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3pm Journal of Digital research & publishing The collaborative nature of online communities is certainly responsive to campaigns that require participation and creative collaboration of the consumer. Scholastic’s 2007 promotion of the seventh Harry Potter sequel, Harry Potter and the Deathly Hallows, is demonstrative of the possibilities of collaborative online advertising. Scholastic launched the multi-million dollar marketing campaign, “There Will Soon Be 7”, by staggering the release of seven Harry Potter questions aimed to spark debate among fans in online forums. 19 The questions were combined with tours, blogs, online debates and competitions all designed to maximise the consumers input in the increasing hype surrounding the final book of J. K. Rowling’s enormously commercially successful series. Rather than presenting readers with a glimpse of the upcoming title in the form of a trailer, Scholastic encouraged readers to participate in the growing anticipation surrounding the book’s release. While the campaign was a success, it was designed for a product with a virtually unrivalled international fan base, an established film franchise and an initial print run of twelve million copies in the United States alone. 20 Scholastic had no need to capture the imagination of dedicated fans, and the campaign was aimed at creating ‘hype’ rather than enticing readers. Scholastic’s campaign does indicate, however, the advertising power of collaborative online communities. The book trailer could be used alongside participatory online advertising methods in order to reach the largest number of consumers and produce creative and original marketing campaigns. Trailers could be posted to blogs, created as online collaborations among fans or used as part of promotional competitions in order to maximize the collaborative possibilities of online advertising. Publishers such as Harper Collins have begun to explore such participatory uses of the book trailer, running online competitions and requiring readers to create book trailers for the company’s new release titles. 21 This use of participatory and collaborative online advertising demonstrates a shift in the way content is marketed to increasingly technologically savvy consumers, and signifies the publishing industry’s departure from more traditional forms of print based advertising. While the effects of the digitisation of culture on the publishing industry are yet to be fully understood, the utilisation of viral advertising techniques such as book trailers 19 Chris Cobb “Harry Potter’s PR Magic: How J K Rowling, Scholastic and independent booksellers are maximizing Potter’s success” PR Tactics July 19 2007. 20 PR Newswire “There Will Soon Be 7: Scholastic announces record-breaking 12 million first printing in the United States of J. K. Rowling’s Harry Potter and the Deathly Hallows ” Created March 14 2007. Viewed October 15 2010. 21 Harper Collins Publishers, Viewed October 15 2010 25
3pm Journal of Digital research & publishing demonstrate the industry’s adaptation to technological change and shifting consumer demands. Book trailers represent a creative use of the sensory power of imagery and persuasive power of language to engage technologically able consumers with a product associated with traditional single medium text such as the book. The production of book trailers signifies an industry changing to meet the demands of increasingly media literate consumers and a large scale shift in the way content is delivered, advertised and perceived by consumers. While industry figures continue to analyse the merits and possibilities offered by e-reader technology, the imaginative possibilities of print based text are being sold to consumers through the careful editing of visual imagery, dialogue and sound. Book trailers are demonstrative of the increasing power of video sharing sites and viral advertising, and entice viewers towards unexplored fictional landscapes by creating an immediacy and visual impact unavailable to print based advertising. The increased production and consumer popularity of literary trailers demonstrates the adaptation of the publishing industry to the rapid digitisation of culture and increasingly technologically savvy consumers. References Benady, David. “Advertising to the YouTube Generation” Marketing 25 November 2009, 34-35. Bussey, Noel. “Has YouTube Changed Creativity?” Campaign February 26 2010 Cobb, Chris. “Harry Potter’s PR Magic: How J K Rowling, Scholastic and independent booksellers are maximizing Potter’s success”, PR Tactics July 19 2007. Colette, John & Quinn, Meredith. Eds. The Business of Electronic Publishing (Sydney: 26
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