Alli Tunell is a B2B SaaS content marketer who writes about LinkedIn content strategy, creator practices, and changes in content marketing. Posts also describe returning to Animalz and prior work with the Grizzle team.
Most useful for practical LinkedIn content strategy and creator tactics in B2B SaaS content marketing.
Best for
A B2B SaaS content marketing agency hiring a LinkedIn growth strategist.
Not for
Mass-market brands buying sponsored reach or high-volume campaigns.
Key takeaways
Vary formats rather than repeating one; spend more production time and publish less often.
Consistency means publishing after a flop and showing real behind-the-scenes results.
Test formats borrowed from other platforms and collaborate with creators at any scale.
Check first: Confirm whether paid partnerships are available and request recent reach and audience data.
Main ideas
Lower reach calls for craft, not more posts · Consistency means publishing after a flop and showing real results · Test formats emerging on other platforms
Alli Tunell is a B2B SaaS content marketer whose LinkedIn posts focus on how creators can adapt their content strategy as platform reach changes.
The posts also describe returning to Animalz after an earlier stint and reflect on a year working with the Grizzle team.
For readers interested in practical LinkedIn strategy, they are worth following for their focus on what creators can test and sustain, not just on reach.
Tunell turns broad advice about LinkedIn growth into specific choices: vary formats, invest more in production while posting less, share realistic behind-the-scenes results, collaborate with peers, and test trends.
The advice pairs experimentation with resilience: a post can flop, and a tactic that worked last year can stop working, so creators should keep testing rather than treat past results as a formula.
The other posts add an agency-side perspective, praising quality and team processes at Grizzle and describing a return to Animalz amid changes in content marketing.
Together, these examples present a practical, team-aware view of B2B content.
Alli Tunell writes about LinkedIn and B2B SaaS content marketing as a practitioner.
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Across the posts, the recurring argument is that the channel has got harder, not that it has stopped working.
The response: more craft per post and fewer posts, publishing through visible failure, borrowing formats from other platforms and treating collaboration as a growth tactic.
The field keeps shifting, so a tactic that worked a year ago cannot be assumed to work now.
Lower reach calls for craft, not more posts
Alli Tunell opens with a creator who has a large following publicly giving up on LinkedIn, then explains why: reach is lower than it used to be, and even successful creators are struggling to work out what lands.
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Those still growing are raising the quality bar rather than posting more. The post describes variety across formats, more production time per piece with designers, photographers and video editors, and fewer posts to make room for that work.
The post names the pattern directly: none of the creators it describes relies solely on personal photos, text-only posts or podcast clips. They post less to make room for well-branded assets.
Consistency means publishing after a flop and showing real results
Alli Tunell argues that realistic, behind-the-scenes reporting on what is and is not working is the most useful material in B2B marketing right now, ahead of polished claims.
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They define consistency not as never failing, but as putting heavy time into a post, watching it underperform and publishing again a couple of days later without letting the engagement numbers stop them.
The post closes by noting that creators may put a ton of time into a post, watch it flop and still share an update a couple of days later. They do not let lower engagement keep them down.
Alli Tunell points to editing styles, photos and captions as areas creators are actively testing.
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They argue for watching what changes elsewhere and trying it in a different context rather than assuming each platform's habits stay fixed.
The specific example is unconventional spacing in photo captions on TikTok and Instagram, which a top creator had already tested on LinkedIn, they say.
Collaboration is a growth tactic, even in small doses
The post describes collaboration at two levels.
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Some creators do it at scale through recurring shows and newsletters; others lift up like-minded creators and leave thoughtful, genuine comments on each other's content. Alli Tunell presents the lighter version as legitimate, not a lesser substitute for the bigger one.
The post sets out two tactics side by side: recurring shows and newsletters, and thoughtful comments on other creators' posts.
The field keeps moving; last year's tactic may be expired
Change over time runs through the posts.
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In the tactics post, Alli Tunell says a strategy that worked a year ago may not work now, and describes a moment when even successful creators are struggling to find what hits. In the Animalz post, they say content marketing has shifted massively since their earlier stint and describe watching the company evolve its product and team while they were away.
