Category Archives for Information Marketing

Virtual product placement is coming for TV and movies and Ryff has raised cash to put it there

In a world where ad rates are declining for traditional broadcast media, the corporations responsible for making the fictions that millions devour daily need to find a new business model.

Subscription services are on the rise — with every major broadcaster launching an on-demand service — and so are ad-supported video streaming services to replace the traditional networks.

But there’s another holy grail of the advertising industry, long thought to be too technologically difficult to achieve, that may finally be within reach. It’s the on-demand product placement of branded goods in a video, and it’s the technology that Ryff has been developing since it was founded in early 2018.

Product placement is an increasingly big business in the U.S. raking in some $11.44 billion in 2019, according to data collected by Statista. That figure is up from $4.75 billion in 2012. The same report indicated that roughly 49% of Americans took action after seeing product placement in media.

The effectiveness of product placement has even been proven by researchers from Indiana University and Emory University. They found that “prominent product placement embedded in television programming does have a net positive impact on online conversations and web traffic for the brand.”

And while streaming services enjoy the dollars their subscribers are throwing at them, they’re also looking at ways to diversify their revenue streams. Netflix and Hulu are both expanding their product marketing divisions and analysts like those from Forrester Research predict that product placement will be a huge moneymaker for the company as traditional ad rates decline.

There are companies that handle product placement already. Startups like Branded Entertainment Network, which works with brands and producers to place real brands into contextually relevant scenes in movies and television, and Mirriad, which adds branded billboards to scenes, are working to bring more money to platforms and producers.

Ryff takes the technology to the next level, using computer vision, machine learning, and rendering technologies to identify objects in a scene and replace them with branded products that can be tailored based on customer data.

“The infusion of SVOD/streaming platforms into the market, combined with platforms like Netflix that are unsuccessfully trying to grow their subscriber base will force those same platforms to explore and embrace alternative revenue streams,” said Marlon Nichols, Managing General Partner at MaC Venture Capital, and a new director on the Ryff board. “In addition, consumers on paid platforms do not want their content consumption interrupted by ads. As such, product placement will be an important growth channel and Ryff’s new marketplace and unique technology set it up to be the unequivocal growth market leader.” 

To continue its technology development and ramp up sales and marketing the company has raised $5 million in financing. According to Crunchbase, Ryff had previously raised $3.6 million from investors including a subsidiary of the Mahindra Group and undisclosed investors. The new financing came from Valor Siren Ventures, MaC Venture Capital, Moneta Ventures and Vulcan Capital.

“Ryff’s offering is well-timed with the rapidly increasing demand for solutions that extend the reach of a brand’s content and drive business results,” said Uday Ghare, vice president for media and entertainment at Tech Mahindra, in a statement at the time of the company’s investment. “We believe the market will continue to see a shift of brand dollars to both content marketing and programmatic advertising as brands increase their reliance on content-centric programs and look to scale those efforts.”

Ryff’s ads can be tailored to the viewer’s taste, the platform on which video is being distributed, the geography of the broadcast, the date and time of the broadcast and a broader demographic profile, according to the company. Basically it’s like adwords for videos.

In a blog post writing about the rationale behind his investment firm’s capital commitment to the company, Marlon Nichols of MaC Ventures wrote:

Imagine a future where an IP owner can maximize the value of its content by putting in on the Ryff marketplace, where that content will be mapped for dozens if not hundreds of product placement opportunities and be layered with restrictions that comply with creative needs . Those opportunities will be ranked and priced by their effectiveness to drive marketing goals for brands. Brands can bid on in-video placement opportunities that fit their marketing strategies and budgets. 3D brand assets can be uploaded and inserted dynamically into content right before the moment of video delivery

Ryff’s first disclosed partnership is with the “reality” television producer Endemol Shine. 

“Ryff successfully takes the concept of product placement, the only advertising format that can’t be skipped by the viewer, and delivers a scalable and adaptable advertising solution that can be applied to any content, at any time and in any market,” said Roy Taylor, founder and CEO of Ryffm, in a statement. “The result benefits all – content free from annoying distractions, audience-specific brand placement and delivering a new means towards monetizing video assets.” 

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Conductor execs buy their company back from WeWork

It’s been less than two years since WeWork announced the acquisition of SEO and content marketing company Conductor — but those two years have been bumpy, to say the least.

