Emily in Paris 0 898

5 reasons why Emily in Paris could not be an influencer in real life

In a year that people would rather fast-forward their lives, Netflix’s easy to watch ‘Emily in Paris’ has achieved an impressive entry on the list of the streaming platform’s 10 most watched shows. The plot is far from elaborate: An American millennial goes to work in Paris even though she cannot speak a word of French,  falls in love with the city, its cuisine, and its men – oh, and on the way, she also becomes an overnight influencer without much effort.

Created by Darren Star, the same man behind HBO’s Sex and the city (1998 – 2004), “Emily in Paris” stars Grammy and Tony nominated actress Ashley Park, and The Mortal Instruments: City Of Bones’ Lily Collins (who was also executive producer).  The series was shot in France last year, from August to November, in a pre-Covid era when people could still go out and maintain normal lives.

It is hard to realistic place Emily as a normal girl. She is perhaps the only twentysomething American with just 58 followers to be transferred abroad to work in a marketing agency. Even more bizarre, she is taking a post at what must be the only marketing agency in the world without any social media accounts, which makes it even harder to imagine the character thriving as a content creator.

Over the years, I have worked with hundreds of content creators and brands in Asia, Europe and America. So, believe me when I say that although the influencer marketing ROI is higher than most traditional sales approaches, it is way more complex than it looks. 

Here are the five main reasons why Emily in Paris could not be an influencer in real life.

 

Zero interaction

Emily is often impressed by the number of people finding her account, for no obvious reason, and following her, for no obvious reason, either. However, she doesn’t make any effort to check who those people are, nor to interact with them. Despite the fact that her Instagram goes from a few dozen followers at the series pilot, to thousands of people following her short posts once she starts sharing her Parisienne life in later episodes, Emily never replies to a comment or leaves even an emoji on others’ accounts.

Ask any real-life content creator and they will tell you how many interactions they have to create every day to keep people commenting and sharing their content. From a simple ‘thank you’ to a more detailed reply, influencers can’t afford to simply ghost post. Ghost posting is an expression created to describe people who disappear after uploading their content, instead of interacting with followers within the first few minutes of their content going live – these are the crucial minutes that will make or break a piece of content on social media.

EMILY IN PARIS (L to R) LILY COLLINS as EMILY and ASHLEY PARK as MINDY CHEN in episode 101 of EMILY IN PARIS. Cr. CAROLE BETHUEL/NETFLIX © 2020

No planning whatsoever

Emily is a free spirit in a new city and posts away with the same carefree attitude. here is no content planning. Emily just creates her next post in an improvised way. 

In real life, influencers spend hours planning their content. This includes crafting great captions, creating outstanding photos and videos, and meticulously planning what time they will post based on research and a deep understanding of their own Instagram insights. Knowing their followers well and what time they are most likely to be online is the key difference between content performing well or falling flat.

 

Ignoring Instagram’s tolls

In Emily’s world, it is good enough to post on the main grid. She lives in an unrealistically simple digital world.

In the real world, all tolls released by the Facebook-owned platform over the past decade massively help to drive engagement. We know that the protagonist is aware of Instagram Live, as we see Emily watching a live stream of her friend, Mindy, singing in a bar. However, she doesn’t explore Instagram Live while creating her own content, nor does she use stickers, location tags, filters, or any other available tolls.

 

No video content

Although Mademoiselle Emily works in marketing, she blatantly ignores the fact that, according to a survey by Cisco, the worldwide leader in IT and networking solutions, by 2022 online videos will make up more than 82% of all consumer internet traffic — 15 times higher than it was in 2017. 

The changes in the way people consume video content is a forecast widely spread across the marketing industry. So much so that, a few years back, while outreaching content creators to be part of a new campaign, I would often be asked in which format the brand expected them to post – as they had different fees. 

