Things I've Found

...And here we go - Unsolved Mysteries

4 stories:

Do people live longer in Sardinia?
What was Citizen Kane's Rosebud?
Was "Shakespeare" an imposter?
Can you solve the mystery of Dalaro?

& also a vote to determine which is the most likely mystery to be solved (Crop circles currently winning...)

All with the tag line "Brought to you in association with the new Volvo S40"

Toyota Prius has a special section in The Guardian

"Spark is a new magazine about the good things that are going on all over the world, and the people working to create a brighter future for us all.

Over the next three issues you'll read about individuals who are rethinking accepted norms, from redesigning the way we build our houses to devising greener technology and more advanced ways to enjoy our free time."

It's relatively bland stuff, with no mention of Toyota, until a section at the bottom headed Advertiserment Feature

"High performance tends to mean a damaging impact on the environment. Not so with the new Prius. Its revolutionary hybrid engine makes it the most environmentally sound car on the road, without compromising on performance. We take a look under the bonnet"

And so on.

The Guardian seems to be the title for this type of marketing in the UK. They are also running a special section on Mysteries, in association with Volvo S40 and The Mystery of Dalaro (which I can't find at the moment...)

Fiat Panda signs deal with Handbag - story in Revolution

More exploitation of pnline's ability to tightly target messages

Screengrab on Adverblog

Fiat Panda targets women in Handbag sponsorship deal
March 16, 2004 Jennifer Whitehead,

LONDON - Fiat is targeting women in a four-month sponsorship deal of Handbag.com that will push its Panda model via the website's 2004 spring fashion report.

The deal will use a variety of promotional tools across the site, including advertising, a branded text link in Handbag's newsletter and sole sponsorship facing key pages of the spring fashion report. The sponsorship is worth £50,000 and has been brokered by the media planning and buying agency Starcom Digital. Dermott O'Reilly, account director at Starcom Digital, said: "New Panda is positioned as a city car for female urbanites, mainly in their 20s and 30s. Our research shows that shopping and fashion play an important part in these women's lives." Fiat is not the first car maker to target Handbag's audience of 24- to 44-year-old women, following hot on the heals of Mazda, which sponsored Handbag's London Fashion Week pages, and Mini, which is promoting its new convertible model across the site. Alicen Stenner, brand director at Handbag.com, said: "The trend in car manufacturers accessing the Handbag audience is accelerating. It's great news that an increasing number of brands like Fiat Panda are switching on to Handbag.com and are understanding the branding benefits and success of online as a platform in which to drive awareness."

BMW Changes Lanes

For over three decades, BMW built its brand to be synonymous with performance and the driving experience. The brand character and tone (serious, focused, and engaged) remained unwavering for the most part, while drivers enjoyed innovative, high-performance-yet-accessible vehicles that connect them with the road, rather than isolating them from it.

BMW created a highly coveted brand franchise by successfully cultivating an extremely loyal following of luxury-performance automobile consumers, especially in the face of stiff competition from Germany and Japan. Looking across the global automotive industry landscape, the premium automobile manufacturer from Munich has the most to lose, should the integrity of its brand begin to falter. Yet recent changes in BMW’s product development and marketing strategy leave us wondering whether the Bavarians are deliberately veering from their familiar route, or if they will in fact be caught off-guard as this otherwise finely-tuned machine drifts into another lane.

The Brand in Context
First, let’s take a look at BMW in context of the global automobile industry. In recent decades, the industry has undergone significant consolidation among manufacturing enterprises. From multiple acquisitions by Ford to the Daimler-Chrysler merger, many automakers now enjoy economies of scale and global distribution networks that afford significant advantages in procurement, R&D, manufacturing, and distribution.

The synergies borne by these scale economies allow larger manufacturers to better weather fluctuations in the macro-economic environment, yet profit from the evolving needs of the car consumer. For instance shifting production away from gas-guzzling SUVs to more economical automobiles helps manufacturers profit in years where oil prices rise; while developing innovative brands and designs can satisfy new segments of consumers who will pay premium dollars for differentiated features and styles. Manufacturers that cannot rely on scale to deliver profitable returns need to ensure that their brands and limited product lines remain highly differentiated and relevant, and continue to aggregate a growing consumer following in the face of sophisticated competition.

