Baseball Brand Journalism

Ron Watermon • October 6, 2022

Developing the St. Louis Cardinals Video Storytelling

St. Louis, MO – October 6, 2022 - I remember that September day thirteen years ago that the St. Louis Cardinals President and the team’s General Manager asked me to move over to Baseball Operations to work with the Media Relations group.

The department, which played a critical role in the daily work of the team, was short of staff because one person had left the team when his wife got her medical residency in Boston, while another colleague was beginning treatment for cancer.

I was asked to move over to help with baseball communications and build our business communications. At that point, the club had no business public relations. They had an outside PR company that handled all non-baseball specific PR, which was inefficient and expensive.

I was excited and nervous at the prospect. The GM wanted me to move over immediately and start working games. That night, on my way home from the ballpark, I stopped to see if Barnes & Noble had a book on scoring a baseball game.

I knew that the folks that worked in Media Relations were sports information experts adept at keeping score at a game and capable of rattling off stats that define the game. That wasn’t me at all. I loved the Cardinals, but wasn’t familiar with that stats side at all.

My dad died when I was five and I could count on my hands the games I attended as a kid as they were few and far in between. I still had the handful of scorecards I had from those games. Let’s just say they wouldn’t measure up to what you would need from a pro.

My transition to the group was a bit awkward for all of us. I was a fish out of water. Cut from different cloth as it were. I remember being most intimidated by the clunky process of doing game notes. My colleague told me when he traveled with the team, he could spend as much as four of five hours preparing those in Quark.

I remembered Quark being a TV show and didn’t even know it was a layout program. It wasn’t until years later when I had been promoted to VP for the new department of Communications that we migrated to Adobe InDesign to produce that daily document for our media.

The long story made short is I made a conscious decision to focus most of my efforts on doing the things we were not really doing as a group. The group was set up to service the Baseball Writers of America (BBWA) members, but not the typical general news reporter. Those reporters used to reach to my colleague Marty Hendin for their stories, but after he died they didn’t know who to connect with on story ideas.

I focused on helping those reporters, as well as developing our strategy for the social media. It was within that context that I began my long infatuation with brand journalism.

I was a journalism graduate and at one time in my life wanted to be the White House correspondent for a major TV network. Think Sam Donaldson. I had worked as a journalist in college and have nothing but respect and admiration for the work journalists do within our democracy.

I’m not sure where I first heard the term “brand journalism” but know it was during this period of time. I looked to several brands that were using it within their communications. McDonalds. Home Depot. Coke.

I knew the Cardinals had invested in brand journalism and telling their own story for years. The game broadcasts are owned by the team. The radio announcers work for the team. The team had published Cardinals Magazine for close to two decades at that point.

Growing up catholic in St. Louis, my family would get the St. Louis Review, a weekly newspaper delivered to our house. We also received AAA Magazine. So the concept of telling your own story from your own point of view seemed as basic and common sense as using an umbrella (or Brock-A-Brella) in the rain.

In developing our strategy for social media, we decided that brand journalism would be the foundation for what we did. We would share the who, what, where, when and how of our story. Report the WIGO (what is going on) in real time.

We focused our strategy around the basics. What is brand voice? What are our brand standards? How would we ensure that we spoke with a consistent voice even though multiple staff members with the team (and MLB) would be responsible for posting?

It was during this early period that we started using hashtags. Over the years, we were smart about hashtags and sometimes not.

When we rebranded our twitter account, we named it @cardsinsider to distinguish it from the MLB run account at the time. We wanted fans to know we worked inside the front office and would give them that level of access.

When I started doing video storytelling using my iPhone, I ended up using an app called Videolicious. I paid for the upgraded version so I could add a logo I created that had #CardsInsider.

When we started producing our own brand journalism TV show, we named it Cardinals Insider. We took over the production of a show called Cardinals Nation that was on the local NBC affiliate KSDK.

We used that name because it conveyed our mission and point of view. We worked for the team as Cardinals Insiders and we would share stories using brand journalism.

The first season of the show was hosted by my colleague Lindsey Weber who did a wonderful job hosting and producing the show. The second year, we recruited Hall of Famer Ozzie Smith to host the show. He was and is amazing. The professionalism and preparation he brings to hosting a weekly TV show speaks to what kind of person he is in all he does. You can see why he became a Hall of Fame baseball player. His commitment to excellence shows in his work ethic.

While most brands may not have the opportunity to produce a weekly magazine TV show that they distribute under a trade agreement with 18 over the air TV stations, it is a good example of what you could do.

