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The Power of

Storytelling How to Use Visuals Videos and Social Media to Market Your Brand 1st Edition

Ekaterina Walter

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“If you want more out of work than just a job, if you have the burning desire to build something of lasting value, then this is your guide.”

PRAISE FOR The Power of Visual Storytelling

“Smart marketers know that visual storytelling is the essential new skill in everything marketing and social. This book is not only a complete overview of the breakout trend but, most importantly, the key to doing it right, a total Right Hook!”

— GARY VAYNERCHUK, New York Times bestselling author of Crush It! and Jab, Jab, Jab, Right Hook

“A valuable guide to understanding how to develop powerful marketing programs using the art of visual storytelling.”

— GUY KAWASAKI, author of APE: Author, Publisher, Entrepreneur and former chief evangelist of Apple

“The Power of Visual Storytelling is the new marketing bible! Filled with proven examples and practical how-tos, this book is the road map to engaging customers like never before.”

— NANCY BHAGAT, Vice President, Global Marketing Strategy and Campaigns, Intel

“Social media trailblazers Walter and Gioglio take us on a ride into the hottest new marketing trend, visual storytelling. A must-read for the C-suite, savvy marketers, and anyone looking to succeed in the social era.”

— JEFFREY HAYZLETT, primetime television host of Bloomberg TV and bestselling author

“If a picture is worth a thousand words, The Power of Visual Storytelling is worth a million.”

— SCOTT MONTY, Manager, Global Digital and Multimedia Communications, Ford Motor Company

“Ekaterina and Jessica not only live visual marketing, they help define it. If you’re in marketing or in any form of customer engagement, this book is for you.”

— BRIAN SOLIS, visual storyteller and author of What’s the Future of Business: Changing the Way Businesses Create Experiences

“A visually stunning, intelligent, and practical book, The Power of Visual Storytelling is the guidebook for innovative marketing in the digital era. This book has it all!”

— CHIP CONLEY, founder of Joie de Vivre Hospitality and author of Peak

“Learn from experts Walter and Gioglio how to harness the emotional power of pictures. Tapping years of hands-on experience, the authors marry a deep knowledge of tools and best practices with a framework to create a coherent strategy road map. You’ll want to keep this book close by as you engage on the social web!”

— CHARLENE LI, New York Times bestselling author of Open Leadership and founder of Altimeter Group

“Ekaterina Walter and Jessica Gioglio are insightful, horizon thinkers who have an incredible ability to identify emerging trends, technologies, and platforms and then translate them into practical application, which makes The Power of Storytelling an invaluable combination of strategic know-how and tactical how-to.”

— CHRISTINE CEA, Senior Director, Marketing Communications, Unilever

“Walter and Gioglio have nailed it. With everything from ‘why’ to ‘how,’ this new book will quickly become a marketer’s new best friend! Visual storytelling has unimaginable potential for businesses, and this book offers the tips, tools, and advice for putting it to use.”

— ROD BROOKS, CMO, PEMCO Insurance

“A visual representation is much easier to understand (and remember) than pages of text or columns of numbers. Ekaterina and Jessica show the art and science of visual storytelling and how to make these critical components part of any successful new marketing plan.”

— DAVID MEERMAN SCOTT, bestselling author of The New Rules of Marketing & PR

“This book is timely, provocative, beautiful, more than a little frightening, and 100 percent required reading for all marketers. Online business success is largely driven by pictures, not words. This is the playbook for visual marketing in today’s ‘right now’ world. Highly recommended.”

— JAY BAER, New York Times bestselling author of Youtility

“Visual storytelling is essential in today’s crowded world, and this book is a vital read to understand it. I give it two giant orange thumbs up!”

— DAVE KERPEN, New York Times bestselling author of Likeable Social Media and Likeable Leadership

“Brands are missing the point when it comes to marketing in this day and age . . . and that’s the entire point of this great book. The best brands are using text, images, audio, and video to tell their own, unique stories. The Power of Visual Storytelling is the perfect place for your brand to get started.”

— MITCH JOEL, President, Twist Image, and author of CTRL ALT Delete and Six Pixels of Separation

“The Power of Visual Storytelling is invaluable for all marketers as brands become their own content creators, and even, dare I say, publishers. I recommend it to any media, brand, and marketing strategist. It’s certainly required reading for my marketing team.”

— CHRISTINE OSEKOSKI, Publisher, Fast Company

“This book is ‘picture perfect’ for brand-builders looking to exploit the full and increasingly important power of visual storytelling.”

— PETE BLACKSHAW, Global Head of Design & Social Media, Nestlé, and author of Satisfied Customers Tell Three Friends, Angry Customers Tell 3000

THE POWER OF VISUAL STORYTELLING

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THE POWER OF VISUAL STORYTELLING

How to Use Visuals, Videos, and Social Media to Market Your Brand

EKATERINA WALTER

JESSICA GIOGLIO

Copyright © 2014 by Ekaterina Walter and Jessica Gioglio. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher.

ISBN: 978-0-07-182400-2

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To all of the marketers who are embracing the art of visual storytelling and who see every day as an opportunity for adventure and innovation. You have redefined how we facilitate meaningful relationships with our customers, and you inspire us to push the limits of what’s possible every day.

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WForeword

riting has a dirty little secret. Authors don’t admit it, editors deny it, and publishers repress it. This secret is so explosive that if ever exposed, it would bring the literary world to its knees. Or so the literary world believes. Want to know what the secret is? Pictures. For 32,000 years, people have drawn. We’ve written for only 5,000. (And since the first written languages were pictorial, even that date is debatable.)

Let me share a few data points:

1 J.K. Rowling, the most successful author of our generation, finally admitted two years ago that she drew Harry Potter’s world before she wrote it.

2 J.R.R. Tolkien drew Middle Earth before writing of it. The Lord of the Rings was originally intended to be illustrated, but his publisher said no. (His books of drawings became available only after the success of Peter Jackson’s movies.)

3 Before he wrote On the Road, Jack Kerouac drew a mandala to visualize his plotlines.

4 Joseph Heller created a visual timeline to help keep track of the action in Catch 22.

5 Vladimir Nabokov had to create a map of James Joyce’s Ulysses in order to follow the narrative.

The list goes on. As students of literature and imagination, did we ever know this?

We did not. Strange, isn’t it? Pictures are the basis of our storytelling, but no one seems to want to admit it.

Our verbal mind does not work without our visual mind. Those of us raised in the western educational tradition find that terrifying. Pictures trivialize, drawings are silly, doodles patronize, art is decoration. These are the things we’re told in school.

In this marvelous book, Ekaterina Walter and Jessica Gioglio show us how wrong we are.

Thinking in pictures is our nature. Sharing those pictures has long been our dream. With the arrival of global social media, we have a whole new set of tools to make that dream come true.

Thank you, Ekaterina and Jessica, for showing us those tools. This is going to be fun.

