Skip to content
    ← Podcast
    PERSONAL BRANDING
    Podcast 14 min read

    Overcoming the Brand Identity Crisis w/ Tinna Loaiza

    with Tinna Loaiza

    Chris Do and Tinna Loaiza connect personal identity, clear offers, and sustainable social media growth.

    Chris Do

    Chris Do

    Founder, The Futur™ · March 25, 2026

    A successful brand can become a hiding place

    A brand can attract an audience while keeping its creator out of sight. Tinna Loaiza, who works with coaches and educators on brand identity and positioning, says she built an Instagram following of more than 400,000 without appearing on camera. Her experience makes the tension concrete: visibility for a business and visibility for the person behind it are not the same achievement.

    Her original handle was Faceless Method. Later, she began appearing under her own name, bringing her face and more of her personal identity into the business. That change was not simply a new presentation style. It exposed a question beneath the familiar advice to become more visible: which version of a person is the business allowed to show?

    Before this work, Loaiza ran a wedding photography business. She describes a background in marketing, an MBA, and graphic design, with earlier work in marketing and media. The move into an online business was therefore not a departure from all her previous experience, even if it required separating one professional identity from another.

    In conversation with Chris Do, she explains why that separation mattered. A client paying $10,000 for wedding photography, in her account, was buying into a particular professional persona. A photographer visibly pursuing something different did not necessarily fit that expectation.

    The faceless account gave the next business somewhere to develop without immediately colliding with the existing one.

    Do initially frames the decision as a tentative experiment, a way to see whether social media worked before stepping into view. Loaiza complicates that reading. The issue was not only confidence about a new platform. It was the relationship between an established reputation and a developing direction.

    That distinction carries the larger argument. A brand identity crisis does not always begin with weak recognition or inconsistent presentation. In the situation Loaiza describes, it begins when the identity that made a business legible becomes too narrow for the person running it.

    The identity that earned trust can also restrict change.

    There is no need to cast the earlier identity as fraudulent. Loaiza's photography business was part of her working life, not a mistake to erase. But protecting its coherence required giving another part of her professional life a separate place to grow.

    Her story challenges the assumption that authenticity always means immediate, total exposure. She did not begin by showing everything. She began with a boundary, built something within it, and later changed how she appeared.

    The harder problem is knowing when a boundary remains useful and when it has become a constraint. That is where the conversation moves beyond handles, cameras, and follower counts. Before a person can communicate a clearer identity, that person needs to distinguish what belongs to them from what has accumulated around them.

    The collage underneath the professional persona

    Loaiza resists Do's suggestion that people are simply reluctant to be themselves. Her explanation is more unsettling: people can lose track of what being themselves looks like. The obstacle is not necessarily a refusal to reveal an intact identity. It is difficulty recognizing that identity beneath other people's instructions.

    She illustrates this through a silhouette on a sheet of paper. The silhouette represents a child. As the child grows, pieces accumulate over it like magazine cutouts, each carrying a belief or expectation received from someone else.

    Loaiza supplies examples from her own experience: philosophy was not the sufficiently formal direction to pursue; social gatherings called for better behavior and less volume. These messages did more than regulate individual choices. In her telling, they helped construct an acceptable version of the person.

    She calls the image a silhouette collage. It is a metaphor for examining identity, not a clinical explanation of childhood development. Its usefulness lies in making an abstract problem visible: the outline remains, but the material covering it can become difficult to distinguish from the person underneath.

    Not every inherited expectation announces itself as an imposition. Some become familiar enough to feel like personal preference. Others offer protection, approval, or a workable place within a family or profession.

    That protective function is central to Loaiza's account. Removing a piece is difficult because “those pieces became our safety,” she says. An identity can feel restrictive and still provide shelter from the uncertainty of being seen differently.

    The parental dimension also gives this conversation a natural companion in The Futur's Living in the Dogma of your Parents. Here, Loaiza brings the issue into positioning: an outward identity is difficult to clarify when its underlying assumptions have never been examined.

    Her signal that something needs attention is not a sudden revelation of a perfect alternative. It is resentment or disconnection from the life and space already created. She describes seeing creators change direction when their established identities no longer support them.

    That observation is personal, not a demographic rule. Its practical significance does not depend on a particular age. The useful distinction is between the existence of a functioning life and the experience of feeling represented by it.

