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Cancelled Soap Operas Take to the Internet. Is This The End of Broadcast TV?

You thought they were dead, but they were just in a coma. Or it was the evil twin. Or maybe it was a dream sequence, but the two once-dead soap operas All My Children and One Life to Live will find a new life online.

Soap operas are so named because soap companies first sponsored radio theater drama programs to housewives in the early days of radio.
According to a Gizmodo article, the two ABC soap operas, which were killed by the network this past spring, are going to be made available online instead. ABC has licensed both shows to Prospect Park, a production company that “promises all the shows will be just as long and just as ‘high quality’ online as they were on TV.”

While Casey Chan, the Gizmodo author, doesn’t “imagine soap opera watchers to be particularly good at using the Internet,” I think it’s a gutsy move, as opposed to moving to a cable network, like USA Network or WGN. I wonder if this could be the beginning of the end of broadcast television as we know it. Will more TV shows start migrating online? Will the “critically acclaimed” (that’s TV talk for “awesome show, sucky ratings”) shows find new life online, while regular TV is left with the same tired old clichéd dreck we’ve watched since 1983?

While I don’t know whether most soapies (soapers?) will have the ability to watch their favorite soaps online, I think this could be a great reason for them to start. And if they were smart, advertisers like Best Buy or Dell and cable companies would take advantage of this opportunity.

For example, Best Buy or Dell should run commercials during these soaps that say “you don’t have to miss your favorite soap. We have a laptop just for you.” Call it the One Life to Live or All My Children package — build it with enough RAM and a big enough processor, easy-to-use wifi, and a browser that comes preloaded with shortcuts to the OLL and AMC streaming sites.

After I heard the news, I was talking with our new intern, Cody (@CAustinMiller), about the possibilities, and we thought of all the possibilities this venture held for Prospect Park.

Production costs are greatly reduced

A typical TV show is shot on giant TV cameras, which are easily $100,000 dollars a pop. But this year’s season finale of House was shot entirely on a Canon 5DmkII digital camera.

One of those cameras (body only) is $2,500. Lenses are several hundred to a few thousand dollars apiece. Similarly, the web series Odd Jobs is shot entirely with a Canon 7d ($1600 + lenses).

Imagine shooting an entire show for a fraction of the cost of a single TV camera. Since very few people are watching an Internet-only TV show on HD plasma TVs, the need for giant cameras is reduced.

Better video equipment means better story settings and language

If you’ve got these small handheld cameras, imagine shooting some scenes outside, without worrying about a sound stage and all those cables and production crew. A boom mike, digital audio recorder, and a digital camera, and you’re all set.

And you’re no longer bound by studio Standards and Practices people who say you can’t use certain words on television. Want to drop the F-bomb? Fire away. Want the s-word? Let ‘er fly. Online means you can say whatever you want without S&P dropping the hammer on you. (Of course, you have to make sure you don’t offend your audience.)

Advertisers can reach targeted audiences

This is worth a blog post in itself. Imagine these scenarios:

  • To watch the shows, users have an account where they provide some basic demographic information: age, sex, race, location, income, family status, etc. Show producers can go beyond providing basic demographic info to their advertisers — “we think it’s mostly white women between the ages of 25 – 45” — and provide actual counts and percentages.
  • Thanks to today’s web technology, advertisers can deliver specific ads to specific people watching on specific browsers. Send diaper ads to new mothers, life insurance ads to women in their 40s, and luxury car ads to people who make a certain amount of money. Go read up on Facebook advertising for more ideas on how this works.
  • Advertisers can offer special coupons and codes during the show. These ads and coupons can even appear in a sidebar in the browser window. These can all be based on the viewer’s demographic information.
  • Marketers can then track click-throughs and follow the visitor’s path all the way through to the contact page or purchase page. They can determine that X number of people ordered our product while they were watching All My Children at 2:37.
  • I just had a EUREKA! idea: Put a shopping cart right in the browser sidebar window. When a small product is advertised on the show — say, the latest Danielle Steel novel — viewers can fill out the shopping cart without ever leaving the viewing window, order the book, and have it shipped, all during the show. It’s the ultimate in impulse purchasing.
  • Product placement is much easier and less expensive for marketers. Since the production company can call the shots without having to involve the network executives, they can sell product placements for a fraction of the cost of TV spots, but make a bigger piece of the pie.