DAN ROAM San Francisco, 2013

IIntroduction

t was “one of those days.” Nothing was going as planned, and stress was mounting. Ekaterina sat back in her chair. She knew everything would work out, but that didn’t make the day less frustrating. A minute later she knew what she needed. It was time for . . . a boost. As any self-respecting social media strategist would do, she turned to Twitter, typed “It’s been one of those days today . . . @benefitbeauty #beautyboost,” and hit tweet. Thirty seconds later a tweet came back from Benefit Cosmetics. The tweet contained a pink-and-white image that said, “If being sexy was a crime, you’d be guilty as charged.” Ekaterina couldn’t help but smile. All it took was just one little tweet, she thought. The tweet was immediately shared. It was discussed in the office. It made women (and men, for that matter) smile. It was a hit. At that moment everyone’s day felt just a little bit brighter.

Instantly transported away from their tough day, several people found themselves inspired by how the use of visual content in real time gave them a different perspective and, indirectly, admiration for a brand.

As marketers, we appreciate the way #BeautyBoost visuals tell an ongoing story of how Benefit Cosmetics wants its consumers to feel good about themselves. The company even touts in its Twitter bio, “Laughter is the

best cosmetic . . . so grin and wear it!” The compliments are sent individually to members of Benefit’s online community, and they are humorously written with a wink and a smile, without being overly promotional. With beauty pick-up themed one-liners like, “Your lashes are longer than a supermodel’s legs,” or, “Your skin is so radiant, satellites in orbit can see your glow,” the compliments nod to Benefit’s being a beauty brand, without putting specific products in the spotlight.

Claudia Allwood, director of U.S. digital marketing for Benefit Cosmetics, says:

“I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”1
—MAYA ANGELOU

We wanted to create visual, shareable content that conveyed our brand’s central message: laughter is the best cosmetic. We wanted something as instant as our beauty solutions, as clever as our brand’s personality, and as social as our consumers. Benefit is not about unachievable beauty; our products are your best friend that comes through in a flash to bring out your natural beauty in five minutes. With our #BeautyBoost campaign we wanted to surprise women and delight them with instant affirmations that they are gorgeous just the way they are.

Sure, Benefit could have simply tweeted an uplifting one-liner via text, but the gesture of incorporating a visual was far more powerful for several reasons. First and foremost, it made its recipients pause their busy day and appreciate the intended message. Next, it prompted the recipients to share the image with their community of friends and followers (not to mention sharing the story in this book!), encouraging positive word of mouth for the

Benefit brand. Last, the interaction and content were memorable, prompting an increase in perception, loyalty, and respect for the company.

In the age of infobesity, there are several ways to stand out from the noise and draw attention to your content in an organic way. And visual storytelling is one of them.

This is precisely why we wrote this book on the power of visual storytelling. Visual storytelling, when done correctly, has the potential to enhance loyalty, strengthen customer relationships, increase awareness, and more. Social media communities and blogs have redefined how we connect with one another, search for information, and build relationships online. The challenge and opportunity for marketers is to embrace the new rules of engagement and think creatively about how the use of visuals can support their goals. Research proves that there’s a scientific reason why people respond to visuals more strongly and quickly than text alone, but content for content’s sake just won’t move the needle anymore. Companies and brands need to strive for more by embracing the art of visual storytelling. Understanding who you are as a brand, what you stand for, and what goals you’re trying to achieve in tandem with what your customers are looking for from your company can be crafted into a powerful, creative visual story.

It’s almost ironic to be writing a book when the visual storytelling leaders we see today leverage very little text in favor of images, videos, and other illustrations on their social media channels. This is why you’ll notice that we paid careful attention to the layout, size, and use of images in this book. We understand that in order to educate and inspire our readers, text is needed, but we also feel that supplementing case studies and examples with compelling visuals will strengthen our key points and takeaways.

We took this approach to personify the continued, powerful shift to welcome visual storytelling. Just look at how far Facebook has come— where text once reigned supreme, the News Feed has transformed into a never-ending visual magazine filled with relevant information about the people and companies you care about the most. Sites like Twitter have evolved from text only to integrating a mobile-friendly experience where images and videos shine. YouTube is so popular that it’s now ranked

the number two search engine after Google. SlideShare has made the PowerPoint presentation cool again. Numbers geeks are now celebrated for their brilliant data communicated through clever infographics. And don’t even get us started on how much creativity there is to be had across relative “newcomers” Pinterest, Instagram, and Vine.

Pause for a moment and truly take in just how much social media have evolved over the past few years. The proliferation of social media platforms is fun, exciting, and also a bit daunting. Companies can easily drive themselves crazy trying to be all things to all people across so many platforms and hours of the day.

The purpose of this book isn’t to make you feel like your company needs to be doing everything under the sun. Instead, we’re here to share why visual storytelling is valuable and easy to adopt, even if you don’t have a massive staff or budget. Our goal in writing this book is to share a mix of our personal experiences and insider tips gleaned from working for celebrated, industry-leading companies that embraced the art of visual storytelling early on. We’ve been in the trenches producing content from scratch, and we have learned firsthand how to craft visuals into a compelling story. We’ve seen successes, dealt with misses, and even managed a few crises in the process.

As a result, it was important to focus on news and takeaways you can actually use. Some of these are big-picture strategies, and some are “in-the-weeds” tactics that will help inform and enhance your day-today content calendar planning. We’ve included the types of visual media at your disposal and platform-specific best practices, as well as powerful case studies on how other companies use visual storytelling to stand out on their social media channels. Throughout the book, we’ve sprinkled in a range of case studies across B2B and B2C industries. We believe that some of the best ideas can be inspired by others and reworked into a unique concept that’s relevant to your company.

Working as social media strategists and evangelists for brands such as Dunkin’ Donuts and Intel, we wanted to share our knowledge, experiences, and overall journey of social business innovation. But in the end, we

Visual storytelling isn’t just a shiny new phenomenon. It’s here to stay, and it will continue to evolve as new social media platforms enter into the mix. As this happens, leveraging photos, videos, infographics, presentations, and more will only increase in importance.

wrote this book because we’re not just social media enthusiasts. We’re also consumers. We know that consumers are faced with more messages and social media platforms than ever before, resulting in shrinking consumer attention spans. Making an impact and breaking through the clutter is harder than ever before, so it’s important to focus your time, energy, and resources on the right strategies and tactics.

There is no time like the present to get started and begin creating!

WThe Rise of Visual Storytelling

e’ve all heard marketers proclaim that “content is king,” but the rise of visual social media platforms like Pinterest and Instagram coupled with Facebook’s multimillion-dollar acquisition of the latter have ushered in an era in which the old adage “a picture is worth a thousand words” is more relevant than ever. Today marketers are turning to visuals to amplify social media engagement—and for good reason.

But simply posting images, videos, and other visuals isn’t enough. Companies that go beyond creating and sharing content to embrace visual storytelling are emerging as the leaders of the pack and are being rewarded with engagement, referral traffic, and even sales. The rise of visual social media platforms has also resulted in the “Now! Economy,” in which consumers welcome real-time

1

Marketing is creating products and services that lead your tribe to tell stories that spread.

