Throughout the Web’s history, the number that publishers have most concerned themselves with was pageviews. Even when they measured search engine rank and social media shares, those metrics simply served as markers of pageviews-to-come. For all of the Internet’s power to track the effectiveness of advertising, Cost Per Thousand (CPM) has been king for two decades and counting.
But the next big trend in media is going to require us to rethink publishing metrics entirely. 
Brand publishing — which shows up under various terms like content marketing or custom content — is one of the fastest-growing channels in modern marketing. This year, more money will be spent by brands in the effort to engage audiences through stories, instead of traditional advertisements, than any year in history. This is a big deal. If you’re reading this post, you probably know all about it. 
The elephant in content marketing’s kitchen is this question: how do you properly measure content marketing’s effectiveness? There’s plenty of anecdotal data about businesses growing through publishing (for instance, our business has grown almost exclusively through our digital magazine), but there is no universally agreed upon measure of success.
Since 2009, a thousand marketers selling content marketing solutions have published posts about “how to measure the ROI of content marketing” (me included), and the best you’ll be able to find are lists of traditional publishing metrics — if not a laundry lists of every metric ever.
The real problem with using those metrics is that brand publishing is a different game than display advertising — or most other advertising for that matter. It’s a lot more like weightlifting than bowling: the results can be massive, but they manifest after time and consistency. Lucky strikes are rare.
So what game are brands playing as publishers? Ultimately, they’re trying to build relationships. They realize that if they own the relationship, they can eventually speak to the audience much more often and for less money than if they have to pay to play every time. They won’t have to go through a middleman anymore, like a newspaper or TV station. So what they really ought to be measuring is whether and how relationships are being formed.
That’s why it’s so silly that every analytics tool marketed to brand publishers doesn’t actually measure the thing that matters: relationships.
Last year, we started talking to our clients at Contently about how they were measuring content marketing. Most of them were measuring what the traditional publishing industry analytics tools measured: pageviews and where they came from.
Unfortunately, as Chartbeat CEO Tony Haile recently pointed out in an excellent op-ed for TIME, 55 percent of website visitors don’t stay longer than 15 seconds. And it turns out that sharing is a terrible proxy for whether people actually care about content. The most-shared articles, according to Haile, are often the least-read:
What those and other statistics about content consumption show is that pageviews, clicks, shares, likes, and referrals aren’t correlated at all with relationships between reader and publisher.
Haile is right when he says that advertisements ought to be valued on how much attention people are paying to them, not just that the ads are there. Tools like Chartbeat are going to be monumentally important to the media landscape if they can convince publishers and advertisers to come together on a new way of measuring ads. 
However, all of the existing analytics tools on the market are still built to solve a different problem than the one brands face. In our research over the last year, we’ve found that most brand publishers and the vendors that service them are still measuring success using the metrics of a publishing business that’s fundamentally different than the one they’re in.
They’re not tracking what happens to their individual readers over time. (Instead, they’re aggregating the audience as a mass — which fits traditional publishing’s model but not that of a brand). They’re not tracking where in their stories they’re losing people. And they’re not tracking what readers do next.
So we decided to build a tool that measures what matters in brand publishing — and then helps you do something about it.
Today I’m pleased to announce that Contently is launching Insights, the first analytics package built specifically to optimize brand-reader relationships.
The coolest thing about Insights: if a story was created using Contently’s workflow, Insights can go even further and combine reader engagement tracking data with Contently’s data about who wrote it, who edited it, and everything that went into the process. Insights then feeds all of that data back into the system to tell you what you should try next if you want to build better relationships. It’s pretty great!
Here’s what Insights uniquely tracks:
#1: Insights monitors people, not “visitors.” When a reader comes back, Contently keeps track, and tallies how much engaged time that reader spends with your brand’s content each visit, so you can see how relationships are being built over time. (So for example, if you come to The Content Strategist on three occasions, Insights adds up how much you’ve been engaging throughout your relationship with our brand.) 
#2: Insights shows brand publishers how much of the content their audiences stick around for. It tracks this unique indicator on an aggregate basis and per every story you produce, to help you see if people actually care about what you’re saying. Because seeing — or even sharing — a piece of content is not the same as being engaged.
#3: But the real magic of Insights is that Contently tells you exactly why certain stories performed well, and what action steps you can take to make future content better.
This is just the first phase of Insights. There’s a lot more coming based on this idea of helping brand publishers track relationships — and tying those relationships to actual business results. It’s the first step of a larger initiative for Contently — one we hope is going to change content marketing for the better. We want to make it more helpful and enjoyable to readers and push the industry to start measuring what matters.
Because if we have to be good at numbers when telling stories, we may as well work with the right ones.
 This said, there will always be a need for important but unprofitable public interest storytelling. Such investigative journalism has typically been subsidized by other things. (The Sports section of the paper pays for the series on water pollution, etc.) We need to build sustainable businesses and then give back to nonprofit journalism when we can. We’re big fans of ProPublica and Berkeley’s Center for Investigative Reporting.
