publishing

The Guy Who Makes the Lists, or, Aggregation Is Power

May 5, 2008 2 Comments

The Wall Street Journal just came out with new rankings for most influential business leaders (here).

Obviously, this is a sparkly day for Gary Hamel (#1) and the rising stars just behind him.

But what does a piece like this do for Tom Davenport, the ranker himself? He may not be Gary Hamel, but his position as someone who we depend on to tell us who is isn’t too shabby either.

The U.S. News and World Report gets as much out of the annual college rankings as the top (“top”) schools. And is the Academy around for any other reason than to give us the Awards (I mean really)? These groups are powerful because we rely on them to get it right.

Point being, the guy who makes the lists–who tells you who to listen to, where to go to school, what to watch, what to read–may be just as important as the folks on the lists themselves.

And hence, the internet aggregators. Google makes its money by giving you authoritative lists (search results, feed reader). Digg.com does too. These companies aren’t in the content business; they’re in the list business.

We all know the content business in publishing is suffering these days. That brings up the question: Can, and should, you do both lists *and* content? Should the NYT list articles not in the NYT as “most emailed”? Would more people visit their site if they did? Should our company’s site list competitors’ books as “similar products” if that will make more people think of us as “the authority” in our field?

Filed Under: publishing

Helvetica

April 5, 2008 Leave a Comment

I just watched the documentary film Helvetica and highly recommend it.

Yes, it’s a documentary about a font (which, let’s face it, you could have expected of me). But it’s also about visual design and art culture history more generally. And I guarantee it will make you look at type differently–type on your computer, type in a TV ad, type on the spines of your books as you walk by your bookshelf. You’ll start seeing things as if for the first time, which is one of my favorite hallmarks of a good film.

I’ve always turned my nose up at Helvetica as the most defaulty of default fonts. The film convinced me that it can and indeed should be considered in all thoughtful visual design, as it has been historically. I’m not sure that its argument that you could do absolutely anything with Helvetica was quite as successful. It’s not just that the display version carries with it the baggage of the 1960s modernist aesthetic, I think; it’s that I don’t buy the idea that a font can be completely devoid of all inherent expression. Can it?

I also liked the final question posed–whether there is something about Helvetica that makes it universally, unrelativistically a good font: whether it’s reached some sort of Platonic ideal of sans serifness. I think the answer is no (the lowercase a and g are too interesting for that). But it means something that the question is asked in the first place.

There were some shots of fonts which the film suggested were Helvetica but which I thought weren’t. Anyone else notice them too? Or am I wrong?

Filed Under: fonts, publishing

HarperCollins’s New Imprint

April 4, 2008 Leave a Comment

Yesterday HarperCollins announced that they are launching a new imprint (no name yet) with an experimental bent. For one, the imprint will offer little or no author royalties; instead, the author will be involved in a profit-share with the publisher. Furthermore the imprint will refuse returns from overstocked booksellers.

The pros and cons of this move are being debated all over publishing circles and in the mainstream media: in Publisher’s Weekly, in the Wall Street Journal, and in two separate articles in the NYT. And rightly so. Author royalties and returns are two archaic parts of the standard publishing model that are pecuniarily punishing for publishers. But doing away with them is fraught with risk–will the new imprint be able to sign big authors without the enticement of an advance? Will booksellers wave off the imprint rather than try to figure out more efficient ways to work with their inventory?

But what interests me here is *why* HC is trying these new models. The ideas have been batted around before, but I have a hunch that it’s the proliferation of online content (free content in particular) that has made New Corp. bold enough to take this step.

Obviously money is one important consideration. Traditional print publishers are losing revenue because of online content. This is only going to get worse, and publishers need to figure out new ways of cutting major expenses. If these methods work well, we could see other publishers following suit down the road (though it will take a while).

But not drowning is only one part of swimming. This new model isn’t just about cutting expenses; it’s about new ways of looking at publishing.

For one, it suggests that authors and publishers are partners. This sounds like the flat-worldy internet influence to me. If authors can self-publish, or put all their work on blogs and make all the money they want from AdSense, then it seems that publishers do have to offer them something new to stick with traditional print publishing. I wonder if the fact that profits are shared tells only part of the tale–will authors and publishers work more like a partnership throughout the process too?