—SETH GODIN, bestselling author of All Marketers Are Liars: The Power of Telling Authentic Stories in a Low Trust World

Posts that include an album or picture receive 120 to 180% more engagement from fans than text-based posts.1 On Instagram, users post 40 million photos per day with upward of 8,500 likes and 1,000 comments per second. 2 There are an astounding 3 billion views on YouTube daily. 3

marketing in the form of snackable bits of visual content. From creating Pinterest boards to make meal planning easier to sharing images and videos that will brighten someone’s day, consumers are gobbling up visual content as it’s relevant to them.

Instead of relying on text-heavy content, a successful visual storytelling strategy requires a “show, don’t tell,” approach with the goal of generating more potential for engagement, conversation, and sharing.

In a time when social media and blogs are estimated to reach 80% of all active U.S. Internet users, engagement and action have become the new gold standard.4 Whether it’s using Pinterest to find favors for a baby shower or watching a YouTube case study that encourages a meeting with a new service provider, visual storytelling is helping companies to break through the clutter and propel action as never before.

Take Sephora, for example. The company has noted that its Pinterest followers spend 15 times more than its Facebook fans.5 The company has more than 200,000 followers on Pinterest, with boards such as “Travel,” “Nailspotting,” “Beauty How-Tos,” and others. Sephora also has a board containing its “Most Popular Pins,” which shares the pins that are generating hundreds of repins and likes.

Visual storytelling is defined as the use of images, videos, infographics, presentations, and other visuals on social media platforms to craft a graphical story around key brand values and offerings.

Or the Calgary Zoo, which generated national headlines and interest in its annual report by swapping a traditional PDF for an Instagram. Proclaiming its 2012 annual report “The Year of the Penguins,” 55 photos and captions served as the report pages and content, telling the story of what the zoo had accomplished over the course of the year in a unique, highly visual way.

And who hasn’t heard of the visual storytelling revolution that Blendtec generated after launching the viral “Will It Blend?” series? Inspired by an R&D video that blended wooden boards together, the company’s marketing team decided to invest $100 in other wacky

supplies and began sharing videos on its YouTube channel with the simple question “Will it blend?” One of the favorites among the consumers was the video that blended the latest iPhone into tiny pieces.

The Evolution of Visual Storytelling

Visual storytelling has not been an overnight sensation, but instead it has been the result of a continued evolution of social media platforms, along with user and company behaviors. From the late 1990s to mid-2000s, sites such as blogging platforms, Myspace, Delicious (formerly Del.icio.us), Flickr, and Facebook created early opportunities for visual engagement. If you look closely at these platforms, you’ll see that all of them were created in response to the massive flow of content on the Internet, much of which was visual. Even back then, blog entries with visuals performed better than those without. Myspace offered users multiple opportunities to personalize their user profiles, from the background to the music and content shared. Flickr rose in popularity as an early photo sharing site, and today it still houses a passionate community of photo enthusiasts, plus professional and hobbyist photographers.

Besides the content shared, perhaps one of the most important qualities these early social media platform leaders had was the ability to bring like-minded individuals together online. Just as today, when there are so many social media platforms to engage

on, like-minded individuals always seemed to find their way into the online communities that best reflected their interests. The key then, as it is now, was to identify what brings people to a social media platform, understand what value they derive from the platform, and determine how your company could fit within those engagement best practices.

In addition to community engagement, the activity on these platforms also reinforced that users were looking for ways to easily share and organize content, imagery, visuals, and videos. From following your favorite bloggers on LiveJournal, to curating a branded profile on Myspace complete with your favorite songs and music videos, or building photo albums on Flickr, it’s no surprise that the saying “Content Is King” was born— and subsequently overused for years to come. Content has always been the hook for inspiring action or engagement across social media channels, but the rules have changed as platforms have continued to evolve.

The evolution of Facebook’s layout from 2004 to 2013 offers a unique look at the continued changes social media platforms are taking to pave the way for visual content and storytelling. Facebook has evolved from a text-heavy format favoring user profiles and group pages to a vibrant News Feed filled with colorful photos, videos, and more. With newcomers like Pinterest, Instagram, and Vine, it’s clear that Facebook users also crave clean layouts and the ability to quickly scroll through content in order to find what they’re looking for. The rise of mobile users on Facebook also indicates that users want a seamless experience regardless of the device they’re viewing the site on.

When Facebook first launched in 2004, it was simply a directory of user names, interests, and contact information. You had to navigate to a user’s profile to learn more about that person or to leave a comment on his or her Wall. The layout was text heavy, and the most prominent image was a user’s profile photo. Joining groups and sharing your interests on your profile helped Facebook users to foster engagement and cultivate an identity for themselves on the site.

Facebook took first steps toward a more visual experience on September 5, 2006, with the News Feed and the Mini-Feed. The News Feed was visible

on your Facebook home page, and it offered a personalized collection of information curated by your activities, groups you belonged to, photos your friends were tagged in, and more. The Mini-Feed offered updates on what had been changed to a user’s Facebook profile.6 Rather quickly users began to see the value in reading their friends’ status updates and seeing photos as part of a stream of news. The experience ultimately paved the way for today’s Facebook News Feed layout.

The continued shift toward a more visual Facebook user experience continued from 2007 to 2012. From tabs, to apps, groups, and pages, users began to “like” the pages created by companies and public figures as a way to showcase their interest in them. In 2007, Facebook was filtering an average of 30,000 News Feed story updates into a customized stream of 60 stories for each user every day.7 As a result, securing a text placement in the News Feed was equated to getting into the first page of Google’s search results.8 However, brands couldn’t secure this premium placement without paying, developing an app, or inserting an ad next to News Feed items.9 In 2008, apps boomed in popularity, and status updates emerged as a tool that companies could use to share valuable content and images within their pages or groups. But this content was mostly distributed either through an inbox message or an update notification to view the post.10 Users could then decide if they cared to learn more and visit the page, app, or group, requiring the content to work that much harder.

In 2011, the launch of Facebook Timeline completely shook up the Facebook user experience—in a good way. Promising you an opportunity to “tell your life story with a new kind of profile,” images, videos, and interactive content rose in prominence over Facebook’s previous text-heavy environment. Users now had the opportunity to craft a highly interactive, sharable, digital, scrapbooklike layout with a cover photo, they could use large images, and they could organize important historical information about themselves. Featuring a similar experience for brands, Timeline for brands allowed brand pages to promote visual content in a completely new way, with the results to prove it. In 2012, just one month

after the introduction of Facebook Timeline for brands, visual content—photos and videos—saw a 65% increase in engagement.11

In 2013, Facebook announced its first major update to its News Feed since the launch of Timeline in 2011. At the press conference to introduce the News Feed redesign, Mark Zuckerberg said, “How we’re all sharing is changing, and the News Feed needs to evolve with those changes. This is the evolving face of News Feed.”12 The changes introduced a stronger focus on images, mobile optimization, and access to multiple feeds. Of the more than 1 billion monthly active users that existed as of December 2012, 543 million monthly active users were now using Facebook’s mobile products.13 According to Facebook, shifting user behavior also showcased that 50% of status updates now included an image, and posts with images far outperformed those with just text alone.14

Compared to the earlier years when companies curated experiences around highly branded pages, apps, and groups, the new rules of Facebook engagement dictate that the majority of interactions happen in the News Feed. Users now visit Facebook to catch up with what their friends are up to, seek out specific information, or share content, such as vacation photos. This behavior is consistent across many social media platforms, except for Pinterest, which is more focused on the sharing and categorizing of visual content.

