On-Demand Webinar: Plan and Execute Digital Content Projects

Pimp your Project - How to Optimize Your Content Processes

Here's what you'll learn in the webinar:

From idea to digital reality: the execution of content projects needs to be well planned and even better executed. Because content is king and indispensable if companies want to position themselves online as experts or win the trust of their customers. Learn how to prepare your content project accordingly, what needs to be considered when creating text, and why text publication is not the end of the content project in our webinar.

Watch online now (German only):

The speakers

Katharina Geile has been responsible for the editorial conception and management of projects in the text area since 2011. Her responsibilities include topic and text concept, briefing, and training authors and colleagues. In her current role as editorial director, she draws on her expertise from almost 10 years in the content area and numerous successfully implemented projects.
Katharina Geile
Editorial Management Content Production
Susanne Trost has been managing complex content marketing projects at diva-e since 2015 and supports clients such as Mister Spex, Urlaubspiraten and Lieferando. As Project Manager and Head of Content Creation, her focus is on customer communication and planning large-volume and sophisticated campaigns for national and international companies.
Susanne Trost
Senior Project Manager

Download the presentation (German only):

Transcript of the webinar: Planning and executing digital content projects

Welcome & Introduction

Angela Meyer: Welcome to our dive-e webinar Planning and executing digital content projects. Today, our diva-e experts Susanne Trost and Katharina Geile will tell you how to prepare your content projects accordingly, what to keep in mind when creating the text, and why publishing the text is not the end of the content project. My name is Angela Meyer, and I am part of the diva-e-marketing team. Among other things, I oversee our events and webinars, and today I'm your moderator. At this point, I'd like to hand it over to Katharina and Susanne and hope the participants enjoy listening to me. I now hand over the moderation rights to you. (8 sec.) That looks good. You can start.

Presentation Susanne Trost and Katharina Geile

Susanne Trost: Yes, thank you, Angela. I would like to say a few words about myself. My name is Susanne Trost. I am Head of Project Management & Content Creation at diva-e. I've been with diva-e since 2015, and in this role, I'm responsible for managing various content marketing projects. In the past, I've looked after clients such as Urlaubspiraten or Lieferando, for example. Right, that's about me. Now to my colleague Katharina.

Katharina Geile: Exactly, yes. My name is Katharina Geile. I'm an editorial manager and have been with diva-e since 2011. And I am primarily responsible for the editorial conception and quality assurance in the projects. I will now very briefly present the agenda for our webinar. We have brought you a total of four agenda items today.

And we start with preparation. Why is it important? What needs to be considered before the start of the project, and so on. Then, in the second part, we go into kick-off and project management points before turning to the actual project phase in section three. And finally, we will talk about risk and conflict management. We would now like to take a short detour because we probably have listeners with different professional backgrounds and expectations. In principle, our webinar is intended for all interested parties, regardless of whether you are responsible for implementing a project yourself or whether you are deciding whether content creation should be done internally or outsourced. Many of the points we are talking about today can be applied to different situations and project models or constellations. However, the decision as to whether content creation should be outsourced or not is usually made at the very beginning. Of course, in-house design presupposes that sufficient resources and the necessary know-how are available internally.

Content production models

If there is no internal editorial team, no capacity available, or perhaps the required knowledge is not general, for example, for very specialized topics, it is good to buy in the content externally. Depending on the volume, complexity, issues, etc., various providers and production models to choose from. We have listed the three most important ones here and would like to introduce you to the unique features briefly. We'll start with the content agency.

Content agency

Hiring an agency makes sense if the entire content production or parts are outsourced. Large volumes and different formats are also possible—for example, text, images or infographics. Many agencies also offer comprehensive support, from the initial content orbit to the development of the strategy and the final monitoring. This is especially helpful if no internal resources are available for content creation. If the strategic part, i.e. the framework, is already covered internally by employees, the agency then takes over, for example, project management, content production and quality assurance. Ideally, the agency also supports you in developing briefings optimizing workflows and has various formats in its product portfolio. And also very important, there is a personal contact person who then controls the other project participants as an interface and delivers the finished content to the client.

