Donna Thorland, author of the Renegades of the Revolution series from Penguin NAL has taken advantage of Twitter’s new native video platform to promote her latest book.
By uploading a trailer for the book from her phone, she was able to tweet the trailer directly to her audience from within the social network. “I actually repurposed an existing trailer for one of my books to fit the 30 second time frame,” Thorland explained in an email to GalleyCat.
We’ve embedded the tweet below to inspire other authors. Notice the Amazon link in the tweet as well.
The stage is set for a revolution. http://t.co/FM7EcwvFFq pic.twitter.com/ElXiphTPO8
— Donna Thorland (@DonnaThorland) February 25, 2015
In a recent post at The Social Ms, it explained that the heavy-hitter social influencers use a particular strategy to get the right followers and lots and lots of followers.
It’s the “follow-unfollow” strategy and it’s in two parts.
1. What this simply means is you follow heavy-hitters in the hope they’ll follow back. But, there’s another strategy to this, you become visible to
Taking a close look at Favorites, three information science specialists conducted a survey of 606 participants to determine the reasons behind Twitter Favorites.
The study consisted of two questions:
1. The first questions wanted to know why the user Favorited a Tweet.
2. The second question asked for “a specific explanation for the last tweet the user had favorited.”
Based on the results,
According to Bloomberg Business, Twitter has reached a deal with Google to have its Tweets appear in Google’s search results.
This is huge news for businesses that use Twitter as part of their social media marketing.
As of February 4th, the deal wasn’t made public. Some of the technicalities were being worked out. But, the author, Sarah Frier, said, “In the first half of this year, tweets
When people talk about saving John Constantine, usually it’s a hopeless task, as the scouser magician’s soul has long been consigned to hell for his many sins on earth. But another campaign to save Constantine is under way—and this time it’s fans attempting to keep his TV show going past a 13 episode commitment despite middling ratings.
Arrested Development has plans for a fifth season on Netflix, Twin Peaks will see you on Showtime twenty-five years from the 1991 series finale, and Yahoo Screen will bring Community closer to its promise of #sixseasonsandamovie, airing new episodes this spring. It’s a golden age of fan campaigns with the ability to resurrect dead and mostly-dead shows with measurably vocal fan bases. It’s a golden age fans of NBC’s Constantine are counting on, as the last of the series’ 13 episode initial run airs this Friday, February 13 at 10pm. The network has halted any further production on the show, prompting fans to organize on Twitter and Facebook under the hashtag #saveconstantine in support of its renewal — whether on NBC or another network entirely.
Fan campaigns to save television shows are nothing new, with the late sixties fan campaign to save the Star Trek original series largely credited as the first of its kind. Still, there does seem to be a trend in the growing power of fan campaigns to have an impact on programming, even those who represent much smaller audience shares than the high-profile efforts of yesteryear, prompting fledgling networks to pick up where network and even cable channels have left off.
So what does all this mean for fans of Constantine, starring Matt Ryan as trench-coated demon hunter John Constantine? Do they feel a campaign to save the show, based on the long-running DC/Vertigo series Hellblazer, has a better chance of being saved now than it would have 10 years ago? “They definitely are more successful — especially with social networking being the way it is,” said Breanna Conklin, who has been active in the campaign to #saveconstatine since NBC confirmed in late November they would stop production on the series. “I am in a few nerd groups on facebook. You’re able to spread the word to like minded folks and your friends within a few seconds. Social media gives awareness that wasn’t available to us ten years ago.”
The #saveconstantine effort began to gain momentum when a slick-looking website, saveconstantine.com, went up in December. In addition to links to the petition and fan communities, saveconstantine.com offers a detailed description of the importance of the recently introduced Twitter TV ratings model from newly-formed group, Nielsen Social. An off-shoot of the more traditional Nielsen ratings, Nielsen Social “identifies, captures and analyzes conversation on Twitter in real time for every program aired across over 250 of the most popular U.S. television networks, including Spanish language networks, as well as over 1,500 brands” according to the company website.