While challenging for brands to hear, the reality is that users in most cases are not going on social media sites like Facebook to view brand-generated content. Meaning, brands now must strive to be a welcome interruption inside the News Feed. Visual content must be attention-grabbing and prompt action or affinity in order to remain relevant, or it risks

being “unliked.” On Facebook, users can also hide anyone in their network, including companies, from their News Feed, which is worse than an unlike, as brands cannot measure how many people still like them but have hidden their status updates from their News Feeds.

These changes, coupled with the introduction of EdgeRank, an algorithm introduced by Facebook to determine where and which posts will appear on a user’s News Feed, have placed a greater value on visual engagement and storytelling within the digital news stream.

With more engagement on Facebook taking place in the News Feed than ever, quality images and videos stand out more than text status updates, and they generate more engagement. The more frequently users reward company posts with positive engagement, the better chance those posts have of making it into their fans’ News Feeds. Engagement and sharing from those fans will help to reach new audiences through the “friend-of-friend” effect, prompting fan growth and increased engagement.

As a result of EdgeRank, companies cannot rest on their laurels. Each piece of content must be generated with affinity, weight, and timing in mind. How often someone engages with a brand’s content, coupled with the volume and sentiment of those interactions, helps dictate what Facebook users deem interesting.

Over the past several years Facebook has been criticized for the introduction of an algorithm that decides what people see or not see. Marketers have been complaining that they work hard to grow their Facebook fans to large numbers, only to have the algorithm “choose” whom to serve the relevant content to, thus allowing only small numbers of fans from the overall fan base to see every single update that brands post.

The reality is that in the age of infobesity, social networks, search engines, and mobile applications will incorporate more and more filtering tools to ensure that the content that is served up to consumers is relevant to them. And the role of marketers is, and always has been (whether it is in mass media or digital media), to produce the best, most relevant content to break through the filtering algorithms and into the consumers’ digital news streams.

The History and the Rise of Visual Storytelling

Fast forward to the present, and there’s a proliferation of social media platforms as never before—with impressive audience sizes to match. From Facebook to Twitter, Instagram, Pinterest, Tumblr, YouTube, SlideShare, and Vine, each platform offers unique opportunities for visual storytelling and engagement. The wealth of social media platforms relates back to user behavior and how consumers prefer to receive information and connect online. Mobile use has skyrocketed globally, with 6.8 billion mobile subscriptions at the end of 2012, which is equivalent to 96% of the world population.15 With cameras in the vast majority of people’s pockets, it’s no surprise that platforms such as Instagram and Vine have been specifically designed for mobile audiences and then subsequently acquired by social media such as Facebook and Twitter.

Similar to past adoption patterns of social media platforms, people are continuously looking for tools, resources, and communities that will make their busy lives easier. Facebook has always been the grand dame for keeping tabs on friends and family, but the rise of platforms like Twitter, Pinterest, and SlideShare has been fueled by people’s desires for solutions that add value. It’s why people turn to Twitter for real-time information when a breaking news event happens or to Pinterest for interior design tips and meal planning. SlideShare is now a go-to resource for business information and education.

Another contributor to the rise in visual storytelling is the on-the-go nature of people’s lives and their interest in sharing user-generated imagery and visuals in real time. With smartphones always within an arm’s reach for many consumers, the ability to snap a photo or record a video and share it on social media channels has never been easier. It’s why social media platforms like Facebook, Twitter, Instagram, Tumblr, YouTube,

and Vine continue to boom in popularity—they facilitate ease and convenience of sharing in the moment.

So why is the sharing of visuals and videos so important to both consumers and companies? Delving deeper into research around user behavior on popular web and social media sites reveals that the proof is in the visual pudding.

Research indicates that consumer interest in visual content isn’t necessarily just a preference; it’s actually easier and faster for humans to process. The right picture can go further than just telling your story visually; it can make you feel emotions, evoke memories, and even make you act differently.

Humans are wired to process visuals differently than text and to respond differently to pictures than to words. Although human communication has existed for about 30,000 years, it has been only in the last 7,000 years that humans developed a written language.16 Although our wonderful brains translate marks and squiggles into words, it doesn’t come as naturally to the mind as processing images.

Let me show you what I mean.

Read this word:

GIRL

What does it make you think of? Do you have a specific girl in mind? What age is she? What is she doing? Does that word itself evoke any emotions?

Now look at this image: What does it make you think? What does it make you feel?

Images don’t just paint a thousand words. They can communicate some things far more specific than words— specific emotions, specific feelings,

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I would merely ask you what you understand by that phrase. What did you mean when you said that Speer instituted this delegation for manpower in 1941 or 1942?

SAUCKEL: I have to say, in this connection, that I never saw the minutes again after I had been interrogated. I cannot confirm that sentence about 1941-42, and I cannot imagine that I expressed myself in that way during the interrogation.

M. HERZOG: The Tribunal will judge your answer Is it correct that, besides your representatives with the civil and military commanders, you installed administrative offices for labor in the occupied territories?

SAUCKEL: That is not correct. They were already there.

M. HERZOG: You confirm then that besides the delegates who represented you, there were recruiting agencies for manpower in the occupied territories?

SAUCKEL: Yes. In the occupied territories, in all regional governments, either civilian or military, there were departments dealing with manpower which were a part of the administration; and they were subordinate to the administration authorities.

M. HERZOG: Can you give an indication of the size of the personnel of those various services in the occupied areas?

SAUCKEL: Do you mean the total number? I cannot tell you from memory the separate figures for the personnel of these administrative offices. I never have known these figures exactly.

M. HERZOG: Do you remember the conference which took place, with you as chairman, on 15 and 16 July 1944 at the Wartburg with the heads of the regional labor offices and the labor delegations from the European occupied territories? On 15 July 1944, in the afternoon, State Counsellor Börger gave an account of the personnel employed. It is Document Number F-810, which I submit under the Exhibit Number RF-1507. I will read on Page 20:

“State Counsellor Börger stated that outside the frontiers of the Reich there are about 4,000 people engaged in the administration of labor; Eastern area, 1,300; France, 1,016; Belgium and Northern France, 429; Netherlands, 194...”

Do you confirm this statement of State Counsellor Börger?

SAUCKEL: Yes, speaking generally it may be true.

M. HERZOG: Apart from your representatives, apart from those services that we were talking about, did you not create in France commissions composed of specialists who were entrusted with organizing the employment of labor on the German pattern? Please answer.

SAUCKEL: I did not quite understand the question. Please repeat it.

M. HERZOG: I shall repeat it. Apart from your representatives— apart from the services that we have been talking about—did you not create, in France particularly, commissions composed of specialists who were entrusted with organizing the employment of manpower on the German pattern?