Video content takes longer to be created and approved; therefore, it commands a higher price. The difference is that in 2020 most influencers are posting in any possible format to maximize their reach. So, instead of negotiating a static post, savvy content creators are now more likely to offer brands a package that will include videos, stories, Instagram reels and, in some cases, even blog entries and cross promotions. With the latter, the influencer would also post across different social media channels.  

 

No follow up

Influencers spend a reasonable amount of time doing something that only a few people see: following up with brands. Once they land a collaboration, be it paid or in exchange for a free product to review online, the partnership doesn’t end once the post is up on social media. In fact, this is actually only half-way through the process. Within the first hours of a branded content going live, often people will ask specific questions that will require the content creator to liaise with the sponsor to answer them. The more related to the post, the better the engagement. Companies and their marketing agencies also expect influencers to follow up with them, after a while, to share content insights (how many people interacted, how many clicked the promotional link etc). It is worth spending some time doing it properly and in a professional way because that follow up will allow brands to decide if a content creator is a good fit to work on future campaigns.

 

All 10 episodes of Season 1 of “Emily in Paris” are now available on Netflix. 

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Marcio Delgado is a Journalist, speaker and a Content Producer working with brands and publications in the UK and Latin America.

Social committee proposes EU regulation on influencers 0 69

Perceived by consumers as closer, more authentic and more trustable than traditional advertising or celebrity endorsement, content creators are attracting more brand investment than ever: in 2022 alone, influencer marketing spend jumped from 3.69 billion to 4.14 billion in the U.S., according to data released by American inbound marketing platform Hubspot. The amount of cash trading hands pushed authorities to set standards for the Influencer marketing industry early on. So much so that, in the USA, influencer marketing is considered regulated since 2009, when the Federal Trade Commission (FTC) published for the first time a set of endorsement guides on sponsored content posted by content creators on behalf of brands – including influencers being required to disclose their relationships with companies in a clear way.

Over to Europe, the rules are not as clear.

Unlike traditional advertising, which is subject to very strict rules, influencer advertising can fall through the cracks of ad disclosure. The commercial nature of influencer posts is not always identifiable, with ads featuring alongside similarly styled, but independent editorial content. Companies using influencers as ambassadors for their products and brands also have greater freedom than in conventional advertising.

Now the European Economic and Social Committee (EESC), a consultative body of the European Union, is trying to reduce the lack of transparency often seen in influencer marketing by proposing that the EU should set specific obligations for both, the administrators of the video-sharing platforms and social media networks on which influencers operate, and for content creators and influencers themselves.

The basic principle of the proposal is that advertisers should leave consumers in no doubt that what they are engaging with is advertising. And they should not mislead consumers or cause serious offence.

“EU already has some mechanisms in place to deal with influencers, which are covered by legislation on both advertisers and sellers/traders. However, we think it would be desirable to have a comprehensive approach given the fast rise of this phenomenon.”, says Bernardo Hernández Bataller, a councilor of the European Economic and Social Committee since 1994. “We would need specific regulation to cover the rights and obligations of the people involved, so that all legal operators and consumers know exactly what is and what is not acceptable.”

Some Member States have gone it alone (France, Spain and the Belgian region of Flanders). But, accord to the recent proposal, a “hard core” of EU rules would be more effective. The EESC argues that it would leave no loopholes allowing different Member States to take a softer line.

The list of suggestions to be adopted by influencers in all 27 member states of the European Union includes it being mandatory for content creators to include a prominent label upfront to highlight that a post is a marketing communication. They would then be liable if they fail to make it sufficiently clear when they are being paid to endorse or promote a product or service.

The proposal highlights that platform administrators and social media networks should also be liable for content published by the content creators and influencers they host, as well as have an obligation to take down illegal content and report illegal activity.

Other issues surrounding influencer marketing featured throughout the report includes the frequent use of child influencers. Concerns regarding content creators as a trade and if their position should be covered by employment laws are also mentioned.

