StrategicBrandManagementToolsinPublishing
IriniPitsaki,NorthumbriaUniversity,UK
Abstract:Furthertotheintroductionofthebrandconceptevolutionandtheory,aswellastheways theseoperateinthepublishingsector(seepaper:Pitsaki,I.2010)*,thepresentpapertreatspublishing strategiesandthetoolsusedtoestablishthem.Publishersoftenbasetheirbrandstrategyonclassic marketing approaches,suchasthemarketing mix-product,price,promotion,placement andpeople. Theyalsodirecttheirproductstospecificmarketsegmentsinregardtothetypeofcontentandtexts (generalistuniversal,specializeduniversalandspecializedlocalstrategy).However,advancedmarketingmodelsandtoolsareoftenignoredbypublishers.Thispapershowshowadvancedconcepts, mindsetsandmarketingmodelscouldoperateinthepublishingsector.Morespecifically,inorderto establishabrandstrategyitisproposedtotakeintoconsiderationthedifferentlevelsofexperience obtainedthroughthepurchaseandreadingofabookorabookseries.Theselevelsinvolvetheaestheticemotion,thequalityaspectsoftheproductandtheassociatedmessagesorservices.Another recommendationistheuseofbrandingtools,suchasthehierarchyandthebrand-productmatrix. Thesetoolsrevealtheinterrelationbetweenthebrandsandtheproductsofacompanyandforecast howtheywillinteractinthemarketplace.Thisisduetothefactthat,inthepublishingsector,books andallproductscanbesimultaneouslybrandedatmanydifferentlevels;inabookcoexistthecorporate brand,theauthorandthegenreasbrandaswellasotherbranddimensions.Theaboveideasareintroducedinordertoofferamoresolidactionframeworkinpublishing,andmorepreciselyinthe specificationofbrandstrategies.
Keywords:Strategy,BrandManagement,Marketing,Tools,Publishing
PreviousPaper Summary[1]
Ina previouspaper,publishingbrand conceptevolutionand theorywereintroduced.Initially,adistinctionbetweenthesupplyanddemandbrandperspectiveswasmadeinordertoarrivetoanintegrativeconcept.Underthisconcept,abrandisseenasanintermediarybetweenthecompanyanditsclients,aswellasachannelforexchange;throughbrands, companies can introduce products, andpeoplecanperceivevalues and havetheirneedsfulfilled.
Morespecifically,thebrandisdefinedas“somethingthatresidesinthemindsofconsumers.Abrandisaperceptualentitythatisrootedinreality,butitisalsomorethanthat,reflectingtheperceptionsandperhapseventheidiosyncrasiesofconsumers.Tobrandaproductitisnecessarytoteachconsumers‘who’theproductis(bygivingitanameandusing otherbrandelementstohelpidentifyit)aswellaswhattheproductdoesandwhyconsumersshouldcare.Inotherwords,tobrandaproductorservice,itisnecessarytogiveconsumersalabelfortheproduct(i.e.here’showyoucanidentifytheproduct)andtoprovidemeaningforthebrandtoconsumers(i.e.here’swhatthisparticularproductcandoforyouandwhyitisspecialanddifferentfromotherbrandnameproducts)”(K.L.Keller,2003:13).
Accordingtothesearguments,apublishingproductcouldbecomeabrandifgrantedaspecialmeaning.Thebrandsofasinglepublishingcompanyactondifferentlevels(corporate,product,authororcontent[2])andmaycomplementorinfluenceoneanother.Forexample,corporatebrandmayinteractwithseriesbrand.Thusly,aclearbondmayformbetweenaseriesandotherseriesofthesamepublishinghouse.Forthatreason,inordertoestablishapublishingbrandstrategy,itisfundamentaltoknowthepotentialrelationbetweenbrandandproductsandtospecifywhattheinteractionsbetweenthedifferentbrandswillbeatdifferentlevel.Thewaysandtoolsusedforthatareexplainedinthefollowinglines.
