Anderson’s “Free” starts out by giving us a quick economics briefing, using that as backdrop to defend the notion of ‘free’.  He explains that, for instance, traditional, or old media has used a third-party advertising model to earn revenue while still providing a “free” product.  I may not pay for 30 Rock, but when I buy products advertised during commercial breaks on TV or in interstitials on Hulu, I am still giving my money to NBC.  It’s pretty basic and has worked for Google, a benevolent empire that has largely amassed their wealth through selling advertising and diversifying revenue streams.  Of course, the model isn’t absolutely identical – the web magnifies things by presenting opportunities to apply wisdom gleaned from specific metrics and target users with relevant advertising, as well as ways of satisfying niches with long tail services – but the principle is the same: subsidize one product (free content) with money made from another (paid ad space).  Multiply and diversify.

With the notion of one product funding the other in mind, I further illustrate the point by explaining how I helped inadvertently save ABC, Monday Night Football, and the Disney company in 2004.  Maybe.  Or not.  But keep reading!  I think you’ll enjoy the reasoning anyways!

The popularity of Monday Night Football, or MNF, a free over-the-air product until 2006, has apparently soured since moving from ABC to cable’s ESPN in 2006.  In fact, this year MNF has seen a decline in viewers week over week.  Meanwhile, competitor NBC’s Sunday Night Football, or SNF, has quickly become the NFL’s showcase; during that same transition period in ’06 SNF bested the last year of ABC’s MNF by comparison.  In general, it would appear that on average more fans are watching SNF than MNF (and SNF is on the rise – although, it should be noted that MNF has set cable viewing records, though still not as high as when it was over-the-air).  MNF just isn’t the same juggernaut it used to be, and that’s also in part because, for the viewer, cable TV generally comes at some price as compared to free over-the-air broadcasting).  Truthfully, ESPN doesn’t reach as many households as ABC did or NBC currently does, but, in using a cross-subsidies model – some Andersonian and basic economic thinking – I have found an interesting way of explaining how Disney, who owns ABC and ESPN, is going to come out winner.  In this situation, ABC will be our free product and the eventual beneficiary of the move.

In 2006, when MNF jumped from ABC to ESPN, NBC saw an opportunity to shift NFL eyeballs from Monday to Sunday.  On the other hand, Disney was looking at the move as an opportunity to bolster its ESPN brand as well as develop their free product – ABC’s Monday night – with other shows targeting other demographics.  However, this internal counter-programming was still probably not going to make up for all the prestige Disney would be losing in bumping MNF to a cable network.  Nevertheless, as their plans to switch MNF’s channel were taking shape, Disney still had Al Michaels in it’s deck, the lead play-by-play announcer and respected voice of MNF telecasts up to that point.  Certainly ESPN’s iteration of MNF would benefit from having Michaels, but Michaels would wind up with NBC’s SNF during the transition instead.  But this was no accident or failure on Disney’s part, for, ever the synergists, they must have spotted a different way to cross-subsidize and recoup expected losses with Michaels not around for ESPN MNF.  Michaels became expendable.  Let’s quickly investigate why.

First, back up to fall 2004, when ABC saw MNF get its lowest rating for a game ever.  Yes, their free ad-supported product was losing money.  Big deal?  Well, back up a few more months.  During the summer of 2004, Disney’s video game unit, Buena Vista Games, started a Think Tank of college interns to devise concepts for new video games.  I was one of those interns, a senior at USC.  One of the concepts we pitched, Epic Mickey, a recently announced game by Warren Spector and Junction Point that’s expected to reinvigorate the character Mickey Mouse and hopefully make him relevant to a whole new generation, was just coming together under the direction of game developer Chris Takami and others.  During our think-tanking we came across the character of Oswald, the Lucky Rabbit as we were looking for potential supporting characters to fit the story we concocted for the game. When we brought our ideas for Oswald to Chris Takami, he had some folks do some research and discover that Disney no longer held the rights to the character.  Oswald was Walt Disney’s first cartoon creation, but due to a financial dispute he wound up out of Disney’s hands and  in to the hands of Universal Pictures.  Of course, eventually Walt would craft Mickey Mouse and the rest is history, but this story doesn’t stop there.

