Do you adapt TikTok content to other platforms?
Posted: Mon Jan 20, 2025 10:13 am
I regret the uniformity that social media is becoming. I like each platform for its specificity. For me, Instagram is about photos, not videos. TikTok is growing rapidly and, in terms of publishing, it is still not very well exploited by the competition.
We really differentiate between Reels and TikToks. Reels is a handy format because it allows us to duplicate TikTok content even if Instagram doesn't like other logos on their platform. We try to have strategies that adapt to each format.
My impression is that the literary community has moved away from YouTube and is focusing on other networks that are more ephemeral and immediate. That goes hand in hand with literary consumption. It may take time to read a book, but so many come out that people move on to the next one very quickly.
Are you looking for influencers who you think will like the book you're promoting, or literary influencers with large communities?
We have two ways of doing things that are complementary. We work with a year-round base of influencers, people we partner with based on what they read and who enjoy reading in the broadest sense. For specific books like biographies or even fiction that deals with a specific topic, we use Kolsquare to target influencers who are passionate about the topic of the book we are promoting . In that case, it’s more of a one-off. If it’s a book about veganism, for example, we might look for influencers who talk about food but aren’t necessarily focused on literature.
What is the advantage of working with niche influencers?
The difference is that we will have a highly qualified audience. Communities are smaller, but they have a real affinity with the influencers they follow. This means that we can initially reach readers much more easily.
Are literary KOLs becoming more professional in a similar way to KOLs in other segments?
There are very few big literary influencers who charge. We work a lot with micro-influencers . The professionalization of influencers is starting to emerge in literature, but it is still marginal. We get very good results working with people who do not charge. We are open to paying KOLs, but since there are not many of them and they are more specialized, we are not there yet.
I think the professionalization [of literary influence] is coming, but it has been delayed beca vp safety email database use books are still very much associated with entertainment. For literary influencers, there is a fine line between passion and work. They read in their free time, outside of work. I think the reason why there are still very few influencers who have launched into full-time is because reading is a passion.
What is your approach to building long-term relationships with KOLs?
We have so many applications that we try to vary the profiles and give more people a chance. Every year we try to renew a little. We don't kick out people who want to stay [in the group] and we don't necessarily want to keep people who may not be interested or don't have time. We try to make the relationships last because we think that this way we will develop complicity and affection for the brand.
We don't do random mailings because it's the best way to send a book to someone who doesn't want it, while it's a book that could have been enjoyed by others. And we always follow up. There are many publishers who don't follow up because it takes too long. In specific genres like romance, we have a small group of influencers who we ask for feedback and who are really involved in the life of the publisher. We share covers with them in advance, we ask their opinion on a text, we organize events for a really small group of personalities.
How do you evaluate the success of a campaign?
Engagement is the best data. We quantify the number of people reached in relation to the size of the communities and engagement. Social media offers us very precise and quantifiable measurement tools compared to other marketing campaigns. Kolsquare is very useful for tracking and evaluating profiles. It is very practical to have so many statistics and data gathered in one place. It saves us a lot of time.
We really differentiate between Reels and TikToks. Reels is a handy format because it allows us to duplicate TikTok content even if Instagram doesn't like other logos on their platform. We try to have strategies that adapt to each format.
My impression is that the literary community has moved away from YouTube and is focusing on other networks that are more ephemeral and immediate. That goes hand in hand with literary consumption. It may take time to read a book, but so many come out that people move on to the next one very quickly.
Are you looking for influencers who you think will like the book you're promoting, or literary influencers with large communities?
We have two ways of doing things that are complementary. We work with a year-round base of influencers, people we partner with based on what they read and who enjoy reading in the broadest sense. For specific books like biographies or even fiction that deals with a specific topic, we use Kolsquare to target influencers who are passionate about the topic of the book we are promoting . In that case, it’s more of a one-off. If it’s a book about veganism, for example, we might look for influencers who talk about food but aren’t necessarily focused on literature.
What is the advantage of working with niche influencers?
The difference is that we will have a highly qualified audience. Communities are smaller, but they have a real affinity with the influencers they follow. This means that we can initially reach readers much more easily.
Are literary KOLs becoming more professional in a similar way to KOLs in other segments?
There are very few big literary influencers who charge. We work a lot with micro-influencers . The professionalization of influencers is starting to emerge in literature, but it is still marginal. We get very good results working with people who do not charge. We are open to paying KOLs, but since there are not many of them and they are more specialized, we are not there yet.
I think the professionalization [of literary influence] is coming, but it has been delayed beca vp safety email database use books are still very much associated with entertainment. For literary influencers, there is a fine line between passion and work. They read in their free time, outside of work. I think the reason why there are still very few influencers who have launched into full-time is because reading is a passion.
What is your approach to building long-term relationships with KOLs?
We have so many applications that we try to vary the profiles and give more people a chance. Every year we try to renew a little. We don't kick out people who want to stay [in the group] and we don't necessarily want to keep people who may not be interested or don't have time. We try to make the relationships last because we think that this way we will develop complicity and affection for the brand.
We don't do random mailings because it's the best way to send a book to someone who doesn't want it, while it's a book that could have been enjoyed by others. And we always follow up. There are many publishers who don't follow up because it takes too long. In specific genres like romance, we have a small group of influencers who we ask for feedback and who are really involved in the life of the publisher. We share covers with them in advance, we ask their opinion on a text, we organize events for a really small group of personalities.
How do you evaluate the success of a campaign?
Engagement is the best data. We quantify the number of people reached in relation to the size of the communities and engagement. Social media offers us very precise and quantifiable measurement tools compared to other marketing campaigns. Kolsquare is very useful for tracking and evaluating profiles. It is very practical to have so many statistics and data gathered in one place. It saves us a lot of time.