“What about the tax issues raised by influencer advertising? How should we tax influencer income and the profits influencers generate? How should we tax the added value they create?, asks Stefano Palmieri, co-rapporteur.

Even if approved, a new set of rules doesn’t necessary mean that brands and content creators will follow them. In France, in a study of 60 influencers and influencer agencies from January 2023, the French General Directorate of Competition, Consumer Affairs and Fraud Control (DGCCRF) showed that 60% did not respect the regulations on advertising and consumer rights.

And in the UK, compliance with labelling requirements when it comes to Influencer Marketing remains low. In 2021, the Advertising Standards Authority (ASA) published an analysis of more than 24,000 Instagram Stories. Of the 5,700 it considered to be marketing material, nearly two-thirds were not clearly identifiable as such.

How is Coronavirus affecting content creators’ income? 0 614

It is official: we are four months into 2020, and a lot has changed since the last time content creators ventured out of their houses for a photoshoot, or to create a branded campaign from scratch.

From Asia to the USA, from Europe to Latin America, current travel restrictions and self-isolation recommendations mean that more people than ever before are working indoors, across all corners of the world, helping fight the spread of Covid-19.

So, how are influencers balancing life in quarantine, creativity restraints, and the loss of income generated by the global pandemic?

Matteo Castellotti – Ski instructor and blogger

Double Impact

“As a content creator and ski instructor, I have been doubly impacted because you need to be outdoors to carry out both activities, and, right now, it is not a possibility here in Italy.

It has been a month since the last time we were allowed out of the house properly, and the number of deaths caused by the coronavirus is worrying.

We try to remain courageous and support each other, but the truth is, we don’t know when all this will end, and life will be back to normal. Hopefully, everything will be resolved as soon as possible.”

Matteo Castellotti – Ski instructor and blogger

Renata Oliveira – Model and Lifestyle Influencer

Leveraging the Engagement Spike

“It affected me directly as I had worked with brands canceled, as well as a work trip carefully planned to take place during Easter that has been canceled.

I am very practical, though, and as I suddenly found myself at home with lots of extra time, I have dedicated my time to creating content that can help my followers through their quarantine.

From tips to recipes, I am doing whatever I can to keep my Instagram active and useful, besides leveraging the increase of traffic and engagement I have noticed since this novel coronavirus started to change people’s online habits.”

Renata Oliveira – Model and Lifestyle Influencer

Giovanni Aguayo – singer

Fitness Routine Dropped

“Although I love my two dogs, staying full time indoors with them is also driving me insane. I miss going to the gym – and for once, my fitness routine has totally dropped.

I’ve been trying to keep a healthy diet but, I’m just at home watching movies all day. I haven’t been back to work in 2 weeks, and I truly miss it, even seeing my co-workers and just people in general. As an influencer and content creator, the virus has had a kind of up and down effect; for example, I haven’t had any new products for product placement, but I have learned a couple of new things for myself. I’ve learned to dance more, keep in touch more with my family and friends (over FaceTime, of course). In fact, lately, I have been putting together a lot of dance videos, and have even learned a couple of choreographies.

The virus itself is horrible, and I wish it can go away soon, so we can continue with our normal lives and normal living and rebuild a financial structure. Tons of businesses have closed down here in Las Vegas, and hotels and casinos are all boarded up to keep people away.”

Giovanni Aguayo – singer

Dr. Bucandy Odetundun – Brand influencer and Medical Doctor

Negotiations On Hold

“I’m a stay at home mum, and I usually use the time when my son is at the nursery to create content for both my YouTube channel and my Instagram. However, right now, my son’s nursery is closed, so it is really difficult as he consumes most of my time.

It is not only affecting my creativity but my income, too. I had a few brands in which I was at an advanced stage of negotiations for an Influencer Marketing campaign before the lockdown. Unfortunately, they had to put everything on hold due to the unprecedented times.”

Dr. Bucandy Odetundun – Brand influencer and Medical Doctor

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