The contrast is clearest between the two posts: one lists tactics on the premise that working strategies expire; the other describes a return to a company that has changed substantially since 2021.
Together, the posts show a writer who treats their own past methods and workplace as things that have changed, not fixed reference points.
Agency work should be judged on process and quality
After a year at Grizzle, Alli Tunell singles out the team's processes and emphasis on quality, and says they were always proud of the work they produced together.
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An agency veteran, they say they rarely genuinely enjoyed every client—setting a clear standard for service work. The post also names the strategists, writers and editors they worked alongside in SaaS content marketing.
The post thanks Jenna St John, Tom Whatley and Adam Hart by name, along with strategists, writers and editors Stefana Zaric, Claudia Bird, Graeme Parton, Martha Vassallo, Mădălina Pandrea, Gareth Hancock, Ed Currington, Mindy Waite and Bhakti Chadhaa.
For a single example of how Alli Tunell thinks about LinkedIn as a working channel rather than a numbers game, start here.
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The post answers a newcomer’s likely question: what are creators who still get consistent results actually doing?
The post opens with a creator with a large following announcing they are giving up on LinkedIn, then notes that even successful creators are struggling with reach.
It lays out a compact set of tactics: vary formats rather than relying on one kind of post; spend more time on each post with designers, photographers and video editors, and post less to make room for that; show real behind-the-scenes results instead of polished claims; collaborate with other creators through recurring shows, newsletters and thoughtful comments on each other's posts; and test trends such as unusual caption spacing borrowed from other platforms.
It closes on consistency: publish a post that flops, share again a couple of days later, and treat last year's working strategy as possibly out of date.
For brands planning a campaign
For a B2B SaaS agency hiring a LinkedIn growth strategist, this is a ready-made diagnostic checklist.
It shows the specific levers Alli Tunell would pull first, with tactics a team can brief: format mix, production partners, behind-the-scenes result posts, creator collaborations and deliberate trend testing.
A campaign plan could build on the collaboration point, which frames creator-to-creator support as a growth tactic rather than a vanity activity.
This is the clearest statement of where Alli Tunell works and how they got there.
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It provides the agency context behind the advice in the other posts.
Alli Tunell announces their first day back at Animalz and describes themself as a boomerang employee.
They say their first approach in 2021 came after listening to the company's podcast, subscribing to its newsletter and treating its blog as a guide while working in SaaS content marketing.
They note that content marketing has shifted a lot since that first stint and say Animalz evolved its product and team in the meantime.
Ty Magnin and Julia Melymbrose are thanked for bringing them back.
For brands planning a campaign
This matters for briefs that depend on the creator's day job and agency ties.
It establishes an in-house viewpoint at a well-known SaaS content agency, relevant to availability, what they can credibly speak to and how a partnership might be structured.
It also shows they are bought into a particular school of content marketing, which can help match an agency's positioning to a collaborator.
Read this to see how Alli Tunell talks about agency work and who they have worked alongside.
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It shows what their agency-side experience looked like.
Alli Tunell thanks the Grizzle team after what they call an incredible year, praising the team's processes and saying Grizzle prioritises quality and that they were proud of the work produced there.
They say they genuinely enjoyed every client they worked with, a rare experience for an agency veteran.
Jenna St John, Tom Whatley and Adam Hart are thanked by name, along with a longer list of strategists, writers and editors in SaaS content marketing, including Stefana Zaric, Claudia Bird, Graeme Parton, Martha Vassallo, Mădălina Pandrea, Gareth Hancock, Ed Currington, Mindy Waite and Bhakti Chadhaa.
For brands planning a campaign
This is strong evidence of an agency-side network and of the standards they expect from a content team.
For a campaign brief, it points to a collaborator who has operated inside service businesses with named clients, while the shout-out list maps the SaaS content marketing circle a collaboration could reach.
The post also shows how they credit a team, which matters for co-created content where partners are named.
Alli Tunell opens with a well-followed creator announcing they are giving up on LinkedIn, then explains the problem: reach is lower than it has been, and even successful creators are struggling to work out what lands.
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The post lists what creators who keep growing do instead: vary formats rather than repeat one, spend far more production time per post with designers, photographers and video editors, publish less at higher quality, and keep publishing after a post underperforms. They describe the current period as one in which a tactic that worked a year earlier may no longer work.
