This is a guest post by Toby Hartwell, the former Managing Director of The Folio Society. I love his description of the success of The Folio Society.
It may not come as a surprise to those of you who are aware of The Folio Society that this bastion of traditional hard back publishing is also home to some very interesting fans. They are core to the continued survival of Folio and rejoice in the relationship that they have with the publisher. Folio is probably alone as a book publisher in having such a strong direct relationship with its customers at the heart of its business model. Over the years it has engendered the perfect breeding ground for passionate and enthusiastic followers of its brand. For those unfamiliar with The Folio Society, the company has, for the last 67 years been publishing beautiful illustrated editions of some of the world’s greatest books. In a sector where roughly 95% of book sales are at prices below £20, some 95% of Folio books are priced at above £20 and many of them are hefty three figure prices. Arguably, if you look at the publishing sector as a whole all Folio buyers are already book super fans in some way.
Last November, I gave a talk at TEDx Brum.
It is the condensed version of what I believe about the future of art and the future of business. I talk about how piracy is not the issue, competition is. How we need to harness the web to give stuff away, but we need to use that stuff to earn the right to talk to people again. That we need to enable superfans, by letting those who love what we do spend lots of money on things they really value.
I was recently invited back on BBC Radio 4’s Start the Week programme to discuss the role of videogames in forming friendships and maintaining relationships.
The context was that the lead guest was Dr Susan Pinker, who has recently released a book called The Village Effect. Dr Pinker argues that we all need to spend time face-to-face to make us live longer, be happier and have fewer illnesses. Although Dr Pinker says that she is not against technology, that is not how her book comes across.
This is a guest post from Jessie Scoullar of Wicksteed Works, a direct-to-fan agency, on how to make email campaigns zing.
We’re signed up to a lot of mailing lists. For solo artists, major artists, indie guitar bands, rock bands, dance acts, independent labels, for authors and filmmakers and agencies and marketing consultants.
We’re professionally interested in how people with a message choose to convey it. Whenever we receive a mailer, we can’t help but scrutinise it – does the layout work? Are the buttons “bulletproof“? Has alternate text been used where the email client has images switched off? Is it optimised for mobile? How about the text – is the message clear? Is there too much, or too little information? Clear call-to-action?
Daniel Ek posted a strong piece on why he thinks Taylor Swift is picking the wrong target in the battle to ensure that musicians get paid for their work.
Well he would say that, wouldn’t he. He founded Spotify. But the full post is worth reading for anyone trying to understand how Spotify (and indeed any subscription service) fits in the world of the Internet, and of the Curve.
Daniel Ek: $2 billion and counting.
I’ve just seen a two-minute review of The Curve on YouTube. I’m trying to get my head around all the many different ways that video is being used to spread messages, and came across this, so I thought I would share it.
Stephen Page, chief executive of Faber, wrote a piece in the Bookseller at the Frankfurt Book Fair about changing publishing to have a direct relationship with consumers. He was kind enough to reference The Curve several times.
The full article is available on p14 of this Yudu version of the Bookseller.
I’ve been invited to speak at TEDx Brum on 8th November.
I will be chairing the Mobile Content Summit in London on Thursday 2nd October. In advance of the event, BusinessTechnology interviewed me for my thoughts on free and making money in a digital age. The interview is reproduced (with permission) below.
The customers of the digital world expect more for less. We read openly-available news online, stream music from Spotify for free, and play chart-topping games like Angry Birds and Candy Crush Saga without parting with any of our cash – initially, at least. Continue Reading
The US Bureau of Labor Statistics has put together a chart showing how expenditure on the written word varies by demographic. It focuses on newspapers, magazines, books and ebooks. That’s a bit odd because it includes the digital versions of books (ebooks) but not the digital versions of magazines and newspapers (websites).