Publishing’s Brooklyn Problem
Much like Google didn’t disintermediate big ad agencies via AdWords, nor TV networks or Hollywood studios via YouTube, but instead provided new channels for those who had no need for the Super Bowl, Amazon has done the same for authors who are better served with a scalpel than a mallet.
Are Inexpensive Self-published Ebooks the New Blogs?
It reminds me of 2003, the year I started blogging, and how some people were able to attract large audiences for their writing, and the mainstream media scoffed that they would ever be taken seriously. Fast-forward, many of those early bloggers are now considered “real” journalists, some because they went to work for traditional media brands, others because they attracted a significant enough audience on their own that they couldn’t be ignored.
Spinning Dominoes: Don’t Believe the Hype… But DO Learn From It
Not quite one year to the day it was announced, Seth Godin is shutting The Domino Project down, offering the awkward explanation that “it was a project, not a lifelong commitment to being a publisher of books,” instead of, perhaps, admitting that publishing is harder than it looks if you want to swim at the deep end of the trade pool in the middle of a dramatic transition, as he obliquely acknowledges in many of his noteworthy takeaways.
Entry Points, Accessibility and Transmedia Potential
It will be interesting to see what other publisher can successfully go the Marvel route; with a $2B+ worldwide box office already in for the Avengers’ on-screen storyworld (one that still bizarrely lives in total isolation from the comics), I’m guessing several will make the attempt within the next 2-3 years. Two gaming franchises I think have some serious transmedia potential are Bethesda’s The Elder Scrolls and Activision’s Skylanders, though you might be surprised by which one I think has the most potential.
Realms of Fantasy Probably Can’t be Saved
I casually followed the transition for a couple of months before losing interest, and was disappointed to check in last week to find an uninspired website and social media presence, and PDF-only digital editions. I also realized I hadn’t noticed the magazine on the newsstands in months.
Richard Nash on Cursor and the “F” Word
Nash took an honest shot at something he believed in and, more importantly, maintained his integrity throughout the process. While neither Cursor nor Red Lemonade ended up being the “game changers” some thought they might be, one could argue (and so I will) that the publishing industry overall is stronger for the attempt, and what *did* work shouldn’t be lost in the discussion.
Advertising Addiction will be the Death of Magazines (Again)
Most magazines, print and digital, are little more than advertising platforms whose readers are defined as “targets”, valued in quantity over quality, and when the advertising revenue stream dries up, the magazines usually fold, readers be damned.
If Your Business Model is Your Most Interesting Story…
What I most like about Wendig is not that he has one foot firmly planted on both sides of the fence, strategically taking advantage of self-publishing opportunities, while also working the traditional channels. It’s that he’s a good writer and gives good story. When that’s your starting point, business models are simply tools, not useless badges to prop up your sad little ego.
You Know What’s “Uninspired,” Prof. Galloway? (UPDATED)
In the pre-digital days, influential media brands like Cosmopolitan and Vogue were one of the primary gateways for marketers to connect with consumers. They offered an attentive audience that would have been difficult for most marketers to gather without investing heavily in staff and infrastructure. Today, those media brands are no longer primary gateways, and marketers aren’t nearly as reliant on them to reach their desired audience as they used to be as they now have cost-effective tools at their disposal to engage directly with consumers.
Beyond the Story: Engaging Experiences Rule
Book publishers, on the other hand, have traditionally either focused on “digital” as a secondary medium, or worse, not even as a distinct medium at all, simply a fascimile or marketing channel for their print products. In doing so, they’ve effectively positioned themselves for easier disintermediation, being seen as container manufacturers instead of content curators and community organizers.