Even without a degree in microeconomics, you can get a sense of the relative advantage among various manufacturers by examining the sector chart below. The chart plots relative automobile unit share and growth rates of the major manufacturers

Depicting relative “share of garage” illuminates several observations:

- In a mature category tamed by annual growth of two percent, above-average growth for one major player will come at the expense of flat to declining sales of another. Here, strong competition from Japan and Europe chips away at Ford and GM’s global dominance.

- In order to enjoy greater cost advantages as well as research and development, distribution, and marketing synergies, volume players are compelled to defend their positions by consolidating tertiary brands (for example, Mazda, Volvo, Land Rover, and Jaguar under Ford Motor Company), or joining forces (for example Nissan and Renault).

- When measured by relative unit growth, the BMW group (helped recently by the introduction of the new MINI) has enjoyed the most success in serving and aggregating loyal and new customers around its brands.

BMW succeeded in differentiating its product line to address the growing needs of its target audience, introducing the Z3 roadster and the X5 sport utility in the late 1990s. By the end of 2003, fully ten percent of all BMW sales were in the “light truck” category. The new MINI, launched in 2001 as a separate master brand yet arguably benefiting from the halo effect of its parent brand, was a phenomenal success, reaching estimated sales of over 120,000 units in 2003, or ten percent of the BMW Group’s unit sales. Nonetheless, isolating pure BMW unit sales reveals respectable five-year unit growth of 30 percent, a virtual tie with the growth of Mercedes-Benz.

Drive Diversion
But just over the last few years, some major tweaks have been churning out of BMW’s design and marketing departments. Perhaps threatened by the marketing savvy and performance-minded products from Audi, Mercedes, Infiniti and others, BMW has decided to shake things up a bit in its quest to keep the core brand distinct from the pack. And while significant shifts in design philosophy, driving qualities, or brand identity could alienate loyal consumers and damage brand equity, BMW has ironically put these very attributes into play in what appear to be some risky moves to achieve greater brand relevance.

The Bavarians certainly succeeded in shaking things up from a core product standpoint. It began in the fall of 2001 when BMW introduced the radically restyled 7-series luxury flagship, which focused heavily on form and technological innovation. The love-it-or-hate-it design introduced aggressive and controversial angles to BMW sheet metal, especially those framing the “humpback trunk,” as one editor put it. The extreme makeover went beyond body design, re-arranging the traditional driver interface from a quirky column-mounted shift mechanism to the oft-criticized iDrive multi-function control. Automotive journalists fussed for over 15 minutes just to start and engage the car in drive, never mind operate the air-conditioning. And as Frank Markus of Car & Driver wrote, “the new 7 seems less intimate, more aloof and disconnected from the driver than its forebears” – quite a contrast with traditional Bimmer gestalt.

The 7-series edgy styling and technological gadgetry set the tone for the new ranges of BMW sedans: The recent 5-series replacement features speed-sensitive steering ratios (a further evolution from traditional driver interface), and trunk design that one journalist termed “angry.” Judging by the overall flavor of trade reviews, the new flagship has ushered in more of an “ultimate technological revolution” than a further enhancement of the driving experience.

Dating back to the first 3-series in 1975, BMW has been well served in the US and UK by the ubiquitous tagline, the Ultimate Driving Machine. Today, however there appears to be a shift in North America to align with the Joy of Driving brand positioning used globally. While this move may facilitate some marketing synergies and unite today’s broader product lineup under a more accessible brand, it seems to dilute the power of the Ultimate Driving Machine associated with BMW’s core sedan offerings.

Fortunately for BMW, taking risks has not resulted in disaster yet. But the shift in strategy may already be exposing some setbacks at a time when most luxury brands are struggling through a weak first quarter. While last year’s initial sales build for the new 7-series actually exceeded that of the preceding design, sales through February 2004 for the 7-series are down 21 percent versus last year. The American watchdog publication Consumer Reports recently singled out BMW’s flagship as the most unreliable European model, with more reported problems per 100 cars than other models in its class. Among vehicles that have been recalled multiple times, the 2000 to 2001 X5 nearly tops the list with 12 recalls, according to the Center for Auto Safety.

It’s always interesting to see a tried and true brand change course. At the end of the day, while the designers and marketers tweak the Machine, hopefully they’ll continue to steer the Ultimate Driving brand down a road that’s true to its heritage.