Briefly: Parent organization The We Company’s disastrous attempt to go public resulted in the ouster of CEO Adam Neumann, an indefinite delay of its IPO and reports that the company was weighing the sale of subsidiaries Meetup, Managed by Q and Conductor.

So it’s no surprise that Conductor is, in fact, being sold — not to another company, but to its own CEO and co-founder Seth Besmertnik, COO Selina Eizik and investor Jason Finger (managing partner of The Finger Group and founder of Seamless).

“We’re grateful for our time with WeWork, during which we’ve been able to invest aggressively in R&D, doubling the size of our team with world-class talent that helps our customers achieve success everyday,” Besmertnik said in a statement. “People don’t want to be advertised to or sold to anymore. Our solutions make it easier for brands to deliver marketing that is helpful and valuable. It’s marketing that consumers actually seek out.”

The company also says that Conductor’s employees will be given a new category of stock that they’re calling founder-preferred shares, turning them into “250 employee co-founders” who can appoint a representative to the board of directors. This should give them a bigger stake and a bigger say in where Conductor goes from here.

In fact, Besmertnik noted that pre-acquisition, the Conductor team (including himself) owned less than 10% of the company, while under the new structure, employees will own “more than four times what they did when we sold the company” — and combined with Besmertnik and Eizik’s shares, they have a majority stake.

“Our ownership model is going to really create an even more committed and even more passionate group of people as we apply that to our mission and vision,” he told me.

Conductor started out with a focus on helping marketers optimize their websites for search, then expanded with tools for creating the content that’s being found through search. Since its acquisition, the company has operated as a WeWork subsidiary, and it’s currently working with more than 400 enterprises, including Visa, Casper and Slack.

The financial terms were not disclosed, but Conductor says that as a result of the deal, it’s fully divested from The We Company.

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Uberflip acquires SnapApp for smarter content targeting

Uberflip is acquiring SnapApp, bringing together two startups that promise to help marketers use their content more effectively.

President and Chief Marketing Officer Randy Frisch argued that Uberflip focuses on content experience, not content marketing. In other words, it’s not selling productivity and workflow tools for marketers to write blog posts and create videos. Instead, it helps them present their existing content in a smarter and more personalized way.

For example, it worked with data warehousing company Snowflake to create content streams highlighting the topics most likely to grab the attention of different sales prospects, then embedded those content streams in Snowflake’s marketing emails.

“Content marketing has gotten a bad rap in some ways,” Frisch said, noting that there’s been “a lot of consolidation in that space in the last number of years,” so Uberflip has been working to distance itself from that term. (To that end, Frisch recently published a book with the colorful title “F#ck Content Marketing.”)

As for SnapApp, I wrote about the company’s interactive content tools back in 2015, but Uberflip CEO Yoav Schwartz told me that the product has changed dramatically in the last 18 months — it now offers “a better, smarter way to understand a visitor” by “peppering them with questions” as they’re browsing a marketer’s website.

So Schwartz sees this acquisition — Uberflip’s first — as a way to help the company improve its personalized content recommendations.

“We’re going to let SnapApp continue to run as is,” he added. “We’re not going to attempt to integrate on day one. We’re going to allow time to understand how those two technologies can work together.”

Frisch and Schwartz said that 10 to 15 SnapApp team members will be joining Uberflip, bringing the total headcount to around 150. And SnapApp’s current headquarters will become the Boston office of Toronto-based Uberflip.

The financial terms of the acquisition were not disclosed. SnapApp previously raised $22 million in funding, while Uberflip has raised $36 million.

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Keywee introduces a new Loyalty Score to help publishers reach the most valuable readers

I don’t want to hurt your feelings, but here’s the truth: Not all readers are created equal.

At least, that’s how things look from a user acquisition perspective, where publishers running ad campaigns to reach new readers might end up bringing in a whole bunch of random visitors who are unlikely to ever return their site again.

“It’s less about just getting eyeballs on the content,” said Jared Lansky, chief commercial officer at marketing startup Keywee. “Loyalty is just more valuable for publishers.”

Keywee (backed by Eric Schmidt’s Innovation Endeavors and The New York Times) is trying to solve this problem with a new feature called the Loyalty Score. Lansky told me that the score does exactly what the name suggests — it measures reader loyalty, based on how many times someone returns to the site and how many pages they view.

This, in turn, can help publishers make smarter decisions about growth. They can see which of the Facebook ad campaigns run through Keywee are actually bringing in loyal readers and which aren’t. And they can tweak the campaigns accordingly, targeting audiences and highlighting articles in a way that’s most likely to attract loyal readers rather than random visitors.