Snap back to 2006, and The Walt Disney Company wants Oswald back from Universal in order to make Epic Mickey.  Why?  Disney CEO Bob Iger, perhaps betting that Epic Mickey will reap bounteous profits and reinvigorate a media franchise, subsequently subsidizing any long-term losses ABC and Disney might experience from MNF’s switch to ESPN, decides to trade Al Michaels to NBC Universal for Oswald the Lucky Rabbit.  Oswald was back home, and with the trade Disney has kickstarted a potentially lucrative video game venture, a mega franchise in the making (could there eventually be movies, books, and more based on Epic Mickey and Oswald? – as a progeny of George Lucas I sugggested as much for Epic Mickey when we pitched it, and Warren Spector has the same vision).  So, Disney cross-subsidizes ABC and synergistically creates new revenue with this trade, and in so doing they establish three revenue streams (new and free ABC Monday night primetime offerings, the Epic Mickey franchise, and the new ESPN MNF) where there was once only one, (free ABC MNF).  And it all starts with a bunch of interns, of which I was one.

If you think about it, as Anderson points out in ‘Free’, this is what Google does so well – they give away one free product (search) and sell another product (AdWords) to subsidize the free one while still earning a profit from other revenue streams, too (such as the freemium-based Google Apps).  ABC is free, but Disney collects revenue and then some to keep it going from other streams (selling on-air commercial time, selling games like Epic Mickey, charging cable systems to carry ESPN, and so forth).  Sure, it’s not the same as offering many high-quality free products at the same time the way Google does with free Gmail, free Google Search, and free Google Maps, all robust standalone products, but it does prove that if you diversify you can offer several very popular products for free or nearly free and still recoup and profit through other means.  Don’t believe me?  Just wait and watch how much attention they pour into promoting Epic Mickey, a game that will make oodles a pop (at whatever the typical Wii game going price will be when it’s released next year).  So, there you have it: Disney, like Google, diversifying and synergizing through new models.  You should do the same, because you must realize, as my friend Brook Elllingwood put it, that all companies are now media companies.  Step in to the 21st century and play by the same rules as the Googles, Facebooks, and Twitters of the world.

As an epilogue, I don’t actually know what went on in the room when Iger traded for Oswald (as a long-gone former intern by that point), and I’m sure there are eight gazillion other ways Disney prepared to handle the MNF move and ABC Monday losses – plus I’m not dense enough to not recognize that Disney makes plenty of money in other ways (theme parks, toys, etc).  But, they could have just bought Oswald back or found some other way of acquiring him.  Why Al Michaels?  Because Epic Mickey is going to be huge and fund rest of Disney’s free products, as well as help keep MNF on cable TV.

The following post contains the final social media strategy to promote the recently released independent feature film, Rising From Ruins, part of the Independent America documentary series produced by HRHMedia.

About

The Independent America documentary series focuses on the struggles and challenges faced by small businesses and business owners, as well as the communities such businesses occupy under the threat of “Big Box” invasion.  2005’s The Two-Lane Search for Mom & Pop took the documentarian, Hanson Hosein, road-tripping across the United States, capturing stories of hardship and determination in the face of growing mega-corporate encroachment.  Unfortunately, August 2005 brought devastation to one location the filmmakers were unable to visit for Mom & Pop until much later.  Thus, 2008’s Rising From Ruins returned to the scenes of post-Hurricane Katrina New Orleans to document the growing struggles faced by NOLA residents and small business owners as both government and big business continue to attempt to execute a difficult and controversial recovery – one that hardly seems to include ‘mom and pop’.

Communicating an Important Message: The Survival of Small Business

The second feature from Independent America is about the post-Katrina survival of small businesses in New Orleans.  As an independent feature, Rising From Ruins faced myriad communication and marketing challenges in today’s social media space, a space that is continually leveling the playing ground for both studio and independent productions.  In late 2008 and early 2009, against a backdrop of media noise, and already faced with potential waning public interest in Katrina-related features, the once scattered presence of this project’s promotional content throughout several web services like Vimeo and Facebook may not have produced the scale of impact Independent America had first sought.  Therefore, during Rising’s 2009 roll-out at the Seattle International Film Festival, a more concentrated approach to engaging web chatter and to sharing content about Rising From Ruins in certain social networks and through micro-blogging tools like Twitter might have had a more worthwhile effect in generating support. But, Independent America already knows that such concentrated engagement alone is not what this project needs.  That is why they struck a deal with AOL’s SnagFilms documentary service, which in turn holds the promise of online distribution through both Snagfilms and, potentially, with the increasingly popular Hulu.com.  Though, despite such achievements, Rising needs a more robust social media push – especially true coming on the heels of Rising‘s debut at the aforementioned Seattle International Film Festival.

