#advises Digital Marketers.

[digiads34]

9625939824 digi_ads_

[panaromicinoftechs]

Mastering Mobile App Localization: The Ultimate Guide

[ssfinancialdigitalservices]

[wddadvertising]

BENEFITS OF HIRING AN AGENCY OVER A FREELANCER

[collapsedsquid]

The system has resulted in large rent increases that were previously unthinkable, according to RealPage's own executives. “As a property manager, very few of us would be willing to actually raise rents double digits within a single month by doing it manually," RealPage executive Andrew Bowen said. Arizona's lawsuit alleges that RealPage "puts significant pressure on participants to ensure they adopt RealPage’s prices." Specifically, RealPage employs "pricing advisors" who "meet with landlords to ensure that properties are implementing RealPage’s set rates." This is described by Arizona as "policing the conspiracy to make sure no one cheats by lowering prices and trying to gain market share." RealPage training materials, cited in the DC lawsuit, advise that landlords "should be compliant" with the software's pricing recommendations. The Arizona lawsuit claims that landlords "agree that if they fail to consistently implement RealPage’s set rates, their contract with RealPage will be terminated." Jeffrey Roper, who created the RealPage algorithm, explained that if "you have idiots undervaluing, it costs the whole system." According to DC's lawsuit, this practice shows that "while RealPage sought to grow the cartel to maximize profits, it also understood the importance of universal adherence and was willing to expel an occasional cartel member to demonstrate its commitment to enforcement of the agreed-upon pricing scheme." While the RealPage software eliminates the need for competitors to meet in a smoke-filled room, Arizona asserts that it "is still illegal… for competitors to join together decision-making power to raise, depress, fix, or stabilize prices—no matter the technology used to effect a price-fixing agreement."

[astroismypassion]

✨PART OF FORTUNE IN SIGNS AND HOUSES SERIES: 11TH HOUSE✨

Credit: Tumblr blog @astroismypassion

ARIES PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Aries and Aquarius Sun people in your life. You can earn money via launching or joining a tech startup, focused on innovative technologies or disruptive business model, via work in community organization or activism, via work in digital marketing or social media management, via providing consulting services to businesses or organizations, advising them on innovation strategies, product development or new market exploration, via work in crowdfunding or fundraising. You feel abundant when you align with social causes, focus on group dynamics and embrace innovation.

TAURUS PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Taurus and Aquarius Sun people in your life. You can earn money via work in investment management, focusing on building and managing portfolios that provide stable returns, via art colleting, dealing or curation focusing on pieces that have enduring value, via work in interior design, via work in hospitality management (in luxury hotels, resorts or event planning). You feel abundant when you embrace sustainable and ethical practices, when you practice patience and persistence.

GEMINI PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Gemini and Aquarius Sun people in your life. You can earn money via engaging in activism, advocacy work, via work in public relations, graphic design, via creative writing, screenwriting, content creation, teaching, tutoring, joining or starting a tech company focused on innovative products or services. You feel abundant when you are focused on community, collective goals, when you stay versatile and adaptable.

CANCER PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Cancer and Aquarius Sun people in your life. You can earn money via pursuing a career in early childhood education or childcare, nursing, caregiving, mental health services, via work in family and parent education, pursuing culinary arts or catering, engaging in art and design. You feel abundant when you focus on community, social connections, embrace technology and innovation, promote security and stability and use your intuition and emotional intelligence.

LEO PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Leo and Aquarius Sun people in your life. You can find abundance by managing a charitable organisation. You can earn money via work as a creative director or manager, overseeing projects in fashion, advertising or design, via writing, blogging, content creation focused on inspirational and motivational themes, via work in charity or fundraising, work in teaching (drama, art, public speaking). You feel abundant when maintain confidence in your vision and abilities, when you embrace charisma, leadership and when you pursue a creative career.

VIRGO PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Virgo and Aquarius Sun people in your life. You can earn money via work in tech support, quality assurance, systems analysis, work in non-profit management, pursuing teaching or training roles, engage in environmental research, when you organise workshops or seminars on practical skills, health and wellness. You feel abundant when you focus on health, wellness, when you network, collaborate and when you use technology.

LIBRA PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Libra and Virgo Sun people in your life. You can create wealth by creating and selling DIY kits or tutorials. You could also learn digital or 3D art. You could sell photos on sites like Shutterstock or Adobe Stock. You earn money via event planning, specializing in weddings, social events and community events, work in legal services, such as family law, meditation or contract negotiation. You feel abundant when you embrace collaboration and partnerships, focus on aesthetics and creativity.

SCORPIO PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Scorpio and Aquarius Sun people in your life. You can earn money via holistic healing, alternative medicine, energy work, via astrology, metaphysical studies, spiritual counselling, via biotechnology, healthcare technology, environmental technology, via work in cybersecurity, data analysis or investigative journalism. You feel abundant when embrace deep, transformative work, engage in financial and strategic roles.

SAGITTARIUS PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Sagittarius and Aquarius Sun people in your life. You can earn money via career in diplomacy, teaching, lecturing, work in tourism industry, work in educational publishing, work in broadcasting or journalism, work in editing or translation. You feel abundant when you engage in social and humanitarian causes, focus on education and communication, when you embrace international cultural perspectives.

CAPRICORN PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Capricorn and Aquarius Sun people in your life. You can earn money via real estate development, work in corporate training and development, taking on leadership roles in non-profit organizations that focus on social justice, community development or environmental sustainability. You feel abundant when emphasize practical, realistic approach, when you use network and social connections.

AQUARIUS PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Aquarius Sun people in your life. You can earn money via streaming on platforms (Twitch), participating in esports or creating gaming content. You earn money via scientific research, when you create or support educational programs that focus on skills for the future (digital literacy, innovation), when you create content that explores futuristic concepts, technology trends or social change using platforms like YouTube, a blog, podcast. You feel abundant when you focus on technology and future trends and when you stay true to your unconventional nature.

PISCES PART OF FORTUNE IN THE 11TH HOUSE

You feel the most abundant when you have Pisces and Aquarius Sun people in your life. You can earn money via storytelling, work in holistic healing fields, massage therapy, via painting, writing, music or film, via offering spiritual or life coaching services. You feel abundant when stay true to your intuitive insights, embrace spiritual and healing practices and when you focus on humanitarian and compassionate work.

Credit: Tumblr blog @astroismypassion

[trulybetty]

oct' 31 x trick or treat

Prompt: trick or treat (something sweet this way comes p.III) Pairing: marcus pike x f!Reader Word Count: 2,524 Warnings: barely beta'd is the name of the game, all mistakes are my own. mentions of baking, a tiny dash of spice, no spoilers here 💕 Summary: maplewood, a small town nestled in northern bc where people flock to see the changing blossom trees and celebrate the fall season. after losing your job you find yourself a part of the community which includes the towns baker who left a less than stellar impression on you. AO3: coming soon

A/N: It's here! The conclusion to this terribly sweet Marcus Pike story and my October prompts!

x. masterlist x. something sweet this way comes part I x. something sweet this way comes part II

As October inched towards its end, the energy in Maplewood shifted towards an almost palpable excitement. Fairy lights had been strung up between the buildings, ghosts and witches dangled from the trees, and pumpkins of all shapes and sizes sat proudly in shop windows.

