Content Marketing “The Web Democratized Access to Publishing, but Didn’T Come with an Instruction Manual
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User-Generated Content for Marketing and Advertising
USER-GENERATED CONTENT FOR MARKETING AND ADVERTISING An IAB Buyer's Guide Use of User-Generated Content (UGC) for marketing and advertising purposes has grown significantly in recent years largely due to the rise of social and messaging platforms where "ordinary people" have become avid and voluntary content creators, notably on their mobile devices. Publishers, marketers, and agencies are increasingly taking notice and capitalizing on this trend in new and exciting ways. UGC as a marketing and advertising tactic has developed into a distinctly different discipline than Influencer Marketing and, thus, warrants its own exploratory. This is an important shift in thinking by IAB from prior guidance on UGC that previously included top down influencers as part of the definition of UGC. This Guide includes a Definition, Key Benefits, Sources and Types of UGC, Use Cases, and Legal considerations. The goal of the Guide is to help brands and their agencies understand how UGC can help meet their marketing and advertising objectives. May 2019 TABLE OF CONTENTS Mission and Contributors . 3 What is UGC? . 4 • Definition . 4 • The Difference between UGC and Influencer Marketing Content........................4 The Main Types of UGC . 5 What's Driving Growth of UGC for Marketing and Advertising? . 6 Key Benefits of UGC for Use in Marketing and Advertising . 7 The Proven Effectiveness of UGC . 8 • Why Do People Share? ........................................................8 • Why Do People Share Content About Brands?......................................8 • What Makes UGC Effective? . 8 • How Effective is UGC When Used in/as Advertisements? . 11 How UGC is Being Used in Advertising and Marketing Today . 12 • UGC for Advertising Examples . -
20190920 Joealexander V DMA-ADWEEK-COFFEE.Pdf
Case 3:19-cv-00688 Document 1 Filed 09/19/19 Page 1 of 55 PagelD# 1 IN THE UNITED STATES DISTRICT COURT FOR THE EASTERN DISTRICT OF VIRGINIA Richmond Division JOE ALEXANDER ) ) Plaintiff, ) ) 3: 19-cv-688 V. ) Case No. ) ) TRIAL BY JURY DIET MADISON A VENUE ) IS DEMANDED OMA DOE DEFENDANTS 1-17 ) ADWEEK, LLC ) ) -and- ) ) PA TRICK COFFEE ) ) Defendants. ) COMPLAINT Plaintiff, Joe Alexander, by counsel, files the following Complaint against Defendants, Diet Madison Avenue ("OMA"), OMA Doe Defendants 1-17, Adweek, LLC ("Adweek") and Patrick Coffee ("Coffee"), jointly and severally. Plaintiff seeks (a) compensatory damages and punitive damages in the sum of $25,350,000.00, (b) plus prejudgment interest on the principal sum awarded by the Jury from November 21, 2017 to the date of Judgment, and ( c) court costs and expenses - arising out of the Defendants' tortious interference with contract, tortious interference with prospective economic advantage, common law conspiracy, defamation and intentional inflictionof emotional distress. 1 Case 3:19-cv-00688 Document 1 Filed 09/19/19 Page 2 of 55 PagelD# 2 I. INTRODUCTION [https://www.ispot.tv/ad/Ag03/geico-the-wisconsin ("Fifteen minutes could save you 15% or more on car insurance"). The GEICO Gecko has become a force to be reckoned with in the advertising world and was voted America's favorite advertising icon in 2005. GEICO's small green friend has traveled the country spreading the good news about GEICO and has captivated audiences of all ages. The idea for the Gecko grew from a creative session at GEICO's ad agency, The Martin Agency in Richmond, Virginia. -
\Guide the Comprehensive Guide to Native Advertising
\ guide The Comprehensive Guide to Native Advertising The Comprehensive Guide to Native Advertising A Vocus eBook Paid For and Posted by XYZ iPad 10:15AM Promoted by XYZ Sponsored by XYZ GET VOCUS. VOCUS GETS BUSINESS. GET STARTED NOW AT VOCUS.COM The Comprehensive Guide to Native Advertising The Comprehensive Guide to Native Advertising A Vocus eBook Native advertising – the purchasing of sponsored content on social networks and online websites – dominated digital marketing conversations the past year. Market research company BIA/Kelsey estimates that U.S. native ad spending on social sites might have reached $2.36 billion in 2013, or 38.9 