 In an interesting twist of fate, I put my business hat back on in order to address the changes in the journalism industry, which led to the formation of Contently in December 2010. You can read more about our journey here. (P.S. I picked the “Marketing” track back at business school, in case you were wondering.)
 And if you don’t, here’s a primer to get you acquainted with the industry.
 This is certainly not to say that traditional media companies will (or ought to) be cut out of the advertiser equation entirely. I think that for a long time to come there will be brands without a large owned audience who will fund sponsored content (and native advertising) that will both buoy up the media institutions we love and also help those brands reach an audience larger than their own. And even for companies with large owned audiences, I think “native” will be a part of a content distribution mix for most for the foreseeable future.
 I am a very big fan of what Haile and Chartbeat are doing for media companies and the attention economics of advertising. And I love what Medium.com does with its analytics for blog posts, where it tells you where people abandon your story. It’s disheartening when you see that your 10,000 visitors only read 10 percent of your post, but it’s nice to get an honest picture of how much your readers care. Hat tip to both companies for their thought leadership.
 Found on a whiteboard in Contently’s product department:
What’s the deal with the Content Strategist? At Contently, storytelling is the only marketing we do, and it works wonders. It could for you, too. Learn more.
When a company is in the process of hiring a new employee, there's a standard set of things it typically does — follow up with references, check the cover letter for obvious typos, and do some basic due diligence to ensure all of the companies listed on the candidate's resume actually exist. A recent study conducted by researchers at Old Dominion University advises adding another task to that checklist: stalking the hopeful employees on Facebook. As it turns out, your social media profile knows more about you than you know about yourself.
The study, "Incremental Validity of Social Media Ratings to Predict Job Performance," looked at 146 undergraduate students who were employed outside the university they attended. Each student took an online personality test and agreed to have their social media profiles examined by a team of observers who rated them on a whole suite of characteristics ranging from agreeableness to neuroticism.
Those metrics were then viewed against ratings of each student's performance at work. Study authors Katelyn Cavanaugh and Richard Landers discovered that not only are the personality traits inferred from someone's Facebook profile a significant predictor of their job performance, but these correlations are stronger than those between the results of the self-reported personality test and job performance.
These ratings weren't just a strong predictor of job performance. Judgments of social media profiles also had a stronger correlation with a student's grades than did their self-reported personality tests.
social media footprints have an advantage over personality tests because they often contain records of behavior stretching back years
social media footprints have an advantage over personality tests because they often contain records of behavior stretching back years and are a relatively uncontrolled environment compared to a one-time personality test.
"This potentially additive value could be because people reveal more honest information through their behaviors represented in Facebook profiles than they do while filling out online forms," the authors note. "Alternately, traits represented in Facebook profiles may be more relevant in an academic or employment situation; Facebook profiles may capture more of the social components required for job performance, or social components that could hinder academic success."
The results of this study may not come as an enormous shock to a lot of employers, many of whom have been snooping on the profiles of job applicants for years. A 2009 study revealed that 45% of employers admit to using social media to assess job applicants and 35 reported that the information contained in those profiles has caused them to avoid giving offers to some candidates.
Even so, using social media as tool to evaluate potential hires can be highly problematic. A study published late last year in the Journal of Management asked professional recruiters to evaluate the social media profiles of college students who were applying for full-time jobs after graduation. This study failed to find a correlation between the recruiters' ratings and later job performance based on follow-up interviews conducted months later with the now former students' supervisors.
It also found that people who ‟had traditionally non-White names and/or who were clearly non-White" tended to receive low ratings. "Our results suggest that Blacks and Hispanics might be adversely impacted by use of Facebook ratings," study author Philip Roth told Forbes. (The equally disturbing possibility here is that we'd see the same thing when those recruiters interviewed those people in person.)
This article originally published at The Daily Dot here
Read the rest of the article :
Today, Allure, the beauty expert, launches its dedicated digital video channel, with four new original series featuring makeovers, expert beauty advice, and the inside stories behind the most memorable celebrity beauty looks. The channel extends the reach of Allure’s video library which includes the Backstage Beauty series of trend reports from fashion shows, behind-the-scenes of celebrity cover shoots, and beauty how-to’s.
The content will be widely distributed across all platforms including Allure’s video site on video.allure.com and YouTube channel https://www.youtube.com/Allure as well as through syndicated partnerships.
“Beauty is one of the fastest growing categories in video,” said Linda Wells, editor in chief of Allure. “It is a great platform for a mix of entertainment and information. It is an important frontier for beauty and the audience is passionate, opinionated and involved.”
In 2013, beauty-related videos on YouTube garnered 700 million views per month — a 133% increase from 2010’s average of 300 million views per month.
Condé Nast Entertainment’s digital audience grew by 761% in unique visitors from 2012 to 2013.
“The Allure digital channel brings to life the expertise, passion and loyalty that the brand has always shared with its consumers,” said Dawn Ostroff, President, Condé Nast Entertainment. “Premium content for the beauty category’s engaged audiences is a key component of the continued growth of CNE’s digital network.”
