Marketing

Commentary and advice on marketing, mostly for publishers (traditional and brands) and writers, but sometimes from a broader perspective.

Read more about the article Advertising is Failure

Advertising is Failure

Day 214 - White Noise by FadderUri
Day 214 - White Noise by FadderUri

Digital guru Steve Rubel interviews Jeff Jarvis, author of “What Would Google Do?“, who makes an interesting point that I suspect many marketers are going to have in the back of their minds when the economy ultimately turns around and they reassess their marketing strategies and measure the results of their responses to the meltdown.

Mr. Rubel: Are customer service and peer-to-peer advocacy the new advertising? And if so, how does that change the ad industry?

Mr. Jarvis: Advertising is failure.

If you have a great product or service customers sell for you and a great relationship with those customers, you don’t need to advertise.

OK, that’s going too far. There is still a need to advertise — because customers don’t know about your product or a change in it or because, in the case of Apple, you want to add a gloss to the product and its customers. But in the book, I suggest that marketers should imagine stopping all advertising and then ask where they would spend their first dollar.

In an age when competition and pricing are opened up online and when your product is your ad, you need to spend your first dollar on the quality of your product or service. If you’re Zappos, you spend the next dollar on customer service and call that marketing. If the next dollar goes to advertising, there has to be a reason — and if the product is good enough, that reason may fade away.

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Read more about the article Hitting the Reset Button on emedia

Hitting the Reset Button on emedia

Ultimately, publishers' primary focus should be to curate great content that people are willing to pay for, and to organize and nuture a community around that content and the authors who create it. That community will exist in multiple places and spaces, physical and virtual, and it will flow into whatever container suits it best.

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Read more about the article When the Internet Flapped its Wings

When the Internet Flapped its Wings

Something disappeared into the ripple by tanakawho
Something disappeared into the ripple by tanakawho

While preparing for a series of meetings on emedia strategy over the weekend, one thought kept nagging at me: What the hell is emedia anyway?

Online and email advertising, webcasts, virtual trade shows, ebooks, ecommerce…oh, my! In the publishing world, it is the holy grail that will save us all thanks to high profit margins and easy scalability (relative to print media), but it seems like the goal posts that define it and its success are getting moved every year as the smoke gets thicker and the mirrors are repositioned.

Where does emedia really fit in the big picture of magazine publishing? Is it another revenue stream running off of Content Mountain — I still believe Content is King, though Context is now his equally powerful Queen — or is it something new and different altogether that calls for a brand new canvas and change of scenery?

If print media is the physical container that content and advertising is packaged into and delivered to the reader, and the subscription and advertising revenues it generates is offset by its related editorial, printing, production, circulation and fulfillment expenses, then shouldn’t emedia be budgeted and defined the same way? Would the profit margins for a website be as high if it had to bear even half of the burden of the expenses of the print container from where much of its content and most of its brand awareness comes from?

If there were no print host, could the electronic parasite survive?

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Read more about the article Building and Curating Your Community, Part I

Building and Curating Your Community, Part I

Solitary Drinker in the Revolution Lounge by Bill Gracey
Solitary Drinker in the Revolution Lounge by Bill Gracey

With all of the negative news of late about the collapse of the publishing industry and the “death of print”, combined with the report that Captain America, Chesley Sullenberger, “scored a $3.2 million two-book deal with HarperCollins’ William Morrow imprint” for a memoir and a book of inspirational poetry, one might understandably think that jumping into the publishing game right now would be like investing in Ruth Alpern’s new hedge fund based on the advice of Jim Cramer, no?

Actually, no; not at all.

While the major publishing houses continue their suicidal death spiral, and being a mid-list author or aspiring newbie at one of them is less appealing than it’s ever been, this is arguably the proverbial moment of opportunity in a time of crisis for indie authors and publishers.

As I’ve noted previously, self-publishing is becoming an increasingly viable option for non-fiction writers and poets, as well as for ambitious genre fiction writers who understand that, no matter who their publisher is, they’re going to have to bust their ass to market their book and hand-sell it to as many people as possible, one copy at a time, in person and online. These savvy authors know that they have to build a platform for themselves over time — something almost every major publisher requires these days — and know how to use it, attracting a loyal tribe and continually nurturing it.

This exact same opportunity exists for indie publishers who can identify an under-served genre or topic of interest, carve themselves a niche and build a platform around it, and produce quality content that attracts a following that they can then nurture into a passionate community, or tribe.

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Read more about the article Your Entitlement Slip is Showing

Your Entitlement Slip is Showing

Stop Whining by ChrisB in SEA

Among the most tiresome memes dominating the publishing world right now — memes that I’ve admittedly contributed to at times — the worst are the self-righteous rants about self-publishing, Amazon, and the long-rumored death of print.