Starts with a failure case, then draws practices from creators who are still producing results.
For brands planning a campaign
A brand can brief Alli Tunell on its LinkedIn cadence and format mix, accepting fewer posts in exchange for more investment in each piece. The approach diagnoses and practises rather than promises reach.
Publishing behind-the-scenes results, not just wins
The post argues that some of the most useful material in B2B marketing right now is realistic, behind-the-scenes reporting on what is and is not working.
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Alli Tunell notes that creators invest heavily in a post, watch it flop, and still share again a couple of days later rather than letting low engagement stop them.
For brands planning a campaign
Brands seeking candid process reporting rather than polished case studies can use this as a fit signal. It also points to the kind of content a collaboration could produce: documented tests with outcomes attached.
Alli Tunell points to editing styles, photos and captions as areas creators actively test, citing a specific example: unconventional spacing in TikTok and Instagram photo captions that a top creator had already tried on LinkedIn.
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The approach is to watch what shifts on other platforms and trial it in a different context.
For brands planning a campaign
Useful for a brand seeking format experimentation informed by observed cross-platform behaviour, not just platform-native habits. A campaign could centre on a named test, with the result reported afterward.
Collaboration appears as a recurring practice at two levels.
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Some creators do it at scale through recurring shows and newsletters; others lift up like-minded creators and leave thoughtful comments on each other's posts. Alli Tunell presents the smaller version as a legitimate approach, not a lesser one.
For brands planning a campaign
Supports partnership or co-marketing work at a range of budgets, from a large recurring format to lighter mutual promotion with other creators. A brand can choose the tier that matches its production capacity.
A post thanking the Grizzle team describes an agency that prioritises quality and processes, and clients Alli Tunell says they genuinely enjoyed working with.
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They name strategists, writers and editors and call them among the best in SaaS content marketing, placing the work firmly in that discipline.
A career and team note focused on the working environment and the people, rather than the deliverables.
The post does not describe specific client projects or outcomes, so the agency-style work is evidenced by context and named colleagues rather than by documented results.
For brands planning a campaign
For a content marketing agency brief, this is direct evidence of agency-side experience in SaaS content and work alongside named strategists, writers and editors—relevant when judging how Alli Tunell might fit into a team or manage contributor relationships.
In-house SaaS content marketing and category change
Alli Tunell describes a first day back at Animalz as a returning employee and recalls that when the company first approached in 2021, they were already a listener of its podcast, a newsletter subscriber and a reader of its blog as a SaaS content marketer.
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They say content marketing has shifted substantially since their earlier stint while Animalz continued to evolve its product and team.
For brands planning a campaign
Shows hands-on in-house SaaS content experience alongside a long-running audience-side view of the category—a combination suited to briefs on category positioning and editorial direction as well as LinkedIn execution.
Alli Tunell’s posts describe two employment relationships: a return to Animalz, announced as a first day back and a “boomerang employee” role, and prior work with the Grizzle content agency, thanked after a year working with its clients.
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Neither post includes a sponsor, affiliate, or disclosed-partnership disclosure, so no commercial promotion relationships can be listed.
Animalz
Employment
Alli Tunell announced their first day back at Animalz, calling themself a “boomerang employee” and thanking Ty Magnin and Julia Melymbrose for the opportunity.
Read more
They noted how content marketing has shifted since their previous time there and described watching Animalz evolve its product and team as an industry leader. The post announces their return but does not specify the role’s terms.
In a thank-you post to the Grizzle team after what they called an incredible year, Alli Tunell named Jenna St John, Tom Whatley, and Adam Hart.
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They said they were always proud of the work the team produced together, had some of their most wonderful clients there, and described themself as an agency vet. The post places their Grizzle work in the past but does not describe its terms.
Alli Tunell writes as a practitioner about keeping LinkedIn and B2B SaaS content marketing working as reach falls.
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The argument running through the posts is that the channel has got harder, not that it has stopped working.
The response: more craft per post and fewer posts, publishing through visible flops, borrowing formats that emerge on other platforms, and treating collaboration with other creators as a growth tactic rather than a favour.