You had thrown yourself with full vigour into your job search, declaring that your sabbatical in Maplewood would need to come to an end at some point. So you’d dusted off your resume, worked on cover letters and created many alerts of vacancies between Toronto and Vancouver.

And then, the offer came. A job back in Toronto. On paper, it was everything you had been working towards: good pay, room for advancement, a chance to move back to the bustling metropolis you knew so well.

Just two months ago, you would have snatched it up without a second thought. But things had changed. Maplewood had seeped into your bones; the small-town charm, the sense of community, and the friendships you'd formed had given you a newfound perspective on what ‘home’ could mean.

Adding another layer to your already complicated emotional landscape, was Libby.

“You know,” she said one evening, “the tourism board has an opening. It's in digital marketing,” Libby continued as you both sat in the living room above the bookstore, you with a new mystery novel and her with a cup of herbal tea. “They're expanding their team, and I thought of you immediately. You'd be perfect for it.”

You looked up from your book, “That does sound interesting,” you admitted, your mind racing as you weighed the options.

“Just think about it,” Libby advised, noting your indecision. “You don't have to make up your mind right away.”

But time was not a luxury you had. The job in Toronto needed an answer soon, and the Trick or Treat Parade was just around the corner, a reminder that life in Maplewood moved at its own pace, whether you were ready or not.

And then there was Marcus.

Amidst the excitement for the end of the month Trick or Treat Parade, you had successfully managed to avoid Marcus for the most part since your stint at the bakery.

Whether by luck or meticulous planning, you had kept your interactions brief and formal, a kind of self-imposed exile to protect yourself from... well, you still weren't exactly sure what you were protecting yourself from.

It wasn’t without his efforts either - he’d turned up the afternoon of the Jack-o-Lantern hunt. Libby had been sitting at the counter when she’d glanced up at the store's window seeing Marcus look both ways before jogging across the street. Eyebrows raised, she turned to you, “Marcus is coming over. Do you want me to—”

“Yes,” you interrupted, not even needing to hear the rest, “Libby, you just have to promise me, if Marcus asks for me, say I'm not here, okay?”

Libby chuckled but nodded. “You got it.”

You retreated to the back of the shop, behind rows of bookshelves and out of sight. Moments later, you heard the chime of the front door bell, announcing Marcus' arrival.

“Hey Libby, is—ah, never mind,” Marcus started, seeming to catch himself mid-sentence.

“She's not here,” Libby confirmed, her voice carrying to your hiding spot. “Can I help you with something?”

“Ah, just wanted to drop these off,” Marcus replied. You could almost hear the crinkling of paper, imagining him setting down one of his signature boxes of baked goods on the counter. “For both of you. Consider it a thank you for the help last week.”

“Sure, I'll let her know,” Libby said, slightly hesitant, as if balancing on a tightrope of truth and discretion.

Just as you were thinking you might've pulled off the perfect vanishing act, you accidentally knocked over a stack of newly arrived books with a loud crash. You winced, cursing your clumsiness under your breath.

Back at the front of the store, Marcus raised an eyebrow. “What was that?”

Libby cleared her throat, a little flushed, “Oh, it must be the mice. I've been meaning to deal with that.”

Marcus' voice floated back, laced with a knowing skepticism. “Mice?”

“Uh huh,” Libby nodded.

He gave her a pointed look, “It sounds like a rather large mouse.”

Libby stuttered a response, “I mean, did you see that picture of that rat eating pizza in that New York subway?”

With a departing chime of the bell, Marcus finally left after his conversation with Libby finished, and you waited a full minute before emerging from your hiding spot, guilt written all over your face.

Libby looked at you, then at the box Marcus had left on the counter. “So, what gives? Why are we avoiding Marcus?”

You sighed, finally letting your guard down. “I almost kissed him.”

Libby's eyes widened, her expression shifting from surprise to excitement and then she let out made you wince, “I knew it! I knew you two would be good for each other.”

“Libby, it's complicated,” you said, hoping to dial down her enthusiasm a notch or two.

“What's so complicated?” She nudged the box toward you, lifting the lid to reveal an array of doughnuts and pastries, each more inviting than the last. “The guy leaves you doughnuts, and you're practically swooning. Sounds pretty straightforward to me.”

“It's not about the doughnuts, or the almost-kiss, or any of that,” you said, searching for the right words. "It's about me. I'm confused. I came here to escape my old life, remember? To take a break and figure things out. And suddenly, I'm considering jobs here, thinking about staying in Maplewood, and—”

“Marcus Pike.” Libby finished for you, her eyes softening.

“And Marcus Pike,” you conceded, feeling a weight lift off your shoulders as you admitted it out loud. “Everything was straightforward, come here and take a break, find a job and get back to life, and now? Now it’s like my compass is spinning in every direction and I have no clue what I’m doing.”

Libby moved closer, her eyes sincere. “Look, life doesn’t always fit into neat boxes, and that’s okay. Sometimes the messy parts are what leads us to the most beautiful things.”

“You’re such a romantic, you’ve been hanging around these books too long,” you said, half-teasing but also touched by her words.

“And you’re a realist,” she said with a grin, “That’s why we get along. But sometimes, realists need to let their guard down and see where life takes them,” she replied, pushing the box of pastries closer to you.

You picked one up and took a tentative bite, your thoughts swirling almost as much as the cinnamon in the pastry. As you chewed, you found yourself reflecting on Libby’s words. There was a truth to them that resonated deep within you.

“So, what’s your plan?” Libby finally asked after you’d savoured your bite.

“Plan? Who says I have a plan?” you retorted, a smile creeping onto your face.

“That’s the spirit,” Libby cheered, raising her tea cup in a mock toast.

You clinked your doughnut against her cup.

But as the evening wore on, and you found yourself scrolling through job listings again, your cursor hovered over the tab with the Maplewood tourism board job. What would it be like to build a life here? To become part of this community, to wake up every morning in this sleepy but charming town, and possibly, to explore what it and its residents had to offer?

It was the night of the Trick or Treat parade in the town square.

The evening air was crisp, filled with the smell of autumn leaves and the sugary scent of candy. The Maplewood Town Square had been transformed into a wonderland of Halloween festivities, with strings of orange lights illuminating the dusk, and tables adorned with pumpkins and fall decorations. Kids in costumes scurried about, their laughter and the chatter of their parents filling the air.

You adjusted your witch's hat, the extent of your commitment to dressing up for the occasion. Libby, in contrast, had gone all out, embodying Where's Waldo with red-and-white stripes and a matching beanie. She looked at you and chuckled, "You could've tried a little harder than just a hat."

“I'm wearing all black. That counts for something,” you said, defending your minimalistic approach.

The two of you mingled through the crowd, stopping at various tables to admire the creativity of your neighbors. Your heart thumped a little harder when you saw Marcus’s booth up ahead. He was standing behind a table, handing out intricately designed Halloween sugar cookies to a line of eager children.

“I suppose,” Libby mused, her eyes scanning the crowd as she munched on a caramel apple.