percent of total U.S. paid social ad expenditures. How can you effectively work native advertising into your marketing mix? This eBook highlights some techniques brands are using to do just that. It will show you the rich native advertising ecosystem of publishers, vendors, social networks and search engines that help companies create, manage and track content. Finally, we’ll show you the ethical issues to avoid with sponsored content. The Federal Trade Commission (FTC) recently held a meeting with brands and publishers to discuss native advertising – and while some issues were highlighted, others were raised. Your brand can use this set of tools, as long as the ads disclose sponsorship so that consumers are better informed. iPad 10:15AM The Comprehensive Guide to Native Advertising What is Native Advertising? In The New York Times example below, the post is clearly labeled as “Paid For and Posted by Dell.” A survey from Online Publishers Asso- ciation says native ads include “con- iPad 10:15AM tent integrated into the design of the publishers site, living in the same domain, as well as content either provided by, produced in conjunction with or created on behalf of our advertisers that runs within the editorial stream.” In native ads, there is a clear delinea- tion, labeling the unit as ad content. -
Branded Content Creation & Distribution Guide
Branded Content Creation & Distribution Guide Steps for Success. Developing and distributing branded content has become more complicated than ever with a wide array of package options and pricing that can vary significantly depending on the content creator, buy types, content types, publisher sites, and more. This guide is designed to help brand marketers and their agencies identify the various branded content creation and distribution options available today and, importantly, understand the key factors that should be considered upfront to make sure that all branded content/native advertising buy meets strategic objectives/KPIs. iab.com/branded-content April 2018 © 2018 Interactive Advertising Bureau Branded Content Creation & Distribution Guide Table of Contents Mission and Contributors ................................................................................................................... 3 Introduction ........................................................................................................................................ 5 Setting the Stage – The IAB Branded Content Creation & Distribution Definitions Framework ......... 6 Where to Start – Key Steps ............................................................................................................... 8 First step: What’s your strategy and KPIs? ..................................................................................... 8 Next Step: Content: Do you have content? Do you need content? ............................................. 9 Next step: -
Digital Content Creation Annual Report for FY12 Submitted by Betsy Kruger, Head DCC
Digital Content Creation Annual Report for FY12 Submitted by Betsy Kruger, Head DCC I. Unit Narrative A. Overview of major activities and accomplishments in FY12 and major challenges faced i) Digital Content Creation’s (DCC) major activities and accomplishments in FY12 focused on the digitization of significant special collections, primarily in the RBML, the University Archives, the IHLL, the Sousa Archives, and the Map Library, which are detailed in various sections below. We also digitized a substantial amount of University of Illinois related publications, including dissertations, for deposit into IDEALS. We worked closely with CAM metadata personnel and the Visual Resources Coordinator at FAA on access issues related to our digitized content. We provided cost recovery digitization services for several campus units, and handled numerous patron requests for digital images. In addition to the digital projects outlined in the chart below, other major activities of the year included: (1) Developing and issuing a successful RFP for Digital Imaging Services, along with HPNL and the Preservation Department; (2) Oversight of and training for the Library’s participation in the IMLS grant funded Copyright Review Management System – World project, a collaborative project with the University of Michigan and 14 other institutions to make reliable copyright status determinations for foreign-published titles, which constitute a significant portion of the scholarly works being digitized by projects such as HathiTrust. (3) Began work on a Library funded initiative to assess the needs of non-Library, non-FAA units on campus for digitization and image management services. Our partners include representatives from FAA, CITES, and LAS/IT. -
