All my life I’ve been a fierce force of imagination, persistence, and hard work: like a dragon hunting for gold. But instead of treasure, I’ve been searching for stories to tell and ways to make an impact.

Born in Belarus, I studied journalism in Bulgaria and worked in marketing in Russia, but storytelling has always been my true passion. I create narratives that allow people to explore fresh perspectives in a safe, immersive way.

As a queer, neurodivergent woman from a patriarchal country, I’m passionate about shedding light on complex topics through my work. Over the years, I’ve designed more than 100 LARP games, written 10+ original tabletop campaigns, and worked as a script supervisor on the short film Mein Name Akim (2024), which tells the story of transgender refugees in Germany.

During my MA in Serial Storytelling at IFS Cologne, I honed my skills across genres, working on solo projects as well as collaborating in Writers' Rooms.

Currently, I’m co-developing a visual novel game with a co-author as a passion project.

Now that I've completed my degree, I’m eager to bring my creativity to TV and gaming, crafting stories in both English and German.

Dragons never stop breathing fire. And neither do I, with an endless flow of ideas and stories I can’t wait to share.

Alena Lysiakova

I’m currently writing my first vertical series, and here’s my biggest takeaway so far:


🐲 Momentum is everything.

#Verticals don’t live in perfect structure or beautiful prose. They live in forward motion. Every scene has to pull the reader into the next one immediately without warm-ups or lingering. 

And that’s both the hardest and the most fun part.

You constantly ask yourself:
 👉 Does this end with a reason to keep scrolling?
 👉 Does this scene move, emotionally or plot-wise?
 👉 Can I afford to slow down here? (Usually no)

It’s intense, slightly addictive, and weirdly liberating. Once you lock into the rhythm, the story starts running on its own momentum.

#VerticalSeries #Screenwriting #Storytelling

Alena Lysiakova 🐉

Narrative designer and screenwriter ▶️ Let's create stories that make an impact

Finishing my first #vertical rom-com sample taught me one thing very clearly: you don’t write episodes from the beginning. You write them from the cliffhanger. 🙂 


In verticals, the ending isn’t a nice wrap-up. It’s the engine. Every episode has to land on a moment that reframes what we just saw, emotionally, romantically, or comedically, and makes the next episode unavoidable.
So instead of asking, “How does this episode start?” I started asking, “What’s the last thing I want the viewer to feel?” 

💡 Once the cliffhanger is clear, the rest of the episode snaps into place. Scenes suddenly know how long they’re allowed to be. Dialogue stops rambling. Every beat either pushes toward that final turn or it gets cut.

Writing verticals this way changed how I think about structure in general.
Endings first. Then precision. Then mercy for nothing that doesn’t earn its place. In most of the cases, if the cliffhanger works, the episode works. Everything else is just scaffolding.

#VerticalSeries #Screenwriting #StoryStructure

🐲 Ever wondered why some audio games pull you in instantly, and others just sound like long audiobooks with buttons?

It’s rarely a tech problem. It’s almost always a writing problem.
That’s why I’m running a live masterclass on writing for audio interactive games, and it’s built as a write-along session, not a lecture. 

What we’ll do together:
- Start with a simple inner pitch and turn it into a playable audio scene
- Learn how to write stories that work without visuals, using sound, silence, and pacing
- Craft dialogue that actually survives being spoken aloud
- Design micro-choices that create emotional pressure instead of fake branching
- Learn how to ask the right questions that drive interactive audio forward
- Break down the most common mistakes in audio interactive writing, and fix them with less text 

We’ll also explore TWIST, the interactive audio engine by EarReality, and how it makes writing for audio easy, intuitive, and exciting, even if you’re not technical.

