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In 2016, BuzzSumo analyzed more than 800 million Facebook posts. Based on their findings, posts with less than 50 characters “were more engaging than long posts.” According to another, more precise study by Jeff Bullas, posts with 80 characters or less receive 66 percent higher engagement:

Paid posts: 5 to 18 words Every Facebook ad needs three types of content: a Headline, Main Text, and a Description. After analyzing 37,259 Facebook ads, AdEspresso found that ads did best when the copy in each element was clear and concise. According to the data, the ideal length for a: Headline, the first text people read, is 5 words. Main Text, the snippet above your image or video, is 14 words. Description, the text that lives directly below your headline, is 18 words.

Videos: 30 to 60 seconds With video, one of the primary measures of success is how long people watch, also known as your video retention rate. In 2016, Kinetic Social tracked 2 billion social ad impressions and found that 44 percent of 30- to 60-second videos on Facebook were viewed to completion. Meanwhile, videos that ran under 30 seconds or over two minutes saw completion rates of 26 and 31 percent, respectively. A more recent poll, from 2018, showed that 33 percent of Facebook users preferred to watch shorter videos, from 30 to 50 seconds long.

When the TV show The X-Factor (U.K.) put a hashtag on the screen, it generated 27,000 tweets in 90 seconds.

Note that Twitter reported a half a billion tweets per day in October, up from 140 million per day in early 2011. It’s also a different way to measure its data than Twitter had in earlier years, when it would often tout the number of tweets, but really mean “items,” in terms of shares and re-shares which have to be shown on other peoples’ timelines.

witter is ramping up on big data visualization.

carousel ads can now be a combination of pictures and/or video and must include three to five content pieces. The maximum length for videos in this format is 60 seconds, which is standard for all Instagram users

Snapchat is at the mercy of competitors like Facebook and Google that can simply copy its products.Advertisers say Snapchat's unique selling point is that it is cool, new, and has created its own advertising "currency."But ad-buyers also need Snapchat to do more to prove its ads actually drive sales if they are going to commit meaningful budgets to the platform.

the barrier to entry for new entrants is low, and the switching costs to another platform are also low. Moreover, the majority of our users are 18-34 years old.

Users under 25, it says, visit Snapchat more than 20 times and spend more than 30 minutes on the app each day. It may have fewer users than its rivals, but, for now at least, they are highly-engaged

said the company has vowed to no longer pay for any digital media, ad tech companies, agencies or other suppliers for services that don't comply with its new rules.

Problems in what he called the "media supply chain" may help explain why the U.S. has anemic economic growth despite $200 billion in annual ad spending, including $72 billion on digital, Mr. Pritchard said. The IAB is 21 years old now, he noted, and digital collectively gets more money than TV.

we are now poring over every agency contract for full transparency by the end of 2017 to include terms requiring funds to be used for media payment only, all rebates to be disclosed and returned, and all transactions subject to audit,"

Problem number one: Building a relevant and engaged audience on Snapchat is difficult, compared to other social networks.

Issue number two: Snapchat has its own vibe. It may be difficult for many companies to achieve Snapchat credibility without some help from the cool kids.

the third issue is, the challenge of creating continuous, credible, snap-worthy content that disappears can be significant.

The company, part of Google, says it's expanding its Custom Affinity Audience offering so advertisers can target users who search for ski resorts on Google Maps or download a ski resort app, for example, and serve them with ads for winter-related gear. It also provides targeting based on real-life locations that users may have visited.

Meanwhile, YouTube says its new Director Mix software can create hundreds or thousands of different video from a single asset.

Marketers who leverage Director Mix must provide YouTube with all the building blocks of video, including voiceovers, background and copy. YouTube says it will then create "hundreds or thousands of versions to match your audience segments."

But the fascination with Google+ as a would-be Facebook killer obscures the larger story about what Google+ offers.

Google+ is really two things. One is a destination for connecting with friends and subjects that interest them. When the press writes about Google+, it's usually in this context. But Google+ plays a second role, as a product that improves other products. Google tends to talk about this in abstract terms -- it's "a social spine;" it's a "fabric;" it "weaves" Google products together. Let's try to be a little more concrete about what Google+ is doing besides giving people a Facebook alternative.

Google+ is a single sign-on system. Until the social network launched in June 2011, users of various Google services used different identities for each.