BMW launched with a built in 'Easter Egg'

AKA a cheat code

Inside stuff: A hidden feature launches the M3, but faster in Europe.

by Dan Carney

There's a cheat code in the software running the BMW M3's sequential manual gearbox (SMG): Press the right buttons in the right order and the car will launch you from a stop after revving the engine to 5,000 rpm. But don't look for a how-to in the owners' manual—this feature is undocumented, an inside joke of sorts.

To our knowledge, it's also the first automotive "Easter egg," though—with increased reliance on computers—it would seem just a matter of time before they become standard fare, much like the hidden features in PC games and DVD movies. In the M3's case, there's also good reason for it: The SMG transmission is completely electronic, so you can't rev the engine and drop the clutch for tire-smoking acceleration—something the owner of a performance sedan just might want to do occasionally.

But there is a catch. In Europe, where the feature isn't so hush-hush, doing more than 15 launches voids the car's warranty. Federal laws prohibit such stipulations here, so BMW has turned down the wick. U.S.-spec cars are programmed to wind to only 2,500 rpm—and our test car topped off at 1,800. That's why you have to ask your dealer to install the European software. Most will happily oblige.

For lucky drivers of this hot car, here's how: Switch off the stability system and select shift program six. Switch the engine to sport mode. With the hand shifter in drive, hold it in the downshift position and press the gas pedal. The engine will rev to the preprogrammed rpm and hold. Now release the shifter. The car will launch forward violently and the engine's revs will climb quickly, so be prepared to upshift.

Monkey Tennis! Famous and Frightened

A group of very nervous celebs spend the weekend together in a haunted castle. Can their nerves last, or will they be too spooked? Who will be voted to stay and earn money for their charity and who will be sent packing? You decide!

The courage & bravery of Julie Goodyear, Keith Chegwin, Cheryl Baker, Terry Nutkins, Toby Anstis, Garry Bushell, Linsey Dawn McKenzie and Linda Robson will be tested to the max in the aptly named Chillingham Castle, Northumberland!

Don't miss it from the 12-14 March from 9pm to midnight!

Mobile Cinemas to Tour Britain

"Britain's silver screen is to follow the example of radical stage producers 50 years ago who mounted an entire theatre on ex-army lorries and trundled it out into the culture-starved countryside.
A gap in cinema provision has triggered the plan for modern successors to the celebrated 'Blue Box' whose convoy of vehicles could be converted within a few hours into a 200-seat auditorium."

Is this a good idea? Surely the arrival of video, DVD, not to mention TV, means that the situation is now totally different to what it was 50 years ago. Home cinema set ups come in at under £1,000, so is there much of a point of creating cinemas in church halls? Much as the communal film experience is great, I'm sure a lot of people would rather watch films in their own homes, rather than in temporary cinemas.

More car marketing - this time Lexus

Luxury automaker seeks to maximize the Internet’s power to drive the process of buying a certified pre-owned car.
Ever since the first Ford rolled off the lot, there have been new cars and used cars from which to choose. But in recent years, luxury car companies coined a new category -- certified pre-owned vehicles (CPO).

The reason is clear. The connotation of the used car over the decades became one of sleazy salesmen dressed like Herb Tarlek of 'WKRP in Cincinnati' who would do anything to get you to buy whatever piece of crap was on the lot. Eventually, there was no distinction between the product being sold and the people doing the selling. Used car eventually meant sleazy and dishonest. Luxury car manufacturers wished to distinguish their used vehicles from the typical used car, thus the emergence of CPO.

The CPO vehicle market is among the fastest growing. So much so that Lexus recently announced efforts to promote its robust pre-owned vehicle line by aggressively using the Web, and by actually creating a separate, third car category.

Marv Ingram, national CPO/fleet manager for Lexus, says, “Through our research, we learned that the Internet is really where consumers are going to learn more in-depth information,” so that focusing the majority of their efforts online would have the most impact for the Lexus CPO vehicle.

In fact, Lexus has been shifting money away from cable TV buys and production of commercials to the Internet as a way to narrowcast even further than is possible through cable.

"Over the past six years, Lexus has shifted its CPO media buy each year to adjust to consumer needs and an evolving CPO market. This fiscal year is really no exception, “says Ingram. “Recent consumer research provided valuable insight that allowed us to be more targeted with our CPO funds. Our third-category campaign required a stronger focus on Internet spending but also required us to have an aggressive print buy. Most of our shift for this fiscal year came from cable TV buys and production of commercials. Our media budget growth is commensurate with media inflation rates."