You felt a flutter of nerves in your stomach. You'd run into Marcus a couple days earlier when you’d both awkwardly bumped into each other at the grocery store. Just when you thought you might be able to say something, Ella, who owned the diner, popped between the two of you, asking Marcus about his glazed doughnuts, and you'd taken that as your cue to leave, losing your nerve.

Since then, you'd been keeping an eye out for him but with the town's festivities in full swing for the end of the month it was one missed opportunity after the other and left you feeling that the universe seemed to be giving you every sign that maybe, just maybe, it wasn't meant to be.

And tonight seemed like it was going down the same road.

Marcus looked engrossed now in a conversation with another parent, and you felt that familiar tension creep back in. Just as you thought of moving on, he looked up, catching your eye. For a moment, it was as if the world paused, his gaze locking onto yours. Your heart picked up speed, a sense of anticipation rising.

And then someone screamed, which was followed by the sound of laughter.

All eyes snapped to the spectacle of the haunted house across the way, the moment shattered. When you looked back at Marcus, he was once again absorbed in his work, handing out cookies to a trio of young witches.

“Damn it,” you muttered under your breath.

Libby glanced at you, then over at Marcus surrounded by children eager to fill their bags with treats, “Come on,” she said softly as she hooked arms with you, “Let’s go get some hot cider.”

As the evening wore on, you felt a series of missed chances piling up. It was almost getting humorous.  Every time you managed to get close to Marcus's table, he, or you were pulled away—including Sarah, who’d shown up with her arm in a sling wanting to know about your week in the bakery, and then by the Mayor, who wanted to thank Marcus for his contribution to the event.

Finally, resigning yourself to another missed opportunity, you told yourself it was for the best. It was easier this way—easier to keep Marcus at a distance, safely contained within the realm of 'what could have been' rather than risk the messiness of 'what could be.'

As the clock neared the end of the evening, you and Libby began the trek back to her apartment above the bookstore. Libby looked at you, her expression thoughtful. “You know, sometimes when the universe gives you signs, it's not to deter you but to test how much you really want something—or someone.”

You paused, letting her words sink in. Maybe she was right. Maybe these obstacles weren't stop signs but hurdles, gauging whether you'd leap or turn back.

Once you were inside, you looked out the window across the street to Marcus's bakery, now dark but for a single light on in the back.

You didn’t stop to think it through.

Instead you grabbed your jacket, telling Libby to lock up and you'd be back and headed out the door.

As you stepped out into the cool night, a newfound resolve settled in. If the universe was testing you, then it was time to pass with flying colours. And with that, you walked towards the bakery, not knowing what awaited you but ready to find out.

Standing outside the bakery door you paused for a moment, if only to take a deep breath before you knocked the door, hoping it was loud enough to be heard out back.

You heard him shout from the back, “I've got nothing left Bill, Frank will have to go without!”

You knocked again.

When the sound of hurried footsteps drew nearer, Marcus appeared with a perturbed look until he saw you standing there. His eyes widened with surprise as he opened the door.

“Hey,” you said, your voice tinged with a nervous energy you couldn't quite suppress. “Do you have a minute?”

“Of course,” Marcus said, stepping back to let you in.

The bakery felt cozy, its lingering scent of baked goods filling the air as you stepped inside, closing the door behind you.

You hesitated, your gaze falling on the miniature decorative ghosts that decorated the now empty display case. “I think I owe you an apology,” you started.

“What for?”

You licked your lips nervously before turning back to him, “For avoiding you.”

He smiled knowingly, “I had noticed your lack of presence every time I happened to come into the bookstore. I think Libby was starting to run out reasons for your absence.”

You laughed, “Despite living and breathing books, surprisingly creativity is not always her strongest suit.”

“That it's not.”

You smiled and continued, “I guess…” you trailed off trying to find the words, “we almost kissed…” you stuttered, still trying to find the right words.

“And why would that be a reason to avoid me? It felt like you wanted to as much as I did?”

“I did,” you admitted, “but it was complicated.”

“Complicated?”

You chewed at your lip, “Because I've had an offer to take a job back in Toronto.”

“Oh,” the disappointment in his voice was impossible to miss.

“Yeah.”

“Congratulations,” he started, trying to sound more upbeat, “you've always said it was your plan.”

You paused, “Well, it was.”

He cocked an eyebrow in confusion, “Was?”

You offered him a bashful smile, “You're looking at the newest digital marketing coordinator for the Maplewood tourism board.”

“Congratulations again,” he laughed.

“Thank you.”

Another silence fell between you, the tension in the room palpable.

Marcus looked at you, his eyes full of something you couldn’t quite put your finger on, but it felt like hope. “So, where does that leave us?”

You took a step closer. “I think that leaves us at the beginning of something. Something I’m willing to explore, that is if you are?”

Marcus closed the gap, his hands finding your face, his touch warm and grounding. “Then let’s start at the beginning.”

As your lips met, it felt like the answer to an unspoken question, a missing piece slotting into place.

And as you kissed, soft and tentative, as if both of you were testing the waters, the uncertainties and what-ifs seemed to melt away, leaving only the palpable sense of a new chapter unfolding.

[phoenixyfriend]

Ko-Fi prompt from @kayasurin:

Just rant about the stock market, whatever you want to say about it!

'just rant' is such a prompt for uhhhh my distaste.

LEGALLY NECESSARY DISCLAIMER: I am not a licensed financial advisor, and it is illegal for me to advise anyone on investment in securities like stocks. My commentary here is merely opinion, not financial advice, and I urge you to not make any decisions with regards to securities investments based on my opinions, or without consulting a licensed advisor.

So here are a few things:

1. Stocks are unreliable.

For the layperson, there is nothing that can be done about the direction a stock takes. Unless you are a majority shareholder, or one of several who can work in concert, you cannot affect the direction a company takes, which means you cannot affect the decisions that might cause a stock to increase or decrease in value. This is a rich man's game. The average investor is just along for the ride, god help them.

Between Random Walk Theory, the dart-throwing monkeys study, and the fact that mutual funds do not beat the market, there is just... it's a crapshoot. Anyone who tells you to invest to make a lot of money is drinking the Kool-Aid. You can invest to make a small return, to keep your money in a lot of places in case your bank gets digitally robbed or whatever your worries might be, diversification is good for safety nets, but for pity's sake, don't expect to become a millionaire, and be aware you can lose a lot, even listening to experts.

2. Stocks can be manipulated, and it's ridiculous and stupid and fucks over perfectly normal companies

Do you remember the GameStop reddit thing? I do. If you don't, please take a quick look at this record of the GameStop stock price.

See that spike in 2021? That was Reddit.

This post did a great job explaining it, but you told me to rant, and so I shall.

A large investment company had decided to make a lot of money for their clients by destroying GameStop. They did this by selling more shares than they actually owned (more than actually existed), force the market to absolutely tank the price, with plans to "buy back" the stock once it was dirt cheap, thereby making a profit for their company. This is a common form of stock manipulation called shortstelling, and investors had been doing it to GameStop for years, without the general public noticing.

Except Reddit did notice. And they decided to Fuck It Up, buying up stock at higher and higher prices, forcing the stock price to skyrocket, and the mutual/hedge funds still had to buy them back, but now it was at a massive loss, and it made headlines across the country because of how incredibly ridiculous it was.