    A life can work on paper and still feel borrowed.

    Do presses on the consequences. People have commitments, established patterns, expectations, and fear. Recognizing a mismatch does not remove the costs of changing it, and shame can attach to admitting that a previously chosen direction no longer fits.

    Loaiza treats recognition itself as progress. Awareness is not the whole solution, but it is not nothing. The person noticing resentment has identified a gap that previously went unnamed.

    Her warning is against immediately turning that discovery into another accusation. Self-criticism can make the past seem like evidence of failure precisely when it contains the experience needed to build something different.

    A pivot does not require erasing the past

    The first temptation after recognizing a mismatch is to condemn the years that produced it. Why remain in the wrong role? Why protect an identity that no longer fits? Loaiza argues that this reaction overlooks what those years made possible.

    Her position is that the earlier roads led to the present awareness. The work, choices, and experience did not become worthless because the desired destination changed. A transition can draw on them without requiring continued allegiance to the old professional label.

    This is particularly relevant to the example Do develops: a videographer moving into YouTube strategy. The work changes, but the person does not arrive empty-handed. Knowledge of video production, technical tools, and communication remains available.

    The difference is how that knowledge will be organized and sold.

    Before getting to the offer, Loaiza proposes looking backward for something other than regret. She asks people to trace experiences that brought joy, fulfillment, or freedom. Childhood can supply material, but the purpose is not to romanticize it. The purpose is to find evidence of interests that existed before the current professional role became dominant.

    That search creates a different relationship to the past. Instead of treating it as either a failed investment or a complete prescription for the future, it becomes material to examine. Some parts remain useful. Some no longer belong in the foreground.

    Loaiza is equally clear about the present. A family, children, and financial responsibilities cannot simply be edited out of a career decision. The possibility of another direction does not automatically create the time or freedom to pursue it.

    Her answer is the minimum viable window: the smallest realistic amount of time that can be redirected toward exploration within the life that already exists.

    The phrase deliberately reduces the scale of the decision. It replaces the fantasy of abandoning everything with a more bounded question about available capacity. The first commitment is not to a completely rebuilt life. It is to a protected opening inside the existing one.

    That distinction also places the conversation alongside Staff, Freelance or Entrepreneur?, another Futur episode framed around professional paths. Loaiza's contribution here is to make room for change before the destination is fully proven.

    Do asks for greater specificity: how much time, over what period, to produce a result? Rather than supply a universal daily quota, Loaiza asks what the desired result is. The time requirement needs a purpose before it can become useful guidance.

    For the videographer's proposed transition, she recommends at least 90 days of implementation before assessing the work. This is her working recommendation, not a guaranteed timeline for replacing income or establishing expertise.

    The distinction matters. A three-month window is permission to gather evidence, not a promise that uncertainty will disappear on schedule. It creates enough distance from the first uncomfortable attempt to examine what has actually happened.

    The new identity needs a deliverable

    Do's hypothetical videographer shoots events, corporate talking-head videos, and some brand work. The desired move is into YouTube strategy. Those activities share tools and a medium, but they do not automatically represent the same service.

    The example exposes a common ambiguity in a professional pivot: a person can recognize the next job title without being able to describe the work a client would buy. Loaiza does not begin by polishing the title. She begins by asking what the expertise can accomplish for someone else.

    Positioning becomes concrete when expertise has an outcome.

    Her first move is to imagine a coach the videographer would like to work with. What does that coach's YouTube presence look like now? There may be no content, weak content, technical problems, or storytelling that needs attention.

    These are possibilities within the exercise, not reported findings about a particular client. Their role is to make the service specific enough to examine. Strategy cannot remain an impressive word floating above an undefined problem.

    Next comes the other side of the picture: what would the coach's situation look like after receiving the videographer's full help? Loaiza asks the practitioner to describe that ideal scenario before trying to package the service.

    The distance between those two positions contains the work.

    Her bridge metaphor shifts attention from the provider's identity to the client's transition. The question is no longer whether the videographer is entitled to call themselves a strategist. It is whether they can explain the interventions that connect an existing problem with a credible result.

    • Story development can address how the coach communicates.
    • Scripting can shape how an individual video unfolds.
    • Content planning can connect production to business needs and future goals.
    • Video support can draw on the practitioner's existing production skills.