SAUCKEL: I told my defense counsel yesterday about my collaboration with French units for...

M. HERZOG: That is not what I mean. I am talking about commissions composed of specialists. Do you not remember that in order to insure the recruiting of manpower in France you thought of the system of attaching two French départements to a German Gau?

SAUCKEL: I remember now what you mean. This was the system of adoption arranged in agreement with the French Government, according to which a German Gau adopted a French département. The main object was to inform the workers, who were to come to Germany, about conditions in Germany and to have mutual talks with the economic offices of the French départements about statistics.

M. HERZOG: I hand to the Tribunal Document Number 1293PS, which becomes French Exhibit Number RF-1508.

[Turning to the defendant.] This is a letter bearing your signature, dated Berlin 14 August 1943, from which I shall read extracts. The Tribunal will find it in the document book which I handed to them at the beginning of this session. I shall first read the last paragraph on Page 1.

THE PRESIDENT: I am afraid I have not got it—1293?

M. HERZOG: Mr President, the documents which figure in my document book were handed to the Tribunal this morning—unless I am making a mistake, for which I apologize in advance—in the order in which I intend to use them.

THE PRESIDENT: I have one. 1293. Is that right?

M. HERZOG: I have attached a slip only to those documents which I think I shall use several times, so that the Tribunal may find them more easily. May I now begin to read?

THE PRESIDENT: I am sorry but the documents had not been handed up to me, that is all. None of them had been handed up.

M. HERZOG: I am reading at the bottom of Page 1:

“The solving of these two great manpower problems demands the immediate setting up in France of a stronger and better German labor organization possessing the necessary powers and means. This will be done by a system of sponsorship by Gaue. France has got about 80 départements. Greater Germany is divided into 42 political Gaue, and for the purposes of manpower recruitment it is divided into 42 Gau labor office districts. Each German Gau labor office district will take over and sponsor, say, two French départements. Each German Gau labor office will furnish for the départements it sponsors a commission of specialists, made up of the ablest and most reliable experts. These commissions will organize the allocations of labor in these sponsored départements according to the German pattern.”

I skip one page and continue reading at the bottom of Page 2 of the French text. That is Page 3 of the German translation:

“There is no doubt that this projected system of sponsorship by Gaue for the employment of French manpower in Germany, and especially the transformation necessary in the interest of Germany of French civilian workers for the German armament industries, will bring about enormous advantages in France herself compared with the present system.”

I am passing to the bottom of Page 3 of the French text, and I read under “d”:

“The Central German Labor Office in Paris, that is, the representative of the Plenipotentiary General and his office...”

You told me a short while ago that the German offices for the recruitment of labor in the occupied territories were not under you as Plenipotentiary General for the Allocation of Labor, but under the local authorities. How do you explain this sentence?

SAUCKEL: It can be explained very simply. These men were subordinate to the military commanders in the labor department. They were sent from Germany, and they were taken from the labor offices and put into the administration.

M. HERZOG: You say, “The Central German Labor Office in Paris, that is, the representative of the Plenipotentiary General and his office...” The Central German Labor Office in Paris was therefore your representative?

SAUCKEL: The Central German Labor Office in Paris was a part of the civilian administration of the military commander in France. This is not expressed in this sentence, for it was taken for granted in this letter that the Gauleiter knew this. The position as I explained it is entirely correct.

M. HERZOG: I shall continue reading:

“The Central German Labor Office in Paris, that is, the representative of the Plenipotentiary General and his office, will therefore have in the whole of France a reliable apparatus which will make it a great deal easier for him to solve his problems in France, in spite of any possible or even real passive resistance on the part of the higher or lower French bureaucracy.”

I skip two lines.

“I have, therefore, charged the presidents or the provisional chiefs of the newly formed Gau labor offices to set up a corresponding organization in the départements which they

are sponsoring; and I request you, in your capacity as my Plenipotentiary for the Allocation of Labor, in agreement with Reichsleiter Bormann, to promote and give your fullest support to the new task allotted to your Gau labor office. The president or the provisional chief of your Gau labor office is instructed to keep you informed of all details concerning the carrying out of these measures.”

Are not these measures an attempt to subordinate French territory to German territory as far as the organization of labor is concerned?

SAUCKEL: Yes. But I should like to ask you and the High Tribunal to allow me to say the following in explanation: On the first page, Paragraph 1—I quote from the third line—it says, “...with the full consent of the Führer I am to take far-reaching and urgent measures in France in negotiation with the head of the French Government and the competent”—now comes the important part —“German authorities;”—that is, the military commander’s department, in which these labor authorities and this delegate were incorporated and to whom they were subordinate.

And on Page 4, I should like to read about the special purpose of this system of sponsorship which should have nothing unfriendly about it. I read from Page 4 in the German text, under the letter “a”:

“Prejudice, suspicion, lack of care, failure to redress and look into complaints”—that is, complaints by the workers —“which are prejudicial to the employment of manpower in Germany, all these things can be very largely eliminated by the relations between the Gau and its sponsored département.”

Now I read under letter “b”:

“Every French worker in such a département knows exactly where and under what conditions he will have to work in Germany. German propaganda and explanatory material will tell him about the locality in which he will have to work and about all matters which are of interest to him.”

And that was the purpose of that arrangement. It was something I wanted to do for the French workers, besides looking after German interests.

M. HERZOG: Please answer me “yes” or “no.” Was this arrangement an attempt to bring about a joint administration between the French départements and the German Gaue as far as the employment of labor was concerned? Answer me “yes” or “no.”

SAUCKEL: No I should like to give an explanation to this negative answer. The purpose of this arrangement was to clear up unsolved problems between the French Government, between the French départements, between French industrialists and factories, on the one hand, and the administrative offices in Germany where the French workers were to be employed. That was the real purpose —to settle complaints and clear away mistrust.

THE PRESIDENT: We will adjourn now.

[A recess was taken.]

M. HERZOG: Defendant, is it true that your Codefendant Göring placed under your control all the organizations of the Four Year Plan which were concerned with the recruiting of labor?

SAUCKEL: The various organizations of the Four Year Plan which had to do with manpower were dissolved. Departments 3 and 5 of the Reich Ministry of Labor continued to deal exclusively with these matters.

M. HERZOG: Is it true that the powers of the Reich Minister of Labor concerning the employment of labor were transferred to you and that as a result of this transfer you had powers to issue regulations and laws?

SAUCKEL: Only insofar as the work of Departments 3 and 5 were connected with my own task. Otherwise the functions of the Reich Ministry of Labor remained independent under the Reich Minister of Labor.

M. HERZOG: But within these departments you exercised the powers of the Reich Minister of Labor after your appointment as Plenipotentiary General for the Allocation of Labor?

SAUCKEL: Within my office as Plenipotentiary General for the Allocation of Labor. But I must emphasize that these departments were not under me; they were merely at my disposal. Great importance was attached to this difference at the time. The departments continued to work independently within the whole framework of the Ministry of Labor.