Start with the tactics post on what creators who are still growing do differently: it offers the fullest account of the argument and names the tradeoffs, including posting less to spend more on each piece.
Read the two career posts next to see where the point of view comes from: a return to Animalz as a boomerang employee, and a thank-you to the Grizzle team that sets out their expectations for agency work and names the strategists, writers and editors they worked alongside.
LinkedIn growthB2B SaaS content marketingContent format experimentationCreator collaborationBehind-the-scenes results reportingWritten social postsAgency content teamsSaaS content marketersB2B marketers
Sava Vacic
Both build an argument from a failure case and derive practical lessons from it.
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Sava Vacic describes a brand paying $500 a video and losing money twice — on the editor and on Meta — then argues that the real problem is that most editors are not performance editors.
Hooks, pacing, offer and retention are the gaps.
Alli Tunell looks at a well-followed creator quitting LinkedIn and draws lessons from what the creators still growing do instead.
Both teach through a named example and the principle behind it, writing about the craft decisions that determine whether content performs.
Sava Vacic works on paid social video for DTC ecommerce brands, focusing on hiring performance video editors and lowering creative overhead. Alli Tunell works on organic LinkedIn and written B2B SaaS content, focusing on format variety, production time per post and posting less.
Both treat creator-made content as more than a social asset and set a high quality bar for it.
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Jim Schroën argues that the same creator and UGC content that performs as a social post is also what AI tools pull from when recommending products, so building networks of creators is a visibility strategy, and describes hiring editors who can turn concepts into ads that convert. Alli Tunell makes a similar quality case for LinkedIn, where creators work with designers, photographers and video editors and post less so each piece is better made.
Jim Schroën's frame is DTC ecommerce and paid social, with affiliate and UGC programmes feeding AI recommendations as the payoff. Alli Tunell's frame is organic LinkedIn and B2B SaaS content marketing, with lower reach and format variety as the problems to solve.
Both argue that a social channel is undervalued and that the people running it deserve more investment and authority.
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Keeley Mazurek says brands would never hand Sephora or Target one photo for a launch, so they should not treat Instagram that way.
Social media managers build front-facing brand equity and should be paid like top-line marketing managers.
Alli Tunell makes the mirror argument for LinkedIn: creators still getting results treat it as a serious production effort, with real assets and time behind each post, rather than something that runs on volume.
Both write direct, argument-led posts that challenge a comfortable assumption about social.
Keeley Mazurek talks about social as a distribution and retail-like channel for consumer brands, and separately about who gets heard on AI in marketing. Alli Tunell focuses on B2B SaaS content marketing and the working tactics of LinkedIn creators.
Alli Tunell's LinkedIn audience is small and practitioner-focused, with 5,637 followers on October 8, 2026.
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For a B2B SaaS content marketing agency hiring a LinkedIn growth strategist, the account points to a niche audience of content marketers, agency staff, and SaaS marketing peers—not a broad business audience.
Three posts speak directly to that group: one walks through tactics used by successful LinkedIn creators, another announces a return to Animalz, and a third thanks colleagues at Grizzle.
Before hiring, ask them for the last three to six months of reach, engagement rate, and follower growth on comparable posts, plus any audience survey covering job seniority, employer type, and geography.
The follower count alone cannot show who reads the posts, their purchasing authority, or sponsored-post delivery.
No sponsorship offers, media kits, rates, or partnership terms appear in Alli Tunell’s posts.
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They write about LinkedIn strategy from a content marketer’s perspective: analyzing tactics used by successful creators, announcing a return to Animalz, and thanking colleagues at Grizzle.
Brands should ask directly whether paid partnerships are available, then negotiate scope, deliverables, usage rights, review and approval steps, and disclosure wording.
The posts also point to two considerations for a potential collaboration.
Tunell describes working with creators and agency teams, including designers, photographers, and video editors, and posting less often to make room for production.
Brands should plan for a longer lead time and a more produced asset than a rapid text-only post.
Their writing shares real results, including what works and what doesn’t, suggesting a collaboration could focus on an honest account of an experience rather than a scripted endorsement.
Buyers should discuss how their editorial voice and a sponsor’s messaging would work together before the campaign.