    Loaiza offers these as areas to consider, not a compulsory package. The service takes shape through the actual work required. The bridge needs to reflect what this practitioner can contribute to this client's situation.

    This is the relevant connection to You Don't Need a Personal Brand. You Need an Offer. In Loaiza's example, clearer self-presentation is not a substitute for something a buyer can understand and purchase.

    She asks the practitioner to unload the process into a document, whether in Notion, Google Docs, or another familiar place. The exercise begins with the first call or email and extends through the proposed work.

    That document is not the completed client project. It is an attempt to understand the process before presenting it as an offer. The distinction prevents planning from becoming unpaid delivery disguised as preparation.

    Once the process is visible, it can be packaged. The expertise has containment: a beginning, a method, and deliverables tied to a result. The new identity now has something sturdier behind it than a changed biography.

    Build the offer where trust already exists

    A documented process still needs contact with an actual buyer. Loaiza separates two routes to finding one: publishing on social media and waiting for appropriate people to arrive, or actively approaching people already within reach.

    She calls the first route passive. It remains an option, but the distinction forces an important decision about where the next evidence will come from. A new service does not have to wait for a new audience before it can be tested.

    The network she describes is ordinary and available: previous clients, friends, contacts in a phone, and other people the practitioner already knows. The emphasis is not on inventing an elaborate acquisition system. It is on recognizing existing access.

    That recommendation fits the starting point of Do's example. The hypothetical videographer is not beginning a working life from nothing. There are existing skills, and Loaiza asks that the same attention be given to existing relationships.

    Her proposed vehicle is a beta offer, a limited test of the developing service with a small number of people. A special price or guarantee can be part of the arrangement as the practitioner builds and tests the service with them.

    She does not specify a discount percentage, a guarantee structure, or an exact participant count. Those details should not be mistaken for missing pieces of a formula. The substance of the recommendation is a controlled first application, not a universal promotional tactic.

    The process can be held in a short sequence:

    • Describe where the prospective client is now.
    • Define the result the service is intended to produce.
    • Document the work connecting those two positions.
    • Package that process into an offer.
    • Test a limited beta offer through the existing network.

    These actions move the identity question into practice. The provider no longer needs to settle every doubt about the next professional chapter before beginning. The service can be examined through work with people rather than through an internal argument about readiness.

    That does not make confidence irrelevant. It changes what confidence is being asked to do. Instead of guaranteeing the outcome in advance, it supports a bounded attempt from which the practitioner can learn.

    Loaiza's minimum viable window and beta offer belong together for this reason. The window limits the demand on an existing life. The beta limits the initial scope of a new commercial proposition.

    Neither requires pretending that the service is already a mature operation.

    The contrast with a dramatic public reinvention is sharp. A changed name or profile can announce intent, but the beta asks whether the work can be delivered in the form proposed. It gives the transition somewhere concrete to happen.

    For the videographer, that means the next meaningful move is not necessarily an introduction to thousands of strangers. It can be a specific offer to someone already known, built around a problem the practitioner is equipped to address.

    Let content collect evidence, not pass judgment

    Loaiza's own audience growth makes social media an obvious subject, but her advice begins with a restraint. A new social presence should not be expected to become the primary source of income during its first few months. The audience is cold, unlike the existing network considered for the beta offer.

    That distinction gives the channels different jobs. Direct relationships can support an early service test. Public content can develop recognition and provide information about which ideas, formats, and delivery choices connect.

    Expecting both to produce the same immediate result obscures the difference.

    For the initial content experiment, Loaiza proposes a rough allocation. The largest share goes to mission and views, followed by story, then personality. The percentages are her suggested mix, not a demonstrated formula for platform performance.

    • Mission and views: about 70%. Give the audience access to the perspective behind the work.
    • Story content: about 20%. Bring the creator's story into the public identity.
    • Personality: about 10%. Make room for the person beyond the professional expertise.

    The structure matters because it refuses to reduce a personal brand to technical competence. A YouTube strategist can explain not only what they do, but why they approach it that way and which undesirable results they want clients to avoid.

    Expertise remains necessary. It simply stops carrying the whole burden of differentiation.

    The same balance also avoids making personal visibility an all-or-nothing demand. Loaiza's proposed mix is not a request to turn an entire life into content. It gives distinct roles to professional perspective, personal story, and personality.