Sell subscriptions to the shows

This is a chance to test the loyalty of the shows’ viewers: sell monthly subscriptions — say $2.99 per month — to viewers for ad-free episodes. Otherwise treat each episode like a regular TV episode: splits in the shows where they usually happen, with 2 – 3 minutes of advertisements. But monthly subscriptions can also offset production costs and help pay for the episode. If enough people opted for the monthly subscription, it may also show advertisers that viewers don’t want ads, which means they have to be more clever in how they reach those viewers: more product placement, sidebar ads, etc. This could also help the production company find new revenue sources as advertisers scramble for a way to reach this now-clearly defined audience demographic.

Crowdsource the writing

Many years ago — and I can’t remember when or what show — viewers got to vote whether a certain character lived or died. They called in, cast their votes, and the story unfolded to the majority’s wishes. Now, imagine having an online poll that allows viewers to vote on a particular storyline. Does Trent live or die? Is Ashlyn’s evil twin really Ashlyn? Does Trent marry Ashlyn?

It’s one more method of interaction, and one more way to keep viewers involved and coming back. Maybe they could even shoot two endings to a storyline or episode, and let the viewers vote for which ending that gets shown. As a bonus, let people watch the ending that didn’t get aired after the episode is over. Again, more interactivity, more content for viewers to consume, which keeps them coming back.

I’m really excited to see what sorts of developments will come out of this new deal (not enough to watch soap operas, mind you, but still, fairly excited). Prospect Park has said they will begin airing All My Children online starting September 26, after it makes its final TV appearance on Friday, September 23. I’ll be interested to see what kinds of ideas they come up with, and whether the Internet may be a great new frontier for TV shows that can’t survive the picky whims of studio executives who worry more about ratings than actually showing good television.

Photo credit: Wellcome Images (Wikimedia Commons, Creative Commons 4.0)

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People Who Predict Failure Don’t Add Value

I’m tired of people who predict the failure of some new tool before it ever even gets off the ground. They’re cowards, doomsayers, and nattering nabobs of negativity. They don’t actually provide any real value, or anything I can use. They’re like the petulant child who automatically says “Nope. Won’t do it. Don’t wanna” to anything her family suggests.

It’s not hard to predict failure. It doesn’t take any courage, special intelligence, industry expertise, or a crystal ball. You’re not going out on a limb by predicting something will fail. You’re not offering an opinion that runs counter to 99% of your industry. Given the number of attempts at anything that fail, and you’re going to be right more often than you’re wrong. That’s why it’s such a cheap win.

Oh sure, you get to look like you knew what you were talking about when it happens. But the odds are in your favor, as with any startup. It’s like predicting the hitting success of any major league ball player. If you predict an out every time he comes up to bat, roughly 7 – 8 times out of 10, you’ll be right. But it doesn’t take a baseball genius to know that a batter is going to miss 75% of the time.

It takes a pessimistic jerk to say, “he’ll fail this time. And this time. And this time too. And — oops, I was wrong about that one. But I got the other 6 times right.”

The real courage doesn’t lie in predicting failure, it lies in showing success. Talk about what this new tool can do, how it can help people, and where you can see using it. Saying where it fails doesn’t take any creativity.

I’ve seen this lately with all of the Google+ users who whine and mewl that it’s going to fail, or that it doesn’t do certain things, or that it isn’t Facebook, or that Google’s past forays into social media have failed.

Blah blah blah.

There’s no courage in finding fault or criticizing. There’s nothing valuable in predicting that something will fail, and then reciting the same tired litany of faults that you read on some other blog post, or drawing the same tired comparisons to Facebook. They complain but they don’t offer solutions.

You want to do something cool? Tell me what’s awesome about it. Tell me the things this does or has the potential to do. Chris Brogan impressed a hell of a lot of people with The Google+50, which became his most trafficked blog post ever. I may not read Chris Brogan that often, but when I do, it’s because he’s telling me something useful, not why something will/should fail.

