Entries tagged with “experiments” from Tools of Change for Publishing
New Project Examines Close Reading and Web Collaboration
Mac Slocum
October 31, 2008
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On Nov. 10, Doris Lessing's The Golden Notebook will be read and discussed by seven readers in a new experiment that explores "close reading" and the mechanisms of online conversation.
The project is the brainchild of Bob Stein, founder of Institute for the Future of the Book. Stein outlined the project's goals in an email announcement:
Fundamentally this is an experiment in how the web might be used as a space for collaborative close-reading. We don't yet understand how to model a complex conversation in the web's two-dimensional environment and we're hoping this experiment will help us learn what's necessary to make this sort of collaboration work as well as possible.
The seven readers will discuss the book through margin notes and a group blog, and a public forum will be available for others to join the conversation. Further details are available through the project site.
Calling Out Risk-Averse Publishers
Mac Slocum
October 2, 2008
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Bloomsbury Academic is testing the theory that increased awareness from free distribution boosts book sales. The recently-launched imprint is releasing all of its titles online under a Creative Commons license while also selling print-on-demand editions. Discussing the rationale with the Chronicle of Higher Education, Bloomsbury's Frances Pinter cites the unnecessary chasm between envelope-pushers and conservative publishers:
"I'm tired of the divide between open-access people who have nothing but disdain for publishers, and publishers who don't really know how to take a few risks and try some new models," she said. She would like Bloomsbury Academic to demonstrate that publishers can add editorial value to scholarship without having to choose between locking it down or giving it all away.
Levels of Quality and Revenue Streams
Mac Slocum
September 3, 2008
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In a New York Times piece looking at a new batch of Web shows, Mike Hale writes:
Oddly enough, waiting through the commercials at the beginning of each snippet didn't bother me. I could have avoided them by going to YouTube, but the lower video quality and ugly viewing environment there -- still insulting after all these years -- made the ads at the CBS site seem palatable.
Last month, experts at the RBC Capital conference said advertisers were still wary of associating their brands with user-generated videos, but there's a demand for professional content. From News.com:
Video ad executives said that while YouTube has a lot of inventory that's hard to monetize, sites with professional content such as Hulu.com don't have enough inventory to serve demand from brand advertisers.
Consumers are also interested in professionally produced material. A 2007 report (pdf) from the Pew Internet and American Life Project found:
Overall, 62% of online video viewers say that their favorite videos are those that are "professionally produced," while 19% of online video viewers express a preference for content "produced by amateurs." Another 11% say they enjoy both professionally-produced video and amateur online video equally.
Connecting the dots, it seems there's an opportunity for publishers to link ad-based revenue streams, levels of download quality, and audience experience. For example:
- A studio could post low-fi versions of its Web shows to YouTube, social networks and other Web destinations. The free videos would include branding and links to higher-quality versions of the same material on different sites. These low-quality videos would act as a brand campaign for the show, reaching out across a broad base of users to increase awareness and (hopefully) motivate a percentage of the viewing audience to access the high-quality videos. This is the same technique TV networks use when they advertise upcoming shows during popular broadcasts (e.g. anyone watching Fox lately knows the network is hedging its bets on "Fringe.").
- High-quality downloads would be available through a studio's own site or through upper-tier services like Hulu. These videos would include pre- and post-roll advertising from sponsors. If the show proves successful, studios could take a note from Joss Whedon's recent Web effort, Dr. Horrible's Sing-Along Blog, and sell related downloads, soundtracks and merchandise.
This process extends to other media areas. On the print side, publishers could push basic material out to a wide audience through Scribd and other text-centric services, while also driving a percentage of the audience toward high-quality digital and print editions available through established retail channels (Web-based and otherwise). Earlier this year, Trent Reznor employed a similar tiered strategy with the Nine Inch Nails album "Ghosts I-IV" and the results were positive.
I realize this is back-of-the-envelope analysis, but this emerging mix of low-fi brand building and consumer/advertiser demand for professional-level content bodes well for publishers experimenting with digital delivery.
Report: Radiohead Experiment Yields Indirect Success
Mac Slocum
August 4, 2008
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Much of the analysis around Radiohead's "pay what you like" experiment focused on the average price paid for the band's 2007 release, In Rainbows. But a new research report (PDF) from the MCPS-PRS Alliance takes a different approach:
... did the project succeed in diverting traffic away from venues where the band receives nothing, and towards a venue where it could receive something, be it the currency of cash or (at least) an email address?
Will Page and Eric Garland, the authors of the report, offer a two-part conclusion. First, luring people away from their chosen outlets is a significant challenge:
The venue hypothesis suggests that even when the price approaches zero, all other things being equal, people are more likely to act habitually (say, using The Pirate Bay) than to break their habit (say, visiting www.InRainbows.com). The implication of this 'venue hypothesis' is that if you wish the customer to deviate from his habitual action (and try a new venue), then you must offer him an improved venue, at least in his perception. [Emphasis included in report.]
Second, the massive publicity Radiohead received from the experiment likely diverted some customers from file sharing sites. In this case, "some" traffic diversion is enough to claim success:
Let's break it down real simple and treat torrent sites like a local bar, where curious consumers can enter and leave a venue of their choice anonymously, and found 'In Rainbows' to be the guest ale at the time -- and popular it was too, more popular than going anywhere else, like visiting the brewery where it originated from. Whilst the stand alone brewery did lots of new business thanks to the promotion, all the bars up and down the country did even more business. Hence the twist to our answer -- in that it is possible to redirect traffic back to your site, as well as bring new addition traffic to the torrents.
It's a murky outcome, to be sure, but Eliot Van Buskirk from Wired's Listening Post says publicity from Radiohead's experiment and the exposure In Rainbows received via official and unofficial downloads helped propel the band's traditional album and ticket sales:
All of this torrenting of In Rainbows contributed to the album making such a big impression on a listening public that's bombarded with an ever-increasing amount of information. Without its album being so widely traded, would Radiohead's album have shot to the top of the charts? Would their worldwide tour be such a smashing success? ... Not necessarily, says the report, and we agree.
Sorting through these types of reports is an arduous process because the permutations and relationships within the file sharing universe work against firm conclusions. Nonetheless, there are key takeaways:
- Page and Garland's "venue hypothesis" is worth serious consideration in any file sharing experiment. Depending on the desired outcome (i.e. general publicity vs. trackable/marketable data), going where the people already are could be smarter than luring an audience to a new destination.
- A "rising tide lifts all boats" gameplan isn't ideal, but it's suitable when you're up against an inherently murky landscape.
- Finally, the quality of the content is, and always will be, the driver of interest. Alternative distribution boosted awareness for In Rainbows, but chart success and sold out concerts were the end results of good material. Put another way: attention is most valuable when consumers bond with the content.
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