BrandStrategies
Generallyspeaking,certainbrandscompetethroughadirectassociationwiththeproductanditspurenature,whileothersstandoutbyassociatingthemselveswithwhattheyrepresent;brandsaresymbolsthatgenerateemotionsanddeterminelifestyles.Respectively,inthecaseofbook,brandstrategiescouldfocusontheproductattributesandcharacteristicssuchastheliterarygenre,format,oraestheticquality.Thesekindsofstrategies[3]arebasedonmarketingapproaches,andmaybeconsideredtraditional;theypaymoreattentiontotheproduct,price,promotionanddistribution(marketingmix).[4]Ontheotherhand,forpublishingbrands,emphasiscouldbeputonvaluesassociatedwiththeproductanditsrelationtoindividuals’desires.
Brandoftenrepresentsmorethanthesimpleacquisitionofagoodorthesatisfactionofafewbasicneeds.Itisasymbolofapositionorphilosophyoflifewithwhichcertainindividualsidentify.Brandis,inmanyways,areflectionofindividuals’concernsandambitions.ANewAgeseriesisdirectedatagroupofreaderswhoinvariousaspectsoftheirlivesadoptthebeliefsofthismovement,andthereforefollowacertainlifestyle.Inthesameway,somepeoplereadbooksmainlytobeabletotalkaboutthemwithfriendsandcolleagues.Inthiscase,thesocialeffectprovokedbytheactofreadingisprimary.Theambitionofthesereadersistostayup-to-dateandinformedonthebest-sellersandpopularauthors.
Newtrendsinmarketingbringaboutinnovativestrategiesthatrespondtothiskindofhumanbehavior.J.Ñ.KapfererandG.Laurent(1991:39)speakofthefunctionsofthebrandforthebuyer,adding,tofunctionsofidentificationandguarantee,additionalfunctionsof:
- reference,whichhelpsthebuyerstructuretheoffer;
- recreational,whichcorrespondstothepleasurethattheindividualexperienceswhen shopping;
- practicality,whichlendsthebrandaroleinthememorizationatworkincomplexdecision-makingprocesses;andfinally,
- personalization,related,inacertainsense,totheideaoflifestyle.
With respect tothislast function, theauthorsstate:
“Thefunctionofpersonalizationcorrespondstothenotionthatchoosingcertainbrandsallowsbuyerstosituatethemselveswithregardtotheirsocialenvironment;withthischoice,theymanifestthedesiretodifferentiatethemselves,or,onthecontrary,integrate.Brandisanelementthroughwhichconsumersmaycommunicatewhotheyareorwhotheywanttobeintheeyesofothers.”
Personalizationisfrequentlypresentinonlineshoppingexchanges.Thisforum,asanew meansofcommunicationwiththepublicandanewmodelofmerchandisedistribution,promotedtheroleofbrandsandtheutilizationofstrategiesderivingfromnewmarketingapproaches.
Withinrecentyears,thepersonalization-basedvirtualbookstoreAmazon.com,hasbecomeanexampleofasuccessfulbrandfrequentlyreferencedinmarketingandbusiness-relatedliterature.Whatengendereditsinitialsuccess,andalloweditlaterontogoontomerchandiseproductsof diverse nature (CDs, toys, software or cars)? According to various authors, lowpricesarenottheonlyreasonbehindAmazon.com’sleadingposition(L.M.ZapicoAldeanoandA.I.JiménezZarco,2004:40).Themajorcompetitiveadvantagecameoutofofferingpersonalizedservice.Thecentralbackboneofthisbusinessisthecustomer,andthestrategytreatseachoneastheuniqueindividualheorsheis.Herearesomefeaturesofthisservice:
- Featuredcontentsarepresentedaccordingtotheuserprofile,anddeterminedduringthelog-inprocess.
- Theuserreceivespersonalemailsprovidingupdatedinformationonproductsofinterest,oronthestateoftheuser’saccountandpurchases.
- Usersareofferedpersonalizedgiftsuggestions.
- Customersareofferedtitlesfrom theirareasofinterests.
- Registeredcustomersreceivespecialoffers,andmanyotherfeatureswithasimilarapproach.