Modifying Interactive Computer Service Provider Immunity Under Section 230 of the Communications Decency Act in the Wake of “Me Too”
APPS TOO: MODIFYING INTERACTIVE COMPUTER SERVICE PROVIDER IMMUNITY UNDER SECTION 230 OF THE COMMUNICATIONS DECENCY ACT IN THE WAKE OF “ME TOO” ALEXANDRA LOTTY* TABLE OF CONTENTS INTRODUCTION ..................................................................................... 886 I. BACKGROUND ................................................................................... 889 A. HISTORY OF THE COMMUNICATIONS DECENCY ACT ....................... 889 B. SECTION 230 OF THE COMMUNICATIONS DECENCY ACT ................. 890 C. CURRENT CLIMATE: THE “ME TOO” MOVEMENT AGAINST SEXUAL HARASSMENT AND ASSAULT ............................................................ 892 II. OVERBROAD INTERPRETATIONS OF SECTION 230 HAVE STIFLED OPPORTUNITIES FOR LEGAL RECOURSE ................... 893 A. INTERNET CONTENT PROVIDER ANALYSIS: THE “NEUTRAL” OR “PASSIVE” ASSISTANCE TEST ........................................................... 893 B. COURT INTERPRETATIONS OF THE TERM “PUBLISHER” IN THE CONTEXT OF SECTION 230 ................................................................ 895 1. The Narrow “Disseminator or Propagator” Interpretation ............ 896 2. The “Traditional Editorial Functions” Inquiry .............................. 897 3. The Broad “Overall Design and Operation” Interpretation .......... 898 a. Modern Case Study: Herrick v. Grindr .................................... 899 C. CONCERNS AND CONSIDERATIONS PRESENT IN SECTION 230 ANALYSIS .......................................................................................... 900 1. Free -
WTF IS NATIVE ADVERTISING? Introduction
SPONSORED BY IS NATIVE ADVERTISING? Table of Contents Introduction WTF is Native 3 14 Programmatic? Nomenclature The Native Ad 4 16 Triumvirate 5 Decision tree 17 The Ad Man 18 The Publisher Issues Still Plaguing 19 The Platform 6 Native Advertising Glossary 7 Scale 20 8 Metrics 10 Labelling 11 The Church/State Divide 12 Credibility 3 / WTF IS NATIVE ADVERTISING? Introduction In 2013, native advertising galloped onto the scene like a masked hero, poised to hoist publishers atop a white horse, rescuing them from the twin menaces of programmatic advertising and sagging CPMs. But who’s really there when you peel back the mask? Native advertising is a murky business. Ad executives may not consider it advertising. Editorial departments certainly don’t consider it editorial. Even among its practitioners there is debate — is it a format or is it a function? Publishers who have invested in the studio model position native advertising as the perfect storm of context, creative capital and digital strategy. For platforms, it may be the same old banner advertising refitted for the social stream. Digiday created the WTF series to parse murky digital marketing concepts just like these. WTF is Native Advertising? Keep reading to find out..... DIGIDAY 4 / WTF IS NATIVE ADVERTISING? Nomenclature Native advertising An advertising message designed Branded content Content created to promote a Content-recommendation widgets Another form to mimic the form and function of its environment brand’s products or values. Branded content can take of native advertising often used by publishers, these a variety of formats, not all of them technically “native.” appear to consumers most often at the bottom of a web Content marketing Any marketing messages that do Branded content placed on third-party publishing page with lines like “From around the web,” or “You not fit within traditional formats like TV and radio spots, sites or platforms can be considered native advertising, may also like.” print ads or banner messaging. -
Using Facebook to Engage Stakeholders: Developing A