Communication Problem: According to the Client

Independent America wanted to make as big a splash as possible with Rising from Ruins‘ SIFF performance.  As mentioned, an aggressive but scattered social media push by the film’s creators occurred prior to the Festival.  Eventually, two screenings drew notably-sized crowds, but it is still too early to measure the extent of post-screening buzz that might have been generated.  Nevertheless, this was the client’s problem: how can they turn the SIFF debut in to greater exposure for the film and future demand for the film through a launch at Hulu.com and through DVD sales, and how can they give the film some legs for the near future, all using social media?

Communication Problem: From the Experts’ Perspective

If Independent America wants to grow through social media, then it needs a centralized social presence due to its small size.  A mega-corporation can afford to maintain a dozen accounts with a dozen different services – people understand such an entity possesses a centralized brand identity already.  So, Independent America, as a mostly unknown “brand”, cannot remain scattered throughout the social web.  It needs to establish itself as a focused brand, generate useful content that still communicates its message aside from the films (see Sinclair), and, last but not least, bring its audience together.  How could such a brand presence be achieved?

Developing a New Vision for a New Brand

The themes central to Independent America scream out “discussion”.  Issues of small business VS. big business ooze with philosophical and political debate.  And people love to debate in the social web.  But, as Independent America stands, just two films with a few social media web video clips and official websites to share, that is not enough by itself to foster real discussion on the web.  Like Heidi Sinclair and Paul Gillin would argue, this brand needs to extend itself towards generating content outside of what it already is – which is just a couple of interesting documentaries with otherwise deeply-debated themes about American small business.

How to Foster the Discussion

Independent America realizes that it can afford to try something big.  Social media can provide “big” with even minimal effort, due to the immediate and insatiable nature of web culture where small forays can pay huge dividends.  So, go big!  In that context, a blog is not enough.  A Twitter account is not enough.  Posting trailers for the film on Facebook is not enough.  Instead, as mentioned, a centralized space where new content can be generated by this devoted crowd, a crowd interested in the Big Box debate, needs to be established.  This needs to be a space in which the web community interested in debating and organizing around Independent America’s subject matter can find one another, champion their separate causes, and grow (or just argue about) a movement to save small business together.  Creating a new social network entirely is what is (and was) needed.

Strategy

It’s simple: we have created and are now building up a new social network with Ning.com, entitled “Independent America: Where Do You Stand?”.  This new social network exists to foster and drum-up the debate surrounding the place of big business in “small town” America.  Users can create profiles, write their own in-network blogs, and start forum topics about whatever they wish to discuss related to mom & pop America.  Most importantly, though, they will be strongly encouraged to post videos documenting their own stories, their local communities, and their political or idealogical positions.  In other words, this site can take a scattered on-line conversation, one that is floating in many different web spaces, and give it an unofficial focal point.  A social media director can guide things along at first to get the ball rolling.  Prominently feature Independent America: Rising From Ruins through embedded video promotional content and trailers, all of which serve as the catalyst for the discussion.  Ultimately, the site is not about the movies – it becomes a new source of content about the subject matter of the movies.  It establishes a place that anyone who is interested and passionate about the subject can make their voice heard and debate the messages and opinions of others.  Furthermore, users can take on the role of documentarian in their own communities and cover the subject in their own words, posting these stories and video mini-docs to this new “Where Do You Stand?” site.  How do we know this can work?  The Pickens Plan and MyBarackObama.com are two perfect examples of previous successful implementation of new social networks surrounding controversial but passionate material.

Implementing Where do you Stand?