The language used is vital. Munoz did not mention the words ‘sorry’ or ‘apology’ in his internal memo, merely expressing his “regrets” that the situation arose.  “You need to think about the ramifications of getting that apology wrong, because often it’s much, much worse if you don’t get the follow-up right. Mistakes happen, but the nature of the company’s response says a lot about their ethics in general,

“All people want to hear is an authentic message and some action that ensures it won’t happen again. Reputations take years to build and seconds to lose. It’s not worth risking anything.”

the first golden rule of corporate apologising is speed: get your say in first to limit the damage and give the impression of owning up to it. Munoz’s letter came nearly 24 hours after the debacle. Then you need to empathise with the people affected – in this case not only the passenger in question, but those around him.  “He hasn’t considered the distress caused to his other passengers here. The problem is bigger than defending the actions of his staff, he needs to apologise to those clearly upset by having to witness the event and feel uncomfortable on his service,”

If one Page tags a second Page you like or follow, you may see that post in your News Feed even if you don’t like or follow the first Page.

Shazam execs' talk of using their proprietary data for advertising puts them in league with The Weather Company, Pandora and Amazon, which are all mining information like pollen count, song choices and product purchases to inform ad targeting. Mr. McGurn said the Shazam app ingests the live audio feed from 160 TV networks every day. That positions the app as an ally to TV networks trying to stem their share of ad spend from being siphoned online.

Shazam is also currying favor with TV networks as a way to drive viewership. For last fall's Country Music Association Awards, Shazam pushed alerts featuring the show's air date and time to the in-app news feeds of eight million users who might be interested in watching, like those who had previously tagged a Blake Shelton song. Ten million people received such a notification for The Grammys.

People who use Shazam to "tag" the game's broadcast this year will be shown a new Twitter-like timeline. The live content feed will document the game -- from tweets to photos to ads -- and is designed to keep people using Shazam for the duration. But even if people tune in and out of the app, Shazam has created a new ad-retargeting program that plugs into Facebook.

social media-driven campaigns would see the most growth in commercial production in 2014,

it makes sense that the commercial production space is shifting its efforts to viral video. Out of the US smartphone users surveyed, 44% said they watched viral videos on their phones, the second most popular digital video type they viewed regularly; 43% of computer users and 37% of tablet users also reported watching viral clips on those devices.

The top hurdle to managing rights and royalties for commercials was the need for a system to track them, cited by 32% of respondents. A close 30% were concerned about others using an asset despite not having the rights to it

While women make up about 70% of the PR workforce, they only hold about 30% of the top positions in the industry.

This raises the question, are big agencies losing talented women — some of whom start firms that ultimately become competition because of rigid policies?

A recent study by Bain & Company found that 43% of women aspire to top management within the first two years of their position, compared with 34% of men. “Both genders are equally confident about their ability to reach a top management position at that stage,” reads a blog post on the research. “This suggests that women are entering the workforce with the wind in their sails, feeling highly qualified after success at the university level.”

Twitter has now introduced consumer video uploading, purchased video analytics provider/influencer broker Niche, launched live streaming app Periscope and rolled out auto-play video.

Twitter’s mobile focus means that more than 90% of video views on the network come from mobile devices. For another, he said, Twitter is a superior place for the interaction between creators and their fans.

Niche is another Twitter-owned avenue that can help creators make money. Niche acts as an intermediary between video producers and brands, and Singh said Niche has doubled the amount it’s paying creators since Twitter acquired the company in February. (A Twitter spokesperson clarified that the average deal is now double the previous total.)

more “advanced” metrics had generally seen the most growth. For example, engagement—the top KPI—had jumped 32% in the past two years, while sentiment tracking showed year-over-year growth of 38%.

sales conversions and brand ambassadors dropped by 38% and 58%, respectively, between 2012 and 2014. Still, web traffic as well as followers, fans and group size—simple and relatively useless figures—ranked second and third, which Useful Social Media said was “slightly disconcerting.”

Most US consumers (52%) say high performance is the quality they value most in website experience, according to a recent report from Limelight Networks.

59% of respondents say they will wait no more than five seconds for a webpage to load before becoming frustrated and leaving the site. 37% say they will leave and buy a product from a competitor if a website is slow, and 26% say they might/are not sure.