Coastal Carolina University CCU Digital Commons Library Faculty Publications Kimbel Library and Bryan Information Commons 2013 Using Facebook to Engage Stakeholders: Developing a Content Strategy to Meet Dynamic Social Media Challenges Scott aB con Coastal Carolina University, [email protected] Amanda Foster Follow this and additional works at: https://digitalcommons.coastal.edu/lib-fac-pub Part of the Library and Information Science Commons Recommended Citation Bacon, Scott nda Foster, Amanda, "Using Facebook to Engage Stakeholders: Developing a Content Strategy to Meet Dynamic Social Media Challenges" (2013). Library Faculty Publications. 2. https://digitalcommons.coastal.edu/lib-fac-pub/2 This Article is brought to you for free and open access by the Kimbel Library and Bryan Information Commons at CCU Digital Commons. It has been accepted for inclusion in Library Faculty Publications by an authorized administrator of CCU Digital Commons. For more information, please contact [email protected]. 2013 ASCUE Proceedings Using Facebook to Engage Stakeholders: Developing a Content Strategy to Meet Dynamic Social Media Challenges Amanda Foster Information Literacy Librarian [email protected] Scott Bacon Web Services and Emerging Technologies Librarian [email protected] Kimbel Library Coastal Carolina University Conway, SC 29528 843-349-2400 Abstract Facebook is often used by higher education institutions to increase engagement with the campus popu- lation and larger community. Facebook page administrators must successfully navigate Facebook’s News Feed algorithm to have content reach the largest possible audience. This algorithm uses different measures of audience interaction when determining how “engaging” a post is, rewarding the more en- gaging posts by increasing the likelihood that they will show up in a fan's News Feed. -
Welcome to the Scbwi Summer Spectacular!
WELCOME TO THE SCBWI SUMMER SPECTACULAR! We’re happy to have you join us for our first all-digital Summer Spectacular. Detailed information on all aspects of the Summer Spectacular can be found on the event’s website page (https://www.scbwi.org/events/scbwi-summer-spectacular-2020/) We are bringing you 10 craft-centered keynote conversations featuring award-winning and world-renowned authors and illustrators, plus the timely and relevant editors’ panel and agents’ panel, and manuscript, portfolio, social media and career consultations. The program is a truly historic gathering featuring many of the best and strongest voices in our field. All sessions will be recorded and posted on scbwi.org for the entire month of August, for you to enjoy and re-watch at your leisure. It’s our pleasure to welcome this year for the first time, the Vermont College of Fine Arts (VCFA) as our exclusive education sponsor. VCFA has one of the most prestigious writing programs in the US, and they are generously offering to waive the application fee through October 15 for active SCBWI members who apply to the Writing for Children & Young Adults Program. See the one-sheet in your attendee materials for more information. Other parts of your experience at the Summer Spectacular are the faculty/member bookstore which will be live on our website from the first day of the event through August 31. Please visit, browse and buy. You are also invited to enjoy the Portfolio Showcase exhibiting beautiful art from over 400 of our gifted attendees. Take part in the socials and Twitter chats, and a fun meme contest to test your sense of humor and creativity. -
How to Attract Customers with Facebook Contents
HOW TO ATTRACT CUSTOMERS WITH FACEBOOK CONTENTS 3 PRIORITIZE YOUR BUSINESS OBJECTIVES 10 BUILD YOUR FACEBOOK AUDIENCE 21 DEVELOP & FOCUS ON YOUR OVERARCHING CONTENT & LEAD GEN STRATEGIES 30 CHAMPION VALUE CREATION: WHAT CONTENT TO CREATE & SHARE ON FACEBOOK 59 MAXIMIZE CUSTOMER ACQUISITION WITH ADVERTISING 72 WRAP UP & TAKEAWAYS PRIORITIZE YOUR BUSINESS 1OBJECTIVES Every brand on Facebook is on Facebook for one reason – to (eventually) get more business. Getting more business from Facebook means different things to different types of businesses, though, which means different brands… …will have different objectives, such as: • Driving in-store sales; • Increasing online sales; • Launching a new product; • Building awareness; or • Promoting a mobile app. This guide will primarily be helpful for businesses that want to generate leads or online sales. Even with these objectives in mind, there are a few stepping stones that precede turning fans into customers. If you want customers … … you have to first: Attract Visitors 1. Build an audience; Create an audience of engaged Facebook fans to drive to your website. 