So far, we have created the new site and begun to attract users and populate it with seed content.  We are encouraging all users to take control of the conversation, to help evolve the site in to what it will hopefully become – the web home for all matters related to the Big Box debate.  Ultimately, this strategy will require ongoing supervision and incubation from a handful of caretakers.  We will fill that role for now.  We hope that this social network will be adopted by others more passionate about the material in the near future (perhaps within the first 6 months).

Forecast

This is an exhaustive social media strategy, but a necessary one.  A grassroots discussion underlies the themes at the heart of Independent America’s films, and this grassroots discussion must be tapped.  Merely focusing on generating buzz for Rising From Ruins screenings and DVDs will wind-up being intolerably less effective.  An on-line home needs to be established that fosters the debate and allows users to take ownership of the ideas behind the film.  Without doing so, Independent America: Rising From Ruins becomes just another one-way salvo in a two-way world.  Undoubtedly, this site could become the go-to place and neutral authority for the big box debate, because it will be a place everyone can film, blog, argue and share their stories.

Prepared for Hanson Hosein’s Social Production course, Spring Quarter 2009, Master of Communication in Digital Media program, University of Washington, Seattle.

The following contains a proposal, amended for discovery and including useful tools, for a social media strategy to promote the upcoming independent feature film, Rising From Ruins, part of the Independent America documentary series produced by HRHMedia.

About

The Independent America documentary series focuses on the struggles and challenges faced by small businesses and business owners, as well as those communities such businesses occupy.  2005’s The Two-Lane Search for Mom & Pop took the documentarian, Hanson Hosein, road-tripping across the United States, capturing stories of hardship and determination in the face of growing mega-corporate encroachment.  Unfortunately, August 2005 brought devastation to one location the filmmakers were unable to visit for Mom & Pop until much later.  Thus, 2008’s Rising From Ruins returned to the scenes of post-Katrina New Orleans to document the growing struggles faced by NOLA residents and small business owners as both government and big business attempt to execute a difficult and controversial recovery – one that hardly includes ‘mom and pop’.

Rising Above Challenges

As an independent feature, Rising From Ruins faces myriad challenges in today’s social media space, a space that is continually leveling the playing ground for both studio and independent productions.  Already faced with potential waning public interest in Katrina-related features, the current scattered presence of this project’s promotional content throughout several web services, like Vimeo and Facebook, may not produce the scale of impact Independent America is looking for during Rising’s roll-out through the course of 2009.  A more concentrated approach to engaging chatter and to sharing content about Rising From Ruins in certain social networks and with micro-blogging tools like Twitter might have a more worthwhile effect. But, Independent America already knows that such concentrated engagement alone is not what this project needs.  That’s why they’ve struck a deal with AOL’s SnagFilms, which has secured distribution on both Snagfilm and the increasingly popular Hulu.com.  Despite such achievements, though, Rising will need a stronger social media campaign, coming on the heels of, and in promotion of, Rising‘s debut at the Seattle International Film Festival.

Proposal (amended with client feedback)

It’s simple: build a new social network with Ning.com, entitled “Independent America: Where Do You Stand?”.  This new social network will exist to foster and drum up the debate surrounding the place of big business in “small town” America.  Users can create profiles, write their own in-network blogs, and start forum topics about whatever they wish to discuss related to mom & pop America.  Most importantly, though, they’ll be strongly encouraged to post videos documenting their own stories, local communities, and political or idealogical positions.  In other words, this site will take a scattered on-line conversation, one that is floating in many different web spaces, and give it a unofficial focal point.  A social media director can guide things along at first to get the ball rolling.  Prominently feature Independent America: Rising From Ruins through embedded video promotional content and trailers, all of which will point users to the full-length film debut at SIFF and later at Hulu.com.  Now, although directing traffic to the Hulu launch and SIFF screenings of Rising will be the primary motivating factor of this new social network, the purpose of the site will also be to establish a place that anyone who is interested and passionate about the subject can make their voice heard and debate the messages and opinions of others.  Furthermore, users can take on the role of documentarian in their own communities and cover the subject in their own words, posting these stories and video mini-docs to this new “Where Do You Stand?” site.