You’ll leave with:
- A playable audio micro-scene you wrote during the session
- A repeatable way of thinking about interactive audio writing
- Clear next steps to continue developing your story

This is for you if you’re:
- A writer curious about games but focused on story
- A narrative designer moving into audio
- An audio drama creator exploring interactivity
- A creator looking for new storytelling formats

📝 Come ready to write. This is a write-along interactive session.
Event details & registration are below 👇 
https://lnkd.in/eiV_CTyB

Audio interactive games are not audiobooks. They are not podcasts with choices. And they don’t work if you “just write good dialogue.”

This live masterclass is a writing-first, hands-on session focused entirely on how stories change when they are written for ears, choice, and listener agency. We are not talking about game mechanics or coding. We are talking about writing — and how to rethink it for interactive audio.

📝 Be ready to write a lot. And interact a lot. This masterclass is designed for people who learn by doing, not by watching slides.

Lawrence Marable, Wynona Cybil Alwyn and 23 other attendees

View event: Masterclass: Writing for Interactive Audio Games

Masterclass: Writing for Interactive Audio Games

One of the fastest ways to break immersion in an audio game is letting the protagonist know more than the player. 👾 


The moment that happens, intimacy is gone. 💀 
Audio works because it’s close. Personal. Almost conspiratorial. The player is inside the character’s head. And that only works when discovery happens together.

Shared ignorance is powerful.

When neither the player nor the protagonist knows what’s behind the door, every sound matters. Every pause carries weight. Every choice feels risky, not because it’s complex, but because it’s unknown.

From a narrative design perspective, this changes how you structure information:
🐲 Exposition becomes something you earn, not something you dump
🐲 Revelations land harder because they surprise both sides
🐲 Trust forms between player and character; you’re figuring it out together

The opposite is also true. If the protagonist casually hints at knowledge the player doesn’t have (“You already know why this is bad…”), the player is suddenly outside the story, trying to catch up instead of living it.

In audio, dramatic irony is a luxury you rarely need. Alignment beats cleverness.

👉 Design your stories so the player and protagonist learn, doubt, and panic at the same pace. That’s where audio stops being a format and becomes an experience.

#NarrativeDesign #AudioGames #StoryArchitecture

Audio games are often designed as one-time experiences. 


You listen, you move forward, you reach an ending. The format is intimate and linear, so replayability is usually not the goal. 
👉 But it could be.

Replayability in audio doesn’t mean adding more branches or content. It means designing for a new understanding.

If you want a second playthrough to feel rewarding, focus on how knowledge changes the experience:
🐲 Early lines that seem insignificant
🐲 Casual remarks or offhand comments that only gain meaning once the player knows what’s coming
🐲 Consistent NPC behavior

Characters don’t need twists, just logic. On replay, players start recognizing patterns that were always there. 
👉 Choices that don’t announce their importance
👉 Decisions that feel neutral at first, but quietly shape tone, trust, or outcomes later
👉 Consequences that echo instead of exploding
👉 Subtle shifts rather than obvious feedback

The difference becomes clear only in comparison.

If a second playthrough doesn’t make the player notice what they missed the first time, the story was built to be consumed, not discovered. And audio, of all formats, benefits the most from discovery.

Do you replay audio games at all?

#AudioGames #InteractiveStorytelling

In audio games, choices aren’t just content. 
👉 They’re mechanics.


“Open the door.” “Crack the door quietly.” “Kick the door in.”
Same action. Completely different game.

The phrasing doesn’t just describe behavior, it tells the player how to feel about the choice. Safe. Careful. Aggressive. Desperate. Confident. Panicked.

That’s why writing choices is a design task, not just a writing one.
When I work on audio narratives, I think about:
🐲 What emotional tone does this phrasing signal?
🐲 Does it invite caution or recklessness?
🐲 Does it frame the player as in control or reacting under pressure?
🐲 Does it suggest consequences without spelling them out?

The player isn’t only choosing what to do. They’re choosing how they are doing it and who they are in this moment.

If your choices are all written in the same neutral voice, you’re flattening player agency, even if the branches are complex. In audio, wording is gameplay.