New series from Allure include:
Hair Tyrant with Ashley Javier
Ashley Javier operates an invitation-only salon where his customers agree to submit to his vision—and his brutal honesty. In his show, Ashley gives women dramatic makeovers that push them out of their comfort zone for a fresh start. His roster of clients includes Proenza Schouler designers Jack McCollough and Lazaro Hernandez, artist Julian Schnabel, and socialite Lauren Bush Lauren.
• Watch the series trailer here: http://video.allure.com/watch/hair-tyrant-series-trailer
• Watch “The Consultation: Putting Your College Style Behind You” here: http://video.allure.com/watch/hair-tyrant-the-consultation-putting-your-college-style-behind-you
• Watch “The Final Look: A Warmer Professional Style” here: http://video.allure.com/watch/hair-tyrant-the-final-look-a-warmer-professional-style
Cassandra to the Rescue
Model Cassandra Bankson became a YouTube sensation after posting a video in which she removed all of her makeup to reveal her severe acne. In her series, Cassandra helps women with varying skin problems use makeup to help them prepare for a big event. In addition to being a talented self-taught makeup artist, Cassandra knows firsthand the emotional impact of having severe skin problems and the positive psychological impact of beautiful makeup.
An extension of a classic, popular in-book franchise feature, Beauty Evolution delves into some of the best (and not-so-best) beauty looks of favorite celebrities, why they’re inspiring, and what lessons viewers can take from their missteps and successes.
A new take on the classic how-to, Beauty Basics features tips and techniques that teach women how to recreate popular hair and makeup looks on themselves.
• Watch the series trailer here: http://video.allure.com/watch/beauty-basics-series-trailer
• Watch “How To Do a Smoky Eye” here: http://video.allure.com/watch/beauty-basics-how-to-do-a-smoky-eye
Visit the all-new Allure channel for more video: video.allure.com
Subscribe to the Allure YouTube channel here: www.youtube.com/Allure
Allure launched in 1991 as the first and only magazine devoted to beauty. Today, Allure’s print audience is 6.4 million and its average monthly online audience is 2.8 million. Allure has a strong social media presence, tablet editions, mobile apps, content licensing, books, and special issues. Allure is published by Condé Nast. Follow Allure at facebook.com/allure and @Allure_magazine on Twitter and Instagram.
About Condé Nast Entertainment (CNÉ)
Condé Nast creates the world’s best content for the world's most influential audiences. The company attracts more than 164 million consumers across its twenty industry-leading print and digital media brands: Vogue, Vanity Fair, Glamour, Brides, Self, GQ, The New Yorker, Condé Nast Traveler, Details, Allure, Architectural Digest, Bon Appétit, Epicurious, Wired, W, Lucky, Golf Digest, Golf World, Teen Vogue and Ars Technica.
The company launched Condé Nast Entertainment in 2011 to develop film, television and digital video programming. Condé Nast also owns Fairchild Fashion Media (FFM) and its portfolio of comprehensive fashion journalism brands: WWD, Style.com, Footwear News, NowManifest, Beauty Inc., M and Fairchild Summits.
There are new fanbases to be found on YouTube for digital producers and traditional TV firms alike. YouTube loomed larger than ever before at this year's MIPTV programme market and conference, dominated since it was first held in Cannes in 1965 by broadcasters and producers but which now has a heavy input from multichannel networks (MCNs), digital producers and individual YouTubers.
Trends included a shift in the language and key metrics of YouTube. Alex Carloss, its global head of entertainment, suggested the online video giant's power is less about audiences and more about fans. "An audience tunes in when they're told to, a fanbase chooses when and what to watch. An audience changes the channel when their show is over. A fanbase shares, it comments, it curates, it creates," he said.
Michael Stevens of science network Vsauce agreed: "You can build a really big audience on YouTube: they show up, they listen. But a fanbase is going to subscribe and watch everything you make in the future, and tell their friends about you."
MCNs and YouTubers haven't stopped boasting about their view counts, but there was more emphasis on subscribers, comments and shares, and average viewing time for videos: a focus on how engaged YouTube users are, particularly teens and twentysomethings. TV producers are following the migration of these "millennials" to online video. "Every year it gets harder to launch a successful show that attracts a younger demographic, so we have to find them elsewhere. Looking to digital content is crucial," said Keith Hindle, X Factor co-producer FremantleMedia's digital and branded entertainment boss.
This is fuelling new partnerships: Vice Media and Fremantle launched a food-focused online video channel called Munchies at MIPTV, for example, which eschews studio cook-offs and familiar TV chefs. "The reason young people are leaving TV is they don't do things like this: take chances, switch things up, and give the cameras over to 24-year-old kids. TV missed the boat on this kind of content," said Vice CEO Shane Smith.
read the rest of the article : http://www.theguardian.com/media/2014/apr/13/miptv-conference-multichannel-networks-mcns-youtube-tv-cannes?CMP=twt_fd
source of article : http://dejanseo.com.au/google-plus-study/
I tried Google+ but it looks like nobody is using it yet, why should I spend extra time on yet another social network?