The challenge for Constantine fans is to ensure that their awareness of the need to campaign for the continued life of the series is leveraged in a way that speaks both to NBC and their advertisers. It’s not enough to simply prove there’s interest in Constantine from the hallowed 18-49 age demographic; advertisers need to ensure that ad placements can actually have an impact on that demographic. As television consumption proliferates on an increasingly diverse group of content platforms, strong same-day viewing ratings don’t necessarily show advertisers that their ads will be seen instead of fast-forwarded on a DVR viewing post-broadcast.
It’s a challenge the organizers of the #saveconstantine effort hope to meet by being better educated on the increasingly complex world of network tv ad buys. “It’s a big group effort,” said Allison Gennaro, one of the campaigns many organizers. A fan of the Hellblazer comics, Gennaro became involved in the campaign upon hearing “NBC had capped the airing to just 13 [episodes],” which she took to mean the show was “in trouble” but also that the “ratings might not be meeting the NBC demo of choice.” Hoping to convince NBC not to cancel the series, the #saveconstantine organizers publicized a petition for the show to get a second season across social media platforms in late November. The petition cites a “38% bump in the ratings and an 87% viewer retention rating (after Grimm) with the introduction of The Spectre” as evidence of the viability of the series which currently boasts over 20,000 signatures.
The description on saveconstantine.com explains the impact live tweeting Constantine episodes can have on the Twitter TV ratings. The site believes the live tweets “denote that a show has a consistent and loyal audience,” and may show advertisers they “are being rewarded for their investment in the network…so if you want to save Constantine, please watch, tell your friends, and tweet.” Gennaro cultivated a group of Constantine fans through a mailing list to help push the #saveconstantine hashtag and live tweet campaign. “We even threw Friday night twitter parties before the show to trend and gain attention,” she said.
Fan campaigns of the past relied on letter writing, placing ads in trade magazines like Variety, even buying billboards to plead for their respective shows. While Constantine fans have also employed letter writing and email to NBC executives in this campaign, their informed approach in targeting advertisers and leveraging their consumer power is in step with more recently successful ‘save our show’ campaigns. In 2009, Wendy Farrington began a campaign to save another NBC series with supernatural overtones: Chuck. Her game-changing approach acknowledged the fact that the show enjoyed better ratings on off-network viewing platforms and galvanized fans of the series to support a major advertiser of the show, Subway.
According to a 2014 article by Christina Savage for Transformative Works and Cultures, which examined fan-run ‘save our show’ campaigns, on the day of Chuck’s season finale hundreds of fans went to their local Subway and bought a $5 foot-long sandwich featured on the series via product placement. They then left behind comment cards explaining their purchase was in support of Chuck. Savage explained that by “focusing on Chuck as a business transaction, fans used their knowledge of the industry” to support their effort. Shortly thereafter, NBC ordered 13 more episodes of the series. Savage wrote: “co-chairman of NBC Ben Silverman said that this campaign was one of the most creative he had seen, and as a result, Subway would increase its presence within the show.”
John Constantine may not eat at Subway, but fans of the demon exorcist are invoking similar brand marketing powers with their #saveconstantine efforts. Only this time, the fans themselves are the product. By targeting Nielsen’s Twitter TV ratings specifically, Constantine fans “become valuable social ambassadors for programmers and advertisers alike as they amplify content and messaging through their social spheres,” Nielsen Social wrote in a an article posted in September. But will it be enough to push NBC to order another season of Constantine? Could it make the show attractive enough to warrant a rumored move to sister-network Syfy, which has released several high-profile interviews with network executives seeking to return the channel to it’s Sci-fi/fantasy genre roots? NBC president Jennifer Salke told IGN in January that “we wish the show [Constantine] had done better live. It has a big viewership after [it airs] in all kinds of ways and it has a younger audience, but the live number is challenging.”