#NarrativeDesign #AudioGames #GameWriting

I’m hosting a remastered round of our free EarReality webinar:
“The Business of Interactive Audio: TWIST Engine & Monetization”

If you’re a(n):
🐲author or narrative designer
🐲voice actor or podcaster
🐲 brand/content marketer
…and you’re curious how to turn stories (or your voice) into interactive audio experiences that can actually earn royalties, this is for you.

I’ll cover:
🎧 A practical intro to the TWIST Engine – what writers & performers really need to know
💰 How self-publishing, collaborations, and monetization work on TWIST & TWIST Tales
🎭 A “lean back” listening session + breakdown of how an interactive story is built step by step

Wish to attend? Link is below 👇 
https://lnkd.in/eWjk-bNA

Feel free to join, share, or tag a writer / voice actor who keeps saying “one day I’ll try something interactive.” This is the day.

#interactiveaudio #narrativedesign #voiceacting #writingcommunity #EarReality #TWIST

🎤 🎧 We’re back with a remastered version of our FREE webinar for authors, narrative designers, voice actors, podcasters, and brand marketers who want to understand how interactive audio actually works – and how to create it. 🕹️

Last time we ran this session, we got a lot of “Wait, this is way more doable than I thought.”

So we fine-tuned it, added more concrete examples, and are doing Round 2: Remastered.

What we’ll cover this time:

✅ TWIST Engine – Updated Intro
A clear walkthrough of the tool we use to build interactive audio stories (with more focus on what storytellers and voice actors really need to know).

✅ Business Opportunities on TWIST & TWIST Tales
How self-publishing, collaborations, and monetization work on the platform – and what that means for you as a creator or performer.

✅ Practical Listening + Workflow Demo
We start with ~30 minutes of listening to an interactive audio story, then break down exactly how it was created step by step.

If you want to:
create interactive audio yourself,
evaluate the format for professional use, or
explore future publishing & royalty opportunities as a creator or voice actor,
…this webinar gives you the essentials in one session.

📌 The registration link is directly beneath this post.

If you want to support the event, feel free to like, share, or repost 😎

#EarReality #TWIST #marketing #storytelling #games #gaming #stories #audiobooks #audio #RPGs #writing #books

Christian Mahnke, Aleksandra Kovalchuk and 13 other attendees

View event: EarReality Webinar: The Business of Interactive Audio & TWIST Remastered

EarReality Webinar: The Business of Interactive Audio & TWIST Remastered

Flowcharts are great. They tell you what happens in the game.
👉 But audio players don’t navigate through logic. 


They navigate through emotion.
They stay because they’re tense. They leave when that tension flattens.
That’s why, when designing audio games, I think in emotional curves before plot structure:
👾 Where does anxiety peak?
👾 Where does the player finally breathe?
👾 When does curiosity replace fear?
👾 Where does silence do more work than dialogue?

This directly affects architecture:
🐲 High emotional intensity = fewer choices, tighter scenes
🐲 Low intensity = space for exploration or reflection
🐲 Too many branches at an emotional peak = cognitive overload
🐲 No emotional variation = disengagement

If your emotional intensity stays on one level for too long, the player’s brain checks out, no matter how good the writing is. 

So yes, map your plot. But also map how it feels to listen minute by minute. Because in audio, emotion is navigation.

#NarrativeDesign #AudioGames #GameArchitecture

⏱️ Starting in ONE hour! 
Our free webinar on interactive audio storytelling and the business behind it is about to go live 🎤🎧

If you’re curious about narrative design for audio, TWIST, or how creators can turn stories into actual projects (not just ideas), now’s the moment.

👉 Jump in here before we start 
https://lnkd.in/eWjk-bNA

🐲 Audio games shine when they tap into instinct. 


Fear. Curiosity. Trust. Suspicion. That split-second feeling of “this feels wrong” or “I should follow this voice.” 

💀 What they don’t do well?
Turning into memory exams.

If a good outcome depends on recalling a name, a code, or a tiny detail from 20 minutes ago, you’re fighting the format. Audio isn’t built for note-taking. It’s built for presence.