    She then returns to the 90-day window. Publish long enough to have material to inspect, then review the strongest 20 or 30 pieces. The goal is to identify patterns rather than let a handful of early responses determine the entire direction.

    • Look for formats that recur among strong posts.
    • Look for topics that repeatedly attract a response.
    • Look for delivery choices shared by stronger pieces.
    • Use those patterns to inform the next round of content.

    Loaiza does not define a universal performance metric in this conversation. Her point is the sequence: implementation first, assessment after a meaningful body of work exists, then iteration informed by what recurs.

    The platform-performance question has a related home in Why some videos blow up & others don't. Here, the emphasis is less on explaining an individual hit than on refusing to treat an early disappointment as a verdict on the creator.

    Loaiza identifies the alternative pattern clearly: people post for days or weeks, panic, and lose the opportunity to learn from sustained implementation. A short stretch of difficulty becomes grounds for questioning the whole project.

    Her proposed review creates a buffer between response and identity. A post supplies information about a piece of content. It does not settle whether the person behind it belongs in the business.

    Keep the business larger than the feed

    The sharpest warning in Loaiza's account is not about failing to grow an audience. It is about allowing the effort of growing one to consume the motivation for doing the work in the first place.

    She describes a progression from hassle to burnout to self-doubt. The demand to do more becomes difficult to contain. Eventually, the creator begins questioning knowledge that was not originally in doubt.

    Difficulty maintaining the content operation starts to feel like evidence of professional inadequacy.

    That is a different failure from a weak post or a stalled follower count. The marketing task has crossed into the provider's relationship with the business itself. Instead of supporting the work, it has begun to undermine the willingness to continue.

    Loaiza's answer is containment. In Do's videographer example, the business still consists of creating videos, optimizing channels, and helping coaches with YouTube. Those activities cannot become secondary to an endless obligation to prove publicly that the provider is doing them.

    The earlier recommendations now function as limits, not just growth tactics. A realistic window limits the demand on time. A defined offer limits ambiguity about the work. A 90-day test limits premature judgment. Pattern analysis gives the next attempt a basis beyond panic.

    These are practical boundaries around a more personal problem: the temptation to believe the polished version of someone else's business more readily than the unproven possibility of one's own.

    Loaiza describes looking up to figures who appeared polished, corporate, and proper. Their presentation could become a standard against which she felt inadequate, even though matching that presentation was not a requirement of the work she wanted to do.

    That memory brings the conversation back to the collage. The pieces do not stop arriving after childhood. A feed can offer another set of models to copy, another picture of acceptable success, another reason to cover what is already present.

    Her response is direct: “you don't have to fit anyone's version.”

    The statement does not excuse an unclear service or eliminate the need for evidence. Much of her advice concerns precisely those obligations: define the outcome, document the process, test the offer, and examine the content. Belief and disciplined testing are not opposing approaches here.

    The practical challenge is to keep them in the right order. A person needs enough belief to make the first bounded attempt. That attempt can then produce information. Requiring public validation before beginning would make the test impossible.

    For the professional considering a pivot, the immediate task is therefore smaller than becoming a different person online. Find the available window. Write down the bridge between a client's present problem and a useful result. Put a limited version of that offer into the world.

    Let the offer be tested. Let the content be adjusted. Neither requires putting the creator's identity on trial.