Something to understand about automotive marketers is that there is little they do without reason. The category possesses among its ranks many of the savviest marketers. They have to be, given the kind of money a consumer spends on the product and the potential longevity the relationship can have.

These guys have found that the Internet is best suited for accomplishing their goals. They are not using the Web on a whim, or to spend money there because they have it. The reasons the CPO market is making use of the Web are much the same as that of new auto marketers. Of course, these are often the same companies.

The issue with the CPO segment, however, was trying to identify just what kind of product category it really is and then articulating it to the marketplace.

“We found that luxury pre-owned buyers are similar to new luxury buyers in their shopping process, motivations and behaviors. As they begin the shopping process, they focus on brands and models, as opposed to specifics of pricing, options or special offers or deals. So, from that perspective, CPO and 'standard' automotive promotion is similar,” says Ingram.

"Understanding that approximately 70 to 80 percent of luxury car shoppers use the Internet in the research phase of their shopping process, we created a program that would address these issues. Lexus approached top automotive Web sites and proposed the idea of elevating CPO to a third, distinct category.”

So, Lexus has been able to work towards establishing a separate class of product category by, in essence, treating it much like the one they already have -- namely, the new vehicle.

The CPO auto market, therefore, is looking to the Web in ways that are not dissimilar from that of the automotive category advertiser in general.

“One key to CPO marketing that makes the Internet a desirable place is that a consumer can easily touch new and used at the same time. This best reflects the experience a consumer has at a dealership. There are new and used vehicles on a lot to look at. So, it's natural for CPO vehicles to be in that mix,” says David Leider, the category development officer for automotive at Yahoo!. “The Internet offers that same cross-shopping dynamic.”

The Internet offers the CPO category advertiser the same things it offers the new vehicle advertiser, which are, at their core, often the same entity.

Essentially, the key to advertising is advertising to the right people at the right time, talking to someone about what it is that they are interested in while they are interested in it, and having what it is that they are interested in. As much advertising in the automotive category has been, the CPO segment looked to environments conducive to the research phase of shopping for a “new” car.

Lexus decided, however, that by treating the CPO like the rest of the automotive category, they would in turn make it distinct. Lexus' Ingram says they “took on the task of elevating CPO to the same level of 'new' and 'used' because we were confident that consumers would find its CPO program to be the best out there. We were willing to lead the charge in the CPO arena to provide consumers with the information they need to objectively compare our program to everyone else's in the industry.”

To do this, information concerning CPO product had to be treated as though it were distinct from the rest of the automotive segments. The solutions for doing this, as it turns out, seem to replicate what publishers have done for the rest of the automotive category online.

“This program was not a typical ad buy,” Ingram continues. “Lexus encouraged the sites to create a whole new category with unbiased CPO content for consumers to ensure that the information is objective, credible and, therefore, most valuable to consumers.”

There is no doubt among the various marketers for automotive manufacturers that the Internet is an indispensable component in moving an individual from being a potential consumer to an actual one. In an article I wrote for iMedia a number of months ago covering the automotive industry in general, the consensus was that marketing ventures online were going to not only persist, but most likely become more profound as part of the overall marketing mix. The use of the Internet as a de rigueur medium in the lives of the general population is certain. So, too, is its use as a research tool for those in the market for a car.

But will the consumer ever start buying online? Is there a time in the not-too-distant future when a body will, at the end of his search, finally click-and-buy, whether the auto be new, used or CPO?

A guy I used to work with once bought a car over eBay. And a young assistant media planner I knew years ago, on the early end of Internet adoption, bought her Mitsubishi online and had it delivered to her at the office.

These are but two personal anecdotes and cannot be construed as a sanguine view of a future where car shoppers drive their cars off the virtual show room floor.

“Very few vehicles are directly purchased online, but quote requests can directly lead to sales,” says Leider. “The lines between research and purchase have blurred. A user on Yahoo! Autos might send a quote request or link from a marketing unit to an OEM site, and at the same time on a whim, go to Yahoo! Maps or Yellow Pages and look up the dealer's address or call them.” This suggests an engagement of ‘surround-sound marketing utility’ but far from actually purchasing vehicles online.