Instead, strong audio choices are designed around:
🐲 Emotional recognition (“This voice feels unsafe.”)
🐲 Pattern sensing (“This keeps happening when I trust them.”)
🐲 Narrative logic (“They warned me about this kind of room.”)

That way, even if the player doesn’t remember the exact detail, they still feel like they made a meaningful choice, not a random guess.

Good audio design doesn’t ask: “Did you remember?”
It asks: “What does your gut tell you right now?”

That’s where audio becomes powerful.

#NarrativeDesign #AudioGames

Quick reminder: our free EarReality webinar is happening tomorrow 🎧


If interactive audio has been sitting on your “sounds cool but how does it actually work?” list, this one’s for you. We’ll talk tools, storytelling, and the business side (yes, the part where you can actually publish and monetize).

🐲 Expect practical insights, real examples, and no unnecessary fluff. 

See you tomorrow 👇 
https://lnkd.in/eWjk-bNA

⏱️ Starting in ONE hour!

The masterclass on writing for interactive audio is about to begin. 
If you’re in — grab your spot now and join live.

👉 https://lnkd.in/edpWX8TG

See you there 🎧 🐲

Most SaaS teams don’t have an email problem. 

They have a signal problem. 

Your users tell you everything through behavior: 
👉What they touched
👉What they skipped
👉Where they stalled
👉What they repeated
👉When they’re ready to pay

But if your lifecycle still runs on generic onboarding.

Your trial users don’t get to the value.

Activation stalls.

And your trial-to-paid numbers drop.

I fix that.

I build lifecycle systems that react to what users do, or (equally important) what they didn’t do.

🚥SIGNAL + Reverb🔁

SIGNAL is my method for turning behavioral signals into conversions:

S -  Segment: Group users by cohorts + actions that matter
I - Interpret: Read the behavior + find the AHA moment + understand the journey
G - Generate: Write the messages for fast time to value
N - Nurture: Pinpoint the win-back micro cycles (REVERB)
A - Automate: Establish and automate triggers
L - Learn: Measure, adjust, and tighten the path

Reverb is the recovery layer: Short micro-cycles that fire when users miss the action that would have moved them forward. 

What I Do for SaaS Teams

✅Find where trial users leak and why

✅Define the AHA path and make it measurable

✅Build behavior-triggered onboarding + activation flows

✅Add Reverb loops to recover stalls before the trial dies

✅Strengthen the upgrade moment so paid feels obvious

If your product works but trial-to-paid doesn’t, you need a system that listens.

📪 DM me “SIGNAL” if you want a fast trial-to-paid leak audit and the top activation fixes you can implement ASAP.

Simonida Jovanovic

𝗪𝗵𝗮𝘁 𝗶𝗳 𝘆𝗼𝘂𝗿 𝘁𝗿𝗶𝗮𝗹 𝗲𝗺𝗮𝗶𝗹𝘀 𝗳𝗲𝗹𝘁 𝗹𝗲𝘀𝘀 𝗹𝗶𝗸𝗲 𝗺𝗮𝗿𝗸𝗲𝘁𝗶𝗻𝗴 𝗮𝗻𝗱 𝗺𝗼𝗿𝗲 𝗹𝗶𝗸𝗲 𝗮 𝘁𝗲𝗮𝗺𝗺𝗮𝘁𝗲 𝗴𝗲𝘁𝘁𝗶𝗻𝗴 𝘂𝘀𝗲𝗿𝘀 𝘁𝗼 𝘁𝗵𝗲𝗶𝗿 𝗳𝗶𝗿𝘀𝘁 𝘄𝗶𝗻?
 
Most trial emails sound like they were written by Legal and Product after three coffees and zero user interviews.
 
“Did you know you can also do X, Y, Z, and 17 other things?”  

Cool. 

I can barely do my actual job.
 
What would it look like if trial email felt like a teammate?
 
