When referring to the cultural industry, it can be said that literature is a product like any other, a product that can be sold. As such, publishing companies seek to make their products profitable. In order to sell books, physical books or e-books, publishing companies resort to marketing them as if they were any other product. The same concepts used to sell a car are used to sell a book, although the strategy and tactic does not have to be the same. In the continuous change and evolution that society undergoes, promotion techniques and, in particular, those related to literature, must be updated in order to overcome market fluctuations, changes in consumer behaviour and, in this same line, adapt to technologies. In this sense, marketing does not usually make distinctions in the type of products or services when selling them, treating them all as goods or services that can be sold and, therefore, applying the strategies of the four variables of the marketing mix.
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When referring to the cultural industry, it can be said that literature is a product like any other, a product that can be sold. And, as such, publishing companies seek to make their products profitable.
In order to sell books, physical books or e-books, publishing companies resort to marketing them as if they were any other product. The same concepts used to sell a car are used to sell a book, although the strategy (and tactic) does not have to be the same.
In the continuous change and evolution that society undergoes, promotion techniques and, in particular, those related to literature, must be updated in order to overcome market fluctuations, changes in consumer behaviour and, in this same line, adapt to technologies.
In this sense, marketing does not usually make distinctions in the type of products or services when selling them, treating them all as goods or services that can be sold and, therefore, applying the strategies of the four variables of the marketing mix.
Among them, as could not be otherwise, is communication. This is the specific aim of this text: to show the new ways of communication in editorial marketing.
This is where the adaptation of this very specific sector to advertising techniques is considered. And, for this reason, it is necessary to show the appropriation of a format alien to literature, such as the audiovisual format, used in its commercial intention for another type of product. And, starting from the possibilities that the audiovisual format allows, the publishing industry has succumbed to a traditional format of cinema and television, but adapted to the 21st century: the book trailer.
In order to understand the importance and potential of the book trailer in an advertising campaign, it is necessary to start from the fact that both the authors themselves and the publishers are beginning to realise that it is a very powerful promotional tool. Despite this, it has hardly had any projection, and even less so in Spain, where it is beginning to grow at a high rate.
In this way, it is necessary to closely study the audience to which the product is directed, as well as the means available. There is talk of a good aimed at a consumer who is very accustomed to the cinematic aesthetics as well as being a regular Internet user, which is where this advertising format is usually marketed and developed.
Therefore, to summarise, the main objective of this chapter is to describe, analyse and understand the form of the book trailer, as well as to establish its foundations and bases. In order to achieve this fundamental objective, we propose other primary aims:
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Firstly, it is necessary to define and understand the booktrailer and develop its typology and classification, and establish the common features of the booktrailer, understanding its main characteristics
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Secondly, it is necessary to identify the strengths and weaknesses of the tool for future advertising use and to understand its possibilities as an advertising promotion method.
Similarly, the following secondary objectives are pursued:
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Analyse the characteristics of the Spanish reader as a buyer, consumer and user.
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Show the importance of the audiovisual format and place it in the Spanish panorama.
In this way, it will be possible to establish a conceptual route of the book trailer at a general level and in Spain in particular, establishing theoretical bases and an analysis of the environment that serves as a base, not only as basic knowledge, but also as a starting point for future research—and always from the starting point of view of today's digital society.