In a previous post, I discussed the increasing importance of social media optimisation (SMO) at the expense of traditional SEO methods. This week, I’ll be looking at how traditional publishers are testing this theory with product launches that rely almost entirely on consumer behaviour on Twitter and Facebook.

Buzzfeed, a website that combines a platform for detecting viral content with an editorial process to provide a snapshot of “the viral web in realtime”, revealed that it had reached a record high of 130 million global unique users last month.

The company  credited a lot of the growth to an increase in traffic coming from Facebook. However, Twitter referral traffic has also surged, with 180% growth in the past year. The seven-year-old site is experiencing breakneck growth, with global unique user numbers up 350% year-on-year.

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Earlier this year we introduced the concept of native advertising, which in the context of the advertising world, is still a relatively new concept. In the space of a few years it has developed from a burgeoning and beneficial idea to what many believe will be the advertiser’s tool of the future. Initially picked up and tested by leading digital platforms, such as Google and Youtube, native ads are now a totally integrated part of online browsing.

Social networks in particular have assimilated native ads more than any other platforms, specifically with Facebook’s suggested posts and Twitter’s promoted tweets and users:

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In August last year London listings magazine Time Out became the latest high quality title to drop its cover price (£3.25), say farewell to the news-stand, and become a commuter freebie. 

It looks, feels, and reads like its paid-for predecessor. There are film, theatre, dance, music, comedy, shopping, food, cabaret and club previews, and full-page ads for products including Hertz, Tesco Mobile, BA, and Fullers Brewery confirm that advertisers have stuck with the title, which now has an average weekly circulation of 205,530, a fivefold increase on the 54,875 copies it was selling each week in 2011. 

Time Out is not routinely discarded by commuters, a trend it shares with glossy rivals Stylist (distributed on Wednesdays to affluent 20 to 40-year-old women with high end fashion, travel, beauty, people and careers content), and Shortlist (distributed on Thursdays to professional males)

But unlike Time Out, both Stylist and Shortlist launched as “freemium” titles and have never had a cover price.

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In the past month, almost 1 million new magazines have appeared on Apple’s iPad. Rather than heralding a long-awaited comeback from traditional publishers, nearly all of these collections of articles, photos and social-media updates are the handiwork of ‘armchair editors’, using a new tool from the social magazine app, Flipboard.

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In last week’s blog I looked at the innovative ways that publisher’s are monetising their products in the face of a shifting digital landscape. One of the most ground-breaking moves has come from Forbes Media, who opened up their content creation platform, not only to external authors but also to marketers and brands.

This idea of interweaving promotional content with both editorial and user-generated content (UGC) is central to a much larger concept gaining traction in the online advertising community; native advertising.