Google has been aggressively attempting to diversify away from search. Over the years they’ve come up with a number of promising products in a sea of failed experiments. When Larry Page took charge of Google’s direction once again, we witnessed a sudden shut down of unviable products. What followed was profound integration of Google’s products services into a single unifying platform.
At the centre of all that action was Google+ which now fuses most of their key products and services including Search, AdWords, Gmail, YouTube, Drive, Picasa, Places, Android, Chrome, Maps and Earth.
A good portion of content on Google+ is selectively shared, which has lead many marketers and journalists into writing “ghost town” type articles, only to show their own lack of understanding of how Google+ really works.
An example of this phenomenon could be a user with multiple interests or languages. They may choose to share certain posts with specific circles based on language or topic. Selectively shared posts are not be visible to all users or search engines, but do appear in Google’s personalised search results for those in appropriate circles.
Google+ wants our real names but short of asking everyone for a copy of their ID on sign up, there is no way to tell if I’m really “Dan Petrovic” or “Hannah Blair”. I’ve been recently told by a Googler that from an engineering point of view, this isn’t really an issue.
The problem is in canonicalisation of individuals. One can have many aliases and nicknames on the web which leads to entity fragmentation.
Search engines have a hard time dealing with this problem. Closest we’ve ever been to real identity on the web might be Facebook profiles. Facebook’s deep web, however, remains permanently out of Google’s reach. Twitter is not playing ball either. So Google+ solves yet another problem and that is the one of a clean social graph. Even if your Google account name is not your real one, if you use it consistently across different platforms you give search engines something they can work with. Have you used “Sign in with Google” in the past? If so then you’ve already helped Google understand who you are outside of Googleverse itself.
There’s also the notion of the “index of one” or as I call it mendex which completes Google as an ecosystem and takes the search engine to the next level. We’re seeing glimpses of anticipation-based, query-less results in Google Now.
More Google knows about us, better they can serve us. This of course does include better and more efficient ad targeting at the same time. The right place and the right time? Add the right context to that and you have a winner. An ad for a local restaurant pops up while you’re on your way to the office from a meeting around lunch time, the restaurant was chosen based on the proximity, eating habits and reviews by people in your circles.
In summary Google+ is Google’s:
When Lady Gaga or Mashable post stuff on Google+ it immediately receives hundreds of +1s, comments and reshares due to the number of people who have them in circles. Posts like that often end up in the “Hot & Recommended” section, propelling it even further, perpetuating the effect and their status. This behaviour is predictable and uninteresting.
One phenomenon that really fascinates me is organic virality, or in other words, when ordinary people and brands make a big splash with a special piece of content. Although not the only platform (Reddit is also a good one), Google+ seems to enable great content to be seen by many through a whole array of interesting mechanisms.
As a marketer, I’m fascinated by these ‘content propellers’ and more importantly by specific qualities or content which goes viral on its own merit and not because it was seeded by an influencer.
I will now present two such cases, one for Dejan SEO page and one for my personal profile post.
Here is one “uncharacteristically successful” post with signals many times over that which I consider an average interaction on our page’s content. An average post by Dejan SEO page is seen by approximately 2000 people from which 20-30 may engage in some way. A quarter of a million impressions represents a significant deviation from the norm.
Pro Tip: Image posts contain one valuable piece of statistics other post formats do not, impressions. So if you’re keen to see how many people will see your post on Google+ then share in an image mode.
I analysed this post in detail in hope to understand why it very viral. Naturally it all starts from the content itself, the story had to be exciting enough to start with. Being interesting alone is not enough in most cases as many potentially viral posts simply die out in its infancy while other, more influential channels may hit the critical mass instead.
I’ve noticed that posts in which I show enthusiasm and excitement tends to do better. Examples: YES! Finally! WOW! OMG! Whoa!
Simple, shorter post messages tend to trigger wider reach in terms of +1s and reshares, while longer posts often see more activity in the comments section.
Google+ has just the right amount of ‘pinterestness’ to it that it can safely be called a visual social platform. Some of the most followed users on Google+ are photographers and top posts by user engagement are almost always image shares. Knowing this, and the fact that I get the impression data, I chose to include a screenshot form Nerdy Data instead of sharing it as a link. There is a debate whether Google+ purposely promotes image shares in comparison to other formats or the effect we’re seeing with image shares is purely human nature. One thing is for sure, image posts tend do rather well on Google+.
Having great news, being excited and sharing a photo of it still doesn’t answer my question. Why did this post go viral?
Ripples are one of my favourite methods of investigating content visibility and distribution on Google+. In the example below we’re seeing three main influencers: TECHNICS, Victor Lava and myself. There are also several other, smaller share clusters.
We’re seeing a sharp viral burst and rapid fall with the longest chain at an impressive seven consecutive shares. On average I see about 2-3 consecutive reshares. Primary language among those who shared this post was English.