    TRANSCRIPT

    if someone is looking at growing a business in social media, it's going to make them or break them and not in the way that you're going to make it if you go viral or gain thousands and hundreds of followers. But if you let the burnout and the hassle and the doing more drive you, if you don't keep that monster under control as early as you can, that is going to drive your motivation. It's going to start making you second guess the very thing that you know, because you're like, oh, this is feeling too hard. Maybe I'm not made for this. I'm Tina Loaiza. You're listening to The Future. For people who don't know who you are, please introduce yourself and tell us a little bit of your story. My name is Tina Loaiza. I help and I work with coaches and educators around brand identity and positioning. I started my business completely faceless. That was in fact my handle initially on Instagram. It was faceless method. I built a brand to over 400 ,000 followers without even showing up on camera once. And later I evolved to showing up as I am right now and showing up with my name, with my face, with a lot more aspects about my personal brand. What were you doing before you started doing this thing? I had my wedding photography business, but my background is I have a B .A., bachelor's degree in marketing, a master in business administration, and graphic design as well. So all my work previous to studying photography was in marketing and media. So you had an established, successful wedding business, and then you're doing social, and you're like, wait, I'm not so sure about this, so I'm going to remain faceless to see how it's going. Is that about it? Yes and no. When it came to photography, it was, as a creative field, it's a very wild world driven by a lot of egos. So you build this, it's very driven in the person. So you can do it. And you're like, wait, I'm not so sure about this. So I'm going to remain faceless to see how it's going. Is that about it? Yes and no. When it came to photography, it was, as a creative field, it's a very wild world driven by a lot of egos. So you build this, it's very driven in the persona. So for your clients and the people who are paying you $10 ,000 to photograph a wedding, not necessarily, it's not in the same page, having a photographer doing something different. So that was one of the reasons why it started kind of like a separate thing. Like this is another world that I'm building and almost like a transition to what is coming next. I want to talk a lot about identity and being more ourselves because it's something that really is near and dear to my heart. So why are we reluctant to be ourselves? I think that we are not necessarily reluctant to be ourselves, Chris. I think that we've forgotten how that looks like. There is an exercise that I love doing with people when we're uncovering positioning. And it's like, picture a silhouette on a piece of paper. And that's you as a kid. And as you start growing up, you start piecing all these almost like just things that you take from a magazine and you put them on top. And some of them might be things that your parents told you. In my case, you can't be a philosopher. You need to go something more formal. Or it's better if you behave yourself at social gatherings and you're not so loud. So you start taking all these beliefs. And I think I built, I don't know the exact age, but I think it's up to 12, 7 or 12 years old that we take all these things as truths. And we don't even question them because they come from the figures of authority in our life. So we build this, we start putting all these pieces in our like silhouette collage. Let's call it like that. To the point that no one ever told us that it was okay to look at a piece of paper and see ourselves as, hey, this is actually okay. Like the thing that you have here is okay. You don't have to put more pieces. So when you grow up and you kind of start having your sense of. silhouette collage let's call it like that to the point that no one ever told us that it was okay to look at the piece of paper and see ourselves as hey this is actually okay like the thing that you have here is okay you don't have to put more pieces so when you grow up and you kind of start having your sense of self all you are is a collection of the other truths that someone told you and that you assumed as that's true and you have no idea what's laying underneath so we struggle to yourselves or that that resistance comes from there is so much crap already on top that we don't know how that even looks like how do we find ourselves if we're lost in the silhouette collage we need to start removing pieces and but that doesn't come naturally because those pieces became our safety so that this construct or this identity that you build and it's hard to get out of there because you don't know if i'm living my life and i'm not aware that there's all these layers that i'm i'm wearing and that i'm doing this for psychological maybe emotional safety when does it become clear to me am i how do i know i think that one of the things that manifests at some point in our life is resentment and that's why i'm finding i don't know maybe i'm finding more people because i'm like around this age gap but this is when i'm starting to see it a lot of creators like late 20s early 30s that you see a lot of people like pivoting changing careers discovering something new going after the thing they always wanted or brought them joy because this the collage doesn't support them anymore so when you feel either resentment or disconnect from the space you have created and from the life you're living that is a very clear signal that hey there's something here that doesn't really belong to the page if somebody's having this moment right now they're feeling like wait this isn't my car this isn't my house this is what am i doing here and they may have a lot of commitments and for a lot of people they'll never be able to break that because of patterns and expectations and the shame that comes with saying and the shame that comes with saying going to the page. If somebody's having this moment right now, they're feeling like, wait, this isn't my car. This isn't my house. This is, what am I doing here? And they may have a lot of commitments. And for a lot of people, they'll never be able to break that because of patterns and expectations and the shame that comes with saying, I'm going to unplug, I'm going to do something very different. Or the fear, a lot of it is fear -based. So how does one take that first necessary step? The first one, I think they took it already, which was the awareness