The score can also shape the way that publishers interact with visitors on their own site. For example, if they’re trying to build a subscription business, they can target their subscription offers and paywalls at readers with a higher Loyalty Score.

Lansky also noted that the data used to calculate the score comes from the Keywee pixel and the Facebook pixel, with no additional data collection required.

“Loyalty Score has given us a whole new world of insights into our user acquisition campaigns,” said Director of Digital Operations & Advertising Andy Price in a statement. “For example, we’re seeing that promoting content that talks about planning for retirement drives more return visitors than posts about saving money on groceries.”

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Playbuzz becomes and expands its content marketing platform

Playbuzz, a startup that helps publishers to add things like polls and galleries to their articles, has rebranded itself as

Co-founder and CEO Tom Pachys told me the name stands for “the experience company,” and he said it reflects the company’s broader content marketing ambitions. will continue working with news publishers, but Pachys said there’s a bigger market for what the company has built.

“We’re seeing businesses wanting to become publishers in a way, to interact with their users in a way that’s very similar to what a publisher does,” Pachys said.

Playbuzz/ is hardly the first publishing startup realize that there may be more money in content marketing, but Pachys argued that this isn’t just a sudden pivot. After all, the company is already working with clients like Visa, Red Bull and Netflix (as well as our corporate siblings at The Huffington Post).

“The previous name does not reflect the values that we stand for today — not even future values,” he said.

Tom Pachys

Pachys also suggested that existing content marketing tools are largely focused on operations and workflow — things like hiring the right freelancer — while aims at making it easier to actually create the content.

“We’re the ones innovate within the core — not around it, but the core itself,” he said. “And rather than trying to call them competition, we want to integrate with as much players in the ecosystem as possible.”

In addition to announcing the rebrand, is also relaunching its platform as a broader content marketing tool, with new features like content templates, real-time analytics and lead generation.

Pachys, by the way, is new to the CEO role, having served as COO until recently, while previous Playbuzz CEO Shaul Olmert has become the company’s president. Pachys said the move wasn’t “directly correlated” with the other changes, and instead allows the two of them to focus on their strengths — Pachys oversees day-to-day operations, while Olmert focuses on investor relations and strategic deals.

“I co-founded the company with Shaul, who’s a very good friend of mine, we’ve known each other 20 years,” Pachys said. “Shaul is very much involved in the company.”

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Getting more people to open your emails

We’ve aggregated the world’s best growth marketers into one community. Twice a month, we ask them to share their most effective growth tactics, and we compile them into this Growth Report.

This is how you’re going stay up-to-date on growth marketing tactics — with advice you can’t get elsewhere.

Our community consists of 600 startup founders paired with VP’s of growth from later-stage companies. We have 300 YC founders plus senior marketers from companies including Medium, Docker, Invision, Intuit, Pinterest, Discord, Webflow, Lambda School, Perfect Keto, Typeform, Modern Fertility, Segment, Udemy, Puma, Cameo, and Ritual.

You can participate in our community by joining Demand Curve’s marketing webinars, Slack group, or marketing training program. See past growth reports here, here, here and here.

Without further ado, onto the advice.

Improving engagement for drip emails

Based on insights from Matt Sornson of Clearbit. Lightly edited with permission.

Personalizing your marketing emails increases conversion. But doing so at scale takes a lot of effort. Here’s how to get around that:

  • Run lead generation ads to your blog posts and to other long-form content on your site. Then tag users based on the posts they’ve read. Plus, prompt them to fill out useful quizzes. Store their quiz answers.
  • Push their engagement data into an automated emailing platform like And enrich their contact details with Clearbit to discover their job title and the industry they work in.
  • Now you can send automated yet personalized drip emails based on a person’s role, company, and interests. This results in higher conversion rates. Show recipients you know who they are and what they care about, and you’ll seem a whole lot less like spam.

Improving cold email response rates

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Netflix has revolutionised television. But is its crown starting to slip?

Below-par subscriber numbers last week were bad news for a service that must keep growing to survive. How will it respond?

The rise of Netflix has torn up TV schedules and destabilised Hollywood, but last week it was the streaming service’s turn to be shaken. Shares in the maker of Stranger Things and The Crown suffered their biggest drop in two years on Monday after a surprising failure to hit subscriber targets.