TECHNICS having been one of the driving factors is hardly a surprise considering their profile strength. The page has 180,000,000 views, 120,000 followers and an incredible engagement score of +900,000 leading to constant presence in the “Hot & Recommended” section.
Victor Lava, however, was a surprise. With only 536 followers he made as big a splash as TECHNICS. The key to his influence was the membership in the HTML5 community which at the time had more than 120,000 members. The post resonated within the community rendering Mr. Lava a sensational influencer on the ripples graph.
Shame he didn’t get his name attributed to all the reshares which followed. Or is it?
Pro Tip: If you have a great piece of content share it as your page first (or whichever asset you’re looking to promote).
Every reshare of the original post will then contain your brand name, a link to your page and a hovercard. This can lead to brand discovery, brand reinforcement and new followers. We’re grateful to Victor for exposing our brand to many thousands of HTML5 community members.
Communities on Google+ are a device for segregating special interest groups from the rest of the social stream. Running a community or being an active participant of one can have a great impact on your status and reputation on Google+. Brands can also create, be members and engage on third party communities which acts as an additional funnel of content discovery and brand visibility.
Pro Tip: Page’s community engagement including the member count is a contributing factor to page’s overall social score.
Despite this, our community strategy has been that of extremely strict approval process and rigorous moderation in order to attract and keep the type of people we really want to have in the community.
I wanted to gain deeper understanding behind the success of the Nerdy Data post and decided to analyse the full list of contributors including both shares and +1s. Unfortunately I bumped into a logistical problem. Google+ posts only show a sample of 50 engagers, which means that you have no chance analysing any of your successful posts within Google+.
Luckily there’s an API explorer which enables you to query the full user list. Here’s the URL:
The ‘activityId’ is not visible in the post URL but can be retrieved from the ripples URL instead (alternatively use Google’s API Explorer). In the collection select an appropriate activity (e.g. plusoners) and hit ‘execute’.
The output will contain a full list of people who have +1d your post. Keep note of the nextPageToken, you will need it to query each new set of the results until the full record has been retrieved via API explorer.
Credit: Lee Smallwood
Once you retrieve and format your data (I made a script to do the whole thing) you will be able to show a full report on users who have contributed to the success of you content.
Top sharers by number of followers.
Pie Chart of Sharer Follower Distribution
Looking at this data I get a sense for ‘virality share credit’ from each of the listed users and couldn’t but wonder how my initially observed factors may have influenced on everyone’s decision to share:
While Google still maintains that +1 has no direct impact on organic search, I know for a fact that it’s by no means an arbitrary signal. From what I have seen +1’d posts are distributed to a ‘dynamic fraction’ of user’s followers on Google+ and I say dynamic because I’ve seen it shift in terms of impact and prominence, likely due to interest velocity (something for me to test later on).
It’s only after querying the full list of ‘plusoners’ and querying their follower numbers that I understood just how much of an impact +1 has had on the success of our share.
In the image above you see the list of users and pages who have shared our post, sorted by number of followers. I realised the sheer impact Radhika Subramanian’s +1 had on the post:
The success of the post can be attributed to the following factors:
The impact on our page included increased social number (+1’s, reshares, followers), increased followership and personalised search visibility, brand introduction and reinforcement and finally forming a relationship with the owner of the shared asset.
In a similar study I focused on one of my non-commercial content posts and analysed the reasons behind its success as well. Here are the results:
Detailed write-up is available here. The only item I wish to highlight in this article is my use of #foodporn. Hashtags on Google+ are not only a way of tuning into a semantic stream and enabling interest-based content discovery, but also a way to create your own browsable, gallery-like collections.
The post above illustrates a relatively new link share format which when triggered (og tags) manifests in a more visual way, almost like an image share. Unfortunately links to pages in this case include rel=”nofollow” which is contrary to what Matt Cutts said might happen on Google+ after I enquired about them nofollowing and PageRank sculpting.
Use public posts whenever possible to get any SEO value. Selectively shared posts don’t count in the non-personalised link graph. We actually tested this and found that selectively shared posts appear only in personalised search results.
We also tracked the rate at which Google+ posts appeared in Google’s searches for the same set of queries and found the rate to go through the roof after 11 of November 2011. Googlebot, strangely, crawls Google+ like any other web asset instead of simply absorbing the information internally. Many strange URLs end up in Google search as a result.
Using methods similar to the ones described earlier I analysed my blog posts, again selecting those which seemed to be uncharacteristically successful, ranging from 103 to 440 +1’s:
407 – Google+ Interactive Posts
440 – First Google Webmaster Tools Update in 2014
152 – Entrepreneurial Search
266 – Everything you type is recorded
203 – The Biggest SERP Flux Since Penguin 2.0
131 – Google Helpouts: AdWords is OK, SEO is Not
103 – Little-Known Gem of Google+ Engagement
241 – The Art of Link Earning
120 – How to get 25,000 +1′s and PageRank 7
405 – Google+ Custom URL: Here’s what happens
Misleading Title. Hack.
