Showing posts sorted by date for query fan fiction. Sort by relevance Show all posts
Showing posts sorted by date for query fan fiction. Sort by relevance Show all posts

Tuesday, July 22, 2025

Fan Fiction: What Writes Better, Simple or Complex? (From PsycArticles)

FAN FICTION
I am reading a short book on "Simplicity" and the relationship between simplicity and complexity and thought I would also do some research on PsycNet to see what recent research existed. As it happened I found the following article on Fan Fiction (topically of interest). Turns out the more complex the fan fiction story the better it is reviewed and read!
 
APA's PsycArticles contains more than 250,000 full text research articles in psychology but many of these articles have real world business implications relevant to researchers and students in academic disciplines outside psychology and social sciences.  
 
The Diamonds and the Dross: A Quantitative Exploration of Integrative Complexity in Fan fiction by Hayley McCullough investigates the psychological and linguistic characteristics of fan fiction by analyzing its integrative complexity, measuring how well a text recognizes and integrates multiple perspectives. McCullough's research compared 45 popular and 45 unpopular fan fictions from the Archive of Our Own (AO3) platform, using "Hits" (views) and "Kudos" (community approval) as metrics for popularity.
 
Contrary to expectation, that popular fan fiction would show lower complexity—a trend observed in other pop culture domains like film—the study revealed that popular fan fiction consistently scored higher in all forms of complexity across various categories. The finding suggests fan fiction readers prefer more thought provoking and nuanced narratives, which was found regardless whether popularity was measured by views or community approval. The researchers concluded that there is a robust preference for complexity in fan fiction.
 
The article proposes several explanations for this unexpected trend:
  • The text-based nature of fan fiction may encourage more complex storytelling (in the absence of visual cues).
  • Fan fiction's role as a form of cultural critique. This resonates with the idea that content, including (fan) fiction, often provides insight into complex real-world issues.
  • A desire among fans to explore underrepresented identities and perspectives. This can be seen in popular characters like Stieg Larsson's Lisbeth Salander, who was potentially inspired by a "grown-up Pippi Longstocking" and represents a "dysfunctional girl" who nonetheless directs her own destiny, hinting at the appeal of complex and non-traditional identities.
I have explored the fan fiction 'marketplace' a few times on PND and the researchers also reference well known examples including Harry Potter fan websites such as MuggleNet and The Leaky Cauldron where fans move the Harry Potter story in new directions and different directions (sometimes, not always supported by Rowling). Many of these popular fan sites provide vigorous and unedited feedback to authors which, while potentially intimidating, creates an environment which encourages quality. 
 
The Implications for Publishers: Publishers are encouraged to "engage deeply where it matters" within fan fiction communities rather than just marketing to them as readers rather than content creators. CompletelyNovel.com uses reviews, ratings, and sales data from the social web to help authors prove market viability, demonstrate how community feedback can influence success, and model of "post-publication peer review," where readers assess content quality, aligns with the community-driven nature of fan fiction communities. The research conducted suggests that platforms and content communities that filter for complex or nuanced narratives would be highly valued by readers and creators. 
 
In summary, successful fan fiction is likely to be more complex suggesting a strong appetite for intellectually stimulating content, in turn suggesting commercialization should emphasize deeper more thought provoking story lines, character development and cultural complexity. As the authors note in their closing that there may be more to do to understand fan fiction and the implications of their research: 
As previously discussed, fan fiction as a research topic has been a largely ignored by researchers and scholars outside the qualitative humanities’ scholarship, and only a few studies focus specifically on examining and understanding the underlining psychology of fan fiction, most notably Vinney and Dill-Shackleford (2018). Alongside that article, these studies begin filling this particularly research gap and provides a strong foundation going forward. It is the responsibility of future researcher to continue filling the research gap and build up these studies.

More from APA PsycNet on "Fan Fiction":

Fan fiction as a vehicle for meaning making: Eudaimonic appreciation, hedonic enjoyment, and other perspectives on fan engagement with television.

Tuesday, December 29, 2020

Making 2020 Hindsight: Reflections, Recommendations and Running

For the first time in probably 40 years I did not have a seat on an airliner in 2020. Each year, I'd expect to travel to the UK at least once to see family and trips to Europe and other sundry trips in the US would round out my normal travel schedule. In December 2019, I had just returned from a trip to London not realizing it would be a long time before I was back, and I already had firm upcoming travel plans for Florida and Seoul. I've had years where I've overdone my travel, such as the three years I commuted to Oxford (which turned out to be a complete waste of time), but I realize now how much I miss air travel even if to places I have visited frequently. Of course, perspective is important: The planes and the places will be there in the coming months (and years) and it's a small consideration given the plight we are in due to COVID. The PND household's circumstances are hardly catastrophic and I am more than comfortable with the restrictions and it is stunning to me how many people believe they are above even simple sacrifices. Even the people making the rules!