Text exchange

The assignment of a text exchange differs in a few essential points. If text content is created or a tiny budget is available, and a briefing, topics and keywords have already been defined, the content can be purchased on a text exchange. However, it must be mentioned that additional internal resources are necessary to place the orders, communicate with the copywriters, monitor the deadlines, and possibly take over the content's editing. Other service providers usually have to be commissioned for graphics, images, or videos.


Outsourcing copywriting to a freelancer is the third option. This is particularly suitable if only a few individual content items are required. In this case, the client is in direct contact with the editor or, for example, the graphic designer. For now, I'll hand the topic of preparation back over to Susanne.

Preparation of digital content projects

Susanne Trost: Exactly. Thank you very much so far. Now I would like to say a bit about the preparation. So, the part where it then goes into the actual project. Exactly, so generally what we can say about preparation. So preparation is everything. That's a kind of guiding principle that we always preach to our customers in quotation marks. That's why there's not much more on this slide.

Because it's so essential for us to convey that good project preparation is crucial. Many people already know that it often still looks different in reality. So the client wants to start immediately and also go into implementation. I can understand that as a private person because I always feel the same way. If I want something and have decided on it, it should also be somehow immediately. But we at the agency have found that the more time you invest in advance, the better the results. And even if you start a few days or even weeks later, it doesn't mean that you necessarily finish the project later. It simply means that the project will be completed more straightforwardly or less stressed. At this point, you always have to see the project as a whole. However, we at the agency have also experienced a few typical examples to the contrary. For instance, the input was not yet complete at the beginning of the project, or some briefing points were unclear. But we were supposed to start anyway. And in these cases, the content, specifically the texts, did not turn out as desired. And that meant more work for everyone involved.

My former boss used to say "shit in, shit out" to these situations. And I think that sums it up quite well, or rather it sums it up quite well here. That's why our urgent recommendation or request is to always focus on good preparation and take the time. Here on the slide, we will look at what you should prepare for and how you should prepare. We have defined four fields for this. The first area that you should think about is the area of corporate goals and KPIs.

Corporate goals and KPIs

The question here is: Does my company have overarching goals? To what extent does my content project fit in here? What goals should the content achieve? Or which KPIs are used as a basis? The KPIs can be, for example, rankings, conversions, or even likes and shares because the project will only be relevant to the company if the content contributes to a higher-level strategy. This, in turn, is also good because if you can then demonstrate success with it, you also collect good arguments for future projects, for example, to get a project budget for upcoming projects. The second area is the issue of content and format requirements.

Content and format

The point here is to give your editor or the agency, or even yourself, a picture of what you want your content to be. And the questions you ask yourself in this context are: Are there concrete ideas, i.e. do I have definite ideas? Are there perhaps sample texts that I have seen somewhere, where there were things in them that I liked, in terms of tone or structure, which you can then take as a basis. Are there any other specific briefing requirements or corporate language guidelines? For example, what can be a denylist of words that must not be used? In other words, everything can be compiled in advance. But also which target group should be reached? So, which target group is relevant for the texts? Finally, you should ask yourself how the content will be entered into the CMS. This is also something that many people forget. Depending on the CMS, there are also different text elements and modules that can be displayed. For example, if your text can not display tables, you do not need to brief them. The last two categories or fields relate more to the project flow and influence in parts.

Project scope and deadlines

In the third area, Project scope and deadlines, you define, for example, the time frame in which the project is to be completed. You ask yourself, are there already fixed deadlines? Are there go-live dates? But also vacations of yourself or colleagues. And you should directly ask yourself, are my timing ideas realistic?


The last area of responsibility is also often ignored. But suppose you include specific people and departments in your project process, such as approval processes. In that case, you should also clarify their capacities in advance and make sure that these people are also aware of your planning. Because it can be that you have worked out an excellent project plan, there may be a project with a higher priority in which a colleague is involved. And then, it becomes difficult again, and these two projects cannot be reconciled well.

Last but not least, you should ask yourself, who is taking down the content? Who is responsible for the content? I think it's best for the project if it's just one person wearing the hat. It's just super important to think about these questions in these four fields or these four fields even before the project starts or at the beginning of the project.