I think people who spend most of their time criticizing and finding fault aren’t actually contributing anything of value. They aren’t doing anything useful. They’re the failed restaurant chef who became a food critic. The failed musician who became an agent. The failed teacher who became an administrator.

If you want to be useful, if you want to be valuable, contribute to the success of something, don’t complain. Show why something is cool. Better yet, create something cool. But do something that’s worthy of you and your time. I already think you’re awesome, so show me.

Photo credit: ougenweiden (Flickr)

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Are You an Expert?

Are you an expert?

Do you know more about a particular field than most people? Are you well-versed and well-read in it? Have you practiced or worked in that field for several years? Did you attend a special school to gain that knowledge?

An expert is someone, says the Random House Dictionary, who has “special skill or knowledge in some particular field; specialist; authority.”

A doctor is a medical expert. A contractor is a building expert. A writer is a storytelling expert.

The doctor went to medical school, and then focused on one speciality for a number of years. She knows more than the average person about the human body, and more than most doctors about her speciality.

A contractor has spent more years swinging a hammer and cutting wood than other people. He knows more about building and repairing houses than even the most enthusiastic hobbyist.

A writer may have gone to school, or may be self-taught. She has written news articles, plays, and books for a number of years. She knows more about word smithing than the average person.

These people are experts because they have studied their chosen vocation, practiced to correct mistakes, and worked to become better and more proficient.

Experts do not stop learning. They do not know everything there is to know about their field. The doctor specializes in the brain, and knows nothing about sports medicine. The contractor builds houses, but can’t build furniture. The writer is a novelist, but can’t write marketing copy.

They are not the top dog, numero uno, king of the hill expert in their field. There are thousands of doctors, contractors, and writers. There may be a top doctor, contractor, or writer somewhere, but our experts are not. That doesn’t mean they are no longer experts.

Our experts are still experts when their field changes. New advances in brain surgery come, but our doctor is still an expert in her field. New tools, new materials, and new joinery techniques are created, but our contractor is still an expert. New styles of novels are invented all the time, but our writer is still an expert.

Replace their tools with new tools and they’ll retain their knowledge. They just have to learn the new tools. The doctor didn’t quit being a brain surgeon when someone invented the laser scalpel. The contractor didn’t become an apprentice again when they took away his hammer and saw and switched him to a nail gun and miter saw. The writer didn’t lose her ability when she got rid of her typewriter and switched to a laptop.

An expert’s status doesn’t end just because they switched tools. That’s because their expertise lies in the execution, not the method. It does not stop because their field changes or grows, because every field changes and grows. To claim these people are no longer experts shows a lack of understanding about progress and change.

Expertise is not negated because they’re not the best ever in their field. To say that means only one person can be an expert at anything ever.

Expertise is not eliminated because they haven’t learned everything there is to learn. Otherwise there will never be an expert at anything.

Expertise is based on amassing more knowledge than most people, not all knowledge. That’s it. It’s not a fixed milestone. It’s not a zero-sum competition. It’s not something that changes just because there’s a new development. And it’s not lost when tools are replaced.

To say otherwise means you just don’t understand what an expert is.

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Fast Company Doesn’t Know You Can Calculate Social Media ROI

Fast Company seems to have an aversion to math or basic research. Their latest story, Does Social Media Have a Return on Investment, says that no one is able to calculate the ROI of social media, and that large brands like Audi and Home Depot are just fumbling around in the dark on determining the ROI of social media.

This is complete and utter crap.

People have been able to calculate the ROI of social media for a few years now. In fact, as Katie Paine (@kdpaine) pointed out in the comments section to this article:

This is ridiculous. Back in 2008, Wells Fargo and SAP were calculating solid ROI from social media campaigns. Social media agencies like Organic have been using sophisiticated data analytics for years to predict outcomes.  You stumbled across a few creative types that are allergic to math and haven’t a clue what data is available who don’t care about measurement or  ROI. And if they are using Klout, the really don’t care much about the accuracy either. Other marketers, the smart ones, are embracing all the data and analytics now available and providing solid ROI on a regular basis.