The landscape of media has changed a lot in my lifetime. YouTube is a game changer. I was able to post a YouTube video with this post for free. While I have no illusions that is will reach a global audience, the fact that it could is amazing.

The reality is that if you have a website and on social media, you are a media outlet. Today media is shared. It is about the shared link or the streaming link.

Brands can learn a lot from our baseball brand journalism. You can own your own story. Control your narrative. You can connect honestly and authentically with your target audience by using brand journalism as part of your video storytelling.

About STORYSMART

If you want to be remembered, share an amazing story on screen. Whether developing a brand for your business or preserving a family legacy, nothing is more powerful than a great video story.

While there are a lot of DIY apps out there to help you produce a video, no app will turn you into a great filmmaker. Telling your story well with video can be hard. You need the right skills and equipment, not to mention time, money and talent to do justice to your story.

STORYSMART helps you tell your story in the amazing way you deserve with our done-for-you premium video storytelling service. Using a nationwide network of talent, STORYSMART provides you an experienced television reporter or journalist filmmaker to tell your story professionally following our proprietary STORYSMART system.

STORYSMART provides a nationwide premium video storytelling service that empowers individuals, families, celebrities, small businesses, and other organizations to have their stories told professionally while still retaining their intellectual property rights. Learn more at getstorysmart.com