As a by product of the above I took perhaps a quarter as many photos (400) in 2020 than in a normal year. Notably many fewer photos of New York (and none of London). I spend decent amount of time in arm chair travel looking at my past photo collections.

When gyms closed in March I was still of the mind that COVID wasn't a big deal and I was at the gym the day before they all closed. Within days, my attitude radically changed as the NY news reported on the body bags being carried out to mobile refrigerator trucks. So the gym was off limits which meant outside exercise was the only viable option and I upped my running game. I track my running activity and in a normal year I usually run between 1000 and 1100 miles. In the past 24 years of diligently tracking my running, I've run as much as 1,200 miles and as few as 500. 

In 2020 I ran 1,400 miles - which is a lot! My goal next year will be a little less but if I do it I will have run 25,000 miles in 25 years. But don't be intimidated because I get slower and slower as the years go by and each year more and more other runners pass me. Occasionally, I'll get a friendly wave from a cute girl who I know is thinking that "it's nice to see the old guys out here." Cold bothers me less than when I was younger but as you get older it is harder to deal with the heat. Bodies can't cool down as quickly as you get older. I am not entirely sure if I will ever go back to New York Sports Club.

As a consultant, working from home is often the norm but had it not been for COVID I would have been spending some time each week in a client office. I miss this more than I would have anticipated and the casual conversation, connections and serendipity that are always part of the work environment is very difficult to create in Zoom. I do think workers will continue to adapt and evolve to this new model but I don't see businesses continuing to be fully online once the restrictions are lifted. COVID will have a lasting influence on work conditions and experiences leading to more flexible arrangements and benefits for both employers and employees. I think it will be more incremental than revolutionary. Dry cleaners will struggle though.

Despite the lack of commuting, there wasn't a lot of extra free time. Placing a m/in/law in care and fixing up her house for rental in the middle of a pandemic didn't help. Mrs PND also spent a lot of time saving democracy with phone banking and writing postcards. I think it helped.

In most years I will read 20+ books a year and this year was similar; however, I read more non-fiction in 2020 than in other years. In December 2019, I was wandering around Politics and Prose and resolved myself to read more political history during 2020. I achieved this and read about Henry VIII, FDR, Grant, Carter, Churchill and others. I interspersed these books will my more normal roster of espionage and crime books. My five favorite books this year were:

About the first year of Churchill's prime ministership, the book interested me because it added in a lot personal history about the personalities and relationships of the people surrounding WSC at this time. I've read some of Martin Gilbert's biography of WSC but this book - by no means as detailed - filled in some gaps. I have many mixed feelings about Churchill and see the American infatuation with him as distinctly odd. Later in the year, I read FDR (below) and it was interesting to read about the same time period from FDR's perspective.
Alter's book is engaging and really well written. He clearly likes Carter but he is also critical about the President which leads to a balanced and interesting narative. My family came to the US in 1977 and we had watched news reports and election news during 1976 from an external perspective. Carter to me was the peanut farmer and little more. As the late seventies progressed my impressions of Carter as a failed leader were cemented and like many others I saw the comparison with Reagan a stark. As it turns out, Carter by many criteria, was one of our most effective Presidents with many initiatives which were either (or both) ahead of his time or long in impact. By chance, one of my last 2020 books was a fictionalized espionage story of the Shah's downfall which also played large in Alter's book.

I read a review of this book in The Economist and as a fan of Conrad, I thoroughly enjoyed the book. Jasanoff places Conrad in context which adds scope and perspective to many of the titles he wrote.  Later in the year, I also read King Leopold's' Ghost about how the King of Belgium carved an empire out of central Africa. In the latter book, there are many references to Conrad and Heart of Darkness which aided my understanding of both stories.

This book is long and while comprehensive and well written I thought it was a light read. JE Smith is well known for this book and while I enjoyed it, I thought it was more an appetizer than a full blooded investigation of one of the most successful US presidents. As a side note, as outrage grew over trump's supreme court appointment and calls to pack the court accelerated, one of the more interesting sections of this book concerned FDR's court packing scheme and how it torpedoed his mandate. What a powerful personality. It was a tragedy how his doctors ignored is health issues. With better care he would have lived far longer.
The last in the Cromwell trilogy, I hope Mark Rylance comes back to film this book as well. I enjoyed this book but found it labored at times. Mantel is such a master of language that it is difficult to criticize but I thought the first two titles seemed to flow easier than this one. Perhaps it was because of the inevitable outcome. It is still a compelling story.
 