I found three major ways something reaches above average popularity. While some posts are completely self-propelled and require a lot of promotional work and energy, others manage to trigger fans and special interest groups. This typically happens when a special topic or issue is being discussed which at the time resonates within the community. What I’m seeing is a fairly even post distribution with no major influencers involved. This mode of sharing is interesting to me as it reveals content and engagement value in itself and does not rely on well-known people to share it to be successful as we can see at the top of the ripple graph collection:
Investing in consistent post format and style pays off in terms of engagement and recognition. Here is a mock-up image I shared with my staff a while ago to illustrate a possible post format:
Naturally ‘don’t be a jerk’ rule applies universally. Avoid spamming people with notifications and requests.
Pro Tip: Funnelling your blog traffic discussion to Google+ is a great way to increase followers and engagement. We typically use in-text call to action:
Ross Hudgens has recently covered Copyblogger’s tactics and their growth impact due to discussion funnelling:
Another great way to spark up engagement on your Google+ page is to embed Google+ posts in your content. This allows your readers to quickly jump into discussion, +1 or follow your page. For extra geek points link directly to the post ripple URL as I did in this post.
Hangouts on air (HOA) have been one of the major driving factors in the success of our brand on Google+. Running hangouts takes a lot of time and energy but rewards with increased user engagement and is an excellent content generation mechanism.
So far we’ve had several hangout formats including:
1. Industry Guests (Guest Speaker + Panel)
2. Featured Software (Guest Speaker + Panel)
3. Special Agenda / Topic (Speaker + Panel)
4. Random Acts of SEO (Panel)
5. Celebrity SEO Audit (Panel)
6. SEO Challenge (Quiz Format)
read the rest of the study : http://dejanseo.com.au/google-plus-study/
When it comes to social media, any promotion of your content can be good. One of the basic concepts of classic advertising is that brand awareness (e.g., hearing a brand’s name over and over) can help customers keep you top of mind the next time they need a specific product or service that you offer.
Content is one of the best tactics to help you get more exposure. But, no matter how well-written a blog may be, it will not be successful unless people are talking about it. For the successful marketer, utilizing a three-pronged approach to get people talking will not only get your content more exposure online, but will assist in growing your brand presence and recognition.
Promoting your own content is just as important at writing it. Because search engines now factor social signals into their search results, it is crucial to combine your content and social media marketing strategies to create a cohesive front that both promotes your own content while also sharing resources that make you an asset to your target audience.
All organic social promotion campaigns should include:
When it comes to content, these types of tiny social media optimization tactics can help increase your exposure.
read the rest of the article: http://marketingland.com/your-necessary-three-pronged-approach-to-content-promotion-55504
Digital platforms such as YouTube and Google Search are changing the way people experience television. With 90% of TV viewers visiting YouTube and Google Search, we looked at how they are using these platforms to extend their experiences beyond their television sets. Here we detail the importance and growth of TV-related research online, the prevalence of fan engagement through video and the role of catch-up sources to extend the viewing time frame.
Digital platforms are changing the way today’s viewer experiences television. From sharing the new viral Jimmy Kimmel Live video to watching the promo for the premiere of The Walking Dead to searching for the actor who plays the funny cop on Brooklyn Nine-Nine, one thing is clear: There are more ways than ever for TV audiences to research, participate in and access television content.
With 90% of TV viewers visiting YouTube and Google Search, we looked at search activity, video views and engagement metrics to help us understand how viewers are using these platforms.1 Looking at a broad sample of 100 network and cable shows, we found that the corresponding online behavior is a clear indicator of a show’s popularity, as evidenced by a positive correlation between these activities and live plus three-day viewership. In this paper, we examine how viewers engage with and seek out these experiences on Google and YouTube, as well as the insights we can gain from their activities.
TV-related activity on Google and YouTube has grown year-over-year (YoY). Not only have searches across Google and YouTube grown, but there has also been a rise in video views, watch time and engagement on YouTube from 2012 to 2013, suggesting that TV viewers are increasingly using these platforms to interact with fellow fans and engage with a show.YoY Increase in TV-related Activities on Google and YouTube
While viewers continue to turn to multiple devices for television-related content, the query growth across Google and YouTube in the television category is driven by mobile and tablet, exceeding 100% on both of these devices.2
Online research: When, what and how
The changing face of television viewing has given way to new behaviors such as viral video sharing; audience-generated supplementary content; online streaming and use of catch-up sites such as Netflix, Hulu and networks’ streaming offerings. One thing remains consistent, though—a viewer's desire to gain basic information about a show before tuning in.