Again, you can see an excellent overview with all the questions, depending on the category I mentioned in part. Afterwards, my colleague Angela will also send the presentation to those interested. And then, you can take another good look at the checklist and use it as preparation for a content project. And then you might notice one or two things where you might need to make improvements. We have added a link to our Book of Content on the right side. There you can find out everything you need to know when it comes to concrete content preparation in a content project—for example, target group definition, which channels to choose, etc. You can download it here for free.

Roles in the project team

The project team is, of course, also crucial for a content project. Here we see the different roles that can be relevant in a content project. Depending on the project's scope or the requirements, the project team is put together individually. Not all roles are necessary for every project. Possible positions include, for example, the project manager, who plays a very central role in most cases. Then there are also employees from the editorial department, such as editors or proofreaders, content managers. In the diagram here, you can see a constellation between the client and the agency. And what you can also see quite well is that there is a prominent person responsible on both sides. The project manager monitors the workflow and controls the project team on the agency side. And on the client-side, in our example, it's the online marketing manager, the primary person responsible for a group with different roles. But it can also be that there is only one person in a company who does everything. Then it makes more sense to outsource. But it can also be the other way around that a team shares the tasks. So both have advantages and disadvantages. I think it is only essential, if several people are involved, it should be clear who has the hat on. Some roles or tasks can be set on both sides. It always depends a little bit on the capacity and the level of knowledge. Exactly. Now we come to the project's actual start, the kick-off date, and the project management.

Kick-off and project management

A project between an agency and a client usually starts with a kick-off. What is that anyway? A kick-off meeting is a framework in which what I said on the previous slides is discussed. So goals, expectations, deadlines would be that. This is an opportunity for the client to provide the agency with essential information. At the same time, the agency can ask specific questions. And this is where it usually becomes apparent where there may still be a gap, what still needs to be clarified. The results of this kick-off meeting then form the basis for the rest of the project.

Who is present at such a kick-off? Who are the participants? All the actors involved and responsible people are present at the meeting. These can be, for example, contact persons on the client-side, responsible editors, project managers, of course, as already mentioned, and category managers and product managers. On the other hand, some people do not have to be involved, such as graphic designers or programmers. Because these people have clearly defined tasks. Here on the slide, we now see the different forms of a kick-off meeting. The first option is by e-mail. This form is best suited for follow-up projects, i.e. when the project participants already know each other, certain agreements on briefings, expectations have already taken place. Then this is a quick and a good, simple way to exchange ideas and get started on the project.

The second option is the most common variant, by telephone or now, of course, more and more by web conference. In this context, it's also mainly about making important agreements on briefings and delivery rhythms. At the same time, it is a bit more personal. So you can get to know the people involved in the project, which is often helpful for such a successful collaboration, if you know each other a bit better and should also work together for longer. However, following the telephone call, the most important results should be summarized again in writing and then sent to the group. That everyone is really on the same page.

The third option is a workshop. In my opinion, a workshop is ideal for more complex projects, for extensive projects, when larger project teams come together, or even when there is more to be worked out strategically or conceptually. It's an excellent opportunity to get creative together. Because of the many participants and the often full agenda, it is also essential to write a protocol afterwards and make it available to everyone. Exactly. Here we see the different documents available at the start of the project.

Documents for the project start

So a delivery schedule with all relevant deadlines, briefing with all text requirements, and input from customers. So all these documents should always be up to date, ideally also approved by the client. So that all parties involved agree on a basis, and it does not lead to misunderstandings afterwards, because there are umpteen different versions. Here we have also summarized a checklist, i.e. really all points. You can also take a look at the inventory at your leisure afterwards. And if necessary, it can also be used to prepare for or follow up on a kick-off meeting to ensure that you haven't forgotten anything. But that's not all. So all that was discussed, what was determined, can then also be summarized again in a project plan. So all the concerned information is bundled here. Responsibilities, topics and deadlines are entered here. In this way, all project participants have a transparent overview.