A torrent of Netflix-produced content – 700 original TV shows and 80 films this year alone – has kept the fans rolling in and made Netflix a darling with investors. But last week’s figures revived doubts about the US company’s business model. Here are some of the challenges that Netflix must address if it is to sustain its $165bn (£127bn) valuation.

Subscriber growth

Netflix stock fell more than 14% in after-hours trading on Monday after the company missed subscriber growth forecasts for the second quarter by 1 million. The company still added 5.2 million new users globally, which, given its base of 130 million, hardly feels like a crisis. However, the Netflix investment case relies on remaining in constant high-growth mode, and that means continuing to be able to acquire new subscribers steadily, quarter after quarter. And that is getting tougher as the “easy” subscribers in the US and major western markets have mostly been converted.

“Netflix’s big challenge is maintaining growth worldwide while its customer base saturates in core western markets,” says Richard Broughton, analyst at Ampere. “Netflix is having to work ever harder to gain new subscribers.” The low-cost nature of the streaming service – a premium subscription costs £9.99 per month in the UK and $13.99 in the US – means that it needs inexorable growth to pay for its content. Must-watch shows and films beget happy customers and draw new subscribers, which helps pay for even more content. Netflix’s content budget is $8bn this year alone – it costs a lot of money to attract a Hollywood star such as Will Smith to a sci-fi film like Bright – and in recent years it has been raised by about $1bn annually. Netflix is stuck in a costly and precarious cycle.

Disney intends to withdraw all its content, including the Star Wars films, from Netflix as a prelude to setting up its own video-on-demand service. Photograph: Jonathan Olley/AP


Netflix is running up substantial liabilities as it struggles to bridge the gap between revenue and the spiralling cost of content. Ampere puts Netflix’s total liabilities at $30bn-$33bn, with debt about a third of this, while the majority is programming commitments. Its debt mountain has grown from $300m as recently as March 2016 to almost $9bn at the end of the second quarter this year. In April, it issued its fifth bond in three years, which added $1.9bn in fresh debt.

Netflix declares a profit – expected to be about $1bn this year – because it is able to spread the costs of making shows over a number of years. Its total streaming obligations, for making and licensing TV and film content, will cost it $18bn over the next few years. It also has $3bn-$5bn in costs it expects to pay relating to “traditional film output deals or certain TV series licence agreements where the number of seasons to be aired is unknown”.

The growth machine is struggling to keep up. Netflix expects a negative free cash flow of between $3bn and $4bn this year, meaning the amount its spends on content, marketing and other costs in 2018 will exceed what it earns from subscriber revenue ($16bn) by at least $3bn.


In the early days of building a streaming empire, Netflix was able to get hold of the rights to TV shows and films on the cheap. Rights owners and future rivals had not identified the global potential of subscription video-on-demand rights, and Netflix prospered. The value of those rights has now spiralled, which has pushed up Netflix’s content budgets and fuelled its drive to produce its own content.

This strategy is also designed to help maintain Netflix’s popularity as some partners withdraw content because they now see Netflix as a threat to their own ambitions. Last year, Disney said it would pull all its content from Netflix in the US – including the Marvel superhero films, Star Wars, Pixar films such as Toy Story and big hits such as Frozen and Beauty and the Beast – as it tries to launch its own rival service.

Disney’s $71bn bid for Rupert Murdoch’s Fox, which includes the studio behind films such as X-Men and Deadpool and TV shows such as The Simpsons, is a move to control crown-jewel content to supply its service and further starve Netflix.

In addition, although Netflix’s huge budgets – the first series of The Crown cost £100m have opened up a new golden age of television, they have also stoked inflation for top on-screen and off-screen talent, with rising costs further fuelled by competition from Amazon and Apple. “Netflix has invested big and inflated the market for scripted drama, but this is classic unsustainable bubble territory,” says Tim Mulligan, analyst at MIDiA Research.

Youth-oriented shows such as Thirteen Reasons Why have been a hit, but teenage viewing habits are changing. Photograph: Beth Dubber/Netflix

Young viewers

Netflix is doing fine against traditional TV companies. Earlier this year, the BBC revealed that 16- to 24-year-olds spend more time with the US streaming service in a week than with all of BBC TV, including the BBC iPlayer. Youth-targeted shows such as Stranger Things and Thirteen Reasons Why have been major hits, but Netflix faces some of the same pressures caused by the rapid generational shift in viewing habits.