Trailers, reviews, cast information and premiere dates are all common but essential types of content sought by viewers. Gathering this type of information is an important step in deciding whether or not to watch a show: Two-thirds of viewers of new television shows search online before tuning in.3 Overall, both Google and YouTube serve as key destinations in the television viewers’ decision-making process. Our analysis of Google and YouTube search queries and YouTube views show positive .72, .74 and .67 correlations with live plus three-day viewership, respectively.4
Let’s take a closer look at Google and YouTube search and viewing behaviors, specifically the when, what and how of seeking information and content:
When: We see that queries for fall television programs begin during upfronts and continue beyond the premiere, with increased activity during key show announcements and summer TV tentpoles such as Comic-Con and the Television Critics Association Press Tour (TCAs).When TV Viewers Are Searching
Although this trend holds true for most shows, there are a few differences worth noting. New shows see spikes during upfront announcements, and then interest builds again about two months before the premiere date. Returning shows, in contrast, see sustained volume throughout the off-air period. Although new shows generally have fewer searches than returning shows, they have twice as many queries, on average, for promos, ratings and reviews. This suggests that users may be doing their homework prior to tuning in.
In addition, there are a few genre differences worth noting. From a trending standpoint, there is more activity earlier on for dramas and comedies. Queries for reality programs pick up in the few weeks leading up to premiere and are sustained post-premiere. In examining search intensity (queries/live plus three-day viewership), serialized dramas—especially teen dramas such as Vampire Diaries and Arrow—have the highest search intensity, followed by comedies and reality shows. Procedural dramas, in contrast, have the lowest search intensity.5
What: Outside of a show's title, some of the most common TV-related search terms include season, TV show, network and cast modifiers, among others. Of these, we see that some are sustained throughout the premiere timeline, while others are concentrated to parts within it. For instance, promo queries spike at upfront week and tend to start building again about two months pre-premiere. Premiere-related queries are concentrated in the weeks leading up to and immediately following the premiere. Ratings and review queries, on the other hand, tend to be concentrated during premiere week and the weeks after it.What TV Viewers Are Searching For...and When
One important component of what users are searching for is trailers for new shows. In addition to being frequently searched, the trailer is the most watched piece of content for new shows on YouTube, whereas videos viewed for returning shows are more varied in nature.6
"In addition to being frequently searched, the trailer is the most watched piece of content for new shows on YouTube."
How: We examined 17 categories of Google Search queries across devices and discovered that intent can vary by device. For instance, cast, premiere/finale and plot-related searches regularly occur on mobile devices relative to other categories, suggesting that users often seek quick bits of information on a small screen. Alternatively, watch-related queries on Google Search are overwhelmingly searched on desktop and tablet devices, highlighting a preference among users to consume longer content on larger-screened devices.How TV Viewers Are Searching
Viewer participation: Going beyond the episode
For a core group of fans, a 22- or 44-minute TV episode isn’t enough. Whether it’s seeking additional content offline (such as the live talk show Talking Dead that discusses episodes of The Walking Dead) or online (network websites or industry sources such as imdb.com), TV lovers are looking to further engage with their favorite programs through “beyond-the-episode” content such as parodies, behind-the-scenes clips, and extended trailers found on YouTube. To better understand their online experience, we look to YouTube engagement metrics (i.e., shares, likes/dislikes, comments, subscribes), which collectively show a positive .58 correlation to live plus three-day viewership.7
A key behavior among YouTube users is the propensity to discuss their favorite shows and create new related content. Indeed, in 2013, for every piece of content uploaded by a show’s network on YouTube, there were more than seven pieces of community-generated content related to the show. Some fan favorites far exceed that benchmark: Game of Thrones, for example, had 82 community-generated videos per video uploaded by the network and The Vampire Diaries had 69.8
These same fans are not only engaging with this content but also looking for ways to share and discuss it with a community of like-minded fans. An example of this collective enthusiasm can be found in YouTube’s subscriber community. Overall, they tend to watch 52% more video than those who don’t subscribe.9 And because they watch more video overall, they’re often the first to discover content.
A popular late-night talk show’s highly viewed YouTube video that reached one million views in less than 18 hours exemplifies this phenomenon.10 We can see that subscribers comprise the majority of views right after the video goes live, but over time, discovery sources begin to shift as these initial viewers (the subscribers) share the video with others. As views from subscribers begin to taper off, direct links, YouTube searches and other user-controlled discovery methods take over. This highlights the importance of a strong subscriber base because subscribers are often the first to see and subsequently share content.Viewership Pattern After Posting of Popular Video
It’s also a reflection of a larger trend on YouTube—overall, the platform has seen a 3x increase YoY in daily subscribers.11 Additionally, TV networks have been gaining subscribers for their official YouTube channels at a blistering rate, with an average per-channel subscribership increase of 69% from the beginning to the end of 2013.12
Accessing content: Extending the viewership timeline
In the past few years, we’ve seen a shift in measurement as metrics have evolved to capture longer viewing windows. This reflects not just a change in user behavior but recognition that there is considerable value in time-shifted viewing. With shows seeing a marked increase in viewership numbers across genres in the three days following a premiere and between seasons, tune-in is now happening across a much more extended timeline.