Selection of the project management tool

As far as the specific selection of the project management tool is concerned, I don't think one solution fits everything. Instead, it depends a bit on various factors. The size of the project, how much content, how many formats, and a bit of your taste. So what kind of guy am I, and what kind of team is my team? How does that fit with the team? Here, in my opinion, you have to try out a little bit what fits and likes. For example, I want Excel, which is very structured and transparent. I like that. It's also suitable for projects with large amounts of text.

In contrast, if you want to create editorially demanding individual texts where several people are involved and need to give feedback, then tools like Jira or Trello may score more. Here you can also attach files, for example. So it always depends a little bit on it. You just have to try it out for yourself.

Project plan

If you create a project plan, we have three essential tips. First, plan realistically. If, for example, you promise the agency or the internal editor that he will get feedback from you within a day. However, the colleague who is also supposed to give feedback is still busy with another project. It will probably be difficult. So it is better to plan a buffer and then be faster. That is the positive case.

Secondly, take voting texts and feedback into account. So a voting text can go back and forth a few times in a ping-pong manner at the beginning until you have the ideal essential texts for the project. I don't think that's a bad thing at all. It's a good thing. Because the overall effort is then much lower. The only important thing is to plan enough time for the coordination phase.

The third part is that the most beautiful project plan is useless if it is never updated. So the project plan has to live and adapt to the project. Exactly. In an ongoing project, regular status meetings are a good idea. What normal means is best decided individually in the project team? If you have a tight schedule, I recommend keeping a weekly rhythm. Because even if you think you have nothing to discuss, you will clarify some points in the conversation, which will drive the project forward. I have found that this is always the case. Possible agenda items can be, for example, feedback on texts that have already been delivered, the next concrete steps on which topics texts should be created, or also which follow-up projects are pending. Exactly. On this slide, you can also see the entire workflow. I have already said something about exchange and communication. And Katharina would now also go into the areas of coordination and creation and QA. And with that, I'll hand it over to her once.

Implementation of the content project

Katharina Geile: Exactly. Yes, we have now arrived at the project phase and thus at the actual implementation of the content project. Here you can see the typical stages of the project phase. So in an ideal project flow, we start with a briefing and coordination phase, followed by quality assurance. As we will see in a moment, this plays a more recurring role. We continue with the test phase and feedback. The creation of the content and its delivery then form the conclusion. In general, this entire phase should not be viewed purely linearly. The individual sections intertwine, and some are also very closely linked. Exactly.

Briefing and coordination phase

So we start with the briefing and voting phase. Here, I will focus on briefing creation and coordination texts. The briefing is a central, if not the main, document in a content project because it bundles all project requirements related to the content. It is essential that the briefing is approved by the client so that it is binding as a basis for content creation. In addition, the briefing should be as detailed and specific as possible so that the content later meets the customer's expectations as closely as possible. That's why you can invest time here. Depending on the complexity, it makes sense to create different briefings, for example, for other content formats, or to work out a checklist that summarizes the important points again, or essential points again clearly and quasi at a glance. This is useful for very complex briefings. And it is also crucial that the briefing is always up to date during the entire course of the project and is available to everyone involved. Exactly.

This slide shows the essential building blocks that we believe are mandatory for a good content briefing. The points can be expanded for specific projects, depending on the scope of the requirement and the complexity. The main focus here is on the minimum standards. This includes target group and objectives, i.e. considerations such as who reads the texts in the first place, how is the target group characterized, and the actual purpose of the content? The content format is also an essential part of the briefing. Are our product descriptions created, or are buying guides or blog texts? Depending on the form, there are also specific requirements. Formal requirements include text length and structure and points such as reader appeal. Style and tonality have CI specifications from the customer, blacklist or whitelist for not permitted or desired terms. And also a description of the desired tonality that is as descriptive as possible. Very concrete examples help there. Exactly.

Under content, you'll find focal points that should be set or aspects that should not be addressed. And the SEO specifications summarize how the content should be optimized. In addition to the relevant keywords and their integration, specifications for W questions also play a role. For the preparation briefings, we generally recommend Word or PowerPoint. If you are interested, please contact us again afterwards, and we will be happy to provide you with a corresponding example.