2. Drive inbound traffic to your website; Convert Leads Use forms on optimized landing pages to collect contact information from visitors. 3. Turn that traffic into qualified leads; and then Close Customers Use email and marketing automation to 4. Nurture those leads into nurture leads into (repeat) customers. customers. This guide will give you a playbook for doing just that. First we’ll talk about how to build an audience, and then we’ll dive into how you get that audience to head on over to your website where they can actually do business with you. -
2017 Manufacturing Content Marketing Survey
MANUFACTURING CONTENT MARKETING: Benchmarks, Budgets, and Trends—North America SPONSORED BY TABLE OF CONTENTS 3 Welcome 19 SECTION 3: Content Marketing Strategy 4 This Year’s Top Manufacturing 24 SECTION 4: Content Creation & Distribution Content Marketing Performers At-A-Glance 35 SECTION 5: Goals & Metrics 5 Differences Between Manufacturing Content Marketers and B2B Content 41 SECTION 6: Budgets & Spending Marketers Overall 44 Methodology/Demographics 6 SECTION 1: Usage & Team Organization 45 About 11 SECTION 2: Clarity, Commitment & Overall Success SPONSORED BY 2 WELCOME Greetings Marketers, Welcome to Manufacturing Content Marketing: 2017 Benchmarks, Budgets, and Trends— North America. In the four years we’ve been reporting on how manufacturers use content marketing, this year’s results reveal the most progress they’ve made thus far. The fact that we see a 72% increase over last year in the percentage of manufacturing marketers who have a documented content marketing strategy (18% last year vs. 31% this year) indicates Joe Pulizzi they’ve taken one of the most important steps toward achieving content marketing success: Founder putting their strategy in writing. Content Marketing Institute Other important keys to their increased success over the last year included doing a better job with content creation, making content marketing a greater priority, and spending more time on content marketing. While the progress is encouraging, more manufacturing leaders need to make it clear within their organizations what an effective or successful content marketing program looks like. And, perhaps most importantly, they need to more fully commit to content marketing. Read on for the full results from our annual content marketing survey, and best wishes for a prosperous 2017. -
The Digital Library: a Biography
The Digital Library: A Biography by Daniel Greenstein and Suzanne E. Thorin Digital Library Federation Council on Library and Information Resources Washington, D.C. ii About the Authors Daniel Greenstein is university librarian for systemwide library planning and scholarly information and director of the California Digital Library (CDL). Before joining the CDL in May 2002, he served for two and a half years as director of the Digital Library Federation, during which time he conducted research for this report. Mr. Greenstein was a founding director of the Arts and Humanities Data Service in the United Kingdom, and founding co-director of the Resource Discovery Network, a distributed service whose mission is to enrich learning, research, and cultural engagement by facilitating new levels of access to high-quality Internet resources. Suzanne E. Thorin is the Ruth Lilly University Dean of University Libraries at Indiana University. From 1980 to 1996, she served on the staff of the Library of Congress (LC). From 1992–1996 she was the LC chief of staff and the associate librarian. At LC, Thorin served as the official U.S. representative, appointed by the White House, for the G-7 electronic libraries project, one of eleven G-7 pilot projects for the Global Information Society. She was also responsible for the National Digital Library Program. ISBN 1-887334-95-5 Second edition December 2002 First edition September 2002 Published by: Digital Library Federation Council on Library and Information Resources 1755 Massachusetts Avenue, NW, Suite 500 Washington, DC 20036 Web site at http://www.clir.org Additional copies are available for $20 per copy.