A good teammate doesn’t dump the whole feature set on you. 

They say:
 
“Do this first. Here’s why it matters. I’ll be right here if you get stuck.”
 
That’s the job of lifecycle:  Not to “educate” in the abstract, but to 𝘀𝗵𝗲𝗽𝗵𝗲𝗿𝗱 𝗽𝗲𝗼𝗽𝗹𝗲 𝘁𝗼 𝗼𝗻𝗲 𝗰𝗹𝗲𝗮𝗿 𝘄𝗶𝗻.
 
Under the hood, that’s what I’m doing with SIGNAL + Reverb:
 
• Watch how people behave
• Decide what “first win” actually is
• Nudge them there with friendly, precise timing
 
Your users don’t want more marketing.  

They want someone to quietly walk them to “oh, this makes my life easier.”

Need help with that?

✨𝗠𝘆 𝗗𝗠𝘀 𝗮𝗿𝗲 𝗮 𝘀𝗮𝗳𝗲 𝘀𝗽𝗮𝗰𝗲✨

Turn your trail-to-paid sequences into a no-brainer | Lifecycle email based on the SIGNAL system

𝗪𝗵𝗮𝘁 𝗶𝗳 𝘆𝗼𝘂𝗿 𝘁𝗿𝗶𝗮𝗹 𝘄𝗮𝘀𝗻’𝘁 𝗮 𝘁𝗲𝘀𝘁 𝗼𝗳 𝘂𝘀𝗲𝗿 𝗽𝗮𝘁𝗶𝗲𝗻𝗰𝗲, 𝗯𝘂𝘁 𝗮 𝗳𝗮𝘀𝘁 𝗹𝗮𝗻𝗲 𝘁𝗼 𝗼𝗻𝗲 𝘂𝗻𝗱𝗲𝗻𝗶𝗮𝗯𝗹𝗲 𝗿𝗲𝘀𝘂𝗹𝘁?
 
Let’s be honest: half of all “free trials” are just UX obstacle courses with better branding.
 
Sign up.  

Onboard.  

Configure.  

Integrate.  

“Now you can start.” (They never do.)
 
What if your trial said:
 
“Give me 10 minutes and I’ll fix one annoying thing in your workflow today.”
 
That’s a completely different promise.
 
To make that real, you need:
 
• A brutally honest definition of “undeniable result”
• A stripped-down path to get there
• Lifecycle that clears obstacles instead of adding more
 
That’s why I care about micro-loops more than mega-campaigns.
 
Reverb is basically:  “What is the next tiny step that keeps them on the fast lane?”
 
If your trial currently tests patience more than it delivers outcomes, your users are not the ones failing the test.

Need help with that?

✨My DMs are a safe space✨

𝗣𝗶𝗰𝘁𝘂𝗿𝗲 𝘁𝗵𝗶𝘀: 𝘆𝗼𝘂 𝗹𝗼𝗴 𝗶𝗻𝘁𝗼 𝘆𝗼𝘂𝗿 𝗱𝗮𝘀𝗵𝗯𝗼𝗮𝗿𝗱 𝗮𝗻𝗱 𝘁𝗿𝗶𝗮𝗹→𝗽𝗮𝗶𝗱 𝗷𝘂𝗺𝗽𝗲𝗱 𝟯 𝗽𝗼𝗶𝗻𝘁𝘀, 𝘄𝗶𝘁𝗵 𝘇𝗲𝗿𝗼 𝗲𝘅𝘁𝗿𝗮 𝗮𝗱 𝘀𝗽𝗲𝗻𝗱.
 
Founders love to talk about “doubling signups.”
 
Cool.  

What if your signups stayed exactly the same and revenue still went up?
 
An 3-point lift in trial→paid doesn’t look sexy on Twitter, but inside your bank account? 

Different story.
 
That jump rarely comes from one magic email. 