The things to note here is that the market can be manipulated without any regard to the actual profits or health of the company, and that attempts to do so can backfire spectacularly.

3. Returns are minimal

There are two ways to earn money on stocks. The first is returns on capital investment; you buy the share at $10, sell it for $20, and you've thus received $10 profit. This is part of the incredibly unreliable bit I mentioned, because you cannot control the direction the stock takes, and generally can't predict it.

The other way is dividends, which like... profits made over the previous quarter (after paying employees, bank loans, rents, etc.) can be either reinvested to grow the company, or paid out to shareholders. But if you invest $150 in a single share of Walmart stock, your quarterly dividend is $2.25, which is $11/yr.

So unless you're investing hundreds of thousands of dollars, or get really lucky with what you choose to invest in, dividends aren't going to get you much of anything.

And when your stocks do give you healthy dividends, it's because there's money left for shareholders! Which, if you remember a few lines back, is left over after paying employees.

If an investor wants a return on their investment, and they can vote to change policy, and policy that pays employees dictates that they get a smaller dividend, do you think that the investors are going to vote to pay their employees fairly?

Yeah, didn't think so.

4. Rapid, Consumptive Growth

There was a really good post recently that described how and why the Chicago School of Economics, colloquially Reaganomics, has completely fucked over the entire US economy by encouraging the absolute worst state for the market to be in, which is seeking eternal parasitic growth. I urge you to read that one if you can, because the bloggers did a good job. Basically, screw Reagan and screw the Chicago school. The economy still would have been a capitalist hellscape without them, but they sure did hasten it!

(Prompt me on ko-fi!)

[mariacallous]

If the past five years of EU tech rules could take human form, they would embody Thierry Breton. The bombastic commissioner, with his swoop of white hair, became the public face of Brussels’ irritation with American tech giants, touring Silicon Valley last summer to personally remind the industry of looming regulatory deadlines.

Combative and outspoken, Breton warned that Apple had spent too long “squeezing” other companies out of the market. In a case against TikTok, he emphasized, “our children are not guinea pigs for social media.”

His confrontational attitude to the CEOs themselves was visible in his posts on X. In the lead-up to Musk’s interview with Donald Trump, Breton posted a vague but threatening letter on his account reminding Musk there would be consequences if he used his platform to amplify “harmful content.” Last year, he published a photo with Mark Zuckerberg, declaring a new EU motto of “move fast to fix things”—a jibe at the notorious early Facebook slogan. And in a 2023 meeting with Google CEO Sundar Pichai, Breton reportedly got him to agree to an “AI pact” on the spot, before tweeting the agreement, making it difficult for Pichai to back out.

Yet in this week’s reshuffle of top EU jobs, Breton resigned—a decision he alleged was due to backroom dealing between EU Commission president Ursula von der Leyen and French president Emmanuel Macron.

“I'm sure [the tech giants are] happy Mr. Breton will go, because he understood you have to hit shareholders’ pockets when it comes to fines,” says Umberto Gambini, a former adviser at the EU Parliament and now a partner at consultancy Forward Global.

Breton is to be effectively replaced by the Finnish politician Henna Virkkunen, from the center-right EPP Group, who has previously worked on the Digital Services Act.

“Her style will surely be less brutal and maybe less visible on X than Breton,” says Gambini. “It could be an opportunity to restart and reboot the relations.”

Little is known about Virkkunen’s attitude to Big Tech’s role in Europe’s economy. But her role has been reshaped to fit von der Leyen’s priorities for her next five-year term. While Breton was the commissioner for the internal market, Virkkunen will work with the same team but operate under the upgraded title of executive vice president for tech sovereignty, security and democracy, meaning she reports directly to von der Leyen.

The 27 commissioners, who form von der Leyen’s new team and are each tasked with a different area of focus, still have to be approved by the European Parliament—a process that could take weeks.

“[Previously], it was very, very clear that the commission was ambitious when it came to thinking about and proposing new legislation to counter all these different threats that they had perceived, especially those posed by big technology platforms,” says Mathias Vermeulen, public policy director at Brussels-based consultancy AWO. “That is not a political priority anymore, in the sense that legislation has been adopted and now has to be enforced.”

Instead Virkkunen’s title implies the focus has shifted to technology’s role in European security and the bloc’s dependency on other countries for critical technologies like chips. “There's this realization that you now need somebody who can really connect the dots between geopolitics, security policy, industrial policy, and then the enforcement of all the digital laws,” he adds. Earlier in September, a much anticipated report by economist and former Italian prime minister Mario Draghi warned that Europe would risk becoming “vulnerable to coercion” on the world stage if it did not jump-start growth. “We must have more secure supply chains for critical raw materials and technologies,” he said.

Breton is not the only prolific Big Tech adversary to be replaced this week—in a planned exit. Gone, too, is Margrethe Vestager, who had garnered a reputation as one of the world’s most powerful antitrust regulators after 10 years in the post. Last week, Vestager celebrated a victory in a case forcing Apple to pay $14.4 billion in back taxes to Ireland, a case once referred to by Apple CEO Tim Cook as “total political crap”.

Vestager—who vied with Breton for the reputation of lead digital enforcer (technically she was his superior)—will now be replaced by the Spanish socialist Teresa Ribera, whose role will encompass competition as well as Europe’s green transition. Her official title will be executive vice-president-designate for a clean, just and competitive transition, making it likely Big Tech will slip down the list of priorities. “[Ribera’s] most immediate political priority is really about setting up this clean industrial deal,” says Vermuelen.

Political priorities might be shifting, but the frenzy of new rules introduced over the past five years will still need to be enforced. There is an ongoing legal battle over Google’s $1.7 billion antitrust fine. Apple, Google, and Meta are under investigation for breaches of the Digital Markets Act. Under the Digital Services Act, TikTok, Meta, AliExpress, as well as Elon Musk’s X are also subject to probes. “It is too soon for Elon Musk to breathe a sigh of relief,” says J. Scott Marcus, senior fellow at think tank Bruegel. He claims that Musk's alleged practices at X are likely to run afoul of the Digital Services Act (DSA) no matter who the commissioner is.

“The tone of the confrontation might become a bit more civil, but the issues are unlikely to go away.”

[louisupdates]

…

There are two kinds of rights at stake here: the rights to the master recordings of an artist’s work, and songwriting rights, known as publishing. One senior music publishing executive says their part of the business was ahead of the curve, explaining that publishing deals tend to work on exclusive licensing terms or retention periods. “Publishers pivoted from a rights-ownership business to the servicing of rights,” they say. Those retention periods are getting shorter, they add, down from about 25 years three decades ago to between 12 and 15 years today.

Message says he steers acts away from ownership-based contracts. “We have a default position that we won’t advise our artists to do life-of-copyright deals,” he says. “It’s not that we wouldn’t do them, but our strong advice would always be to come up with a licence arrangement of some description.”

This is the ideological underpinning of BMG and AWAL (Artists Without a Label), which is now under the ownership of Sony Music Entertainment. “The philosophy is flipping the relationship,” says Alistair Norbury, president of repertoire and marketing at BMG UK. “There had to be a fairer and more transparent way to work with the creative community.”