We spoke with Dr. Balaka Basu, a professor specializing in pop culture and fan studies at the University of North Carolina at Charlotte about the viability of the type of campaign #saveconstantine is waging. “Campaigns helped to save Chuck and Roswell, and gave Firefly fans closure in the less-than-successful Serenity,” she said. “ I think the key was demonstrating an understanding of how television economy works. With Chuck, for instance, fans literally gave their monetary support to the chain sandwich shop Subway…this demonstrates a comprehension of the relationship between advertisers and television producers.”
Fans like Miguel Gonzalez Cabañas, who lives in Madrid, show the global reach of the #saveconstantine fan efforts. He calls Constantine “the best series with a paranormal plot” on television. He, along with Allison, Breanna and the thousands of other fans who make up the campaign to #saveconstantine will be redoubling their efforts tonight: tweeting their support for the show before, during and after the season finale. But beyond the comic book fanbase, beyond charismatic lead Matt Ryan or the show’s arcane mythology: what is it about Constantine, or any other fan-campaigned series, that produces this kind of fan advocacy? “Whether it’s a show like Constantine, where many fans came into the show already in love with the character,” says Dr. Basu, “or shows like Buffy and Angel, where they were allowed to fall in love over the duration of the show, it’s really when the characters feel like real people that you don’t want your relationship with them to end, ever. And that’s been true since the days of Star Trek.”
Margaret Atwood, Jackie Collins, Lemony Snicket and Chuck Wendig are among many authors participating in this year’s Twitter Fiction Festival.
The event is sponsored by AAP, Penguin Random House and Twitter and will take place virtually on May 11-15, 2015.
During the event, authors will share their text, photos, and video on Twitter. Each author will be assigned a daily time slot to live-stream their work on the social network.
The Festival will also host a competition for aspiring writers. There is an open call for submissions beginning March 2.
What are the strange undercurrents to fairy tales like 'Hansel and Gretel' or 'Little Red Riding Hood'? In November 2014, we launched a #fairytalesexplainedbadly hashtag campaign that tied in to the release of Marina Warner’s Once Upon a Time: A Short History of the Fairy Tale. Hundreds of people engaged with the #fairytalesexplainedbadly hashtag on Twitter, sparking a fun conversation on the different ways in which fairy tale stories could be perceived.
The post Fairy tales explained badly appeared first on OUPblog.
One of my email subscribers asked me about Staged. It’s a social media engagement service that gets you Followers. But, unless you have the budget, it can get expensive since there’s a monthly fee.I’ll call the subscriber John Doe for this article.The other part of John’s question was that although the service did get him a lot of Followers on Twitter, how could he monetize them.The first thing
Imagine that one afternoon after school the teens you work with are hanging out at the library reading articles of personal interest on their iPhones. All of a sudden one of the teens reads something that she has to let others know about. So, she decides she wants to Tweet the link. But, really what she wants to do is highlight one particular sentence in the article for her friends to read. She could copy and paste the text into Twitter, but maybe that makes her Tweet too long to post easily. But then she realizes, I have OneShot on my phone and I can take a screenshot of the part of the article that I want to point out, highlight the text on the screenshot, and then add that image to the Tweet. So, that's what she does.
I think that story highlights that OneShot is a simple idea and a simple app that does one thing really well - allows Twitter users to use screenshots in Tweets and enables highlighting in those screenshots (OneShot also makes it possible to crop screenshots and add a background color). It's one of those apps that before I used it I didn't realize I needed it. I was making due with the tools I had - copy and paste, ordinary screenshots, and so on.
Here is an example of a recent Tweet that I posted using OneShot to highlight a portion of a web page:
At the moment the app only works on iPhones. The developers say that a universal version should be available any day now which means that it will be available for iPad as well. I can see that the iPad version could be very useful for teens and staff who are reading articles and web pages on their personal and/or library provided devices.
I know that OneShot probably seems like just an extra tool that is OK to have but not a necessity. But, if the teens you work with, your colleagues, or yourself take part in Tweeting that includes links to articles and other web content, try it out. I think you'll be happy that you did.