Tools Needed

Creating the new site using Ning will only be the first step.  To generate buzz for both the film and this new story-sharing space, some of the tools already in use will be exploited.  Here are some steps to take:

1. Create the new public site using Ning.com.  Hopefully the ambiguity of the name will bring traffic.

2. Post badges indicating partnership with the University of Washington, Open Door, HRHMedia, SnagFilm, and the UW’s I-School.  These would link to appropriate sites that either feature Rising From Ruins or the site as a story-sharing venue itself (such as the I-School would do).

3. Create Facebook, Myspace, and Twitter profiles, all of which are named “Independent America: Where Do You Stand?”, all of which direct users to the new site.  Consider purchasing ad space on Facebook if financing to do so is available.

4. Populate each of the above with embedded videos from existent HRHMedia-maintained Vimeo and YouTube accounts.

5. Create a central blog in the new site, authored primarily by Hanson Hosein, with entries that discuss the film the same way the current official site for Rising From Ruins and the old IndependentAmericanFilm.com TypePad blog have already done.  However, intermixed with that, blog about any and every article related to the overall big business vs. small town America debate.  Basically, this gives people a launchpad and something to read.  Nevertheless, ALWAYS stay on message and be completely open about using the site as a vehicle to promote these films and the Hulu debut, but, more importantly, express that the site is here to establish a venue to debate the film and the issues it presents.

6. Start three primary discussion threads in the new site’s forum area: “Recovering from disaster?”, “Fighting big box stores?” and “Small Business Resources”.  Fill these threads up with as much helpful content as you can find, linking to third party locations.  Watch the crowd do the rest.

7. Start a fourth forum for local meetups to be organized – where people can plan get-togethers to organize initiatives or simply host BBQs.  Perhaps the first could be initiated by Independent America and be for NOLA natives to meet and have a viewing of the film.

8. Find videos on social networks that already tell stories about independent America, and add those to the video area.  Encourage users to post their own videos or share from other sites.

9. Develop link partnerships with websites dedicated to small business.

10. Run searches for community activist bloggers and email them about your site.

11. Tweet every action on the site through the Twitter profile.  Be noisy.  Post highlights from the site to the Facebook and Myspace profiles.

12. Ruthlessly comment and drop references to the new site at politically-oriented blogs and newssites across the web, on both sides of the debate (meaning, when stories about big box stores ruining small communities are run, or stories about small business disaster recovery issues crop up, at sites like the Huffington Post, Daily Kos, Crooks and Liars, Free Republic, National Review Online, CNN, Fark, Digg, and so forth, jump in and drop word).  Be shameless.

13. Lastly, in terms of long term strategy, as the site increases in noteriety and revelence, publish a page about your new social site on Wikipedia.

Forecast

This is an exhaustive social media strategy, but a necessary one.  A grassroots discussion underlies the themes at the heart of Independent America’s films, and this grassroots discussion must be tapped.  Merely focusing on generating buzz for Rising From Ruins will wind-up being intolerably less effective.  An on-line home needs to be established that fosters the debate and allows users to take ownership of the ideas behind the film.  Without doing so, Independent America: Rising From Ruins becomes just another one-way salvo in a two-way world.  We predict that the site will take on its own meaning as users mold it to their individual needs, and this social media strategy will evolve with the needs of the users.  Nonetheless, this site will become the go-to place and authority for the big box debate because it will be a place everyone can shoot and share their stories.

Prepared for Hanson Hosein’s Social Production course, Spring Quarter 2009, Master of Communication in Digital Media program, University of Washington, Seattle.

About Independent America: Rising From Ruins

Independent America: Rising From Ruins is the 2008 follow-up to 2005′s Independent America: The Two-Lane Search For Mom & Pop.  Both feature-length documentaries are directed by Hanson Hosein, former CBC and MSNBC reporter and current director of the Master of Communication in Digital Media at the University of Washington.  As a series, Independent America focuses on the struggles and challenges faced by small businesses and business owners, as well as those communities such businesses occupy.  2005′s Mom & Pop took the documentarian road-tripping across the United States, capturing stories of hardship and determination in the face of growing mega-corporate encroachment.  Unfortunately, August 2005 brought devastation to one location the filmmakers were unable to visit until much later.  2008′s Rising From Ruins returned to the scenes of post-Katrina New Orleans to document the growing struggles faced by NOLA residents and small business owners as both government and big business attempt to execute a difficult and controversial recovery – one that hardly includes ‘mom and pop’.