It comes from:
 
• Stop treating trials as “one audience”
• Start treating them as: “never logged in,” “poked around,” “almost there,” “activated but unpaid”
• Then respecting those differences in your lifecycle
 
This is why I obsess over behavioral signals.  

Not because I like dashboards (I don’t).  

Because once you can 𝘴𝘦𝘦 where people stall, your copy finally has something useful to do.
 
It stops being “nice to have nurture” and becomes:  “Here’s where we get 3 points back without touching ad spend.”

Need help with that?

✨My DMs are a safe space✨

𝗜𝗺𝗮𝗴𝗶𝗻𝗲 𝗸𝗻𝗼𝘄𝗶𝗻𝗴, 𝗯𝘆 𝗗𝗮𝘆 𝟯 𝗼𝗳 𝘁𝗵𝗲 𝘁𝗿𝗶𝗮𝗹, 𝗲𝘅𝗮𝗰𝘁𝗹𝘆 𝘄𝗵𝗶𝗰𝗵 𝘂𝘀𝗲𝗿𝘀 𝘄𝗶𝗹𝗹 𝗰𝗼𝗻𝘃𝗲𝗿𝘁 (and being right most of the time)
 
By Day 3, your trial is already telling you who’s serious and who’s just clicking buttons.
 
But most teams don’t listen.  

They look at a big list of “Active Trials” and treat everyone the same.
 
Reality: your product has 𝗲𝗮𝗿𝗹𝘆 𝘀𝗶𝗴𝗻𝗮𝗹𝘀 that scream:
 
• “This person will buy”
• “This person will never log in again”
• “This person could go either way”
 
Once you know what those signals are, everything changes:
 
• Sales knows who to prioritize
• Lifecycle knows who to push, who to support, and who to bless and release
• You stop pouring emotional energy into users who were never going to convert
  
It’s not magic. 

It’s behavior.  

And once you can see it, it’s very hard to go back to treating all trials the same.

Need help with that?

✨My DMs are a safe space✨

Most free trials are basically:
 
“Welcome, here’s the cockpit of a Boeing 747.  Good luck.”
 
Then everyone panics when people don’t convert.
 
A great trial feels like it shipped with a guide baked in:
 
• “Click this one thing first.”
• “Now add 𝘰𝘯𝘦 real example from your world.”
• Here’s the moment where most people say, "Oh. There it is."
 
That guide doesn’t have to be a human.  

It can be your onboarding, your empty states, and yes - your lifecycle emails.
 
This is why I like pairing SIGNAL (map the behavior) with Reverb (the micro-nudges):
 
• The map tells us what “no-brainer” looks like in your product
• The nudges walk users there, step by step
 
The alternative is what most teams are doing now:
 
Ship the Boeing.  

Hope they can fly it.  

Discount when they can’t.

Wanna help your users fly the plane? 

✨My DMs are a safe space✨

𝗜𝗺𝗮𝗴𝗶𝗻𝗲 𝗮 𝘄𝗼𝗿𝗹𝗱 𝘄𝗵𝗲𝗿𝗲 𝘆𝗼𝘂𝗿 𝗯𝗶𝗴𝗴𝗲𝘀𝘁 𝗽𝗿𝗼𝗯𝗹𝗲𝗺 𝗶𝘀𝗻’𝘁 ‘𝗺𝗼𝗿𝗲 𝘀𝗶𝗴𝗻𝘂𝗽𝘀’ 𝗯𝘂𝘁 ‘𝗵𝗼𝘄 𝗳𝗮𝘀𝘁 𝗰𝗮𝗻 𝘄𝗲 𝗼𝗻𝗯𝗼𝗮𝗿𝗱 𝗮𝗹𝗹 𝘁𝗵𝗲𝘀𝗲 𝗻𝗲𝘄 𝗰𝘂𝘀𝘁𝗼𝗺𝗲𝗿𝘀.
 
Founders love to say “it’s a good problem to have” about literally awful problems.
 
Churn is not a good problem to have.  

Dead trials are not a good problem to have.
 
