Publishing in a New Media Landscape Liz Pohland Director of Publications Society for Technical Communication @pohland 1
2 Who is speaking? publications manager, graphic designer, technical communicator Director of Publications, Society for Technical Communication Editor, Intercom magazine @pohland PhD student, Texas Tech @STC_Intercom email@example.com
10The Current Publishing Landscape Print is no longer the most important copy Use of digital and new media growing with users Print-based model is being replicated for digital and mobile—not just a format shift but a fundamental restructuring of the publishing landscape Role of publisher in disintermediated world in question (esp. pricing and delivery mechanisms)
11Texas Tech University Library,http://www.youtube.com/watch?v=vwH5TE6se0k (0:58)
12 Publishing and Reader Research & FactsResearch (U.S. adult users): 28% use mobile and social location-based services (Pew 9/11) 65% use social networking sites (Pew 8/11) 71% use video-sharing sites (Pew 7/11) 33% own smartphones (Pew 7/11) 12% own eReaders (doubled in 6 months) (Pew 7/11) 13% use Twitter(Pew 7/11)Publisher Facts: Layoffs and job insecurity 5.6% increase in net revenue in 2010 over 2008 (NYT 8/11) Professional publishing, which focuses on science, medicine, law, technology and the humanities, increased by 6.3 percent from 2008 through 2010, to $3.75 billion.
13 Reading Preferences“We’re seeing a resurgence, and we’re seeing it across allmarkets — trade, academic, professional. In each categorywe’re seeing growth. The printed word is alive and wellwhether it takes a paper delivery or digital delivery.” Tina Jordan, Vice President of the Association of American Publishers (8/2011) www.nytimes.com/2011/08/09/books/survey-shows- publishing-expanded-since-2008.html
15 Publishing Isn’t Dead, It’s Just Different No one single entry point but a mixture of offerings Multiple user preferences Multi- authorship, interactivity, and community-driven sites Distribution-driven (not destination-driven)Print isn’t dead, it’s just one option.
16How does the focus on new mediachange the process of makingpublications, as well as what we dowith them afterward?What are the strategies publishersneed to embrace in a new medialandscape?
17What is Digital Publishing? Distribution via the Internet, DVD, CD, eBook, m obile Some delays in production (no immediacy) Computer-based production and wider dissemination Static user interaction with text and no interactive media (not with other users or other contexts)
18What is New Media Publishing? Context-rich Accessible Interactive Participatory and Engaging (producers and consumers) Democratization Digitizing into bits Real-time production Messy mash-ups
19New Media Characteristics digital manipulated and remixed networkable dense compressible interactive
23 Required Shifts in Perspective 1. Editorial 7. Leadership 2. Production 8. Value 3. Archiving 9. Cost 4. Marketing 10. Competition 5. Distribution 11. Business 6. Organization 12. Time & Resourceshttp://infogridpacific.typepad.com/using_epub/2010/06/surviving-the-transition-to-digital-publishing.html
241 Editorial Perspective New role for editors: not just what to publish, but how what is published will be discovered. New goal/mission for pubs. Nothing substitutes for authorial and editorial judgment in contextual tags applied to content. (JOBS!) Editorial is a compilation of elements that can be: Expanded, added to, or combined with other content and/or media (text, audio, video, games, polls, social) Reduced or eliminated as needed depending on platform and market (abridged, enriched, multimedia, enhanced)
262 Production Perspective: Form & Format Titles must start in digital form, be edited digitally, stored digitally, and output to a variety of digital-ready formats Digital Publication Formats: Flip books PDFs Blogs and/or websites (online- only and/or mobile) Hybrid approach ebooks (Basic, Enhanced) Apps Multimedia (video, audio, games, polls) Social (community and interest networks)
272 Production Perspective: Design Goal: provide a seamless experience across devices and platforms 1. Subscribers/users and Distribution (reader surveys & metrics) 2. Typography 3. Images (placement, resolution, interactivity, co pyright) 4. Content length (expanding, annotations), layout (fixed, fluid, elastic, hybrid), and orientation 5. Touch and real-world metaphors (“click” here doesn’t work with touch) 6. Dynamic and Accessible
283 A r c h i v i n gP e r s p e c t i v e Content must be prepared for permanence and future- proofing (a plan for updating as technology progresses) Legacy content must be dealt with Moved Scanned OCR/searchable/tagged Repackaged
294 M a r k e t i n gP e r s p e c t i v e Effective marketing plan to drive traffic to site/pub: Analytics Daily discussion on social media Search engine optimization (SEO) Pay-per-click (PPC)
305 DistributionP e r s p e c t i v e Creative and nontraditional ways to deliver content to users or readers. Know your audience. Conduct surveys. Use multiple media outputs. Use multiple delivery schedules. Venues for interactivity and contribution (commenting, networking, polls, games, rewards).