M. HERZOG: But as a result of this situation you exerted administrative autonomy in matters concerning labor?

SAUCKEL: Not an autonomy; it was done by vote. I could not issue decrees, but could only give instructions. In every case I had to get the agreement of the other administrative authorities and Reich ministries, and the agreement of the Führer or of my superior office.

M. HERZOG: Did you not have carte blanche from the Führer for the recruiting and the utilization of labor?

SAUCKEL: Not for recruiting and utilization, but for guiding and directing. If I may express it in this way, it was never a case of the workers’ agent—that is, of course, what allocation of labor really means—employing these workers himself. The firms employed the workers, not the agent.

M. HERZOG: For the recruiting of labor you had carte blanche from the Führer. Is that not true?

SAUCKEL: Not absolutely, and only after there had been a vote and after the agreement of the regional authorities concerned had been obtained, especially in the case of foreign countries. I never recruited workers in France without the express agreement of the French Government and with their collaboration. The French administration was used here.

M. HERZOG: Defendant Sauckel, you have on several occasions mentioned the agreements and arrangements made in France with those whom you yourself call “the leaders of collaboration.” You know better than any other that these leaders of collaboration, imposed upon France by the enemy, bound themselves only and that their acts were never ratified by the French people as a whole. Besides, these leaders of collaboration, whose testimony cannot be suspect to you, have themselves revealed that pressure was exerted upon them, and we will discuss that now. Is it

true that on 16 April 1942, that is to say, less than a month after your appointment, you stated in a letter to the Defendant Rosenberg— which states your program and which was presented to you yesterday—that you included the recruiting of foreign workers in your program for the utilization* of labor?

SAUCKEL: I resent the term “exploitation.”* By strictest orders from the Führer, it is true that recruitment of foreign workers had to be included in my program.

* The word utilization used by the French prosecutor was wrongly interpreted into German as “Ausbeutung” meaning “exploitation.”

M. HERZOG: Is it true that you included the recruitment of foreign workers in your program of 16 April 1942? You admitted this yesterday, and I ask you to confirm it.

SAUCKEL: Yes, it is true. I only emphasize that I did it on the strictest orders from the Führer.

M. HERZOG: Is it true that this program of 16 April 1942, that is to say, 3 weeks after your appointment, already contained the principle of forced recruiting?

SAUCKEL: It was done by express order of the Führer, in case voluntary recruitment proved to be inadequate. I said that yesterday to my counsel.

M. HERZOG: Do you remember the decree that you issued on 29 August 1942? This decree dealt first and foremost with the employment of labor in occupied territories—Decree Number 10 of 22 August by the Plenipotentiary General for the Allocation of Labor. It was submitted to the Tribunal as Exhibit Number RF-17 (Document Number RF-17). Do you remember it?

SAUCKEL: I do remember Decree Number 10.

M. HERZOG: Was this decree applicable to the occupied territories which were under German administration?

SAUCKEL: As far as I can remember—I have not the exact wording and the separate paragraphs before me—it dealt with the regulation of working contracts drawn up by German firms. The purpose was to prevent a muddle.

M. HERZOG: Is it true that you went on a mission to Paris in August 1942?

SAUCKEL: That is possible; but I, of course, cannot remember the individual dates.

M. HERZOG: Is it true that you went on a mission to Paris in January 1943?

SAUCKEL: That is also possible, even probable.

M. HERZOG: Is it true that you went on a mission to Paris in January 1944?

SAUCKEL: Also probable, yes; but I do not know the individual dates.

M. HERZOG: You therefore went on missions to Paris before the French authorities, the French de facto authorities, had published the legislative decrees of 4 September 1942, 16 February 1943, and 1 February 1944. Is that not true?

SAUCKEL: I did not understand your question exactly.

M. HERZOG: I asked you whether it is true, that before the French de facto authorities published the three fundamental laws on forced labor of 4 September 1942, 16 February 1943, and 1 February 1944, you went on missions to France, to Paris?

SAUCKEL: I only went on journeys to Paris for the purpose of negotiating with the French Government, and I want to add that for me and in accordance with my convictions...

M. HERZOG: Do you admit that in the course of these missions you imposed on the French authorities the laws on forced labor?

SAUCKEL: It is not correct to put it in that way, rather...

M. HERZOG: You therefore contest the fact that the laws on forced labor were issued under pressure by you?

SAUCKEL: I dispute the word “pressure.” I negotiated most correctly with the French Government before such laws were

published. I expressly resent the word “pressure,” and there were plenty of witnesses during these negotiations.

M. HERZOG: Do you remember the telephone conversation that the Defendant Speer had with you from the Führer’s headquarters on 4 January 1943?

SAUCKEL: Yes, I probably had several conversations with Speer. I do not know which particular conversation you are referring to.

M. HERZOG: Do you not remember a note that you sent to your various offices as a result of this telephone conversation of 4 January 1943?

SAUCKEL: Yes. Quite probably I did make several notes. I had to make notes when I received a telephone conversation containing an instruction.

M. HERZOG: I now submit Document Number 556-PS, which has already been submitted to the Tribunal under the Exhibit Numbers USA-194 and RF-67. I will read that document, or at least its first paragraph:

“On 4 January 1943, at 2000 hours, Minister Speer telephoned from the Führer’s headquarters to inform me that according to the decision of the Führer it is no longer necessary, when engaging skilled and unskilled labor in France, to show any special consideration for the French. Emphasis or more severe measures may be used in order to recruit labor.”

I ask you, Defendant, what you mean when you say that it is not necessary to show any special consideration for the French?

SAUCKEL: This note or rather this decision did not come from me. This was a communication which came from the Führer’s headquarters, based on a decision made by the Führer. In spite of that—and I want to emphasize that particularly—my attitude towards the French Government did not change, and it does not say so in this record either. I continued to adopt the same polite attitude in my negotiations with the Government, and I ask the Tribunal to be

allowed to make a short statement on how these negotiations with the French Government were conducted.

M. HERZOG: You will give it later in your examination. Do you remember the discussion that you had on 12 January 1943, at the German Embassy in Paris, with the French authorities?

SAUCKEL: As far as I know, I only talked to French ministers in the German Embassy in Paris.

M. HERZOG: That is exactly what I am asking you. Do you remember this conversation that you had with the French authorities on 12 January 1943?

SAUCKEL: Not in detail, no; but that I did negotiate is possible.

M. HERZOG: Do you remember the persons who took part in this conversation?

SAUCKEL: Yes. Usually the French Premier, the French Minister for Labor, Minister Bichelonne, took part in such discussions. On the German side, the Ambassador; on behalf of the military commander, Dr. Fischer; and, as my representative, probably Dr. Hildebrandt or some other gentleman.

M. HERZOG: And you do not remember what Laval said to you at this meeting of 12 January 1943?

SAUCKEL: Very many matters were discussed in great detail during these conferences, and I do not know what you mean.

M. HERZOG: Well, I will submit to you the minutes of this meeting. It is Document Number F-809, which I submit to the Tribunal under Exhibit Number RF-1509.

