Commentary and advice on marketing, mostly for publishers (traditional and brands) and writers, but sometimes from a broader perspective.
There are myriad ways to connect with readers nowadays, both directly and indirectly, but you can’t do it all, nor should you try. Whether you’re a novelist or journalist, poet or pundit, striking the right balance is critical to implementing and sustaining an effective marketing strategy. From websites to social media to live events, this presentation focuses on the value of owned channels, offline/analog engagement, and how to make sure you’re not wasting your time.
I've always been fascinated (and frustrated) by poetry's "delicate snowflake" status, and how such a diverse variety of forms, styles, and voices often gets lumped into such a generic, cavernous category, like literary fiction and graphic novels. One of the things I've always loved about good anthologies and open mics is the inherent (or the potential for) diversity in those formats, something that's not clearly communicated on bookstore shelves nor the Dewey Decimal system.
When Google acquired Blogger in 2003, it was a smart move that tied directly to their core ad business, with the visionary bonus of foreseeing the value of user-generated content when it was still scoffed at. Yahoo acquiring Tumblr 10 years later (after badly fumbling GeoCities, del.icio.us, and Flickr, among others) is like the drunk uncle showing up late to a baby shower with a stripper and a trained monkey. Even the "announcement" via GIF feels forced and desperate.
"Wow..." That was my whispered, slack-jawed reaction to the final 30 minutes of BioShock Infinite, arguably the most compelling video game experience I've ever had. It's not a perfect game by any stretch of the definition, and since completing the game, I've thoroughly enjoyed reading some of the more measured reviews that haven't been afraid to point out its flaws, but to borrow a phrase from Grace Jones, it might not be perfect, but it's perfect for me.
Never mind the folly of dismissing Goodreads, a social network dedicated to books with 13m+ members and is steadily growing, or even Pinterest, where Random House has inexplicably attracted 1.5m followers, but the very idea that "something is really, chronically missing in online retail discovery" is arguably contradicted by Amazon's 2012 results, suggesting that "online retail discovery" isn't really a problem for readers. It's a problem for publishers.
For the third consecutive year, I had the pleasure of doing a presentation on social media for my friend Peter Costanzo's M.S. in Publishing: Digital and Print Media class at NYU last night, and while preparing for it, I was surprised by how much has changed since the first time, and how much hasn't. Pinterest and Tumblr are bigger deals now (or at least perceived as such), while Twitter is steadily maturing (from a business perspective), Facebook changes its approach every six months, and email is still the underrated king of the hill.
A large part of GOOD's appeal was its unique business model, its compelling mission, and its target audience: "For People Who Give a Damn." While not replicable in any scalable way, it had a far more noble mission than the mercenary and fickle "connecting advertisers to eyeballs" model of most magazines, and it looks like that mission ultimately forced a complete and radical rethinking of the magazine itself.