The BBC’s research found that more than 80% of children go to the Google-owned YouTube for on-demand content (half also go to Netflix). Last week, media regulator Ofcom revealed that 16- to 34-year-olds spend more time watching non-broadcast content – such as streaming services, catch-up and on-demand TV – than traditional scheduled TV. YouTube was again found to be the biggest winner, accounting for the highest proportion of non-broadcast viewing in the age group.

The BBC’s research found that children aged five to 15 spend more time each week online (15 hours and 18 minutes on average) than they do watching conventional or streamed TV (14 hours). All media is now in competition for attention, and online it is the Facebook-owned Instagram and Snapchat that are currently dominating the attention of younger generations.

Moving into sport and news

A key part of Netflix’s rapid growth is that it is cheap: the most popular £7.99-a-month package is seen by many as a bargain for access to such a vast range of content.

Last week, Ofcom revealed that subscribers to streaming services such as Netflix and Amazon had overtaken numbers taking traditional pay-TV services such as Sky and Virgin Media for the first time. However, Netflix’s low-cost nature has meant that subscribers mostly choose to bolt it on as an additional option. Viewers mostly keep their main pay-TV subscription, which is more expensive but provides wider content such as exclusive football and news services.

Some analysts believe that Netflix needs to develop its content offering and become more like traditional TV companies in order to become a “must-have” service. “Netflix is the TV disrupter that everyone is watching to see what they do next,” says Mulligan. “To move to the next level they need to add global news and sport to their content offer.”

Doing so would also justify the inevitable price rises that Netflix is having to introduce as it continues the race to cover its costs. The company is already experimenting in Europe with a high-definition “ultra” subscription, which costs €16.99-€19.99 a month in Germany and Italy. Traditional pay-TV companies such as Sky, which originally built its business on exclusive Premier League rights, charge up to £100 a month, though this also includes costs for landlines and broadband.

“Netflix’s long-term strategy is that it has to increase its revenue from subscribers; it needs to move into those content genres to replicate the journey of traditional pay-TV companies,” says Mulligan. “You need a full suite of content if you want to be a real substitute, not just an additive service.”

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Netflix subscriber slowdown could mark streaming giant’s peak

Missing quarterly target may seem minor but is a concern for firm with a high-growth model

Netflix’s surprise failure to hit its subscriber targets stripped $30bn (£23bn) from its stock market value as investors and analysts expressed fears that the stellar global growth of the streaming service may have peaked.

On Monday night, the company reported it had missed its second quarter subscriber growth numbers in both the US and, most crucially, in the international markets it is now relying on for the vast majority of future growth.

The total shortfall of more than a million may not appear to be a big deal for a streaming service whose subscriber numbers have now past than 130 million globally and whose share price has soared 150% year-on-year to value the business at $172bn.

By comparison, the entertainment group Disney – which spans film, theme parks, broadcasters ESPN and ABC and is spending more than $70bn to try to buy 21st Century Fox to fight the Netflix threat – is valued at $164bn.

Even after four consecutive quarters of subscriber growth that comfortably beat forecasts, a single quarter miss for a company that needs to remain in constant high-growth mode has investors worrying about whether the Netflix peak has arrived.

“This was always going to cause jitters among investors from a company that’s spent so heavily on content in order to boost its subscriber numbers,” said Joshua Owen, a senior trader at Ayondo Markets. “The question for investors is whether this is a blip or something more structural within the video streaming landscape.”

The Netflix juggernaut relies on maintaining rapid global growth to continue paying for the content that is its lifeblood – $8bn on 700 original TV shows and 80 movies this year alone. If the slowdown in subscribers persists, the company’s already pressurised business model could break.

Netflix is on track to make $1bn in profits this year. But the company continues to spend much more than it makes and competition against rivals such as Amazon and Apple is intensifying, forcing budgets ever higher for the best content and talent to win new subscribers.

Netflix expects a negative free cash flow of between $3bn to $4bn this year, meaning the amount its spends on content, marketing and other costs in 2018 will exceed what it earns from subscriber revenue ($16bn) by at least $3bn.

In April, the company issued its fifth bond in three years to help finance its activities, adding $1.9bn in fresh debt.

Its debt mountain has surged from $300m in March 2016 to $6.5bn. And it has committed to spending $17bn to making and licensing TV and film content over the next few years.

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The California-based business that started out as a DVD rental outfit two decades ago has in recent years been viewed as a digital startup, making it hot stock with investors, which has, for the most part, kept it insulated from negative market sentiment and scrutiny.