316 OrganizationalP e r s p e c t i v e Organization leaders must buy in to new media publishing plans. You will need a business plan and content strategy. Employees must undergo radical education in all things digital and new media. Start re-training or re- organizing now. Start a digital development or media department. Foster innovation. Just hiring young employees or “digital natives” will not work. Consider your organization’s overall goals, global perspective, and reader/customer base.
327 L e a d e r s h i pP e r s p e c t i v e Organizational and publishing leadership has to be public and active in marketing of the organization, its authors, and its content. These should be personal endorsements. Leaders are people, not organizations Public participation in discussions Social media discussions (Twitter, Facebook, LinkedIn, Goo gle+) Linking to own blogs or sites Authoring editorials Attending conferences as representatives
338 V a l u eP e r s p e c t i v e Focus on small content areas to show value of markup at first: findability Organizational goals should be more important than deliverables No single channel can monopolize Pricing should not affect other channels or distributions Shifting value and distribution models from scarce/hidden/pay to common/open/free (but unique) Add value to your digital content by Rethinking subscription and access models Making content user- or reader- focused rather than institution- focused
34 Open Access Publishing More “freely” available information (access and cost) Potential to increase readership and discoverability Shifts financial burden to authors (creators) rather than readers (consumers) http://questioncopyright.org/understa nding_free_content
35 Subscription Models Closed (pay) Progressive or semi-open Premium Open (registration required) Free (no requirements for access)Tim O’Reilly video on open publishing,http://vimeo.com/3341489
369 Cost Perspective As digital sales increases, the cost of the print- associated resources has to shrink in proportion to the decline in print sales. Many newspapers and some magazines are moving online-only (eliminating their print editions) Print ad revenue is nonsustaining. Advertisers want campaigns that are microtargeted, measurable, and paid for performance. Learn how to gauge and track reader engagement online and translate that into advertising sales. Determine which web metrics you will need to track and provide to potential advertisers Answer the burning question: “How much traffic do I need in order to be successful?” Understand the optimal ad sizes and positions. Create a Media Kit with the components of an effective online rate card with the right terminology, stats, and information that advertisers are looking for.
3710 Competition Perspective Competition with giants like Amazon, Customers have become Google, Facebook, and Apple competitors, but also collaborations, partners, and suppliers Value to potential authors, writers, and readers/customers: Unique content (but not scarce, hidden, or pay-only) Open content Contextual content Community-based (exclusive) content Competitors as collaborators Mutual agreements Collaborative projects Cross-authorship and context http://99designs.com/
3811 B u s i n e s s Pe r s p e c t i v e Each publishing channel must be analyzed in light of the relative return to the business or publisher (not necessarily monetary return) Benchmark = 50% of net sales Advertising no longer carries publications Other forms of revenue from content remixing Creative uses of content to support organization’s business model http://www.aptaracorp.com/ebook-survey2/
3912 Time and ResourcesP e r s p e c t i v e Tactical and strategic decisions must often be made quickly with few resources (staff and finances) Tighter publishing schedules and demand for immediacy of content delivery Feels like doing more with less Need for more training Start small, let go of some control
40 Who Gets it Right?Wired, www.wired.com The Professional Chef app
41 Who Gets it Right?Children’s Apps and eBooks O’Reilly Media