“For car shopping, the majority of consumers are still using the Internet primarily for research,” says Ingram. “At Lexus, we believe that consumers still want a connection to a local dealer and want to know that there is someone they can go to for questions and service. Our current program helps consumers find vehicle inventory and specifications online, but connects them with a local dealer for a test drive and hands-on information about the vehicle.”

For now -- happily, I say -- the consumer is still interested in making the more significant purchase activities in their lives interpersonal and tactile. But let there be little doubt that the Internet is becoming responsible for doing more to get consumers in the mood for buying a car than any other medium. Whether it is a new car, a used car or a certified pre-owned car, online is the place to be to learn about it and the place for automotive advertisers to do the teaching.

Jim Meskauskas is Chief Strategic Officer for Underscore Marketing, a next-generation media and strategy shop founded in May of 2002. Since its inception, Underscore has attracted top-notch talent, including some of the innovators who have helped guide the industry through the emerging media landscape. Underscore’s deep understanding of all forms of media drives its success as a cross-platform shop that delivers top-notch expertise to its clients, both in planning and in execution.

Volvo Stuff:

First: Volvo US site for S40 - shows animation of car in racing game

Second: US ads feature LL CoolJ in a mock-up of a rap video I'm trying to work out if this is all that innovative - surely it's just another take on a car ad/ using soft drink creative on a car brand?

Third: Volvo unveil a concept car that's been designed by women

GENEVA - More than a year ago, Volvo Car Corp. gave women employees a special project: design the car they would like to drive.

The result — a roomy, 215-horsepower coupe — makes a statement about what women want. Simply put, they want more.

The workers demanded everything in a car that men want in terms of performance and styling, "plus a lot more that male car buyers have never thought to ask for," said Hans-Olov Olsson, Volvo's president and chief executive.

"We learned that if you meet women's expectations, you exceed those for men," he said.

The YCC concept (Your Concept Car) was shown publicly for the first time Tuesday during media preview days at the Geneva International Motor Show. It's not just powerful and sporty, but also easy to park, maintain and keep clean.

From the outset in December 2002, when Volvo's top executives approved the project, every aspect of the car's design and production has been overseen by women, a first in the automotive industry.

The result: A car that's designed to be nearly maintenance free, requiring an oil change only every 31,000 miles. When it's time for an engine inspection, the car sends a wireless message to a local service center, which notifies the driver.

The vehicle doesn't have a hood — the whole front end lift ups for easy access by a mechanic, since the designers didn't envision doing much engine work themselves. You fill up the tank using a roller-ball valve opening, like many race cars have, because it's simpler and less messy than removing a gas cap.

The engine is a low-emission, gas-electric hybrid.

"You get the power, and you're environmentally OK at the same time," said Tatiana Butovitsch, the project's communications manager.

Gull-wing doors allow easy access to space behind the driver's seat. The bottom of the rear seats fold up, similar to theater seating, providing more storage space. The car also has dirt-repellant paint and glass, exchangeable seat covers with matching carpet and sensors that guide the driver for easier parking.

Volvo, part of Ford Motor Co., has 28,159 employees worldwide, 20 percent of whom are women.

Butovitsch said the project team included five women managers and 20 or so other female employees who made all calls regarding interior and exterior design. The leaders at times tapped the knowledge and insight of 400 other women who work for the automaker.

"Some gave a couple of hours, some a couple of weeks," Butovitsch said.

The group studied vehicle aspects such as storage, ergonomics and maintenance, keeping a common theme in mind: What do women want?

The idea of catering more to women's needs makes perfect business sense, said Art Spinella, president of CNW Marketing Research in Bandon, Ore. Spinella said women either will act alone or have a say in roughly 80 percent of all vehicle purchases in the United States this year.

Butovitsch said the $3.5 million project had some skeptics but the resistance ended when it became clear "this was not going to be a pink, cute-looking car but rather a very smart-looking vehicle."

Volvo officials say they have no immediate plans to mass produce the new prototype, but the company is likely to use some of its features on other vehicles.

Mark Fields, who heads Ford's Premier Automotive Group that includes Volvo, said feedback from consumers and industry observers usually determines which features from concepts endure.

"Concept cars can be extremely useful," he said. "They can either confirm a huge opportunity or they can help you avoid a huge disaster."

Butovitsch said she and others involved in the project view it as a "think tank."

"It's full of good ideas, and the most popular of those ideas are the ones that go into production cars," she said. "The more, the merrier, if you ask us."