of realizing that there was something that was not there. And the fact is like, most people don't even get there. Most people don't even get to the point where they realize this, maybe until they are in the late years of their lives. But I believe that is key. And we often miss that, is that we go into a lot of self -judgment and self -criticism. Because I'm like, why didn't I do this before? Why did I waste so many years doing the wrong thing? And I believe there is an adjustment period for us to understand that none of those years were wasted. Because you wouldn't be making that transition or thinking about it, if none of these other things and roads would have led you to that point. If somebody is listening to this and they realize there's this awareness and acknowledgement of what they're going through, I want to make this, maybe spend the rest of the time talking about specific tactical things. So what might we get people to do? Is there a framework? Is there a way that, what are some easy wins or steps that they can take so that they can start moving in this direction? Something that I found when I work with people that are in this stage, like where do I move is trace things back to the last parts that either brought you joy, fulfill you, or made you feel free in a way. And a lot of these reverts to childhood patterns. Another thing that gets in the way is the fact that you mentioned before, is someone with a life, with commitments, they have a family to support, they have kids maybe. or made you feel free in a way. And a lot of these reverts to childhood patterns. Another thing that gets in the way is the fact that you mentioned before, it's someone with a life, with commitments. They have a family to support. They have kids maybe. And it's not like you can wake up and feel like, okay, great, I'm just going to pack up and live and start my new life as a creative of pursuing this new venture. And there is something that I like to define as your minimum viable window. And it's that from the entire life that you have right now, your commitments, what is the minimum time that you can actually use or redirect to following this process? If we put this through the lens of the people who sign up for your courses in your community, what is the average amount of time that you're going to say, if you want to achieve X result in Y time, then you need to spend at least this amount of time per day or week. Can you give me some laws of average that you say, like ideally it's something like this? What amount of the results they want to get? So for example, give me an idea of a dream result. I am a professional videographer. I shoot videos for events, talking head corporate videos, sometimes more brand things, but mostly talking head corporate stuff. And I want to become a YouTube strategist. So they're related. I understand the language and the tools, but it is a pivot. I'm asking for a friend here, obviously. So if I want to become a YouTube strategist, how would you advise me? Anything that you do, especially when you're coming with a background and some type of knowledge. So you're starting from zero. You're going to give it at least a minimum of 90 days, three months doing this. So you have the basic and the mechanics of how to get there. The part that you're lacking now is the implementation. And implementation is something that it takes at least three months for you to have enough data to assess if what you're doing is working or not. So what would I do now? So I have the three hours. Let's pretend I don't, but let's just say I do. I'm committed to doing at least 90 days. I do have the knowledge, although I need to learn more things, obviously. But what do I do? Like how? three months for you to have enough data to assess if what you're doing is working or not. So what would I do now? I have the three hours. Let's pretend I don't, but let's just say I do. I'm committed to doing at least 90 days. I do have the knowledge, although I need to learn more things, obviously. But what do I do? Coach me, please. The first thing that we're going to do for you, because you already have a focus on that, is that we need to find a way of packaging how that expertise looks like. And not packaging for putting it at a label, but to give it some type of containment that will allow you to actually speak to them in a way like this is the result that you can actually get. And we're going to move that into deliverables and the things that you can actually produce for them. So the first thing that I want you to think is picture like you're this coach that you perhaps follow and you love to work with. Where are they now in terms of their YouTube strategy? Are they even creating content or maybe the content is not very good? And you can spot like technical aspects and maybe it's the narrative, the storytelling. Now, with your skills and the things that you have developed, where can you take them? How will it look for them after you have given them all the help you can, like how you give them the strategy, you have helped them with the videos, with the planning? And what is the ideal scenario? Now, the next thing that you're going to think is, or that you're going to map out, because this is where you're going to almost like extract your method or the thing that you're actually going to sell is how does this bridge looks like? So they're here where everything is ideal scenario, what you can do. This is here where they are, where their content and their strategy is right now. How does the bridge looks like when you come into their space? What do you work with them? Do you work on their story? Do you work on scripting? Will you help them create a content plan based on their business needs or the future goals of their business? And that is where we're going to extract your methods? And how will that look like for them? What you're going to do now is that maybe you can go to Notion, your Google Docs, or anywhere where you drop all your information. And I want you to unload absolutely everything. for the future goals of their business. And that is where we're going to extract your methods and how will that look like for them. What you're going to do now is that maybe you can go to Notions, your Google Docs, or anywhere where you drop all your information. And I want you to unload absolutely everything that you have in your brain right now on how that process will look like for them from the time that you have the first call or the first email. And this is first you understanding the process. This is not you actually doing the work for the person because what we're going to do when you have