Theinternetissometimesusedtostrengthenrelationshipscreatedwiththepublicandsometimesasauniquewayofreachingit(forexample,onlineordersonly).Ifarecentlypublishedbookissoldonawebsite,thereadermayobtainmoreinformationontheworkoritsauthor,readreviews,andgetintouchwiththepublishinghouseorevencontacttheauthordirectly.Abookisalsoaculturalproduct,similartootherproductsinthiscategory,suchasartexhibits,theatricalandmusicalfunctions,aswellasanyotherproductderivingfromacreativeact.TheoutlineproposedbyE.Hill,C.O´SullivanandT.O´Sullivan(1995:105),reproducedbelow,presentsthefourdifferentlevelsofaculturalproductwithrespecttotheexperienceobtainedthroughitsconsumption;thekindofpagesandwhattheyoffercorrespondtotheextendedexperience.This,then,maybeseenaspartoftheproductitself,orasanextensionthereof.
E.Hill,C.O´SullivanandT.O´Sullivan(1995:105),beganwithaseriesofconceptualmapsdevelopedbyKotlerandAndreasen(1991)andelaboratedamodeltodescribethefourlevelsofaculturalproductwithrespecttotheexperienceobtainedthroughitsconsumption.Theirobjectivewastohelpbusinessesimproveandmaintaintheirpositionsbyconsolidatingthebenefitsofferedtothepublic.Theoutlinewasadaptedtothepublishingmarket, basedonfindingsfromacasestudycarriedoutintheframeworkofthispaper.
“Thefourlevelsofa publishingproductwithrespecttotheexperience acquiredthrough itsconsumption”
Corebenefit:asshowninthediagram,readinganditsderivedbenefits–emotion,aestheticsatisfaction,education,etc.–areatthecenter.Whatdeterminesthecorebenefit,withoutbeinglimitedthereto,isthecontentofthebook.Itisimportantforapublishertocarefullyexamine theproduct from the work-readerinteractionpointof view.Similarly,readinghabitsmustbetakenintoaccount.Forexample,readinganovelawakensemotions,evokesmemoryandprovokesreflection,butitisalso apretextforresting,escapingroutine, constructinganimagineddesiredidentity,enjoyingsolitudeorprovidingatopicofconversationamongfriends.
Centralexperience:variousfactorsarecloselytiedtothecorebenefit;amongthemarethedifficultyoreaseofattainingthebook;theselectionprocess;thecircumstancesaroundthereading;thesatisfactionofaestheticneedsthroughthegraphicdesignandmaterials utilizedinproduction,aswellasthelegibility,ornatureofinteractioninthecaseofmulti-mediabooks;theidentityoftheproductasasystemthatvalidatesitsqualitiesortheneedtoownit.Onthislevel,thepublishinghousemustbeverycarefultoprojectaproductidentityatoncecoherentandeasytoperceive,andthatmaybeconfirmedthroughthecorebenefit.Thus,thecompanyearnstheappreciationofitscustomersandestablishesarelation-shipoftrustwiththem.
Extendedexperience:extendedexperienceiscloselyrelatedtocentralexperience.Itinvolvesallkindsofeffortsmadebythecompanytoinformreadersonabookandgetthemtorememberitscharacteristics.Italsoinvolves focusingonthedimensionofthebookwithrespecttoacomparablegood,withtheobjectiveofassumingaprivilegedplaceinthememoryoftheconsumer.Atthislevel,thepublishinghousetendstoconcernitselfwiththeapplicationofmarketingmixstrategiesortheelaborationofcommunicationprograms.
Potentialexperience:potentialexperienceinvolvesestablishingadeeperrelationshipwiththereader,whoprobablydecidestobecomeacollector,[5]joinaclub,oracquirevariousbooksbelongingtoasingleseries.Abookseriesisunderstoodasasetofbookswithcommonalitiesinappearance(thepublishinghouse’sgraphicdesign),content(subjectorgenre)ortypeofauthor(classicorcontemporary).Potentialexperienceisrelatedtothecapacity that the publishing househastoaddvalue toits products. Itmaydothis throughlaunchingsystemsofinnovationorsearchingoutcompetitiveadvantages,whichalsocontributetothebrandstrategiesadapted.