Acts on BMG’s roster – notably Kylie Minogue, Suede, Sigur Rós and Louis Tomlinson – are on licensing or assignment deals, so ownership of the recordings eventually reverts to them. “They want to be with a record label where they have creative control and ownership coming back to them at some point,” says Norbury.

AWAL sings from a similar hymn sheet. “AWAL emerged to help what we now call ‘independent artists’ to remain independent,” says Paul Hitchman, the company’s global COO. “Independent in the sense of owning their rights and retaining control over their career, but without having to compromise in terms of the expertise and support they can tap into, without having to compromise on the global reach and success that they can achieve.”

Norbury believes that, with more choices for acts, music companies have to repeatedly prove their worth and think about mutual gains rather than offering one-sided deals that are land grabs for all the rights. He says, “You want something successful in a long-term partnership rather than owning something that failed.”

In light of all this, the majors increasingly have to offer more flexible deal terms. They are also heavily investing in other artist and label services companies to gain a share of the boom in DIY and independent acts. Sony owns Awal and the Orchard. UMG has both Virgin Music Label & Artist Services and Ingrooves. Warner Music Group has Ada.

-

[Ed.: Louis Tomlinson’s licensing deal is with BMG. His publishing is through LT Publishing administered by Kobalt Music Group. This article implies that all rights for masters and publishing belong to Louis, and are licensed for a contracted period to BMG.]

[Ed.: In the second quarter of 2024, BMG has switched to in-house digital distribution and download services, and changed partners for physical distribution from Warner to UMG.]

[ssfinancialdigitalservices]

[digi-tama-in-your-pocket]

do you have any recommendations for digivices that are pedometers that aren't the bracelet?? I want to get a new one but don't know where to start :O

I actually have a pretty handy section of my blog for reading up on that very topic [here]. The last time I updated it was before the Pendulum Colors released, just know that my impression of the Pendulum color is "Better than the Digital Monster Color, as expected."

But if you want the tl;dr

There are two "best starters"

The Digital Monster version 20th, AKA the DM20th or the Digimon 20th anniversary edition...

or the Digital Monster X, AKA DMX or Digimon X, particularly version II.

Both of these have english releases and are available at retail, so they're very affordable and easy to get, while every other device is japan only, not available at retail, and so people are over charging on the second hand market.

That's okay though because I legitimately believe the DM20th and the DMX are excellent starting points.

DM20th has many of the most iconic digimon on it, as it's all five of the original pets rolled into one device. It's biggest drawback is that it's a little basic, and maybe poops too fast. You have the option to raise two digimon at the same time, but I advise against this, because poop piles up so fast it makes your digimon sick if you look away for a second.

DMX only has one egg, but a much bigger pool of choices to evolve your digimon into, and it has more engaging mechanics like exp, random encounters, a dice rolling mechanic that determines your luck for the day and in certain events, and there's a little bit of flare in the battles, as CPU opponents are treated like a questing games and your digimon gets a nice close up of their face when they do a large attack. It also has a pause feature for when you're too busy to check on your digimon or you plan to sleep in, wheras the DM20th only lets you put it down for a 3 hour nap ( pro tip, you can still pause it by pressing the reset button, it just empties the digimons hearts so be sure to fill them up quickly when you unpause ) ...the only downside to the DMX, in my humble opinion, is that I just don't like how most X-antibodydigimon look, but it's a moot point when you're looking at their cute little pixel portraits anyway.

Try starting with one ( or both ) of those and see how you like it.

I like how I said tl;dr and made a long post anyway.

[silverfoxlou]

Behind The Campaign :: Louis Tomlinson

Former One Direction star Louis Tomlinson released his debut album in 2020 through Sony but moved to BMG for his second album, Faith In The Future, in November 2022. Lisa Wilkinson, director of UK marketing (new recordings) at BMG, explains how they looked to reposition him in the market, what learnings were coming from his live success as well as his own festival, why his merchandise strategy directly informed his multi-formatted record release strategy, how they were able to build him without mass radio support, where a wider male audience was targeted this time round, why Twitter remains his most powerful social media platform and how a highly vocal and engaged fanbase was nurtured further and directly involved in the campaign. 

1 Coming to BMG for his second solo album 2 The centrality of merchandise 3 The radio conundrum 4 Targeting a male audience 5 Building his songwriting profile 6 Targeting the press 7 Boosting the digital strategy 8 QR code and interactive community map at his Away From Home festival 9 Twitter as his main platform and setting him up on TikTok 10 Chart battle with Bruce Springsteen and the power of in-stores 11 Stationhead and Tim’s Twitter Listening Party 12 Fan-made Spotify Canvases 13 Documentary and the next steps

1. Coming to BMG for his second solo album

This is his first album with BMG. His debut album, Walls in 2020, was with Syco Music [via Sony]. That was off the back of X Factor with Simon Cowell.

He had done a couple of more commercial singles – one with Steve Aoki [‘Just Hold On’] and one with Bebe Rexha and Digital Farm Animals [‘Back To You’]. They were really successful streaming singles, but that’s not who Louis is. For the boys in One Direction, the ones that have been successful and the songs that have been successful are the ones that have stayed super pop and commercial. Louis did that but it’s just not who he is.

I think he felt, in that structure, that he just wasn’t getting the support to be who he wanted to be. That’s exactly why people come to us. It’s an artist services deal and we’re there to support you and advise you.

You can see from his live business and his merchandise business – and every other thing that Louis does – that there is an incredible fanbase there for him.

When they [Syco] released Walls, they achieved 14,000 units in week one and got to number 4 in Q1 in January 2020. We thought that just didn’t feel reflective of what was happening [around him].

We went and saw him at various venues on his world tour. We went to New York and saw those two shows and we went to Italy and watched his Milan stadium show in front of 30,000 people.

You’re looking and you’re thinking, “Those numbers don’t make any sense. How on Earth did you fumble that?” We were confident that we could do better than that.

He had a signing dinner in October 2021 and then his world tour started in February 2000 [sic], which was the delayed tour [due to the pandemic]. It went all the way through to September, pretty much nonstop.

They sold half a million tickets that year. All the while he’s on tour, he’s still making the album.

‘Out Of My System’ was released as a DSP-focused track before the album. It’s the rockiest and heaviest track on the album. He came straight off stage, went into a vocal booth off the side of the stage [to record it]. Because of the energy, he was so fired up. It was a difficult process because it was creating an album on the road.

He wanted to make an album for live. It was a totally different experience for him. Covid hit just a few months after Walls dropped so the tour was out of the question.

Before we started working on the album campaign, he did a show at Crystal Palace Bowl, which was the first incarnation of his Away From Home festival that he’s created and curated, which is for up-and-coming indie bands.

He gave away 8,000 tickets in August 2021 when we could start doing outdoor things again. I was there and was thinking, “There’s something big going on here.” The fans were so committed and dedicated.

Considering this is someone who hasn’t had real radio support or is seen in celebrity magazines or on social posts, this is a huge phenomenon.

That continued into the tour.

2 The centrality of merchandise

We started on the creative really early and that was a key factor in how successful the album was. We knew early on from discussions with management that his merch business was berserk. We knew what kind of fans he has. With their merch drops during Covid, they played around with the strategy. They got in a really cool design team and they would just do regular drops – limited-edition releases and you’ll never see it again. Everything just sold out constantly.