Independent Production meets Social Production

In 2005, Independent America took a pioneering approach to crafting their first entry, Mom & Pop.  Hosein and his partner established a TypePad blog and wrote about the day-to-day journey and production of the film, even posting the day’s edited footage and allowing users to comment and help guide the production process.  In essence, Mom & Pop is a marriage of independent filmmaking with user-generated content, while maintaining a cohesive voice and leadership under the film’s helmer.  When the picture was completed a more traditional marketing approach was implemented to get the word out about the film.  This included an official website, IndependentAmerica.net, and distribution through Open Door to outlets such as The Sundance Channel, as well as features at Yahoo! and in other on-line spaces.  Currently, clips and other promotional vignettes reside both on the official website as well as other social sharing sites like Facebook, YouTube, and Vimeo.  Not surprisingly, Rising From Ruins has taken a similar approach to promotion, allowing transparency during the production process as well as securing premieres at the 2008 New Orleans Film Festival and on Canada’s SuperChannel.  Ruins returns to the festival circuit at this year’s Seattle Internation Film Festival.  Again, Ruins follows Mom & Pop‘s strategy closely, with an official website/blog and clips and trailers on sites like YouTube, Facebook, and Vimeo.

Rising Above Challenges

As an independent feature, Rising From Ruins faces myriad challenges in today’s social media space, a space that is continually leveling the playing ground for both studio and independent productions (think of the de-evolution of web promotion from the successes of The Blair Witch Project or Napoleon Dynamite and An Inconvenient Truth to today’s onslaught of countless on-line campaigns for major studio films, and so forth).  Already faced with potential waning public interest in Katrina-related features, the scattered presence of this project’s promotional content in several web services, like Vimeo and Facebook, may not produce the scale of impact Independent America is looking for during Rising‘s roll-out through the course of 2009.  People just aren’t talking about Katrina much anymore.  Even a more concentrated approach to engaging chatter and to sharing content about Rising From Ruins in certain social networks and with micro-blogging tools like Twitter might have a less-than-worthwhile effect – Independent America already knows that such concentrated engagement alone is not what this project needs.  That’s why they’ve struck a deal with AOL’s Snagfilms, which has secured distribution on both Snagfilm and the increasingly popular Hulu.com.  Despite such achievements, though, Rising will need a stronger social media campaign, on that raises the bar, to compete for attention at a place like Hulu and whereever else the picture lands this year.

A Grassroots Strategy

Like Barack Obama, California’s Proposition 8, and the so-called Picken’s Plan, Independent America has at its core a foundation rooted in widely discussed ideals and hotly contested issues.  And, like those three movements, each successfully connected the grassroots of the real with the digital echochambers of social media.  How?  By not merely encouraging that their messages be shared by believers and openly debated by naysayers, but that these carefully protected ideas should be set free to be literally owned by the masses.  Yochai Benkler, Clay Shirky, and Eric von Hippel would all agree.  If Independent America wants to engage independent America, then it will need to tap into the conversations (aka the social cultural production) already taking place surrounding the issues Independent America covers, namely: big business versus small business, and, small business recovery in the wake of natural and other disasters.  Hosein shouldn’t just document these conflicts, he should establish a space for others to do likewise AND to continue to play the conflict out.  Independent America is too one-sided for its own good.

Proposal

It’s simple: build a new social network, perhaps with Ning.com or from scratch, called “Independent America: Where Do You Stand?”.  This new social network will exist to foster and drum up the debate surrounding the place of big business in “small town” America (and by small town, that could be any neighborhood in America – what we’re really talking about is gentrification and corporate greed, both of which know no geographic boundaries).  Users can create profiles, write their own in-network blogs, and start forum topics about whatever they want related to mom & pop America.  Most importantly, though, they’ll be strongly encouraged to post videos documenting their own stories, local communities, and political or idealogical positions.  In other words, this site will take a scattered on-line conversation floating in many different spaces and give it a focal point, a gateway to this debate.  A social media director can guide things along at first and get the ball rolling.  Prominently feature Independent America: Rising From Ruins through embedded video promotional content and trailers, all of which point users to the full-length film exclusively at Hulu.com.  Now, although directing traffic to the Hulu launch of Rising will be the primary motivating factor of this new social net, the purpose of the site will be to establish a place that anyone who is interested and passionate about the subject can make their voice heard and debate the messages and opinions of others.  Users can take on the role of documentarian in their own communities and cover the subject in their own way, posting these stories and mini-docs to this new “Where Do You Stand?” site.