And as a small tip, it is practical and recommended to create a master template because you can then prepare it individually for the new project or any new content format that comes along without this tremendous initial effort. Yes, the coordination texts are the basis for the briefing, and thus actually still upstream. The aim is to create an everyday basis of expectations. At the same time, the coordination texts also serve to select suitable authors and editors and train them at the very beginning.

For editors who may only join the project, later on, the coordination texts offer an excellent orientation and increase the probability that their textbooks will fit right from the start. And the readers can also show early on which stumbling blocks can occur during content creation, such as inaccuracies, input or challenges during research, or even hurdles during text creation. This brings us to another central point in the project phase: quality assurance.

Quality assurance

Here we have outlined the process that ensures quality in content projects, even for large volumes. We call this process the six-eyes principle. This means that the editor stands at the beginning and, as the first instance, is naturally responsible for creating the text. He then passes the baton to the editor, who checks the content concerning the relevant criteria. This includes briefing conformity and content and basics such as spelling and grammar. You can also see the role of the co-editor here on the slide. Depending on the complexity, the topic and the requirements, it can make sense sometimes to involve another proofreading instance. In any case, the tasks must be distributed. For example, one editor could check the content because he is an expert on a particular topic. The other editor then checks the other things, such as spelling briefing conformity.

As the last instance, another person involved in the project then takes over the final quality assurance. This is someone from our team familiar with the project and takes another careful look at the texts. And also, do a final spell-check. Quality assurance also includes a plagiarism check for each reader. We use the Copyscape tool, for example. Yes, this means that internal quality assurance seamlessly follows on from the preliminary work of the editor and proofreader. And it serves as a quasi-final quality loop before the content is delivered.

In addition to this very concrete work on the text, processes and formats also play a role in quality assurance, maintaining quality. Quality assurance starts before the launch with the briefing of the authors, with concrete text feedback during the coordination phase. This also shows, for example, whether a restructuring of the author team is necessary. Input also plays a decisive role at the start. As Susanne said earlier, if the information is well prepared and complete, it has a powerful influence on the quality of the results and the workflow and the effectiveness of the project. Therefore, the input should constantly be subjected to careful quality assurance before starting. An input template filled out by the client and again structures the necessary information well and is a good idea here.

Again, if there's interest, we'll be happy to provide another template or example afterwards. Yes, the feedback to the editors is a second point. But of course, it is not only necessary at the start. It accompanies the entire duration of the project. The quality of the content must be checked regularly. Briefing violations are immediately followed up, and the author again receives detailed feedback. Suppose the briefing violations accumulate, or it becomes clear that the quality is insufficient for the project. In that case, the editor should be excluded before even more time has to be invested in feedback loops. And the same applies to the editors, of course. For the sake of completeness, we have now included the briefing on the slide. However, I'll skip this point because I've already gone into it.

We have noted two more options for training the project team and thus ensuring quality or even further optimizing it. One is webinars, which allow you to reach many people simultaneously, even if they are working in different locations. Depending on the duration of the project and its complexity, an initial webinar may be sufficient to discuss open questions and go through the briefing. For other projects, for example, a monthly rhythm can be helpful to talk through regular feedback. Workshops are pervasive for very long-term projects or appropriate when the project participants are on-site together. The next stage in a project is called the test phase and feedback.

Test phase and feedback

Feedback from the client now plays a central role. The primary purpose of the coordination phase is to develop a typical picture of the content and thus create the basis for a successful project. And that's why feedback from the client is so essential, especially at the beginning. In this context, three points are crucial for us. First, the input should be concrete. Because concrete and well-founded feedback on the text ensures it is implemented as desired. In other words, the more concretely the comments are formulated, the easier and faster it is to make adjustments. Feedback such as "I don't like it" or "it sounds funny" doesn't help the editor. Second, the input should be consolidated. This is because bundled feedback is more accessible and faster to implement than individual comments from different people, which may be communicated with a time lag. That's why a key person should gather feedback from all departments before it is passed on to the freelancer, the agency, or even to the editor. And third, feedback should be timely and continuous. Even if input from the customer is essential for the continuation of the project at the beginning, regular and timely feedback is also crucial in the further course so that it is possible to react to change requests at short notice and adapt the briefing. Especially in the case of large text volumes, the critical or necessary measures can be taken in good time before much time has to be invested in revising very, very large text volumes.