 

If interested, here are my books on Librarything.

The ability to binge video and tv shows has been one of civilization's greatest inventions. To be untethered to the network schedule and eliminate advertising in the process is real progress! Some highlights this year included:

Call My Agent - Based around on the offices of a french film star agenting business. (Netflix) 

Better Call Saul - Possibly the best written show on tv at the moment (AMC)


Marvelous Mrs Maisel - Housewife turned comedienne (Amazon)

Rake - Australia show which follows the antics of an unconventional attorney (Netflix)

The Queen's Gambit - About chess (Netflix)


After Life - From Ricky Gervais about a widower. (Netflix)


 

 

 

 

For more see my year end newsletter.

Looking forward to a better 2021.

*******
Michael Cairns is a publishing and media executive with over 25 years experience in business strategy, operations and technology implementation.  He has served on several boards and advisory groups including the Association of American Publishers, Book Industry Study Group and the International ISBN organization.   Additionally, he has public and private company board experience.   He can be reached at michael.cairns@infomediapartners.com



Monday, June 01, 2020

MediaWeek Report (Vol 13, No 7): Publishers sue Internet Archive over Book Scanning (Plus Filing)

Plaintiffs Hachette Book Group, HarperCollins Publishers, John Wiley & Sons and Penguin Random House are suing the Internet Archive (IA) for copyright infringement over the "National Emergency Library" which IA launched to great fan fare earlier this year.   The suit alleges that IA has "brazenly reproduced some 1.3 million bootleg scans of print books, including recent works, commercial fiction and non-fiction, thrillers, and children’s books." without permission or financial consideration.

From the press release:
Despite the self-serving library branding of its operations, IA’s conduct bears little resemblance to the trusted role that thousands of American libraries play within their communities and as participants in the lawful copyright marketplace. IA scans books from cover to cover, posts complete digital files to its website, and solicits users to access them for free by signing up for Internet Archive Accounts. The sheer scale of IA’s infringement described in the complaint—and its stated objective to enlarge its illegal trove with abandon—appear to make it one of the largest known book pirate sites in the world. IA publicly reports millions of dollars in revenue each year, including financial schemes that support its infringement design.
In willfully ignoring the Copyright Act, IA conflates the separate markets and business models made possible by the statute’s incentives and protections, robbing authors and publishers of their ability to control the manner and timing of communicating their works to the public. IA not only conflates print books and eBooks, it ignores the well-established channels in which publishers do business with bookstores, e-commerce platforms, and libraries, including for print and eBook lending. As detailed in the complaint, IA makes no investment in creating the literary works it distributes and appears to give no thought to the impact of its efforts on the quality and vitality of the authorship that fuels the marketplace of ideas.
....
“Regrettably, it seems clear that Internet Archive intends to bludgeon the legal framework that governs copyright investments and transactions in the modern world. As the complaint outlines, by illegally copying and distributing online a stunning number of literary works each day, IA displays an abandon shared only by the world’s most egregious pirate sites.”
Add: Here is the filing via InfoDocket.

While the Author Guild isn't a party to this filling (yet?) the have also released an open letter condemning the IA and its actions.
The National Emergency Library is piracy, pure and simple, no matter how the Internet Archive and its founder Brewster Kahle cloak it as a social benefit. Making hundreds of thousands of copyrighted books available for download is theft. It is illegal and it needs to be shut down.
For those interested, here is the summary of the legal resolution to the Google scanning case (via wikipedia):
Authors Guild v. Google is a copyright case litigated in the United States. It centers on the allegations by the Authors Guild, and previously by the Association of American Publishers, that Google infringed their copyrights in developing its Google Book Search database.  In late 2013, U.S. Circuit Judge Denny Chin (sitting by designation) dismissed the lawsuit, and affirmed that the Google Books program meets all legal requirements for "fair use," [1] in what Publishers Weekly called a "ringing endorsement" of Google.[2] The Authors Guild appealed the ruling to the Second Circuit, in New York, which held oral arguments in late 2014. On October 16, 2015, the Second Circuit "rejected infringement claims from the Authors Guild and several individual writers, and found that the project provides a public service without violating intellectual property law."[3] The Authors Guild petitioned the US Supreme Court,[4] which in April 2016 declined to review the case, leaving the lower court's decision standing.[5]
Today's case is different but may hinge on some of the same arguments and include 'first sale doctrine' arguments.