In the course of this discussion Laval made a long statement to you; more exactly, several statements.

THE PRESIDENT: Where shall we find this?

M. HERZOG: It is in my document book, Mr. President. It must be marked with a slip 809.

THE PRESIDENT: Oh yes, I have got it.

M. HERZOG: First, I read Page 7 of the French text and of the German text:

“Gauleiter Sauckel demands a further 250,000 new workers. Gauleiter Sauckel knows very well—and his offices have certainly informed him about this—the difficulties which the French Government had in carrying out the program last year. The Gauleiter must realize that as a result of the number of prisoners of war and workers who are already employed by Germany, the sending of another 250,000 workers will increase even further the difficulties of the French Government. I cannot conceal these difficulties from the Gauleiter, because they are evident; and the Germans who are in Paris know these difficulties. When the Gauleiter replies that they have had to overcome the same difficulties in Germany and when he even states that French industry must be expanded, it seems to me that I must remind him that Germany not only demands workers of France, but is also beginning to take away the machines from factories in order to transport them to Germany. France may have nothing left, but until now she still had her means of production. If these too are taken from her, France loses even her possibilities for working.

“I do everything to facilitate a German victory”—and you see Laval could hardly be suspect to you, Defendant—“but I must admit that German policy makes heavier demands on me nearly every day and these demands do not conform to a definite policy. Gauleiter Sauckel can tell the German workers that they are working for Germany I cannot say that Frenchmen are working for France.

“I see that in many fields the French Government is not able to act. One would almost believe that on the German side they set no value on the good will of the French and that they are bent on instituting a German administration throughout France. My task is being made more difficult every day. It is true that I do not allow myself to be discouraged; but I consider, however, that it is my duty to remind the Gauleiter of the gravity of Franco-German relations and of the impossibility of continuing along this

path. It is no longer a matter of a policy of collaboration; rather, it is on the French side a policy of sacrifice, and on the German side a policy of coercion.”

I pass to the next page, Page 11:

“The present state of mind in France, the uncertainty concerning the means which the French Government possesses, the half-freedom in which it finds itself, all these do not give me the necessary authority to furnish Gauleiter Sauckel with an immediate reply. We can do nothing. We are not free to change salaries; we are not free even to combat the black market; we cannot take any political measure without everywhere coming up against some German authority which has substituted itself in our place.

“I cannot guarantee measures which I do not take myself. I am persuaded that the Führer is unaware that the French Government cannot act. There cannot be in one country two governments on questions which do not concern directly the security of the occupation forces.”

I skip two more pages, to Page 18; and I read only this sentence:

“It is not possible for me to be a mere agent for German measures of coercion.”

That is the document which I submit to you, Defendant, and I ask you two questions concerning it.

The first question is: What did you answer to Laval when he made this statement to you?

The second one is: Do you not think that here there is proof of the pressure which you dispute?

SAUCKEL: To begin with, if the Tribunal would permit it, I should have to read my reply to Premier Laval. The document proves, and this has been confirmed to me by Premier Laval on various occasions, that I conducted my negotiations with him in a proper manner; and in spite of the fact that I had orders not to conduct political conversations but only to deal with my actual task, I always

reported to the Führer about these matters. But I think that the tone of my reply was definitely beyond reproach. These negotiations which I conducted...

M. HERZOG: That is not the question that I asked you. I asked you what you answered him when he made that statement to you, when he said to you, for instance, that it was not possible for him to be a mere agent for German measures of coercion.

SAUCKEL: I would have to read my answer I cannot remember it now.

M. HERZOG: Do you therefore dispute the fact that this represents pressure?

SAUCKEL: Premier Laval did not complain about me in this connection. He complained about general conditions in France, because this was the time of occupation. The situation was that there was a German occupation. It was war.

M. HERZOG: Well, I am going to submit to you Document...

DR. SERVATIUS: Mr. President, regarding this document, I should like to draw your attention to an error of translation which will lead to considerable misunderstanding. According to this document it says that the recruitment could be approached with emphasis and more severe measures, and the word “emphasis” has been translated by “pressure” in the English. But that is not meant. It is not “Druck,” pressure; it is “Nachdruck,” emphasis. That means that the next in authority can be approached with energy.

THE PRESIDENT: I am told that the translation we have got is “emphasis.”

DR. SERVATIUS: “Pressure.”

THE PRESIDENT: I am told the translation is “emphasis.” No, no, the translation is “emphasis.” It is in this document, and the translation in English is “emphasis.”

DR. SERVATIUS: Oh, I had the French translation.

M. HERZOG: I am going to submit to you Document...

THE PRESIDENT: Is this document in the PS series?

M. HERZOG: No, Mr President, it is a new document which I am submitting now, a French document which will bear Exhibit

Number RF-1509 (Document Number F-809).

THE PRESIDENT: Where did this document come from?

M. HERZOG: That document comes, Mr. President, from the archives of the Majestic Hotel in Paris, where the German offices in Paris were located. Some months ago these archives were found again in Berlin, and we have extracted the Sauckel documents.

I submit to the Tribunal the certificate of authentication for the Sauckel files, as well as for the documents which I intend to submit to the Tribunal in the course of my cross-examination. Perhaps, as the document is in French, the Tribunal would like me to read it.

THE PRESIDENT: Yes, read it, will you? You mean this procèsverbal? What is this procès-verbal? Who is it identified by?

M. HERZOG: This procès-verbal is identified by two persons, by Commandant Henri, French liaison officer at the American Documentation Center in Berlin, and by my colleague, M. Gerthoffer, who, with Commandant Henri, took these archives.

THE PRESIDENT: Perhaps you had better read this procèsverbal so that it will go into the record.

M. HERZOG: “I, Charles Gerthoffer, Deputy Prosecutor at the Court of the Seine, on duty with the International Military Tribunal for the Major War Criminals, having gone to Berlin to the offices of the Ministerial Collecting Center, Commandant Henri, Chief of the French Mission, gave to me, with the authority of Colonel Helm of the American Army, Chief of the 6889 Berlin Collecting Center, seven files from the archives of the German military command in France concerning forced labor and registered at the M.C.C. under the following numbers: 3 DS, lumbers 1 to 213; 4 DS, Numbers 1 to 230; 5 DS, Numbers 1 to 404; and two appendices; 6 DS, Numbers 1 to 218; 7 DS, Numbers 1 to 118; and one appendix; 1 to 121; 50 DS, Numbers 1 to 55; 71 DS, Numbers 1 to 40.

“I declared to Commandant Henri that I took the said files in order to submit them to the International Military Tribunal for the Major War Criminals so that they might be used in the

course of the proceedings and that they will thereafter be delivered to the French Ministry of Justice, whose property they remain.

“There are five copies of this document, one of which is to serve as an affidavit for the International Military Tribunal for the Major War Criminals.”

Signed, “Charles Gerthoffer,” and Signed, “Henri.”

This represents the certificate of authentication of the files themselves.

I have a second certificate...

SAUCKEL: May I make a remark regarding the first document, please?