By Ron Watermon October 21, 2025
When Deadline first reported that Bruce Springsteen’s Deliver Me From Nowhere was headed for the screen, I expected it would be more than another typical music biopic because it was based on a book that focused on a sliver of Springsteen’s life. That “sliver” was a singular defining period of Springsteen’s life. When I wrote my book, I took note of the fact that when Hollywood came calling, they first reached out to Warren Zanes who wrote the book and not Springsteen himself. I was trying to make the point about the importance of securing storytelling source material. The real work in telling a story is that of the author. Writing a great story isn’t easy. When it happens, someone in Hollywood is bound to notice. What I didn’t fully appreciate until now is that Springsteen’s story to screen journey is a masterclass in focus — a case study in how a single defining period, a writer who truly understands his subject, and a team of champions can move a story from the page to the screen in record time. Zane’s book was published 2023. A little more than two years later, the film is being released. That is amazing in of itself, but the approach to the story told is also instructive. Most people think you need your whole life story to make a film. Springsteen — and Warren Zanes — show us you don’t. It can be a sliver. The story behind this storytelling is a Boss lesson in storytelling that help you deliver your story from nowhere. 
By Ron Watermon October 13, 2025
Your Clear Eyes, Full Rights, Can't Lose Playbook.  If you’ve ever watched Friday Night Lights, you know the phrase: Clear eyes, full hearts, can’t lose. It’s the mantra Coach Taylor preached to his team. But when I look at the 35-year storytelling journey of Friday Night Lights—from a reporter’s notebook to a bestselling book, then a film, a beloved series, and now talk of a reboot—I see a slightly different mantra: Clear eyes, full rights, can’t lose. Because underneath the inspirational football story is a lesson we can draw from in how one journalist’s immersive reporting became a durable, multi-platform franchise. And for me, it’s a perfect demonstration of a pathway we advocate for at STORYSMART®. It all starts with investing in good clear-eyed journalism. It is the single most important investment you can make in developing a true story. When you take control of your source material to tell a true story and develop your story properly, your story can live on for years far beyond the page. I’m a big proponent for adopting a story franchise mindset when approaching storytelling projects. That is why I tell clients to think like a studio executive by adopting a media mogul mindset. When you open your mind to that, it opens the doors of possibilities. The storytelling journey of Friday Night Lights helps illustrate what is possible, as well as offer other lessons on what to do and not do in designing your own professional storytelling path. How a reporter’s notebook became a franchise In 1990, journalist Buzz Bissinger published Friday Night Lights: A Town, a Team, and a Dream. It wasn’t just another sports book. He moved his family to Texas to immerse himself in this story. Bissinger spent a year in Odessa, Texas, embedded with the Permian High School Panthers, capturing the obsession, pressure, and community identity that revolved around high school football. He conducted hundreds of hours of interviews and built his narrative from a deep archive of source material. Every interview he conducted is his work product, what I often refer to as copyright protected storytelling source material. Make note of that. That depth of Buzz’s reporting gave the book credibility. It also gave it power as intellectual property. It was a fantastic book that was a hit.
By Ron Watermon October 3, 2025
The NCAA just approved new guidance on NIL (Name, Image, and Likeness) deals — and while the headlines mostly talk about money, what’s really at stake here is storytelling. Starting this past August, athletes have had to disclose NIL agreements over $600. Schools will help monitor and even facilitate opportunities, and standardized contracts are being promoted to protect athletes. Meanwhile, new rules for collectives are meant to stop disguised pay-for-play deals while still allowing legitimate business arrangements. ( Full NCAA release here )​ On the surface, this might sound like dry compliance policy. But here’s the STORYSMART® takeaway: Transparency is power. The clearer your contracts and disclosures, the harder it is for someone else to hijack your story or exploit your image. Standardization levels the playing field. Whether you’re a star quarterback or a swimmer at a smaller program, having clear terms makes it easier to protect your rights. Your story is the real asset. NIL isn’t just about a jersey deal or an autograph session. It’s about controlling your narrative — the way your life, your legacy, and your values are presented to the world. ​ This guidance is another reminder that athletes — like families, public figures, and estates — need to see their story as intellectual property. The athletes who win aren’t just the ones who score on the field; they’re the ones who invest in how their story is told off the field. ​ STORYSMART® Rule of Thumb: Don’t just cash a check. Build a story that grows in value over time.
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By Ron Watermon July 21, 2025
July 22, 2025, St. Louis, MO - There’s a line in Jerry Maguire that has always stuck with me. Young Ray asks his mom, “What’s wrong, Mom?” And she replies: “ First class is what’s wrong, honey. It used to be a better meal. Now it’s a better life. ” That line hits hard. Because access—access to opportunity, tools, and professionals—changes everything. And when it comes to storytelling, access has long been unequal. For decades, only a small group of insiders had the power to tell stories at the highest level. If you weren’t already in Hollywood or publishing, your story stayed in coach—often ignored, misrepresented, or lost. I wrote STORYSMART® Storytelling for ALL to change that. This book is a roadmap. It’s designed to give you—whether you’re a public figure, entrepreneur, athlete, or someone with a life story worth telling—the same tools used by insiders. The same strategies that power studios, presidents, billion-dollar production companies, and bestselling memoirs. It’s also deeply personal. I’ve seen too many remarkable true stories disappear because people didn’t know how to protect them—or worse, were taken advantage of. I’ve felt like an outsider myself. And I know what it means to want your story told right. That’s why I developed the STORYSMART® Framework. To empower people with meaningful stories to protect their rights, preserve their vision, and share it with the world—on their own terms. I’m making the Author’s Note from the book available as a free PDF download as part of this post. And if you’ve got 90 seconds, I invite you to watch the short video message from me below. This is your story. Let’s tell it the right way. About The Book In a world hungry for authentic narratives, STORYSMART® Storytelling for ALL™ : How to Take Control, Own Your True Story and Profit Like a Hollywood Insider delivers a rare insider’s guide to turning a true story into a cultural and financial asset while maintaining