I’ve learned from blogging and observed the same results from others: releasing content daily dramatically increases your chances of attracting new and returning audience members. How do you think television and radio built so much traction in the first place? When audiences can expect to find you at a certain time or place, it lubricates the exhibition of your content and dramatically reduces marketing costs. You build a relationship with your audience over time, and keep them coming back for more.
By committing to releasing content regularly, you also dramatically increase your chances of producing a hit. 5 Second Films have produced so many short films and told so many jokes that the handful of hits they’ve had propelled the group into web virility.
If you cannot produce enough content to release daily, then commit to releasing content “regularly” – and publicly define the recurring time frame through which they should expect new content (weekly, monthly, every third Tuesday, etc.). At least some level of audience expectation makes a huge difference for audience retention.
Random splashes are risky and expensive to promote. Arbitrary releases rarely build traction. Do not bet on it. Consider curating an audience and regular programming instead.
In the good ol’ days, content was king. Producers and publishers thrived off of the complexity, scarcity, and cost of generating and distributing entertainment. Very few people could publish a book, record an album, or produce a theatrical feature film. Times have changed. Through the commodification of consumer production tools and publishing platforms, content generation and distribution are easier than ever. The result? Far too much noise. Public discourse is completely cluttered by personal voice. To whom should you listen?
Ears and eyeballs are in high demand. Seth Godin said, “We don’t have an information shortage; we have an attention shortage.” Content is no longer king. Attention is king. Those who command the respect of the masses command the value of entertainment product. Content Producers are less powerful than ever. Content Curators, like companies and critics who drive discoverability and promote entertainment traffic, are taking the cake. Warner Bros. demonstrated a progressive value in discovery platforms through the purchase of Flixster and Rotten Tomatoes. Systems like Netflix, Pandora and YouTube that navigate consumers through targeted entertainment are dominating the market. As the library of public content continues to grow, so too will the value proposition of these companies.
Platforms are the near future. Traditional theaters need to wake up and smell the opportunity. As it stands, film exhibitors are little more than the leashed pets of the movie business – completely at the whim of their masters. If theaters take liberties to curate, program, and leverage alternative product against the studios, their value to the average consumer will increase tenfold. The quality of entertainment will increase, revenues will increase, and cultural sophistication will increase. Theater owners know their communities well and should play an active role in curating entertainment. Curator Exhibitors (theaters) need to earn the respect of local audiences by consistently screening top-notch entertainment and communitizing outside Hollywood.