“The company is still burning cash and piling up debt as it funds the development of its content library and thus customer acquisition,” said Russ Mould, investment director at AJ Bell. “Even some 21 years after its creation, Netflix [still] cannot generate the cash that ultimately pays the bills.

“The question is whether Netflix is generating enough profit and cashflow to support its monster valuation.”

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How to work with top influencers and avoid ad blockers

We’ve aggregated the world’s best growth marketers into one community. Twice a month, we ask them to share their most effective growth tactics, and we compile them into this Growth Report.

This is how you’re going stay up-to-date on growth marketing tactics — with advice you can’t get elsewhere.

Our community consists of 600 startup founders paired with VP’s of growth from later-stage companies. We have 300 YC founders plus senior marketers from companies including Medium, Docker, Invision, Intuit, Pinterest, Discord, Webflow, Lambda School, Perfect Keto, Typeform, Modern Fertility, Segment, Udemy, Puma, Cameo, and Ritual.

You can participate in our community by joining Demand Curve’s marketing webinars, Slack group, or marketing training program.

Without further ado, onto the advice.

Editor’s note: This is the first of a new series of articles on startup growth tactics in 2019 for Extra Crunch. This first article has been unlocked for all TechCrunch readers.

Don’t abandon email unsubscribers. They’re still useful.

Based on insights from Matt Sornson of Clearbit.

You’ve launched a new feature and want to tell your audience about it. You can send an email to your newsletter subscribers, but how do you reach the 20%+ who unsubscribed? Most people mistakenly consider this audience to be a lost cause.

  • Create a custom audience of all newsletter unsubscribers on Facebook.
  • Run ads announcing the new feature to that audience.
  • Now you’ve reactivated people who at one point had an interest in your product — instead of forever ignoring them.

Tips for effectively working with influencers

Based on insights from Barron Caster of Rev.

  • Create a referral system for influencers: Influencers who sign up others get a % of their sales or signups. This makes a mini-pyramid structure and turns your influencers into a salesforce. Why is this important? Some influencers don’t actually sell products, but just sign up tons of other influencers. Find these people.
  • Get everything you can out of an engagement (e.g. permission to use them as a testimonial for emails, social proof, etc.).
  • Working with influencers is a relationship-building game:
    • Actually go to conferences to meet influencers.
    • Treat influencers like royalty. Surprise them with gifts like flowers/donuts. $100 to send a gift can pay hefty dividends if they like your brand more and share that with their followers.
    • Give influencers a tangible benefit to share with their followers. They care about their followers and want to beneficially incentivize them to click on their link and buy with them.

More tips for working with influencers

Based on insights from Cezar Grigore of Tremo Books.

  • Geo rollouts: Your ROI increases when a bunch of influencers in the same category / region share your product within an interval of 2-4 weeks. It gives the impression that everyone is talking about your product.
  • Initially focus on influencers with 10-150k audiences. They’re smaller and more willing to accept bartered deals. There are enough influencers in this range willing to work in exchange for a free product. Most may not be producing results, but some work well, bringing in 50-200 customers within 24 hours. As you build up your following and reputation for your brand, it becomes much easier to work with more influential people.
  • It’s harder to cut deals with bigger influencers (100k-2M). Only about 5-10% of bigger influencers are willing to work on an affiliate basis (e.g. $10/customer).

Overcoming ad blockers that screw up your conversion data

  • Ad blockers can block FB’s tracking libraries and underreport ad conversions (even by 50%). The trick? Consider using the static IMG FB pixel — not the JavaScript one — which ad blockers don’t appear to block. — C.
  • Here’s another ad block workaround: You can extract UTM tags from the URL then save them into LocalStorage using JavaScript. Next, send that stored data plus the user’s on-site conversion behavior to a custom backend that, inherently, will circumvent ad blockers. Just be diligent about ensuring your marketing links all have UTM tags. —Neal O’Grady of Demand Curve
  • Remember that the use of ad blockers varies heavily by audience and device type. Depending on who your audience is, ad blockers can either be a huge problem or a non-problem. —Neal O’Grady of Demand Curve
    • So, for example, few people on mobile have ad blockers. Not much of a problem there.
    • However, on desktop, up to ~75% of millennial gamers and techies may have it installed.
    • In contrast, on desktop, maybe only 25% of middle-aged Americans outside of tech hub cities may have it installed.
    • These are hand-wavy numbers. Google for specifics.

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