control. Designed for public figures, entrepreneurs, and individuals with powerful life stories, the book introduces the STORYSMART® Way, a step-by-step framework to organize, preserve, and professionally develop your story for books, film, and television. The book pulls back the curtain on how stories move through publishing, Hollywood, and streaming—and empowers readers to navigate the process like seasoned insiders. Topics include copyright and licensing, collaborating with elite-level professional filmmakers and ghostwriters, developing a pitch-ready treatment, and monetizing true stories through publishing, streaming, and merchandising. STORYSMART Storytelling for ALL is available currently as both a paperback and e-book. It will be available soon be in hardcover and audiobook formats. About the Author Ron Watermon is the founder of STORYSMART®, a cinematic storytelling consulting service and story development film studio. A lawyer, filmmaker, and Emmy-nominated television producer and writer, Ron’s led strategic communications for an MLB team, advised high-profile clients, and has produced both film and television productions. Ron lives in St. Louis with his family. Learn more about Ron at storysmart.net and ronwatermon.com #STORYSMART #StorytellingForAll #NewBook #MediaRights #TrueStories #BookLaunch
By Ron Watermon April 24, 2025
We are honored to share some big news. Our documentary, A Steak Guerrilla in St. Louis: The Dr. Arturo Taca Story, has been selected as one of five projects to receive funding from the St. Louis Film Project , a collaboration between the Regional Arts Commission (RAC) of St. Louis and Continuity . This recognition comes from a highly competitive pool of 115 applicants. The grant—up to $100,000—represents a decisive vote of confidence in our story and our approach to telling it. It also offers meaningful momentum as we enter the next phase of production. Most importantly, it reinforces what we believe: Dr. Arturo Taca’s story matters and deserves to be told. A Story Rooted in St. Louis — and Felt Across the World “A Steak Guerrilla in St. Louis” is a documentary rooted in the unlikely convergence of midwestern Americana and Filipino resistance. It follows the story of Dr. Arturo M. Taca, a Filipino surgeon and political exile who made St. Louis his home while taking a stand against Ferdinand Marcos's brutal dictatorship. Before terms like “fake news” and “disinformation” became common in American discourse, Dr. Taca uncovered the truth behind the Philippine president's fraudulent war record. That investigation began here—in dusty archives just outside of St. Louis—and set off a chain of events that toppled a brutal dictator. Our film uses a hybrid storytelling format, combining animated reenactments, interviews, and archival research to tell this story in an emotionally resonant and visually striking way. The Grant That Helps Make It Possible The St. Louis Film Project grant, funded through RAC and administered by Continuity, is part of an initiative to uplift the film community in St. Louis. RAC’s press release states that the fund was created to “support local filmmakers and organizations to tell stories rooted in St. Louis.” The evaluation process was rigorous. “Choosing five projects from over 100 submissions was no easy feat," said Vanessa Cooksey, President of RAC. "The talent and stories presented were incredible.” That’s why being one of the five chosen is more than just a financial boost—it affirms this story’s value and connection to our community. It means much to us, and we don’t take it lightly. A Delayed Start But a Firm Deadline While the grant announcement arrived months later than initially expected, we’ve been working behind the scenes to be ready to go once we receive funding. With this grant officially in place, we’re full steam ahead. The grant contractually obligates us to deliver the completed film by January 2026. That’s a fast turnaround in documentary filmmaking, especially for a story with historical depth, international relevance, and a visual style that blends live action with animation. That means every day counts. While the grant covers significant production costs, it also comes with essential parameters: 75% of funds must be spent within the City of St. Louis. We’re proud of that requirement—it aligns with our belief in investing locally and elevating regional talent. But it also means we must be innovative, strategic, and resourceful with every dollar we spend. We have our entire team in place, minus one critical position. We need a gifted DP to join our elite team. We are eager to work with a tremendous city-based production company or cinematographer who calls St. Louis home. If you know a great cinematographer who would like to join us, please have them email me at ron@storysmart.net. Why We’re Still Seeking Donor Support Even with the RAC grant, bringing this film to life in the way it deserves will take more. Animation, archival licensing, original score composition, color grading, distribution planning—it all adds up. And some of this can't be sourced in a way that fits grant guidelines. And because of the ambitious deadline, we’ll need to scale quickly without cutting corners. That’s where you come in. We’re seeking additional donor support to help us: Expand our animation sequences and visual storytelling capacity. Secure the rights to key archival materials that deepen the film’s historical accuracy. Shoot at least a couple of interviews with key individuals who live outside our region, including the Philippines. Invest in editorial and post-production tools that allow us to move efficiently without sacrificing quality. Ensure the finished film reaches the broadest possible audience, from film festivals to classrooms to international broadcast platforms. Your contribution—no matter the size—helps ensure that Dr. Taca’s story is told with the care, accuracy, and cinematic impact it deserves. If you believe in the power of truth-telling… if you value stories that connect communities and illuminate buried history… we hope you’ll consider becoming a supporter. Click here to donate Learn more about our film at steakguerrilla.com A Final Word: Why This Story Matters Now We often think history is distant, locked away in textbooks or museums. But A Steak Guerrilla in St. Louis reminds us that history is constantly being rediscovered—sometimes in our backyard. It’s a reminder that exile doesn’t silence the truth, that one person in one city can stand up to a dictator and change the course of a narrative written in lies, and that the work of defending democracy happens quietly, persistently, and often without recognition. Now, it’s time to give that recognition. With this grant—and with your support—we’re going to finish the film. And when we do, we’ll bring a hidden chapter of St. Louis history that reverberates far beyond our city limits. Thank you for sharing this journey with us, and a special thanks to each member of our talented filmmaking team. I'm grateful for your willingness to work to bring this story to the screen, your patience through this process, and your unselfish (uncompensated) work to make it happen. I have no doubt it will all be worth it! --Ron Watermon, Executive Producer & Director, A Steak Guerrilla in St. Louis: The Dr. Arturo M. Taca Story
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