For a B2B SaaS content marketing agency hiring a LinkedIn growth strategist, Alli Tunell fits on method rather than reach.
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Their tactics post reads like a working playbook: vary formats rather than repeating one; spend more production time per post with designers, photographers and video editors, and publish less often to make room for it; report real behind-the-scenes results rather than polished claims; collaborate with creators at any scale, from recurring shows and newsletters to supporting peers in comments; and test formats borrowed from other platforms, such as the unusual caption spacing that moved from TikTok and Instagram onto LinkedIn.
Those are the levers an agency would ask a strategist to pull in the first ninety days.
The Grizzle post describes a year inside a SaaS content shop with named strategists, writers and editors.
The Animalz post places Tunell inside an in-house content agency, tracking the category’s shift over several years as a reader, listener and subscriber before working there.
Together, the posts show someone who has run content inside service businesses, worked alongside production specialists and can speak to a client team—not just post on their own account.
Their collaboration habit matters too: if the agency wants co-marketing with other creators—a content-swap, a joint series or a recurring newsletter segment—it’s already described as normal practice rather than a favour.
Two limits belong in the pitch.
The LinkedIn profile tied to these posts had 5,637 followers on 8 October 2026; that signals audience size, not who reads.
And no paid-partnership terms are published, so ask about scope, deliverables, usage rights, review and approval, disclosure wording and lead time before engaging.
When to choose a specialist
A mass-market brand buying sponsored reach is a poor fit based on the available posts.
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The LinkedIn profile tied to these posts had 5,637 followers on 8 October 2026, a small audience for a broad awareness buy.
No reach, engagement rate or follower-growth figure is available for any individual post, making sponsorship delivery hard to estimate.
There is also no audience data on geography, seniority, job title, employer type or survey results—the information a sponsor-funded campaign needs before committing budget.
Tunell’s posts show no sponsored content, disclosed partnership, media kit, rate card or partnership enquiry route.
A brand would need to negotiate bespoke terms from scratch; the absence of published offers does not mean sponsorships are never accepted.
The working style also argues against a high-volume campaign.
Tunell advises publishing less and investing more production time in each post, pointing to longer lead times and more produced assets than rapid text-only posts.
A campaign requiring high posting frequency at low cost per asset runs counter to that method.
Finally, there are three posts, too few to establish a track record of campaign delivery.
A worked campaign example
Brief: a SaaS content platform wants its head of content to build visible credibility on LinkedIn within a quarter, and hires Tunell to run the program rather than appear as a sponsored voice.
Angle: a 90-day format test with published results.
Weeks 1–2: audit the team’s last six months of posts, classify each by format, and note which formats the team can produce alone and which need a designer, photographer or video editor.
This follows the production-time advice in the tactics post and makes resourcing costs visible before anything is promised.
Weeks 3–4: choose three or four distinctly different formats to test and define what each is meant to prove.
Weeks 5–11: reduce the cadence to roughly two produced posts a month, alongside thoughtful comments on other creators’ posts, and publish enough examples of each test format to evaluate it.
Week 8: publish a behind-the-scenes post reporting what worked and what flopped, in the style Tunell argues is the most useful B2B content right now.
Weeks 10–12: co-create a post or short series with a peer creator in the client’s category, then publish a results write-up that includes the failures.
Measure against a baseline agreed before the start: reach per post, engagement rate, follower growth, and tracked visits or enquiries from the posts themselves.
For a benchmark, ask Tunell for their own last three to six months of reach and engagement on comparable posts.
If the campaign depends on reaching decision-makers, ask for audience seniority and employer-type data.
Confirm commercial mechanics before week one: whether a paid partnership is offered, plus scope, deliverables, usage rights, review and approval steps, disclosure wording and expected lead time for a produced asset.
Documented audience composition, verified per-post performance or a stated willingness to work on a sponsorship model would make a reach-focused brief assessable rather than speculative.
Choose Schroën for DTC performance creative and AI-search visibility, not LinkedIn organic growth.
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The hiring post shows the operating model: a remote team of editors and creative strategists producing short-form and long-form paid-social video for DTC e-commerce brands spending €100k+/month on ads.