It’s not that hard to calculate the ROI, or to measure anything when it comes to social media. Here are the basic steps you can use to calculate even the most rudimentary ROI of a sales page:

  • Set up Google Analytics on your website. Make sure you put the code on every page.
  • Set up Google Webmaster Tools, and use their Campaign Code Creator.
  • Append any URL you tweet out or put on Facebook with the Campaign Code Creator.
  • Shorten every link you send with Bit.ly, including the campaign code, and send it out. Assign different campaign codes to different messages, tools, and campaigns.
  • Track down the visits that filtered down into visits to the sales page. Total up the sales from those visits. Cross-reference them with the contact data that came from the sales form.
  • Subtract the cost of your campaign from your sales total. That’s your ROI.

And that’s the writer’s method of dealing with ROI. There are entire suites of tools built to answer the ROI question, and professionals like Katie Paine have been doing it for years.

With thinking like this being erroneously spread by Fast Company and writer Farhad Manjoo, it’s no wonder businesses are afraid to spend money on social media. When uninformed media — who frankly should know better, or should have done some remedial research — start spreading bad information based on their own misunderstanding, it not only shows their ignorance of the industry, it spreads bad information to the rest of the business community.

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Businesses Don’t Care About the Social Media Expert Debate

After reading a few of the different posts about social media experts, including ours, our partner and founder, Mike Seidle (@IndyMike), wrote this response:

First, I am not a social media expert. I do sit on the board for a company that has several people that I would classify as experts on the payroll. Anyone who is saying “there are no social media experts” falls into one of two groups:

  • People who can’t accept that others may have more experience/deeper understanding than they do. This argument boils down to “since I don’t understand it, or can’t keep up, you can’t.”
  • People who do not have the resume to actually be an expert that are trying to get a job or gig that is for an expert. These people will claim that no experts can exist because of massive recent change that obsoletes past experience.

In the end, anyone who claims that social media experts are like the tooth fairy, Santa Claus or the Easter bunny ends up looking pretty silly:

Executive: So, you are here for the social media director position. I see here you’ve been using social media for two years. What makes you an expert?

Social Media Not Expert: There are not experts in social media. We are all explorers at sail on an undefined sea filled with incredible wonders and indescribable dangers. You see, no one can possibly be an expert on social media since it changes so fast. What I learned last year has no application to the future, and the tools we use and strategies we build often are rendered obsolete in the blink of an eye.

Executive: So, if it’s not possible to be an expert, then why are companies shelling out bucks on social media people?

Social Media Not Expert: Well, social media can get incredible results. Most social media campaigns fail because they are not well planned and are mismanged. On top of that it’s impossible to measre the ROI on social media… so do not count on predictable ROI or even expect a return you can measure. But social media will greatly enhance your brand. That’s why most companies are doing social media.

Executive: So, most social media campaigns fail for lack of management or knowege. I can’t expect any ROI, and you are not an expert. Right?

Social Media Not Expert: Well, when you put it that way… it doesn’t sound right. I would say that I’m not an expert, but I have experience and can guide your company around making mistakes that will make your social media campign fail. While we can’t …

Executive (Redfaced, Cuts off Social Media Not Expert): The door. Use it. Use it now.

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Interview with Paul Schmidt of Blue C Advertising on Motor Sports PR

I’ve been spending time at the Indianapolis Motor Speedway as a racing blogger this year (my 3rd year). I had a chance to interview Paul Schmidt, the director of account services at Blue C Advertising, an advertising and PR firm in California.

He was there to support one of their clients who were sponsoring a few drivers in the 500. They had organized a contest for their client as a way to build traffic and name recognition for their client. At the time, the contest had yielded 2,500 new “likes” on their Facebook page, and nearly as many members in their text club.

Sports marketing is a different animal from regular marketing, in that you’re selling a product that — unless you’re working directly for a league or team — you have to center around a particular event or other organization. In Paul’s case, they had to promote a very specialized niche product to the audience most likely to appreciate what the company, racing fans.

While there are media outlets and TV shows about street racing, this is a way to use a marquis event like the Indy 500 to create a special event and celebratory feeling about the product. Combine that with a special promotion as a way to launch a new product, and you can see how interesting (and difficult) sports marketing/advertising can be.