Selected snips from the filing:

3. Despite the “Open Library” moniker, IA’s actions grossly exceed legitimate library services, do violence to the Copyright Act, and constitute willful digital piracy on an industrial scale. Consistent with the deplorable nature of piracy, IA’s infringement is intentional and systematic: it produces mirror-image copies of millions of unaltered in-copyright works for which it has no rights and distributes them in their entirety for reading purposes to the public for free, including voluminous numbers of books that are currently commercially available.

6. "For the avoidance of doubt, this lawsuit is not about the occasional transmission of a title under appropriately limited circumstances, nor about anything permissioned or in the public domain. On the contrary, it is about IA’s purposeful collection of truckloads of in-copyright books to scan, reproduce, and then distribute digital bootleg versions online.
IA often suggests that the Website is limited to twentieth-century books, but this is neither accurate nor a defense. IA scans, uploads, and distributes huge numbers of in-copyright books published in both the twentieth and twenty-first centuries, including many books published within just the past few years. 

7. Moreover, while Defendant promotes its non-profit status, it is in fact a highly commercial enterprise with millions of dollars of annual revenues, including financial schemes that provide funding for IA’s infringing activities. By branding itself with the name “Open Library,” it thus badly misleads the public and boldly misappropriates the goodwill that libraries enjoy and have legitimately earned.

8. IA defends its willful mass infringement by asserting an invented theory called “Controlled Digital Lending” (“CDL”)—the rules of which have been concocted from whole cloth and continue to get worse....
...no provision under copyright law offers a colorable defense to the systematic copying and distribution of digital book files simply because the actor collects corresponding physical copies. 

9. In short, Defendant merely exploits the investments that publishers have made in their books, and it does so through a business model that is designed to free-ride on the work of others.

11. No concept of fair use supports the systematic mass copying or distribution of entire books for the purpose of mass reading, or put another way, for the purpose of providing to readers the very thing that publishers and authors provide in the first place through lawful and established channels. IA does not add something new to the Plaintiffs’ books, with a different purpose or character; thus, it cannot even begin to make the all-important showing that its use of the works is transformative. Separately, Section 109 of the Copyright Act is clear that, pursuant to the doctrine of first sale, the owner of a lawfully acquired print book may dispose only of her/his particular print copy. One who makes and distributes reproductions of that physical copy—such as IA’s low quality scans—is well outside the bounds of the law. 

13. Its goal of creating digital copies of books and providing them to whomever wants to download them reflects a profound misunderstanding of the costs of creating books, a profound lack of respect for the many contributors involved in the publication process, and a profound disregard of the boundaries and balance of core copyright principles. IA does not seek to “free knowledge”; it seeks to destroy the carefully calibrated ecosystem that makes books possible in the first place—and to undermine the copyright law that stands in its way 



Thursday, June 27, 2013

Amazon's Fan Fiction Play

From the Hardy Boys to Mad Men, fan fiction may have been the growth market within the publishing industry that no one knows about.  Fans are by nature the most ardent supporters of character narratives whether they be text or image based and some fairly large online communities have developed around specific shows, characters and franchises.  Over the years, traditional print publishers have dabbled in the market and video and television have accommodated fan fiction into some of their offerings but today's announcement from Amazon is a new twist (I think).

Amazon has now launch their fan fiction site in the Kindle store.  Amazon doesn't own any content but they've circumvented this issue by establishing licensing agreements with content owners so that fans can publish their fiction within an established "world".  It is a really interesting model and given the extent of the Amazon reach one could assume revenue from these fan "worlds" may generate impressive 'found cash'.

More from the Amazon press release:

