Essential Ingredients of a Blog Post into an ebook, and possibly an audio book, and I’m sure we’ll be doing something with this content curation series as well. So this will give us some time to do that, regroup, and plan some great new content for you when we do come back in the fall.

So if you miss us, just know that we are hard at work continuing to create content for you, and if you do have any topics that you would like for us to cover when we come back from the break, feel free to just shoot us an e-mail, comment on Google Plus, or e-mail me, jerod [at] copyblogger [dot] com. We’d love to get your ideas for topics that you want to hear about.

But other than that, Demian, it has been fun. Thank you for your time, and we’ll pick this back up in September.

Demian: Thank you, everybody, for listening.

Jerod: All right. We’ll talk to you soon, everybody.

Demian: Bye.

Jerod: Thank you, everybody, as always, for listening to The Lede, and thank you very much for your attention to this series.

When Demian and I first discussed doing this series on content curation, we really weren’t sure what the response was going to be. But it has been overwhelming. You all have really seemed to find the content useful. It seems to answer a lot of questions that you had, and maybe you were asking and not getting answers to, or just not asking at all. That has been the most fun part about this series, is it’s made us more motivated with each episode to provide more and more, and get to deeper levels, because everybody who listened and who commented was just gobbling it up so much.

So we really appreciate your feedback on that. We hope that you enjoyed it and found it as useful as it certainly seemed you did. Like I mentioned, we are planning on turning it into an e-book, doing some things with this content, so be on the lookout for that. Again, there will be no more new episodes in July and August, but we’ll be back in September with new content.

In the meantime, if you are finding that you enjoy The Lede, and if you’re going to miss us while we’re gone, we would appreciate you leaving us a rating or a review on ITunes, or tweeting the links to a friend, e-mailing it to a family member, and go back through the archives and listen to some of the old episodes if you’re not caught up.

We look forward to coming back in September with new content, and again, thank you for listening for this past half year. We’re excited to join you again come the fall.

# # #

*Credits: Both the intro (“Bridge to Nowhere” by Sam Roberts Band) and outro songs (“Down in the Valley” by The Head and the Heart) are graciously provided by express written consent from the rights owners.

About the author

Jerod Morris


Jerod Morris is the VP of Marketing for Copyblogger Media. Get more from him on Twitter or . Have you gotten your wristband yet?

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