That informed the whole product strategy.

We knew we had to make product that’s limited in its nature because it encourages demand.

The fans just want it. It’s got to look amazing; it’s got to have Louis looking phenomenal because they just adore him; it’s got to be priced right; and there’s got to be a selection. So it’s more stuff, but less of it.

Instead of treating it like a music product, treat it like merchandise. We absolutely nailed that strategy.

We sold 35,000 records and around 2,500 units were streaming. A good chunk of that was physical album sales. It’s going to inform our strategy for any other albums we do with him.

We did 19 products in the end. We did a standard CD, we did a CD ‘zine which had 82 pages of beautiful content and photos, we had a picture disc vinyl, we did around eight different exclusive retail vinyl albums, we had a splatter vinyl for HMV, we had a colour one for Amazon, we had a clear one for Spotify, we had several more for Urban Outfitters and Target, we had an indie retailers one.

It was a collector thing: how many of the vinyl albums have you managed to get? We did a double deluxe vinyl for D2C. We did cassettes where the artwork joined together when you got all three. They were embossed and glowed in the dark. Louis has Easter eggs that he drops everywhere. The number 28 is like a lucky number, so you see 28 dotted around places. The same with 369 – he uses it in many iterations. If you had a UV light, you’d be able to see ‘3’, ‘6’ and ‘9’ embossed on each cassette.

3 The radio conundrum

We have seen historically that it has been tricky to get radio for him – but not because of any artist proposition issue. It’s just sonically that he wants to do something different to what radio wants to play.

It’s tricky because it falls through the gaps a little bit with what he wants to do. We’ve always looked at it as: let’s just assume there are zero promo opportunities at radio, TV and press. Let’s just take out promo entirely.

What you have got is a global, engaged, fanatical fanbase. You can do more with that than you can with those other things if you don’t have fans.

I would much rather have an artist who’s got an absolutely berserk global fanbase and that gets absolutely no support from traditional media – because you can work with that – than have an artist that’s not really got a particularly big fanbase but radio loves them and TV loves them. What does that matter if you’ve not got the fans?

We did always want to get promo because we would love to be able to expand Louis’ fanbase. But you’ve got to compete against Harry [Styles] and Niall [Horan]. They’re the first people you’ve got to compete against because, to play three One Direction members on the radio, I don’t know if radio stations would. Then you’ve got the sonic battle as well where he wants to keep it pretty raw.

The first single was ‘Bigger Than Me’, which is a big song to sing. It was a good bridge between the last album and this album. It gave the fans what they wanted.

We had really good feedback from radio. They played it to Clara [Amfo, Radio 1] without telling her who it was. She loved it and she did actually play it as one of the hottest tracks of the week. Greg James’s producers said it was brilliant. They absolutely adored it. Matt Edmondson and Mollie King’s team loved it. They thought it was great. But it got blocked at playlist conversations. It was like, Come on!

That was really disappointing because, pre-release, we were getting incredible feedback from producers, but we just couldn’t get it through the playlisting. We’d always planned for it not to go on radio, but if it got on radio that’d be just a brilliant bonus. So it didn’t harm our campaign strategy at all.

He’s too pop for indie stations and he’s too indie for the BBC [Radio 1]. It’s frustrating, but he’s making the music he wants to make and the fans love it. So what do you do?

‘Silver Tongues’ came out just before the album dropped, which was the official second single. That bridged the gap between those two singles. It was much more guitar based. It was up-tempo but it wasn’t too indie.

On the day that the album was released, fans bombarded Greg’s show on the 10 Minute Takeover [on the Radio 1 breakfast show]. And he played it! It was lovely but you could tell it was done like, “OK, I’ve done it now. Go away.” Which is just so sad because his demographic is right in that lane. It’s 18-25.

4 Targeting a male audience

‘Out Of My System’ was released as a DSP track, and that was really to show a different side of what was going to be on the album. It was the hardest one, the rockiest one, the speediest one, it was all about the band. It is one of the best streaming tracks on the album; it has really taken hold.

That was really just to get the male audience because we knew from the analytics we had prior to release that, although his demographics on social media are largely female, wider research that we did with our media teams said that he has a male fanbase. They’re just consumers. If they were to hear him on the radio, they wouldn’t turn it off – that kind of thing – but they’re not necessarily following him on social media. We knew that there was an opportunity there to reach another audience.

5 Building his songwriting profile

We just gave him creative freedom. Louis is really smart. He was the most proficient songwriter within One Direction. He has more songwriting credits than any of the other four members. We know that he’s a talented songwriter so it was just putting him together with people who can give him the confidence, like this album did, to move him out of his comfort zone.

There are some tracks on there that he will say were inspired by people like DMA’s and their album The Glow. ‘All This Time’ and ‘She Is Beauty We Are World Class’ have that slightly more experimental sound to them, which I think took a few people by surprise. He has really incredible writers like David Sneddon, Robert Harvey, George Tizzard and Rick Parkhouse. He has said multiple times in interviews that they gave him the confidence to have fun with it.

I don’t think he expected to get the amount of tracks that he did. It was a big album with 16 tracks. Then we put another three tracks on a digital deluxe edition in week one which shifted another 15,000 units globally.

6 Targeting the press

One of the big wins we had on this campaign was the NME coming on board. They were not interested last time. There was no music press. So one of our key targets on this campaign was to get music press.

We really wanted to get a Rolling Stone cover but the one we wanted to go for Harry was on. So we shifted and we retargeted the NME. We took them to Louis’ Away From Home festival in Malaga [in summer 2022]. He sold it out – 15,000 tickets in 24 hours.

NME did various interviews with Louis for their website and for their socials. They spoke to the bands that were on. It was a real seal of approval. And from that point onwards, we had nothing but great press from NME.

They supported everything – all the singles and we got a four-star review of the album. It was not like we bought it, but it was because we put them in the right place to really see him.

7 Boosting the digital strategy

There were two real strategic decisions that we made at the beginning that affected the outcome: one was the physical product strategy; and the other was the digital marketing strategy. If you don’t have traditional promo, and you’ve got an ardent global fanbase, digital is the most important way of getting your marketing across.

When we first started working with management, they said to us that there were some things that were non-negotiable. Everything should be fair, so we shouldn’t feel like we’re only offering things to fans of a certain demographic or to fans in a certain territory. It’s global. It’s got to be accessible. It’s got to be affordable. And it’s got to be innovative.

They are so good at doing things that break records and break the internet.

They did their livestream in 2020 and Louis sold over 200,000 tickets. It was the most-streamed livestream of a male solo artist during lockdown.

They had quite high expectations of the digital campaign going forward.

We spent quite a long time, about three months, prior to launching trying to figure out how we were going to break the internet.

With #LT369, we trended within about five minutes worldwide of that hashtag going out. When you tweeted the hashtag, it took you to a mini site where a Twitter map was starting to flag where people’s locations were. Over the course of the teaser week, the flags started to fall away but would leave ‘BTM’ which stood for ‘Bigger Than Me’, so we were teasing the single name.

We did a playlist builder and it was generated on socials as a cassette mixtape. You could share it and design your own cover on it. These were just things that really got the fans talking and engaged.

