digital

Digital publishing: How it will evolve in 2014 and beyond

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The future of publishing is entering a new golden era that will make publishing available to more people. Twitter, new long-form content distributors and an increase in digital ad spending will support this new era.

Digital publishing is now a mature, thriving industry, and yet many still insist that publishing is in its death throes. Book publishers know better: While hardcover sales declined slightly between 2008 and 2012 (from $5.2 billion to $5 billion), eBook sales grew at an astonishing clip during that period, rising from $64 million to $3 billion. And while digital publications are typically sold at a lower per-unit cost, profit margins are much higher – from 41 percent to 75 percent as publishers make the transition from print to digital.

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Magazine Readership Inches Upward

Despite a slight decline in overall magazine circulation in the first half of this year, the number of magazine readers in the U.S. is actually up slightly, according to the latest GfK MRI’s Survey of the American Consumer, which tracks print and digital magazine readership.

Total magazine readership across print and digital editions increased about 1.6 percent from fall 2012 to fall 2013, while that of print alone increased 1.1 percent. Digital readership grew a healthy 49 percent. But it remains a scant 1.6 percent of the total magazine audience and slowed down in growth from the 83 year over year increase reported this past spring. The numbers don't tell the full story about magazine readership, however, as the survey doesn't measure reading on magazine websites.

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Top 10 luxury brand digital campaigns of Q3

Luxury marketers used digital tactics to foster intimate connections with consumers during the third quarter of 2013.

Digital enabled marketers to engage with target consumers on a personal level through microsites, branded hashtags and digital touch points. These experiential and educational tactics integrated consumers into what felt like the brand’s inner circle, which ultimately drove brand loyalty.

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The Web Is a Lab for Marketable TV Content, and Vice Versa

The lines between digital and linear distribution are a lot less blurry than advertised when it comes to the business models of cable television and the online space, but content is a different animal altogether.

Take Drunk History, for example, which has evolved from a YouTube sensation to a full-blown half-hour on Comedy Central, averaging a serviceable 0.5 rating in the 18-49 demo over the course of its debut season. That platform shift is a neat reversal for showrunner Jeremy Konner, who saw his Web comedy Ghost Ghirls optioned and then scuttled by Syfy before the show was revived by Yahoo.

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