“Too many new customers to onboard properly”?  

I’ll allow it.
 
You can get there when:
 
• Trial→paid works without constant discounting
• The product is good 𝘢𝘯𝘥 the journey is clear
• Lifecycle quietly does 80% of the heavy lifting
 
Most teams hit a ceiling because every extra signup brings more chaos.
 
When we wire SIGNAL + Reverb in properly, the opposite happens:
 
• Growth doesn’t feel scary
• You know what happens to a trial the moment they sign up
• Onboarding becomes scalable instead of “Betty is doing her best”
 
Yes, you still need more signups.  

But fix the engine first, then floor it.

Need help with that?
 
✨My DMs are a safe space✨

𝗪𝗵𝗮𝘁 𝗶𝗳 𝘆𝗼𝘂𝗿 𝘁𝗿𝗶𝗮𝗹 𝗹𝗶𝗳𝗲𝗰𝘆𝗰𝗹𝗲 𝗮𝗰𝘁𝘂𝗮𝗹𝗹𝘆 𝗱𝗶𝗱 𝗶𝘁𝘀 𝗷𝗼𝗯 𝗮𝗻𝗱 𝘀𝗮𝗹𝗲𝘀 𝗼𝗻𝗹𝘆 𝘀𝗽𝗼𝗸𝗲 𝘁𝗼 𝗽𝗲𝗼𝗽𝗹𝗲 𝘄𝗵𝗼 𝗮𝗹𝗿𝗲𝗮𝗱𝘆 𝘀𝗮𝘄 𝘁𝗵𝗲 𝘃𝗮𝗹𝘂𝗲?
 
You know those sales calls where the rep spends 45 minutes doing what the product and emails 𝘴𝘩𝘰𝘶𝘭𝘥 have done?
 
That’s not “consultative selling.”  

That’s unpaid onboarding.
 
When lifecycle is doing its job:
 
• Trials hit one real outcome before they ever meet sales
• Emails handle the “what is this / why should I care” part
• Sales gets to talk about implementation, fit, and money
 
Everybody wins:
 
• The user feels smart, not confused
• Sales pipeline is full of adults, not tire-kickers
• Your team doesn’t secretly resent marketing for sending “unqualified” trials
 
You don’t need more “content.”  

You need a system that delivers 𝗽𝗿𝗼𝗼𝗳 𝗼𝗳 𝘃𝗮𝗹𝘂𝗲 before a human ever joins the call.

Need help with that?

✨My DMs are a safe space✨

𝗣𝗶𝗰𝘁𝘂𝗿𝗲 𝗮 𝘁𝗿𝗶𝗮𝗹 𝘄𝗵𝗲𝗿𝗲 𝘂𝘀𝗲𝗿𝘀 𝗱𝗼𝗻’𝘁 𝘄𝗮𝗻𝗱𝗲𝗿. 𝗧𝗵𝗲𝘆 𝗵𝗶𝘁 𝗼𝗻𝗲 𝗰𝗹𝗲𝗮𝗿 𝗼𝘂𝘁𝗰𝗼𝗺𝗲 𝗮𝗻𝗱 𝘁𝗵𝗲𝗻 𝗮𝘀𝗸 𝘆𝗼𝘂 𝗵𝗼𝘄 𝘁𝗼 𝗽𝗮𝘆.

When you design a trial around 𝘰𝘯𝘦 clear outcome, behavior shifts:
 
• People stop randomly clicking through features
• They follow a simple path to a “wow, that’s better” moment
• Upgrades feel like the obvious next step, not a hard pivot
 
This is where lifecycle gets misunderstood.
 
It’s not:
 
“Send 7 emails over 14 days.”
 
It’s:
 
“Engineer one outcome.  Use product + emails + timing to make that outcome almost inevitable.”
 
And yes, it’s a lot less work than endlessly polishing a tour that nobody finishes.
 
Need help with that?

✨My DMs are a safe space✨

Hot take: users don’t hate email.  They hate irrelevant email.
 