Agoodunderstandingofthedifferentlevelsofexperienceacquiredthroughabookoranotherculturalproductisveryusefulforcompanies.Itmayserveasaguideinproductmanagementanddesign. Further,itexplores therole thatmarketingtechniques playin theformulationofthisexperienceandthesatisfactionofreaders’desires.Thisway,thereader-booklinkbecomesevenmoresolid,particularlywhenthecompanyoffersaspecialdealorvariousoptionsforeachreader,adjustedtohisorherparticularselectionsorpreferences.
Returningtotheuseoftheinternetaspartofpublishingstrategy,wemayaddthatitiscommonforcompaniestomaintaintheirownsites,throughwhichtheyoffertheirpublications.Thesearethemeetingpointsbetweenthecorporatebrandandtherestofthebrandsmerchandisedbythesamepublishinghouse(series,booksandauthors).Abrandstrategymustalsoconsiderthewayinwhichthebrandrelatestootherbrands,howitfitsintothecompany’sorgroup’sgeneralstrategy,howithasdevelopedovertime,andwhatitcan bringtotheexistentpublishingbrandecosystem.Strategicbrandmarketing,therefore,ought toprovideasolutiontotheconcernsthatgobeyondthemereconstructionofbrandvalue. Let’stakealookathowwemightdevelopabrandstrategywithregardtootherexistent publishinghousebrands.
Todeterminebrandstrategies,wemustfirstestablishaninterrelationbetweenthebrandsandtheproducts.Wemustalsodecidewhichbrandelements(suchaslogosandslogans)shouldbeincorporatedintowhichproducts.Therearetwotools,mentionedbyK.L.Keller,oftenused in strategy determinationand management:a)brand-productmatrixand b) brandhierarchy.Inabrand-productmatrix,aswecanseefromthediagram,therowsshowthebrand’srelationshiptotheproducts,andthecolumns,theproducts’relationshipstothebrands.Fromastrategicstandpoint,inthefirstcaseweseethestrategy’sbroadnessandextensionrepresented;inthesecond,weobserveitsdepth(K.L.Keller,2003:521-24).The broadnessofthebrandstrategyrevealsthenumberandnatureofproductsassociatedwiththecompany’sbrands,whiledepthshowsthenumberandnatureofthebrandsmerchandisedforthesamekindofproduct.Weusetwodifferentbrandsinordertoapproachdifferentmarketsegmentsandachievebetterproductmerchandising. Thematrixisausefultoolformanagingdifferentbrandswithinasinglecompany.
“Brand-productmatrix”
Inadditiontocreatingthematrix,itisimportanttoestablishasystemofhierarchythatillustratestheexplicitorderingofthebrandelements.Thehierarchyshowsthenumberandnatureofcommonordistinctiveelementsofallthecompany’sproducts.Therefore,agoodgraspofthepotentialrelationshipbetweenthebrandandtheproductsisabsolutelyfundamental.Brandhierarchyisbasedontheideathatproductscanbemanagedinvariousways,dependingonthebrandelementsused,andthecombinationchosenforeachproduct.Therearedifferentwaysofdefiningthebrandelementsandthelevelsofthehierarchy.Oneofthesimplestwaysistogotop-to-bottom,startingwiththecorporationandmovingtowardsfamilybrand,individualbrand,andmodifier–inotherwords,themodelorspecificproduct(K.L.Keller,2003:536-42).
Thisisahierarchyveryoftenappliedinthepublishingworld.Itentailsstartingwithcorporatebrand;thecompanyusesitsidentificationsignsanddressestheproductwithitsvalues.InSpain,wherethisresearchhadbeenconducted,publishinghousesoftenplacetheirnamesandlogosinprominentpartsofthebookcovers.Therearealsootherelementsintheappearanceofaseriesthatmakethebookeasytoidentifyastheproductofaparticularpublishinghouse.Peoplerecognizetheestablishedcolorsandcomposition,oftentimesjustbycatching aglimpseofthespineonashelfinabookshop.