I would like to briefly address one aspect that we are often confronted with regarding feedback: subjectivity. You always have to keep in mind that texts are subjective and simply a matter of taste. There can be many different opinions on individual formulations or even individual words, as it is well known that tastes differ. It is important here not to put every word on the gold scale and to put one's taste behind if necessary. And above all, always keep the target group and the goals of the content in mind. Yes, this brings us to the last stage of the project, the creation of content and its delivery.

Creation of the content and its delivery

The finished content is created based on the outlined process and delivered on time according to the editorial schedule. Depending on the project's scope and the amount of content, different delivery frequencies are advisable. For example, weekly deliveries make sense for small text volumes or very current topics. A monthly rhythm can also be effective for large volumes and when the processes are already very well established. In any case, there must be a continuous delivery cycle, including regular text deliveries, because a single large delivery of all texts at the end of the project can entail the risk of extensive revisions. Deliveries can be made in a wide variety of formats. The most common configurations are Word and Excel with HTML text, etc. However, depending on the project, the content is also entered directly into the customer's CMS. With that, I'll briefly hand it back to Susanne, who will conclude by taking a closer look at the topic of risk and conflict management.

Risk and conflict management

Susanne Trost: Exactly. Thank you very much. Yes, so I've now actually brought another somewhat less pleasant topic to an end, but we don't want to let it fall under the table. And that is risks and conflicts. So nobody likes to think about it at the start of the project, but it's just part of professional project management. It's important to know that everything we, Katharina and I, have presented so far is the best case. This is an ideal process with ideal procedures, etcetera. But we are all human beings and not robots that carry out a process one-to-one. And that's not a bad thing at all. Because mistakes happen, you forget something. You are dependent on others, misunderstandings occur. It can all happen. What's more important is how you deal with it.

On the following slide, however, we will first look at typical warning signs and their causes for possible crises in projects. I'm not going to go into each one now, but only into individual points by way of example. Exactly. The first sign that there is a crisis can be, for instance, that the project is faltering. It may be because the project team's motivation as a whole is dropping. If we look at the reasons for the drop in encouragement and then investigate the causes, it could be that the effort required is significantly higher than initially agreed and that people are no longer as motivated. But it can also be that the briefing is frequently adjusted, and as a result, people become a bit weary. Because the client is dissatisfied, this is then expressed in negative feedback.

So, in general, you can just see that the factors often influence each other. And it's not always just one point. These causes can be traced back to a lack of preparation or initial time investment, and thus also avoided. We have looked at the warning signs, but it is much more critical. On the following slide, we will now look at dealing with crises or even how to avoid them. So in dealing with project crises, we recommend three stages. We were first assessing the situation, reorienting and then implementing concrete measures.

Stage one is a kind of stocktaking. Where does the project stand, where should it stand? At what point has it come to a standstill? And when you have identified these situations or have grasped the problem, please don't do any retrospective would-have, would-have, bicycle chain, what-if, what-ifs here and there and assign blame. Instead, accept the situation and find a solution together as a team. This brings us to phase two, the reorientation of setting new milestones. So just set new milestones in the current situation and adjust the goals to the current state. Phase three is then about the concrete implementation, i.e. who does what and when, and then implement it in this way.

Here we have summarized tips for cooperation at eye level. So I think we've already said enough about one or two aspects like time and communication. But what is an excellent primary thought that I would like to give you? You are a team with a common goal in the project. Whether it's with your colleagues, freelancers, or the agency, that means the other person always wants precisely the same thing as you at the end of the day. I think that sounds simple, it actually is, but you forget it again and again. And you should always keep that in mind. So exchange ideas, trust each other, be honest and respectful. And then it's also like this if something goes wrong anyway, but you have a reasonable basis with each other, then at least everyone feels good about it if something goes wrong.