M. HERZOG: I would ask you not to interrupt me.

THE PRESIDENT: M. Herzog, the documents came from the Hotel Majestic, did they?

M. HERZOG: Yes, Mr. President.

THE PRESIDENT: The Hotel Majestic was the place where the...

M. HERZOG: The place in Paris where the offices of the German military command in France and the various occupation offices were located. These documents, which had vanished at the time of the liberation, were found again at the Ministerial Collecting Center in Berlin. The document which I have just submitted to you is the certificate of authentication of these files, and I also have the certificate of authentication of the documents which I have extracted from these files and which I am now ready to read to the Tribunal, if the Tribunal so desires.

THE PRESIDENT: The Hotel Majestic was the place where the German military government was established in Paris; isn’t that right?

M. HERZOG: Yes, Mr. President, if I am not mistaken. Does the Tribunal desire that I should read the other certificate of authentication, that is to say at least in part—the one concerning the document itself?

THE PRESIDENT: I thought you had already read it.

M. HERZOG: No, Mr. President. I am submitting to the Tribunal two certificates of authentication. The first, the one which I have just read, is the certificate of authentication of seven files which contain a very large number of documents. From these seven files we have extracted only a certain number of documents which we are submitting to the Tribunal; and that is why, after having presented the certificate...

THE PRESIDENT: The second document only says that the documents which you are submitting are documents which came from those files?

M. HERZOG: Yes, Mr. President.

THE PRESIDENT: And the files themselves came from the Hotel Majestic, which was the place where the German military administration was carried on. Will you put the second document on the record?

M. HERZOG: Yes, Mr. President.

THE PRESIDENT: Are you offering in evidence the original German documents?

M. HERZOG: Yes, Mr. President.

[Turning to the defendant.] Since you still deny the pressure that you exerted on the government, I will submit to you Document Number 1342-PS.

SAUCKEL: I think that an error in translation has been made here. I understood that you asked whether I denied that I was putting pressure on the Tribunal. I respect this Tribunal too highly to try to exert pressure upon it. I do not understand the question. I understood you to ask me whether I denied that I exerted pressure on the Tribunal; and, of course, that question I have to answer with “no.”

M. HERZOG: I said this to you: Since you deny that you exerted pressure on the French authorities, I will submit to you a new document. It is Document Number 1342-PS which has already been submitted to the Tribunal under Exhibit Number RF-63. This document represents the minutes of a meeting which you held on 11

January 1943 in Paris with various German occupation authorities. Do you remember that on that occasion you made a declaration concerning your relations with the Vichy Government? I will read this declaration to you. It is on Page 4 of the French and German texts.

SAUCKEL: Unfortunately, I am not able to find it.

M. HERZOG: I will read the declaration:

“The French Government...”—It is the last paragraph but one before the end of Page 4.—“The French Government is composed of nothing but adepts at temporization. If the first 250,000 workers had arrived in Germany in time, before the autumn—the negotiations with the French Government having already been begun in the preceding spring—we might perhaps have been able to recruit key men in the Reich earlier and form new divisions; and it might then not have come to the cutting off of Stalingrad. In any case, the Führer is now absolutely decided to rule in France, if need be even without a French Government.”

When you made this declaration, did it not reflect the pressure which you were exerting on the French Government?

SAUCKEL: This is not a conference with the French Government. This is a statement of facts.

M. HERZOG: I did not say that it was a conference with the French Government. I asked you what you meant when you stated that the Führer was determined to rule in France, even without the French Government. Was that not pressure?

SAUCKEL: That was a straightforward decision and a statement from the Führer, for which I am not responsible. I merely repeated it, and in any case it was never realized.

M. HERZOG: Why did you transmit it to the occupation authorities in France in the course of a conference that you were holding with them concerning the recruitment of labor?

SAUCKEL: Because it was my duty to give a description of the situation as I saw it at the time.

M. HERZOG: But do you not think that, in expressing to them this declaration of the Führer, you were using it to exert pressure?

SAUCKEL: I could not exert any pressure by that, because this was merely transmitting a statement of the situation. I did not tell the French Government that the Führer would remove them and that therefore they would have to do such and such a thing. I merely negotiated.

M. HERZOG: But you did state, and I ask you to confirm it, you did state in the course of that conference that the Führer had decided to rule in France, if need be, even without a French Government?

Did you say that? I ask that you answer me “yes” or “no.”

SAUCKEL: Yes, I repeated that, but not with the intention of doing that.

M. HERZOG: Do you remember the discussion which you had on 14 January 1944 in Paris with various German personalities?

SAUCKEL: Yes; it is possible that I had a discussion there at that time, but I cannot remember at the moment what it was about.

M. HERZOG: You do not remember a discussion which you had on 14 January, and you do not remember the German personalities who were present, at this meeting?

SAUCKEL: Probably there were several conferences, but I cannot tell you now which one you are talking about. Neither do I remember, of course, what the actual subjects of the discussions were.

M. HERZOG: On 14 January 1944 you had a conference in Paris with Abetz, Von Stülpnagel, Oberg, and Blumentritt. Do you remember that in the course of that discussion you submitted to your listeners the draft of a law which you had drawn up and which you wanted to impose on the French authorities?

SAUCKEL: I was not trying to impose it. I was trying to discuss it. I was negotiating. I was not trying to impose it upon them. The wording of the minutes shows that quite clearly.

M. HERZOG: Do you dispute the fact that you yourself drafted a law which you transmitted to the French Government?

SAUCKEL: No, that I do not deny. That I submitted such a draft law and that I drafted it, I do not deny.

M. HERZOG: You do admit then that you yourself drafted the text?

SAUCKEL: Yes, but I cannot tell you which one you mean.

M. HERZOG: I submit to you Document Number F-813, which I put in under Exhibit Number RF-1512. It is the minutes of this meeting of 14 January 1944, Document Number F-813. These minutes are signed by Abetz, Oberg, Von Stülpnagel, Blumentritt, and you. I read from Paragraph III the heading: “The Plenipotentiary General for the Allocation of Labor”—which was you—“has drawn up a draft law for the French Government.”

Do you still dispute the fact that you yourself drew up draft laws which you submitted to the French Government?

SAUCKEL: That I do not deny; I had to submit a proposal. However, it was based on mutual negotiations.

M. HERZOG: Do you deny the fact that you imposed this law by pressure?

SAUCKEL: That I imposed this law by pressure, that I do deny. I negotiated about it.

M. HERZOG: Do you not remember that you gave an account to the Führer of the mission which you carried out in Paris in January 1944?

SAUCKEL: It was my duty to report when I made such journeys for I was carrying out the Führer’s orders.

M. HERZOG: I submit to you this report, Document Number 556-PS, which was submitted to the Tribunal under Exhibit Number RF-67. Twice in the course of this report you speak of German demands. Do you not think that to give an account to the Führer of German demands having been accepted is to give an account to him of the success of the pressure which you exerted?

SAUCKEL: I cannot conceive in what other way a basis for negotiations could be found. The German Government made demands, and because of those demands there were negotiations with the French Government which had to be considered by me as de jure.

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