One significant trend is in-season catch-up behavior. DVRs, new streaming options and watch apps provide viewers with greater flexibility than ever to watch the content they want, when they want it. Search patterns also reveal a rising interest in this notion of "TV on my time." Queries on paid streaming providers such as “Amazon Instant Video” or “Hulu Plus,” have increased 16% YoY, while watch app-related queries, such as “HBO GO” and “AMC mobile,” have increased 35% YoY.13
Catch-up behavior is not restricted to in-season activity. If given the opportunity to catch up on a show before a new season, 78% of viewers would be more likely to tune in to the upcoming season.14 Query trends also reflect this sentiment: in the pre-premiere time frame, watch-related queries have increased 50% YoY, signaling intent to catch up on previous episodes before a season premiere.15 So when do viewers start catching up? Of the 70% who said that they catch up on past seasons of returning shows, approximately half start more than two months in advance.16
Day of week can also play a role in catch-up activity. Because viewership patterns show greater preference for time-shifted viewing of dramas, we analyzed pre-season search patterns for a set of dramas and found that catch-up-related queries tend to spike on Sundays. This "lazy Sunday effect" suggests that Sundays may be the most popular day of the week to both stream and catch up on shows.
Pre-Premiere, Daily Query Trending for Hit Serialized Dramas Catch-up Related Queries
Source: Google Internal Data, May–August 2013, United States.
As networks and streaming providers create new ways for viewers to access programming outside the traditional viewing window, they’re creating the opportunity for new viewership as well. Understanding the patterns of how and when viewers are researching catch-up options is important in recognizing key moments of tune-in engagement.
Digital platforms have fundamentally changed the way TV viewers research, participate in and access their favorite shows. Search, video and engagement activities, which show a positive correlation to viewership, can provide additional insight into a show’s popularity. Here we summarize our key observations across Google and YouTube:
A YouTube Masterclass for content creators. YouTube has become an unparalleled broadcasting powerhouse, with over 4 billion video views per day. Find out how content creators use it as a launchpad with their creative strategy fundamentals. MIPTV's essential guide teaches you the basics for thriving in the digital world.
source of article : http://www.thealist.net/content.asp?PageID=1
After spending much of the past decade financing movies, Ryan Kavanaugh is expanding heavily into the advertising arena, launching Madvine as an in-house agency that will manage the entire marketing campaigns of brands like Evian while also integrating corporate clients into Relativity Media’s film, TV, digital, music, sports and fashion businesses.
Madvine has already signed French bottled water brand Evian and Mondelēz International, which owns Oreo, Trident and Stride, as its first clients. Other brands in Mondelez’s portfolio include Cadbury and Milka chocolate, Nabisco biscuits and Tang.
Madvine will be run by former Coca-Cola marketing executive Danny Stepper and producer of Disney’s “Goal” soccer film series, which were funded by Adidas. Relativity and Stepper also have helped Coke launch new energy drink Arriba through a separate partnership, which could expand to have more of the company’s brands work with Madvine in the future.
Evian and Mondelez have inked multi-year deals — spanning three to five years — with each spending considerable coin worth millions to pair up with Madvine and Relativity’s projects.
Taking it one step further, Relativity is now actually Evian’s advertising agency of record, with Madvine handling the company’s entire marketing budget as it looks to entertainment as a way to reach out to younger consumers for its water.
Relativity said Madvine’s mission is to disrupt the traditional advertising and product placement model and bypass third-party agencies to connect brands directly with entertainment produced by Relativity.
“The traditional model for brand-content integration is poised for disruption,” said Stepper. “Through our multi-platform approach, Relativity has the unique ability to offer ubiquitous opportunities for leading brands to reach global audiences through our content and distribution platforms.”
Relativity is essentially selling brands deals to become the exclusive category partner that includes automotive, banking, liquor, clothing and shoes, for example. Once they sign on, they’re involved at the development stage of projects. If a new drink is being launched, the beverage could be teased in a movie, seen on the red carpet of its première, then gain more exposure in a TV show, digital series and while in the hands of athletes who can promote it across social media platforms and be seen using it on the bench at a sporting event. It’s transmedia on steroids.
At the same time, Madvine has a team that gets new products like Arriba prime exposure in stores like Walmart, Target, Walgreens, Kroger and 7-Eleven.
Working with a newcomer like Madvine is a potentially risky move for companies. But for many marketers, it may be a risk worth taking, considering that traditional product placement deals, promotional partnerships or even advertising on TV isn’t giving brands the kind of exposure they often believe it can.
At the same time, Kavanaugh has smartly admitted he doesn’t know all there is about advertising, turning to the Dentsu Aegis Network, one of the largest advertising conglomerates in the world, to provide the kind of advertising services brands may still need. Dentsu’s Story Lab will work with Relativity to find ways to work brands into projects early on in their development.
“We want to recreate the wheel, but some of this still involves traditional advertising,” Kavanaugh said. With Dentsu Aegis, “we’re giving (clients) a familiar home where they should still get the same services from an agency as they had before.”
Brand reps like Angela Courtin, president of Aegis Media U.S., said marketers have no choice but to work with new ventures like Madvine. “They need great content because consumers are tuning out of traditional advertising,” she said. “Relativity is providing them with a great opportunity to bridge branded content because they’re going directly to the storyteller.”