Editors are judged on hooks, pacing, retention and conversion rather than how the video looks.
The second post extends that into discovery: most shoppers now use AI tools instead of regular search, and most of what those tools say about a brand comes from third-party sites, including creator content.
The practical offer is a 90-day plan for building an affiliate and creator program that gets a brand cited in ChatGPT, Claude and Google AI.
If the agency's client needs UGC ads and an affiliate or creator network to feed AI recommendations, Schroën is closer to the task than the format-and-cadence method in the other profile.
Schroën's posts focus on production and recruiting, not organic publishing.
Neither describes a LinkedIn content system, editorial calendar or how a B2B SaaS team can build credibility with a professional audience: one is a job ad for editors; the other offers a guide in exchange for a comment.
Neither includes a follower count, engagement figure or campaign result.
Ask for reach and performance data before assessing their ability to grow on LinkedIn.
An agency hiring a strategist to write, test and report on LinkedIn posts for a SaaS client would find little here; the trade-off is paid-creative and AI-discoverability knowledge for the platform-specific growth method the campaign needs.
Choose Vacic to build or staff ad creative capacity, not to run LinkedIn content.
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The recruiting post spells out the role: a high-output, AI-first e-commerce video editor producing multiple short-form ad variations a week across Meta, TikTok, Instagram and YouTube, then iterating on hooks, angles and offers using performance data.
The argument post explains the problem the role solves: brands hiring local US editors pay $500 a video or a full-time salary and still lose money because the gap is not location but whether an editor understands hooks, pacing, offers, retention, creative testing and AI workflows.
The named example is an LA client who lost money on $500 videos and was then set up with an in-house performance editor at roughly a fifth of the cost.
If the agency wants to help a client hire, embed or restructure a performance video editing function cheaply, Vacic is closer to that decision than the other profile.
Both posts recruit for and position a staffing offer.
They show the hiring argument and the editorial skills that matter for DTC ad creative, but say nothing about writing for a B2B SaaS audience, publishing cadence, LinkedIn format testing or reporting results from a content programme.
Ask for audience size, performance data behind the cost claims and commercial terms for the staffing service or a content engagement.
For a SaaS agency hiring a LinkedIn growth strategist, Vacic offers a useful but narrow specialism in ad editor recruitment, not coverage of the platform or audience the agency needs to reach.
Choose Mazurek when a consumer or retail brand needs its organic social channel run like a retail partnership.
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The first post makes the case directly: a brand would never hand Sephora or Target one launch photo, yet many treat Instagram as an afterthought.
Social is where trust is built, products are discovered and conversion journeys start; the person managing it builds front-facing brand equity, so the role should be treated and paid like a senior marketing manager.
The second post asks for women teaching or posting about AI tools in digital marketing, the creator economy, copywriting, content strategy, paid media and DTC, framing the call-out around correcting who gets featured and followed.
If the agency's client sells to consumers and needs channel strategy, brand-equity building or the social function properly resourced and paid, Mazurek addresses that decision more directly.
This is consumer and e-commerce social, not B2B SaaS LinkedIn.
The strongest posts date from August 2025, more than a year earlier than the other posts mentioned here, so ask whether their themes and examples still reflect current practice.
Neither post includes a follower count, engagement rate or campaign outcome, rate card, media kit or documented sponsorship offer.
The second post asks for recommendations rather than demonstrating a method.
Mazurek offers a consumer-social perspective, not the platform-specific, B2B-facing method an agency's SaaS client is buying.
Alli Tunell published three LinkedIn posts on 11, 19 and 21 August 2026: one on the tactics LinkedIn creators still getting results are using, one announcing a return to Animalz, and one thanking the Grizzle team after a year there.
A LinkedIn follower count of 5,637, recorded on 8 October 2026, is a size signal only.
Comparisons with other creators draw on their posts dated between August 2025 and September 2026.
Alli Tunell's posts do not document sponsorship or partnership terms, a media kit or rate card, audience demographics, or per-post reach and engagement figures, and they do not establish a signature book, show or other major work beyond these posts; the campaign-fit and partnership sections should account for those gaps rather than fill them in.
No publication history outside LinkedIn was available.