Project interview

And last but not least, we come to an instrument that is unfortunately neglected, again and again, the topic of project review. Because the texts are delivered, the project is over, and then that's it. That's what many people think. But not quite. We recommend a review as a conclusion, either at the end of a project or after completing more complex sub-projects. That would also be a good time. Why? To discuss what went well or what could have been different or better. In this way, you can learn lessons for subsequent projects or work through conflicts again. At the same time, it is also an excellent, emotional conclusion of the project, provides a framework and does not just end abruptly with the delivery. Exactly. Speaking of closure, we have already concluded the webinar with this slide, or at least the presenting part. And I would then once again hand over to you, Angela.


Angela Meyer: With pleasure. Yes, thank you, Katharina and Susanne, for your insides on content creation and optimization. We will now start with the Q&A session, and participants are welcome to ask their questions about the question bots now. Or they're also welcome to do so afterwards. The participants are typing in the questions. I'll start with a short survey of our participants. How do you optimize your content? Are you already a diva-e customer? Or do you use other tools? Let's just get a quick overview, and that's why I'm launching a quick poll. It would be great to take your time here and answer how you optimize your content. We'll wait a few seconds. The first participants have already filled out the survey. In the meantime, I'll look at the questions that came in here. I'll take them up right after the short survey. Let's wait another ten seconds. Then I'll end the short survey. Yes, thank you very much for your participation. And yes, now I'll start with the first questions that came in. And now the question came up how did you select the authors for the projects.

How are the authors selected for the projects?

Katharina Geile: Yes, how do we select the authors? We always choose the editors for each new project according to expertise or criteria such as writing style. Many authors have been working for us for a very, very long time and have supported us in several projects. Of course, based on our experience, we know who is a good fit and where, and we regularly exchange ideas with each other. In addition, we have the option in our editorial system to filter the pool of authors according to the subject area and level of knowledge. Or we can search for particular topics, which we call niche topics. We also acquire new authors in the case of very specialized topics and if a long-term or large-volume project is planned. And then, we set up a virtual editorial team for the project. Yes, and for each new project, we also have the authors we ask to write one or more texts, which we initially look at and give feedback. So it's analogous to the coordination texts that we then send to the customer. And if something doesn't fit, or the customer doesn't like the author's style, for example, we involve him accordingly. Generally, we also have a selection process that new authors have to go through before they are allowed to register with us and are then requested for projects. I hope that answers the question as far as possible.

Angela Meyer: Exactly, I hope so too. Otherwise, just happy to get back to the two of them personally. So, another question came in here.

What do I do if we don't know what formats and topics are needed?

Susanne Trost: Well, that's precisely what happens relatively often with customers, that they haven't worked out a proper content strategy yet. And here, too, we can provide support. If no strategic considerations have taken place, then we usually recommend doing an audit as a first step and starting with that. An excellent way to get a feel for where we are right now and where we want to go. So the content audit that we offer analyzes the existing content in some form. This can also be in printed flyers. So content that can be found in some form somewhere. Which is then compared with the requirements of the market, the competition. So there is also a competition check. And this comparison usually shows where there are still gaps, where we need to build up more content, where we can use existing content? But also which channels, which formats do we want to play with which goals? That's what we offer in any case, that we're happy to support and build up a strategy together. Yes.

Angela Meyer: You are welcome to ask further questions or write a mail afterwards. You are also welcome to contact Andrea or Susanne. Both are open to all your questions, and they are looking forward to deepening the topic around content creation and optimization with you. In addition, as already mentioned, we also provide the recording and the presentation afterwards. There you have time to look at everything again in peace. Here I would like to refer you to our diva-e Blueprint, which we provide as a PDF and a book. There you can delve deeper into the topic of content optimization. This is a guide for your content marketing strategy. And at diva-e.com Blueprint, you can register, and after the release, we will send you the Blueprint as a PDF or as a book. That's right. Now a note about our other webinars. We organize weekly webinars about SEO, SEA content or e-commerce platforms. We look forward to your participation, and you're welcome to stop by our newsroom. That's where we regularly announce our webinars. Thank you two, Susanne, and thank you, Katharina, for your time. And thank you to the participants for joining us. And right, I'm looking forward to the next time.

Susanne Trost: Thank you very much.

Katharina Geile: Thank you.

Angela Meyer: Thank you too. Ciao.

Katharina Geile: Bye.

Susanne Trost: Bye.