There are the writers who think their publishers should be doing more for them while smugly looking down their noses at the writers willing to do it all for themselves; and the passionate-to-a-fault DIYers who feel the need to answer every single ill-considered critique with defensive point-by-point rebuttals.

There’s the indie publishers and bookstores who complain about Amazon’s success while having no real online presence of their own to speak of, nor the good sense to leverage their respective strengths and develop their own niche communities around the two things Amazon will never be able to compete with: content and relationships.

And, of course, there’s the much belabored death of print, an arguably self-inflicted wound that’s far from lethal, unless whining and navel-gazing continue to be the priority.

Blame it on the state of the economy and the debatable bailouts of mismanaged, seemingly undeserving companies and/or homeowners, but underneath it all there is an overwhelming sense of entitlement, a belief that someone — publishers, writers, readers, the Internet itself — owes them something and their current plight is someone else’s fault.

My short response: STFU and GBTW.

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Read more about the article On Twitter: Always Add Value

On Twitter: Always Add Value

My flock of Twittersheep

I find it hard to believe that as recently as six months ago, I was dismissing Twitter as a pointless ripoff of Facebook’s status update, without any of the extras that make Facebook a “real” social network. From what I’d seen, it lived up to its negative reputation of mindless updates about eating lunch, waiting in traffic and unimaginative opinions on the pop culture distraction of the moment.

(Note: I’ve certainly been guilty of the latter, though in relative moderation; I vow to NEVER live-tweet a whole episode of American Idol!)

When I decided to start using Twitter for more than updating my Facebook status, and began to actively seek out quality tweeters in the publishing and media world to follow, I had a revelation.

The image above is from Twittersheep, “a word cloud generated from the bios” of the 200+ people currently following me on Twitter. The emphasis on “writer”, “media”, “book” and “marketing” tells me that I’ve tapped into the niche I was looking for and am, theoretically, adding value to that niche as the majority of my own tweets match up with those keywords. In fact, the number of people following me spiked dramatically a few weeks back during the Tools of Change conference, largely as a result of my following along on Twitter and adding my two cents to the conversation.

I’ll often throw in a little something about politics (check out @nprpolitics), pop culture (@Latinoreview), sports (@matthewcerrone), or how much I want to stab someone on any given day, but I expect the same additional personal spice from those I follow, too, as long as their primary focus remains on publishing, or in some cases, my peripheral interests.

Twitter is not for everyone, but I find the precision required to get your point across in only 140 characters without resorting to “text speak” a particularly inspiring endeavor that’s useful in many other forms of communication, from email to poetry. I’m actually rather surprised at the number of poets I know who dismiss it, especially slam poets, instead of rising to the challenge and turning it into a new creative form.

Beyond poetry, though, there are niches were it is an invaluable social networking tool, a perfect complement to blogging, an in-the-moment StumbleUpon, and absolutely nothing like Facebook or LinkedIn.

Publishing is definitely one such niche.

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Read more about the article Peter Shankman on the Future of Social Media

Peter Shankman on the Future of Social Media

When my CEO sent me a friend request on Facebook last year, I had to rethink how I was using the site.

When Facebook changed its Terms of Service earlier this month, before quickly backtracking in the face of a growing uproar, I started to rethink my approach to social media overall.

Last night, I had the pleasure of attending a presentation/Q&A with social networking guru Peter Shankman — who suffers from a self-described extreme case of ADOS (Attention Defici- Oh, Shiny!) and an abundance of eccentric charisma (one of his many claims to fame is as the original creator of the “It Sank. Get Over It!” t-shirts) — and while it was targeted to PR professionals and focused on his terrific Help a Reporter Out initiative, there were a lot of general marketing-related takeaways that I found interesting.

I wish I had taken notes, or live-Tweeted some of his comments, but I was so engaged in the moment that I didn’t want to be distracted by trying to share it with others!

PR is the most effective form of marketing and, these days, we’re all marketers at some level, no matter what our actual job title is or income bracket we’re in. We’re all influencers, and while our respective tribes might be small, through social networking we have exponentially more individual power than ever before. It’s something publishers are slowly realizing, though some might argue, much too late.

Shankman spoke a lot about Twitter, but went beyond the usual hype of it being the platform du jour, offering some excellent tips on communicating effectively that were just as applicable to email, telephone and in-person communication. We’re bombarded with an average of 17,000 separate demands on our attention every day — from family and co-workers to email to “don’t walk” signs —  so getting to the point quickly is crucial.

On Twitter (he’s @skydiver), brevity also happens to be a requirement: 140 characters to get your point across; always add value to the stream.

ie: don’t just Tweet “I’m eating yogurt.” Instead, Tweet “Pinkberry has 50% off coupons all day, today only.”

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