However,based onresults fromacase studycarriedoutwithinthe framework ofthis re- search,wecansaythatthehierarchythatprioritizesthecorporationisnotthemostpopularinallthecountries.ForinstanceinEngland,thepublishinghousenamedoesnotoftenappearonthebookcover,andvariousworkspublishedbyasinglepublishinghouseoftenhaveverydifferentappearances.Asmallsymboloranagrammightbeused,butwithmuchdiscretion,andonlyonthespine.FromthisobservationwemayconcludethatinEngland, brandstrategyismorefrequentlyassociatedwiththeauthor.Marketingeffortscenterisaroundpresentingtheauthorasa“star.”Bycontrast,corporatebrandhasmuchmoreimportanceinSpain.Manypublishinghouses,suchasElAcantiladoandLenguadeTrapo,basetheirstrategiesonthecorporatebrand’screationofvalue.Bothaforementionedpublishinghousesareindependent,whichonceagainremindsusthatbrandstrategiesareespeciallybeneficialforsmallormedium-sizedcompaniesseekingagoodpositioninaspecificandsomewhatlimited market segment.
In theaforementionedhierarchy, corporatebrandis followedbyfamilybrand, whichalsoappearsfrequentlyintheSpanishpublishingscene.Afamilybrandisabrandusedforproductsofdifferent categories,andwhich attimescoincideswiththe corporatebrand.Forexample,thepublishinghouseDestinoInfantilJuvenilmaybeseenasacorporatebrand(ofthepublishinghouseDestinoitself)orasafamilybrand.Inthecaseofthelatter,acorporatebrandmightbethePlanetaGroup[6](asglobalcorporationitis)orEditorialDestinopublicationsforadults,aspublishinghouserelatedtoDestinoInfantilJuvenil.However,inthefirstcase,DestinoInfantilJuvenilmaybeseenasafamilybrand.Itsproductsareorganizedintogroupsofbooksbycategory,andconfiguredinseries,forreadersofdifferentsegments(ages).Manyoftheseseries,suchas“Ilustrados,”“Miffy,”“PremioApel.lesMestres,”etc.donotrepresentindependentbrands,astheyarenotidentifiedbyindividuallogo, a seriesname or other elements necessaryfor aproduct to acquire brand dimension.Inthis case, there isa single dominant brand:that of DestinoInfantilJuvenil,the umbrellaforallthedifferentproducts(series).Tosumup,weassertthatthiskindoffamilybrandisaoneusedinmultiplecategories ofpublishing products.
Itismuchmorecommoninthepublishingsectorforabookseriestorepresentanindividualbrandaffiliatedwithacorporatebrand.Anindividualbrandisusedforproductsofthesamecategoryordifferentkindsofproductswithinthesamecategory.Forexample,apoetrycollectionfromLumenpublishinghouseisanindividualbrand;ithasitsownlogo,graphicdesign,symbolicvalueandaddedvaluethatderivefromitstraditionasaseriesandtheimportanceofthepoetspublishedtherein.Inthatcase,wearedealingwithanindividualbrandwithproductsofthesamecategory,astheyeachrepresentcontemporarypoetrycol-
lectionsbyprominentauthors.[7]
The“Grumetes”series fromthe CatalanpublishinghouseLaGalerawouldbean exampleofanindividualbrandwithdifferenttypesofproductswithinthesamecategory.“Grumetes”isaseriesofnarrativesforchildrenandyoungadults.Therearefourdifferentcollectionswithinthisseries:yellow,green,redandblue.Eachcolorcorrespondstoacertainagebracket:7-8,8-9,10-12,and12up,respectively.Theappearance,quantity,andreadinglevelofthetextsandillustrationsareadaptedtosuittheneedsofthedifferentreadercategories.Eachagegroupconstitutesadifferentmarketsegmenttowhichthebrandisdirected. Thus,wemovefromthecorporatebrand(LaGalera)totheindividualbrand(“Grumetes”)andthedifferentproducts(red,yellow,green,bluecollections)withinthesamecategory(children’sliterature).Basedonfindingsfromacasestudy,anotherhierarchywemightestablishforthesameexamplesmightstartatthecorporatebrand(LaGalera)andmovetowards thefamilybrand(“Grumetes”),andthenontotheindividualbrand(yellow,red,blueandgreenseries)andthedifferentproducts(thebooks).