a very clear process or a method extracted is that you're going to take that and you're going to package that into an offer to present to them. So you take that, you present it to them. But now how do we get your clients? You have two options. You can post on your social media and you can wait until the right people find you. That's one. That's the passive one. It's a route. And the other one is that you can go and look for them and with this, you're going to look at your current network, like everyone that you know in your network, previous clients, friends, people that you have on your phone, everyone that you have there and that you know. And you can create a beta offer of that special service that you're developing as you test your product. And a beta offer is just a control proof with a limited number of people where you give them a special guarantee or a special price as a way of you building the service with them. Because this is the first time that you're doing this in real life. So the big question I have for you is you've done what few people can do, which is to grow a large social following in a relatively short period of time. I'm curious, what can I do to like use social to leverage outside of doing what you said to do? So when you start building your social, the first thing that I want you to know is that don't wait or don't expect your social to be the primary source of income for the first few months, at least, because you are approaching cold traffic. You're going to allow yourself 90 days to try this content. Think of it, mission and views probably being the majority of it, around 70%. And then you have your story content, which could be a 20%, and your personality around a 10%. But this would allow you to... to try this content think of it mission and views probably being the majority of it around 70 and then you have your story content which could be a 20 and your personality around a 10 but this would allow you to not just building your business based around your expertise and the thing that you know but you're going to be seeing the why like it's not going to be just i am a strategist for youtube it's like i am the strategist for youtube who helps you with this particular thing because i don't want you to run into this other thing and get this really bad result and after you give that 90 days of posting this content in these different aspects go back and assess your 20 30 best performing content and this goes to formats maybe it was the topics maybe it was something about the delivery and this is when you start recognizing patterns because patterns is what is going to allow you to be able to iterate this multiple times and that's when things tend to go wrong when people post on social media and is that they do it for a few days a few weeks and then they panic is this the kind of stuff that you teach in your communities i think you have a free program called digital business made easy and then you have a program called elevate yeah this is part of it and i have my clients that i work one -on -one with and yes this is part of actually big part of what i teach and i believe it's so important because this is the one thing that if someone is looking at growing a business in social media it's going to make them or break them and not in the way that you're going to make it if you go viral or gain thousands and hundreds of followers but if you let the burnout and the hassle and the doing more drive you if you don't keep that monster under control as early as you can that is going to drive your motivation it's going to start making you second guess the very thing that you know because you're like oh this is feeling too hard maybe i'm not made for this you keep as much containment as you can on that part and you can actually focus on doing the thing that you were set to do the actual business the create motivation is going to start making you second guess the very thing that you know because you're like oh this is feeling too hard maybe i'm not made for this you keep as much containment as you can on that part and you can actually focus on doing the thing that you were set to do the actual business the creating the videos the optimizing the channels for your youtube coaches so the last question i have for you is this we've covered a few different things what is the thing that's just heavy on your heart thing that you feel like you need to talk about i want to give you an opportunity to kind of just speak freely about whatever it is like hey i want to talk about this thing before we get out of here it's almost like a wish or a hope for for us as creators and coaches and anyone who's trying to do something in the online and it's that i really hope that we start believing in ourselves a lot more than we believe in others because there are millions of brilliant people who are sitting right now creatives or people working in other types of jobs i mean and other roads of life who really want to go for something but they are allowing the pressure and the picture that we're seeing in social media and on television everything that how everyone has their sheets of well put together that they don't believe in the thing they want to do and it's very easy to clap for someone who's doing well but it's very hard to clap for yourself when you have nothing no proof or no validation to show that the thing you want to do actually works when i started this world most of the let's say figures or people that i looked up to were very polished and corporate looking and proper and you allowed yourself to feel inadequate because you feel you don't fit that version but you don't have to fit anyone's version that's the thing so i want more people to see that there is no need to fit anywhere there is only a need for them to expand what is already there thank you very much for being my guest today grace thank you thank you for allowing the space for me to be here really appreciate that i'm grateful for my pleasure thank you thank you there is only a need for them to expand what is already there. Thank you very much for being my guest today. Chris, thank you. for allowing the space for me to be here. Really appreciate that. I'm grateful. It's my pleasure. Thank you.
    Download transcript

    Enjoyed this? There’s more where it came from.

    Get insights on creativity, business, and design from The Futur.

    You can unsubscribe anytime. By submitting, you agree to receive communications and to our Privacy Policy.

    “there is only a need for them to expand what is already there.”

    — Chris Do

    Key Takeaways

    Details

    Topic
    PERSONAL BRANDING

    Share