And the predominance of online book sales (over 2/3 of our books, for instance, are sold online) is just begging for the more POD-like no-returns model. It’ll be harder for a bricks-and-mortar store than for Amazon, but it’s time for Amazon to start setting the rules, and not B&N.

Apocalyptic predictions of doom aside, what other changes will the digital movement have on print publishing models?

Filed Under: publishing

What is Narrative Nonfiction?

March 28, 2008 2 Comments

Technically, it’s nonfiction that reads like fiction: there are stories, or one overall story. There’s tension, release, and a narrative arc. Also, what is tension in literature? Learn more about it.

We’re thinking of trying to publish more of it at the Press. But how do you move from academic, professional, and practical nonfiction to this higher art form? Do you just hire a writer and have them work with your author and hope it comes out pretty? My guess is that it’s not that easy.

What books should we use as models? Andrew Chaikin’s “A Man on the Moon” and Jim Lovell/Jeffrey Kluger’s “Lost Moon” are two of my favorites in this category. Chaikin’s injects the human into the scientific, military rigor of the space program, but manages to actually maintain and honor that rigor all the while–a remarkable feat. “Lost Moon” is a little more pop and a little less scientific, but an even smoother read and, by the end, a page-turner. There aren’t many other non-fiction books that I’ve picked up again and again.

What elements other than those listed above make up good narrative nonfiction? Have you read any nonfiction lately that you couldn’t put down? Why not? What was so riveting?

Filed Under: literary criticism, publishing

More On Newspapers

March 14, 2008 Leave a Comment

This post at Publishing 2.0 echoes my earlier diatribe about newspapers, particularly the New York Times, and web publishing.

The post talks about the different ways in which primarily web-native news aggregators’ home pages appear: TechCrunch displays the day’s constantly updating stories in reverse chronological order, like a blog, and Digg displays them either in chronological order or in order of popularity. The post hails these as digitally integrated and useful formats. The Times*, on the other hand, echoes its print format in many ways. Indeed, much of the page stays static through the course of a day, unless something huge happens. The article links the page’s static-ness with its way of arranging articles: by “importance.” Because somebody decides once a day that this article or headline is important, it lives on the homepage until tomorrow.

I’m right with this post’s call for traditional journalism to really get more web-integrated.

But I don’t want to throw the baby out with the bathwater. Out goes static boredom (I too have stopped checking the NYT site more than once a day, while I check others frequently–bad news for the Times**). But why must we throw editorially-deemed importance out with it?

I use NYT’s “most emailed” list heavily, but I like the homepage too, because there people I trust (“editors”) tell me what to read. I don’t have time to read the whole paper; I like that they pick stories for me *in addition to* the most-emailed ones. I think editors add value to my content consumption, and I don’t want to lose that value.

In other words, I feel like the Times might actually be doing it right in trying to find a combination of these models–including both their printish front page and what Publishing 2.0 calls their “blog ghetto” at the lower-right corner of the page. It’s just a matter, now, of finding the right amount of each.

———–
*Yes, I know I italicize the NYT and leave the others in Roman. It’s deliberate. I don’t know what it means yet, but it does signal the changing ways in which we think about citing different kinds of material, no?
**Sorry.

Filed Under: digital publishing, publishing

Newspapers Are Not Dead

March 1, 2008 1 Comment

An NPR piece* the other morning about the future of newspapers got it wrong. The contributor, a nostalgic newspaperman, was mourning the apparently imminent demise of the medium, retelling his young son’s reaction to the latest round of newsroom layoffs. “Why are you surprised, dad,” he asked, “Why would I read a newspaper when I can find something on the internet, on Google, on blogs, or in a newspaper online?” So sad, the contributer noted, with this new generation will come the end of the newspaper.

The mistake here matters much because it’s one the newspapers themselves are making, the very one that actually threatens their future.

The commentator’s son, the commentator, and the newspaper establishment, have conflated the concepts of what a newspaper does, and what a newspaper is. And unlike Jack Sparrow, I’m more interested in the “does” part.