8 QR code and interactive community map at his Away From Home festival

The interactive map was linked to a QR code. We put QR codes around the festival site with absolutely no explanation as to what they were. But the fans notice everything.

We put the track titles from the album in pictures. They were really, really hidden. It took the fans two days [to work it out], but they observe everything.

Everyone started using the QR code. It took them to a website. We hadn’t announced at that point that the album was going to drop or that it was coming. It was a real mystery but that started the chatter going and we started getting trending hashtags for the album.

9 Twitter as his main platform and setting him up on TikTok

Twitter is his biggest platform [with 35.7 million followers]. What’s really interesting about that is that it’s super conversational, and you can see what they’re doing – as opposed to other platforms like Instagram and Facebook. He’s probably one of the only artists that still uses it as their primary platform.

He is really active on Twitter. He will go through bouts where he doesn’t post but then he’ll go on a reply rampage. He just replies randomly to people and does 40 in an hour. The fans go absolutely wild. Twitter was our key platform for launching initiatives and activations

There is a HQ account on TikTok and it crashed part of TikTok when it launched. Management love knowing that they crash things. We “crashed” our D2C site within minutes. There was a queue of 200,000 people in the D2C store at one point within the first hour of launching.

We didn’t technically crash the D2C store but, because of the size of the queue, it shut the storefront down which is what it does, and then forms a queue so that it doesn’t crash. We went on there and could see there were 200,000 people queuing.

10 Chart battle with Bruce Springsteen and the power of in-stores

I don’t think he ever thought he wasn’t getting a number 1 album. We beat Bruce Springsteen, we did it in Q4 and we doubled the numbers that Sony did week one last time [on Walls].

When we were in week one, and we were battling out with Bruce Springsteen, we said that there were an easy 3,000 units there if we put on four Banquet Records shows [at Pryzm in West London] and bundle the album with the tickets.

Every time they put a show on sale, you could see the numbers on the webpage. There were 200,000 people on there, even people who were not in the UK. They were ridiculous numbers.

It was more than Banquet has ever done. We sold out three shows in under a minute.

That was on release week. We had a really solid release week strategy so we knew that we had three shows in the pocket with Banquet.

We had two tracks that had not been released at that point, that weren’t on the album, that weren’t on the deluxe and that hadn’t been released as singles. We created a £4.99 digital album that had another two brand new tracks on it. You could only buy it as an album product and it was a D2C download.

We sold 15,000 of those globally in week one. We sold 6,000 in the UK. We did 3,000 extra records with Banquet in week one via the shows. We did an additional 3,000 with signed product that we put on sale in week one, because there were no other signed products in the market.

The digital super deluxe did 6,000 units. We ran multiple competitions. We gave away a signed guitar with HMV. We did a golden ticket to the tour with Crash Records.

We did a two-day pop up in Camden [North London] and Amazon contributed with signage. We did a one-day one in New York as well. We sold pop-up exclusive merch and we re-sleeved splatter vinyl with a London pop-up sleeve. We did around 2,000 of those. We did the same with the CDs and re-sleeved some CDs with the London pop-up. They were unique and fans could not get it again so they flew out the door. We had 3,000 people show up for it. That was full capacity.

We premiered the video for ‘Silver Tongues’, the second single, at the pop-up. That was the weekend of release but the single, which came out earlier that week, the video dropped on the Saturday.

11 Stationhead and Tim’s Twitter Listening Party

Stationhead is an interesting concept and we’ve done it a few times now. It’s linked to streaming, so every time you play a track within the show, it’s technically streamed by the amount of people that are listening to the show. Louis did one of those and, in terms of Stationhead’s history, it was pretty successful.

We got an email from Tim Burgess’s team saying they wanted to do a Tim’s Twitter Listening Party with Louis. They had such a good rapport and the fans were asking for it.

Beyond the chart units from the streams, it is the noise that it creates online that is more important to us.

It was one of their biggest re-listening streams, which is amazing when you think about the demographic that they have.

12 Fan-made Spotify Canvases

Across socials, we asked people to rework the ‘Bigger Than Me’ artwork. As a way of getting people to go and stream the track, we would change the Canvas semi-regularly so there was a reason for people to go and play it to see if their Canvas was one of the ones that had been selected.

The only downside is Canvases are only seven-seconds long. So if you go and you watch for seven seconds, it’s not your artwork and you come off, it can affect your average listening rate.

We were mindful of that. Our strategy was to do that post-pitching for any real major lists so that they weren’t looking at the data.

He has got really good listening data. It’s around 15 plays per listener which is way over the average. The save rate to libraries is huge and shows that he has really got a good lean-in listenership.

13 Documentary and the next steps

He’s going back on tour. He is back on another world tour from April starting in Asia and then he goes to North America. Then he comes back to Europe, culminating in an O2 show in London this time around in November. He previously did Wembley Arena.

The documentary [All Of Those Voices] premiered on 16th March and then went to worldwide cinemas on 22nd March for a week.

Charlie Lightening made it and went on tour with Louis. He had previously made the Liam Gallagher documentary [As It Was]. Historically he’s done most of Louis’ music videos as well. It was only this time around that we wanted to branch out and see if we could do something a little bit different.

It goes from the band through to his personal life and where he is now. There is a massive focus on the tour. It will blow people away to see what the Louis franchise looks like. This kid has an amazing franchise and most people just don’t have any clue about it.

The recordings business is such a small part of what he does. Obviously it helps to have records out to sell merch and to go on tour. That’s where he really excels.

I’ve never worked on a project where the fans are like they are. You get to see your visions immediately. You get to see the reactions immediately. You get to see the activation work immediately. That is such a buzz.

On most other projects, you launch something and then you have to market it and push it. This was more about pre-strategy, because you know that when you launch something, if you get it right, it’s going to work and you’ll get to see that reaction immediately. That was so much fun. Campaigns like that are rare.

[slayingfiction]

Navigating the World Of literary Agents

Who Are Literary Agents? Literary agents are professionals who represent writers to the publishing industry. Their primary role is to help authors sell their work to publishers. These agents are adept at understanding the market, recognizing the potential in a manuscript, and have the necessary connections within the publishing world. They act as a bridge between an author and the publisher, ensuring that the author’s interests are well-represented.

What Do Literary Agents Do?

Manuscript Assessment: Agents review manuscripts and offer guidance on how to make them more appealing to publishers.

Market Expertise: They possess extensive knowledge about what publishers are looking for and current market trends.

Submission to Publishers: Agents submit manuscripts to publishers, often knowing the right editors for specific genres.

Contract Negotiation: They negotiate contracts, ensuring that the terms are favorable for the author.

Career Management: Beyond a single book deal, agents often assist in managing an author’s career, advising on future projects and opportunities.

The Value of a Literary Agent:

Access to Major Publishers: Many large publishing houses do not accept unsolicited manuscripts and only deal with agents.

Negotiation Skills: Agents are skilled in contract negotiations, potentially securing better advances and royalties.

Industry Insight: Their insight can be invaluable in refining a manuscript and tailoring it to the current market.

Career Development: They provide ongoing career advice and support.

The Changing Publishing Landscape: The rise of self-publishing and digital platforms has undoubtedly shifted the dynamics of the publishing world. Self-publishing offers authors more control and potentially higher royalties per book. However, it also requires significant effort in terms of marketing, distribution, and sales.

