Twitter Power 3.0
Firms need to understand how Twitter is a vital element in any social media marketing, and craft strategies specific to each. Twitter Power 3.0 is the complete guide to Twitter for business, with the latest information, proven techniques, and expert advice. JOEL COMM is the New York Times bestselling author of The AdSense Code and nine other books. As a leading New Media Marketing Strategist and keynote peaker, Joel has consulted, partnered with, or trained companies including Microsoft, IBM, Starz Entertainment, Hubspot and others. A serial entrepreneur on the web since 1995, Joel has sold a site to Yahoo!, created a #1 bestselling iPhone application, and produced the world's first competitive Internet reality show. Learn more about Joel at www.JoelComm.com Dave Taylor has been helping invent the Internet for over thirty years, has launched four Internet startups, written 22 books, and is an award-winning speaker and event host. He has a degree in Computer Science, an MBA and a Masters in Education, during which time he created the award-winning Purdue Online Writing Lab. You can find Dave writing about tech and business at AskDaveTaylor.com , sharing his parenting adventure at GoFatherhood.com and on every major social network when he's not busy with his real job of single dad to his three children, 18, 14 and 11. Dave lives in Boulder, Colorado and can be found on Twitter as @DaveTaylor.
Twitter Power 3.0
An Introduction to the Social Media Landscape
Once upon a time, anyone could be a media publisher. All you needed was several million dollars, a team of editors and writers, a printing press capable of shooting out a dozen copies a second, and a distribution network that would put your publication in stores across the country.
Unless, of course, you wanted to go into radio or television. In that case, things were just a little harder.
The result was that information came down from on high. We didn't talk among ourselves, and we weren't part of the conversation; we were talked to by writers, editors, and producers who controlled the conversation. If we liked what we were reading, we kept tuning in, and the publishing company made money.
If we didn't like it, we stopped buying the magazine, or we switched channels. Advertisers turned away, and all the millions of dollars the publication took to create disappeared.
Today, it's all very different. It now costs as little as nothing more than time to create great content and make it available for other people to enjoy. That low cost means that it doesn't matter if millions or even thousands do not read it if your target market is smaller or nascent. The rise of social media means you can profitably focus on even tiny markets-such as stamp collectors in Mozambique-and still find enough people to form an online community and profit through advertising and product sales.
The buzzword for this rise of small and micro communities, as Wired editor Chris Anderson coined it, is the long tail , and it's absolutely been rocket fuel for our Internet race to the moon.
But the lowered barrier to entry for publishing online has had another positive effect: We aren't being talked to by professional writers and publishers anymore; we're talking to each other.
Average folk like you and me-the kind of people who didn't study writing at college, who never spent years as cub reporters covering local court cases or high school sports, and who were never even very good at Scrabble or Words with Friends-are now writing about the topics they love and sharing their views and opinions online.
And they're hearing from their readers, too. The conversation is flowing in both directions.
Anyone can now launch a website or blog, write articles, share their thoughts and views on Facebook or other social media, or even create videos and upload them to YouTube. And anyone can comment on that content, affecting both its nature and the direction of the publication.
That's social media; it's a publishing revolution, and we're smack-dab in the middle of it!
What Exactly Is Social Media?
Social media can be all sorts of different things, and it can be produced in all sorts of different ways. Perhaps the best definition of social media, though, is content that has been created cooperatively with its audience.
Facebook, for example, is not a publishing company. It doesn't create any of its own content. It doesn't write articles or posts, and it doesn't upload films or images for people to view and enjoy.
It allows its users to do all of that for their own amusement, edification, and profit. Facebook is a platform, a set of tools that enable this activity.
It's as though the National Broadcasting Company (NBC) or Showtime were to fire all its actors, producers, news anchors, and scriptwriters; throw open its doors; and tell the world that all are welcome to come in, shoot their own programs, and broadcast them on the channel. Or as though People magazine were to open its pages up to anyone who wanted to publish a photograph or write some celebrity gossip. That would be sweet, wouldn't it?
Of course, if that were to happen, you'd still have to tell people what channel you were on and when they could see your program. You'd still