The bar is absurdly low:
 
• “Talk to me about what I’m actually trying to do.”
• “Don’t shout features at me when I’m clearly stuck on step one.”
• “Respect the fact that my trial is happening inside a busy week, not a vacuum.”
 
That’s why behavioral signals matter more than clever copy.
 
If they just imported data and your next email says, “Did you know we have dashboards?”  you missed.
 
If they stalled halfway through setup and your next email is a product update,  you missed.
 
When you add micro-cycles on top of your sequence, you’re essentially saying:
 
“Let’s only talk when we have something genuinely helpful to say.”
 
That's when a user thinks,  “Wait, how did you know I was exactly here?”

And by "here," I don't mean in their living room wearing yesterday's pajamas. 
 
That’s creepy. 

I mean, "here," stuck in your product, not knowing what to do next. 

That's when the magic happens. 

Need help with that?

✨My DMs are a safe space✨

𝗜𝗺𝗽𝗿𝗼𝘃𝗶𝗻𝗴 𝘁𝗿𝗶𝗮𝗹-𝘁𝗼-𝗽𝗮𝗶𝗱 𝗶𝘀 𝗼𝗳𝘁𝗲𝗻 𝗰𝗵𝗲𝗮𝗽𝗲𝗿 𝘁𝗵𝗮𝗻 𝗰𝗵𝗮𝘀𝗶𝗻𝗴 𝗰𝗵𝗲𝗮𝗽𝗲𝗿 𝘁𝗿𝗮𝗳𝗳𝗶𝗰. 🚗
 
You can spend months trying to lower CAC with:
 
• “Let’s launch a newsletter”
• “Let’s do more thought leadership”
• “Let’s write more nurture content”
 
But if your 𝘁𝗿𝗶𝗮𝗹 𝗳𝘂𝗻𝗻𝗲𝗹 𝗹𝗲𝗮𝗸𝘀, you’re just pouring more people into the same holes.
 
Segmentation is one of the fastest levers because it makes your emails and in-app nudges relevant to what the user actually did (or didn’t do). 

And in email, segmentation consistently outperforms “one-size-fits-all” sends. 
 
Before you buy more traffic, ask this:  𝗗𝗼 𝘁𝗿𝗶𝗮𝗹 𝘂𝘀𝗲𝗿𝘀 𝗴𝗲𝘁 𝗱𝗶𝗳𝗳𝗲𝗿𝗲𝗻𝘁 𝗴𝘂𝗶𝗱𝗮𝗻𝗰𝗲 𝗯𝗮𝘀𝗲𝗱 𝗼𝗻 𝘄𝗵𝗮𝘁 𝘁𝗵𝗲𝘆’𝗿𝗲 𝘁𝗿𝘆𝗶𝗻𝗴 𝘁𝗼 𝗱𝗼, 𝘄𝗵𝗲𝗿𝗲 𝘁𝗵𝗲𝘆 𝗴𝗼𝘁 𝘀𝘁𝘂𝗰𝗸, 𝗮𝗻𝗱 𝗵𝗼𝘄 𝗰𝗹𝗼𝘀𝗲 𝘁𝗵𝗲𝘆 𝗮𝗿𝗲 𝘁𝗼 𝘃𝗮𝗹𝘂𝗲?
 
If not, you don’t have a growth problem.  

You have a conversion leak. 🥺
 
Need help with that? 

✨𝗠𝘆 𝗗𝗠𝘀 𝗮𝗿𝗲 𝗮 𝘀𝗮𝗳𝗲 𝘀𝗽𝗮𝗰𝗲✨

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The Battle

Alena Lysiakova

Simonida Jovanovic

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Engagements

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Performance Score.css-goub6s{font-size:var(--chakra-fontSizes-md);font-weight:500;color:var(--chakra-colors-gray-600);display:block;margin-top:var(--chakra-space-1);}Alena Lysiakova's LinkedIn Performance

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