The YCC concept may be unique in terms of all-women design, but it's not the first time an automaker has targeted a female audience with a specific vehicle.

Dodge, for example, launched La Femme in the mid-1950s, a rose-colored vehicle that was discontinued after a couple of years.

One of the car's features, according to Chrysler literature: A compartment on the back of one of the seats that held a "stunning shoulder bag in soft rose leather ... fitted with compact, lighter, lipstick and cigarette case."

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Again, is this really a story? Well, in the Clarkson-esque world of cars it seems that it is. Lots of coverage on Radio 5 the other night, and according to this blog it's currently the second most emailed story on Yahoo! News.

& don't forget the UK efforts for the S40 - the mystery of Dalaro , and the spoof

If there was a car marketer of the month award, Volvo would have won it 2 months on the run.

Ford use women's fiction for product placement

If this is done well and with subtlety it could be very good... & there's a world of a difference between these bits of literary fluff and 'propoer' books!

British author is being paid by Ford motor company to feature one of its cars in her new book to increase sales of the vehicle.

The deal with Carole Matthews is believed to be the first product placement involving the motor industry.

Matthews will promote the Ford Fiesta in her next two novels and also write a series of short stories featuring the car in return for an undisclosed payment. The deal is thought to be worth several thousand pounds.

Anne-Marie Chatterton, a spokesman for Ford, said the motor company hoped that the deal would promote the Fiesta directly to its target market of spirited young women. These are precisely the type of readers that Matthews's novels would attract.

"Young women are interested in style, fashion and the way that they look and car magazines don't cater for that," said Ms Chatterton.

"We have linked up with Carole Matthews because we want to show young women what the Ford Fiesta is like and for them to consider choosing it for a car."

Other authors, however, criticised the deal, saying that such payments could distort the purpose of a book and spoil readers' enjoyment.

Celia Rees, an author who has been shortlisted for this year's W H Smith book awards, said she would decline any offer of payment for product placement in her novels.

"I don't know any writers who would do it because it muddies the focus of the book," she said. "Is it about a product or is it about the things that books are usually about?

"Product placement destroys a reader's relationship with the book and I would not like to be associated with that."

Bernie Corbett, the general secretary of the Writers' Guild, a union representing more than 2,000 British script and novel writers, said that he had serious reservations about the practice.

"There is the question of writers being coerced into promoting products," he said. "If you must put in certain references then that could come into the category of interfering with a writer's work and that should be deplored.

"Or we might get a situation where publishers make a deal with a company such as Coca Cola and impose that upon their writers."

Matthews, whose novel For Better, For Worse topped both The New York Times extended list and USA Today bestseller list, defended her decision to promote the Ford car.

"Everything is more commercialised. There are advertorials in magazines, programmes are sponsored by companies, so why not books?

"I think it's a perfect match and to be linked with a premier brand like Ford is great because it will bring my books to a wider audience. I appreciate the commercial pressures on writers. Publishing is changing. It is getting harder and you have to explore all the opportunities."

Matthews said that although she had changed the make of car featured in her new book With or Without You - which was written before her Ford deal - to a Fiesta there were "no constraints on me regarding my writing".

She added: "It was appropriate to change the car to a Ford Fiesta, so I did. If you are going to be affiliated with a brand you have to stand up and do it properly, but I wouldn't change it if my car was a better choice.'

An example of the writing that her readers can expect in future is contained in A Racy Little Number, a short story written by Matthews for the Ford Fiesta website. "I look out of the window and eye my lovely Ford Fiesta Roxanne," the story says.

Product placement in novels is not entirely new. Fay Weldon was paid an undisclosed sum by Bulgari to feature its jewellery in her 2001 novel, The Bulgari Connection, a decision that prompted criticism from some of her fellow writers.

Val McDermid, a British crime writer, received payment from BMW for promoting the Mini in a novella given away with a magazine as part of a readers' competition.

Jenny Colgan, another author of books for young women, was approached by a chocolate company for a product placement deal, but turned it down.

Ali Gunn, a literary agent who represents a number of such authors, said that despite the scepticism of some writers she expected more authors to strike product placement deals in the future.

"The media thinks that novelists should be living in a garret with no heating, not dripping in diamonds and furs.

"If you are a struggling writer, it's a terrific opportunity to make money."