Is It Still Worth Getting a Literary Agent?

Traditional Publishing Goal: If your goal is to be published by a traditional publishing house, especially a major one, an agent is almost essential.

Industry Expertise: The expertise and industry knowledge of an agent can be a significant advantage.

Time and Effort: If you prefer to focus on writing rather than the business side of publishing, an agent can be a valuable asset.

Market Access: Agents have access to markets and publishing opportunities that might be difficult to reach independently.

Conclusion: In conclusion, while the necessity of a literary agent may vary depending on an author’s goals and the path they choose to take, their value in the traditional publishing realm remains significant. They bring expertise, connections, and negotiation skills that can be crucial for a successful literary career. However, with the rise of alternative publishing routes, authors now have more options than ever, making it important to carefully consider which path aligns best with their ambitions and works.

Our Grand Opening Giveaway opens in just a few days! So exciting!

Happy Writing! :D

[british-catgirl]

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great job health advising news letter sure

[foxnangelseo]

Navigating the Indian Investment Landscape: A Comprehensive Guide for International Investors

India, with its vibrant economy, diverse market opportunities, and favorable regulatory environment, has emerged as an attractive destination for international investors seeking high returns and long-term growth prospects. From burgeoning sectors like technology and e-commerce to traditional industries such as manufacturing and agriculture, India offers a wealth of investment opportunities for savvy investors. In this comprehensive guide, we'll explore the Indian investment landscape, highlighting key sectors, regulatory considerations, investment strategies, and tips for international investors looking to capitalize on India's growth story.

Understanding the Indian Investment Landscape:

1. Economic Overview: India is the world's sixth-largest economy by nominal GDP and one of the fastest-growing major economies globally. With a young and dynamic population, a burgeoning middle class, and increasing urbanization, India offers a vast consumer market and a favorable demographic dividend for investors.

2. Key Investment Sector: India's economy is diverse and offers investment opportunities across various sectors. Some of the key sectors attracting international investors include:

- Information Technology (IT) and Software Services

- E-commerce and Digital Payments

- Healthcare and Pharmaceuticals

- Renewable Energy and Clean Technology

- Infrastructure and Real Estate

- Manufacturing and Automotive

- Agriculture and Agribusiness

3. Regulatory Environment: India has implemented several reforms to streamline its regulatory environment and improve the ease of doing business for investors. The government has introduced initiatives such as Make in India, Startup India, and Digital India to encourage investment, innovation, and entrepreneurship. Additionally, foreign direct investment (FDI) policies have been liberalized across various sectors, allowing greater foreign participation in the Indian economy.

4. Taxation and Legal Considerations: International investors should familiarize themselves with India's tax laws, regulations, and legal frameworks before making investment decisions. India has a progressive tax regime with corporate tax rates varying based on business structure, industry, and income levels. It's advisable to consult with tax advisors and legal experts to navigate the complexities of India's taxation and legal landscape.

Investment Strategies for International Investors:

1. Market Research and Due Diligence: Conduct thorough market research and due diligence to identify investment opportunities aligned with your investment objectives, risk tolerance, and sector preferences. Evaluate market trends, competitive dynamics, regulatory changes, and macroeconomic indicators to make informed investment decisions.

2. Diversification: Diversify your investment portfolio across different asset classes, sectors, and geographic regions to mitigate risks and maximize returns. Consider allocating capital to both high-growth sectors such as technology and healthcare, as well as stable sectors like infrastructure and consumer goods.

3. Long-Term Perspective: Adopt a long-term investment perspective when investing in India. While short-term market volatility and regulatory changes may occur, India's economic fundamentals remain strong, offering attractive growth prospects over the medium to long term. Patient investors can capitalize on India's demographic dividend and structural reforms to generate significant returns.

4. Partnering with Local Experts: Partnering with local investment advisors, financial institutions, and legal experts can provide valuable insights and guidance on navigating the Indian investment landscape. Local expertise can help international investors navigate regulatory hurdles, identify investment opportunities, and mitigate operational risks effectively.

5. Investment Vehicles: Evaluate different investment vehicles available for investing in India, including direct investments, private equity funds, venture capital funds, and mutual funds. Each investment vehicle offers unique benefits and risks, so it's essential to assess their suitability based on your investment goals and risk appetite.

Tips for International Investors:

1. Stay Informed: Stay updated on market developments, regulatory changes, and economic trends affecting the Indian investment landscape. Follow reputable financial news sources, attend industry conferences, and engage with local experts to stay informed and make timely investment decisions.

2. Network and Build Relationships: Networking with industry professionals, government officials, and fellow investors can provide valuable insights and access to investment opportunities in India. Join industry associations, attend networking events, and leverage social media platforms to expand your network and build relationships in the Indian business community.

3. Be Patient and Persistent: Investing in India requires patience, persistence, and a long-term commitment. Building relationships, navigating regulatory hurdles, and achieving investment success take time and effort. Stay focused on your investment goals, adapt to changing market conditions, and remain resilient in the face of challenges.

4. Seek Professional Advice: Consult with financial advisors, tax consultants, and legal experts specializing in India to seek professional advice tailored to your specific investment needs. Expert guidance can help you navigate regulatory complexities, optimize tax efficiency, and maximize returns on your investments in India.

5. Cultural Sensitivity: Recognize and respect cultural differences when conducting business in India. Building strong relationships and trust with local partners and stakeholders requires understanding and appreciating Indian customs, traditions, and business etiquette.

6. Risk Management: Assess and manage risks effectively by diversifying your investment portfolio, conducting thorough due diligence, and implementing risk mitigation strategies. Consider geopolitical risks, currency fluctuations, regulatory changes, and market volatility when making investment decisions.

7. Sustainability and ESG Factors: Consider environmental, social, and governance (ESG) factors when evaluating investment opportunities in India. Increasingly, investors are prioritizing sustainability and responsible investing practices to mitigate risks, enhance long-term value, and align investments with their values and principles.

8. Stay Flexible and Agile: Remain flexible and agile in adapting to changing market conditions, regulatory requirements, and investor preferences. India's business environment is dynamic and evolving, requiring investors to stay nimble and responsive to emerging opportunities and challenges.

India offers a wealth of investment opportunities for international investors seeking high growth potential and diversification benefits. With its robust economy, favorable demographic trends, and supportive regulatory environment, India continues to attract capital inflows across various sectors. By understanding the Indian investment landscape, adopting sound investment strategies, and leveraging local expertise, international investors can capitalize on India's growth story and unlock significant value for their investment portfolios. As India continues on its path of economic development and reform, it remains a compelling destination for investors looking to participate in one of the world's most dynamic and promising markets.

In conclusion, navigating the “Invest in India” landscape requires careful planning, strategic decision-making, and a long-term perspective. By understanding the key sectors, regulatory considerations, investment strategies, and tips outlined in this guide, international investors can position themselves to capitalize on the vast opportunities offered by India's vibrant economy and emerging market dynamics. With the right approach and guidance, investing in India can yield attractive returns and contribute to portfolio diversification and long-term wealth creation for investors around the globe.

This post was originally published on: Foxnangel