Themodifiercomesatthebottomofthehierarchy,andisaresultofproducingamodel,variation,version,orspecificproducttypeforanybrand.Forexample,apocket-sizedpublicationofaworkoriginallypublishedinan(individual)series-brandisamodifier,solongasthepublicationisnotproducedinapocket-seriesthatconstitutesabrandinandofitself.In this case, the pocket edition isaffiliatedwith the pocket-series brand,andnotsostronglywiththeseriesinwhichitwaspublishedinitsoriginalformat.
Brandhierarchyhelpsusevaluatehowacompanymanagesitsbrandsanddesignsitsstrategies.Italsorevealswhatthedominantbrandisineachcase,giventhattheremaybevariouscoexistingbrandsinasingleproduct.Inabookseries,boththeseriesbrand,aswellasthoseofthepublishinghouseandtheauthorbrands,arepresent,andeachservesauniquepurpose.Whenselectinganewstrategyormodifyinganoldone,itisessentialtounderstandthehierarchyathand,determinethedominantbrandandgaugeitsrelationshiptotherestofthebrands.Thisenablesprioritiesinthebrandassociationstobeestablished,withtheobjectiveofachievingtheseries’desiredmarketposition.
Generally,thebrandhierarchyisanidealtoolfordeterminingstrategyinthepublishingworld,anditisalsodescribedindetailinapreviouspaperonStrategicPublishingBrandManagement[8].Morespecifically,inthispreviousstudy,thebrandhierarchyitisanalyzedstartingwiththecorporationandmovingtowardstheseries,authorandcontent.Thesefourperspectivesdemonstratewhatexactlyabrandisinapublishingcontextwithregardtosomecommoncategories.Formoreconclusionsonthewaysbrandhierarchycouldbeusedasatoolforstrategicbrandmanagementinthepublishingsector,thereaderisencouragedtostudythispreviouspaperandcontrastresultswiththepresentone.
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[1]Pitsaki I. (2010). Brand Concepts in Publishing. The International Journal of the Book. Common Ground, Australia, Volume 7, Issue 2 (pp. 85-97)
[2] These brand categories and their interrelation are extensively explained in the paper: Pitsaki I. (2008). Strategic Publishing Brands Management. The International Journal of the Book. Common Ground, Australia, Volume 5, Issue 3 (pp. 103-114).
[3] Certain strategies used in the publishing sector are determined based on the market or segment to which it is directed, and with regard to the type of content that the company puts into circulation. Specifically, the strategies are as follows: a) generalist and universal, b) specialist and universal, c) specialized and localized.
Generalist universal strategy: this is the strategy most often adopted by large publishing groups. It is important to note that this strategy becomes specialized when it is employed by smaller companies of the same group, in order to cover different market segments.
Specialist universal strategy: this is the strategy generally adopted by those publishing houses that specialize in speciic, well-known and easily recognizable ields, but at the same time, depend on structures that allow them to operate and distribute their goods in other countries.
Specialized localized strategy: this strategy corresponds to medium or small publishing houses that operate on a local scale and adapt to the needs of a limited public (publication in minority languages and others).
These strategies can be applied by any publishing brand, regardless of its afiliation with a corporation, collection, author, or product, and independent of its category or genre.
[4]This refers to the four components of all marketing strategies, also known as the four p’s (product, price, placement, promotion). The product is the company’s raison d’être; price refers not only to the monetary value attributed thereto, but also to the effort that the consumer makes to attain it; placement involves, first and foremost, delivery and logistics, channels and agents of delivery, as well as sales points; promotion is a prime marketing component and involves publicity, public relations, personal sales and sales promotion.
[5] Becoming a ‘collector,’ in this case, does not indicate acquiring various works of a book series that a publishing house launches to achieve a loyal readership by projecting a clear and well-described identity. Here, ‘collecting’ refers to acquiring fascicles (publishing products for collectors).
[6]Planeta is the group of companies to which Destino belongs, as well as DestinoInfantilJuvenil (books for young adult readers).
[7]Lumen is among the publishing houses analyzed in the case study.
[8]Pitsaki I. (2008). Strategic Publishing Brands Management. The International Journal of the Book. Common Ground, Australia, Volume 5, Issue 3 (pp. 105-114).