Tools Needed

Creating the new site, using Ning or otherwise, will only be the first step.  To generate buzz for both the film and this new story-sharing space, some of the tools already in use will be exploited.  Here are some steps to take:

1. Create the new public site, probably using Ning.com.  Hopefully the ambiguity of the name will bring traffic.
2. Post badges indicating partnership with the University of Washington, Open Door, HRHMedia, SnagFilm, and the UW’s I-School.  These would link to appropriate sites that either feature Rising From Ruins or the site as a story-sharing venue itself (such as the I-School would do).
3. Create Facebook, Myspace, and Twitter profiles, all of which are named “Independent America: Where Do You Stand?”, all of which direct users to the new site.  Consider purchasing ad space on Facebook if financing to do so is available.
4. Populate each of the above with embedded videos from existent HRHMedia-maintained Vimeo and YouTube accounts.
5. Create a central blog in the new site, authored primarily by Hanson Hosein, with entries that discuss the film the same way the current official site for Rising From Ruins and the old IndependentAmericanFilm.com TypePad blog have already done.  However, intermixed with that, blog about any and every article related to the overall big business vs. small town America debate.  Basically, this gives people a launchpad and something to read.  Nevertheless, ALWAYS stay on message and be completely open about using the site as a vehicle to promote these films and the Hulu debut, but, more importantly, express that the site is here to establish a venue to debate the film and the issues it presents.
6. Start three primary discussion threads in the new site’s forum area: “Recovering from disaster?”, “Fighting big box stores?” and “Small Business Resources”.  Fill these threads up with as much helpful content as you can find, linking to third party locations.  Watch the crowd do the rest.
7. Start a fourth forum for local meetups to be organized – where people can plan get-togethers to organize initiatives or simply host BBQs.  Perhaps the first could be initiated by Independent America and be for NOLA natives to meet and have a viewing of the film.
8. Find videos on social networks that already tell stories about independent America, and add those to the video area.  Encourage users to post their own videos or share from other sites.
9. Develop link partnerships with websites dedicated to small business.
10. Run searches for community activist bloggers and email them about your site.
11. Tweet every action on the site through the Twitter profile.  Be noisy.  Post highlights from the site to the Facebook and Myspace profiles.
12. Ruthlessly comment and drop references to the new site at politically-oriented blogs and newssites across the web, on both sides of the debate (meaning, when stories about big box stores ruining small communities are run, or stories about small business disaster recovery issues crop up, at sites like the Huffington Post, Daily Kos, Crooks and Liars, Free Republic, National Review Online, CNN, Fark, Digg, and so forth, jump in and drop word).  Be shameless.
13. Lastly, in terms of long term strategy, as the site increases in noteriety and revelence, publish a page about your new social site on Wikipedia.

Conclusion and Forecast

This is an exhaustive social media strategy, but a necessary one.  A grassroots discussion underlies the themes at the heart of Independent America’s films, and this grassroots discussion must be tapped.  Merely focusing on generating buzz for Rising From Ruins will wind-up being intolerably less effective.  An on-line home needs to be established that fosters the debate and allows users to take ownership of the ideas behind the film.  Without doing so, Independent America: Rising From Ruins becomes just another one-way salvo in a two-way world.  I predict that the site will take on its own meaning as users mold it to their individual needs, and this social media strategy will evolve with the needs of the users.  Nonetheless, this site will become the go-to place and authority for the big box debate because it will be a place everyone can shoot and share their stories.

For more on social production, see…

Benkler, Y. (2006). The wealth of networks. New Haven: Yale University Press.

Shirky, C. (2008). Here comes everybody: The power of organizing without organizations. New York: Penguin Press.

von Hippel, E. (2005). Democratizing innovation. Cambridge, Mass.: MIT Press.

Prepared for Hanson Hosein’s Social Production course, Spring Quarter 2009, Master of Communication in Digital Media program, University of Washington, Seattle.