Let’s handle “is” first, though. I think that sales (and production) of hard copy newspapers will absolutely plummet in the next five or ten years. I don’t know anyone my age who prefers leafing through enormous pieces of dirty paper to try to find the end of that front page article, rather than clicking “Next.” And how do you even read the New York Times without the “most emailed” box? That’s the first place I go after I read what’s above the fold (“above the scroll?”). The only advantage of the printed paper is that you can do the crossword properly. But after reading maybe a third of the articles, if you’re being generous, you throw the whole pile of paper away–!! Unacceptable to our green (pun intended) minds. I think many of us will enjoy newspapers in the future the way we enjoy quality, old-school throwback items now. “Oh wow, a record player! Remember those? Let’s hook that thing up and find some of my parents’ LPs.”

For a while there will still be printed papers in corporate lobbies and in the subway and on the steps of staid suburban homes. But yes, Mr. Newspaper Man, this is going away. It’s just more convenient to read it all on the iPhone. (Even the newspaperman’s son said he was still reading newspapers online!)

Thus, onto what a newspaper does.

A newspaper finds, reports (mostly in writing), and selects the day’s news for us, under a particular brand. This, I argue, needs not go away. We actually need it now more than ever.

But by clinging to the hard copy culture of the newspaper–and even though the paper is available online–newspapers as a whole (not just hard copy) risk becoming obsolete in the next decade.

My morning and lunchtime routine consists of checking my personal email, reading the blogs that feed into my Google Reader, and checking out a few articles on the Times. More and more I feel a little impatient with the NYT. Why couldn’t it just RSS feed its leading article so I don’t have to go to a whole new site to get my branded, edited news?** Bah.***

Okay, okay, so the NYT is catching on. They have blogs. Some good ones, at that. Some, not so good. I’ve criticized the editorial board’s attempts before. Here’s why it matters. Blogs can’t be the NYT’s ancillary material. They need to be its new format.

Every column, every article, every space (“front page,” “above the fold,” “center column,” “Friedman,” “Dowd,” “Friedman and Brooks, and also Collins but only if it’s been posted in the last two hours OR is in the top ten most emailed”), needs to be feedable. I need to be able to choose which feeds I want. I want to be able to get “all the news that’s fit to click” without ever going to the NYT’s home page.

“All”? But I thought you just said I’d be choosing which feeds I want. So if I only want sports feeds, I’ll miss the front-page headline, right?

Well, this is where the “select” part of a newspaper’s job comes in.

I have too many feeds coming into my reader as is. If I’m going to be having all of these newspaper feeds in there too, I need someone to pick and choose them for me–still based on my preferences (“Friedman and Brooks”), but with some common human sense thrown in about other stuff I might be interested in and other stuff I should be interested in.

Tah dah! Isn’t that in some sense what a newspaper does already? Prove your worth, editors, by editing. Send me, say, five articles a day that you think I should be reading, but that I haven’t signed up for. So I can get the top travel story even though I haven’t signed up for the travel feed (so that I don’t get ALL the travel articles EVERY day), if you think it’s worthy. Please do this! I need you to.

This way, the top stories get fed to everyone, regardless of their usual individual preferences, but all the niche audiences still get their niche stories fed to them too. And if you get really procrastinatory on a Friday afternoon at work, there’s always more on the site, because then you actually feel like going there. Isn’t that sort of the way a newspaper works now, in an analog version?–usually we only read top stories and maybe drill down to some things that interest us individually, and then only read the rest when we have time? Only now it comes to me, I don’t have to go to it.

Anyway, this is only one vision of what newspapers could do to not just stay in the game, but to keep owning the game. They need to come up with new ways of getting us their content (the “most emailed” box is a great example of a great success). Their newsrooms, companies, and brands don’t need to fall away; they could become stronger. Newspapers aren’t dead, my friends. Despite their soon-to-be-archaic name, if they figure out and own this technology shift, they’re only just beginning.

——

* Which I now can’t find, hence no link and no way of checking if I remembered the piece accurately–sorry.
** Probably something to do with advertising dollars, which makes sense. You can’t see the ads on a feed. But Reader’s brilliant new gizmo for your links bar obviates that problem. You just click the link on your browser toolbar and it takes you through your blog posts one by one, at the blog’s site–so you see it just as the blogger set it up, ads and all. It could stand to be perfected–for now you can only hit “next” and it would be nice to be able to pick and choose from amongst your unread posts, but it’ll get there.
*** Call my generation lazy. I call us obsessed with efficiency.

Filed Under: digital publishing, publishing, social technologies