Kindle Worlds is a new publishing model that allows any writer to publish authorized stories inspired by popular Worlds and make them available for readers to purchase in the Kindle Store, and earn up to a 35% royalty while doing so. Kindle Worlds stories will typically be priced between $0.99 and $3.99 and will be exclusive to Kindle. To learn more and get started writing, visit kindleworlds.amazon.com.
Here’s what authors and licensors are saying about Kindle Worlds:
  • “It’s actually a gift to be able to take someone else’s creation and see whether you can take it in a new direction. Watch every show; read every comic book. Honor the canon and honor the fans. There is a reason these stories have become so popular. And don’t feel restricted by the universe that has already been created. It reminds me a bit of writing a haiku or a sonnet. There are rules that must be followed, but within those rules, you can go anywhere. Your imagination is the only limit.” —Carolyn Nash, writer in Archer & Armstrong
  • “I believe Kindle Worlds has the potential to increase writership in much the same way the introduction of the Kindle expanded readership. I am thrilled for the Silo Saga to be a part of this program. It’s a natural fit because for the past year, talented authors have been exploring Silos of their own creation, and I look forward to reading more and to crafting some Worlds stories of my own.” —Hugh Howey, World Licensor for the Silo Saga
  • “I was intrigued by the opportunity to create something that absolutely had to fall inside a canon that someone else came up with. In one way, it was very freeing to do so. Because the universe itself exists, with all the richness of an already established background and history, I could get right into the meat of the story without having to explain everything to the readers. I did try to make it understandable and enjoyable to a newcomer to the world, however. But there’s a lot I worked to add that will hopefully tickle the fancy of the fans.” —L.J. McDonald, writer in The Vampire Diaries
  • “It was great fun to play ‘What if?’ and come up with scenarios that had ties to things that have happened on Vampire Diaries but which took things in a different direction or introduced new characters that could fit into the world of Mystic Falls. There’s probably not a writer fangirl alive who hasn’t fantasized about being able to write at least one episode of her favorite show, and I’m no different. While these stories aren’t show episodes, it’s still pretty darn cool to be able to write them with the idea of fellow fans reading them.” —Trish Milburn, writer in The Vampire Diaries
The Kindle Worlds Store is now open with over 50 commissioned stories including:
  • “Pretty Little Liars: Stained” by Barbra Annino
  • “The Vampire Diaries: The Arrival” by Lauren Barnholdt & Aaron Gorvine
  • “Shadowman: Salvation Sally” by Tom King
  • “The Foreworld Saga: The Qian” by Aric Davis
  • “X-O Manowar: Noughts and Crosses” by Stuart Moore
I expect publishers and other content producers will pay close attention to this experiment.  Licensing has always been a part of many new title, tv or movie marketing and promotion campaigns and I could see this opportunity becoming very important within product development at many content companies.

Monday, April 16, 2012

MediaWeek (Vol 5, No 16): Texas Custom, Apps For Education, William Boyd, Official Chinese Authors, + More

Tarrant county (Texas) attempts to save students money on textbooks runs into faculty resistance (IHEd):
The push for cheaper textbooks isn’t new, and the spat in Tarrant County frames larger debates about the use of open-source texts and the best way to increase student learning while controlling costs. Some community colleges have saved money by working with publishers to create custom books for widespread adoption. Some textbook writers have started making their materials free on the Web, and a recent Rice University effort expanded that medium. Tarrant County administrators hope that using a common textbook in every class will help push costs down, which will allow more students to buy the books and in turn perform better in the classroom.
But some professors aren’t convinced. The faculty resolution expressed agreement with the goal of reducing textbook costs, but questioned whether this was the best way to do it. We "ask that the 'common course textbook' plan be suspended and that the college faculty be allowed to develop meaningful, realistic strategies for reducing student textbook costs to be implemented by the fall semester of 2014," the resolution reads.
Efforts to open up education information might create an App culture which has educators and technologists keenly interested (Chronicle):
In the case of the MyData button being promoted by the Education Department, it's not clear how many different types of information will be made available, although the data will exist in machine-readable, open formats. Participants will be required to specify how the exported data are formatted. Because participants are not required to export data in an identical format, a department official explains, developers may have to do more work upfront, but the information will get into students' hands more quickly.
At least one company, Fidelis Education, has committed itself to use the data students can download from the Veterans Administration's blue button.
As an enterprise that helps veterans pursue higher education and training for civilian careers, Fidelis plans to use the blue button's military-service data in the admissions process to verify that applicants are who they claim to be. Gunnar Counselman, a co-founder and chief executive of the company, says having access to an even more robust set of data about alumni satisfaction and employment could provide students with a personalized way to pick colleges that goes beyond rankings.
He's not convinced that such data will be available anytime soon. But the emergence of start-ups has had a "Hawthorne effect" on universities, he says—they're more open as a result of being observed so intently by outsiders.
 Profile of William Boyd who has been tasked with giving James Bond some new assignments (Independent):
They're still reviewed, however, in the serious, literary-fiction pages of the national press. Although Restless was a "Richard and Judy" selection in 2007, it won the high-profile Costa Award. Literary editors and judges refuse to relinquish their view of Boyd as a superior literary being, a writer of subtlety, poignancy and psychological nuance, as his earlier novels revealed him to be. He is, they admit, a 21st-century avatar of Graham Greene, who blithely interspersed "serious" works (The End of the Affair, A Burnt-Out Case) with action-thriller "entertainments" such as Brighton Rock and Our Man in Havana. The reading public couldn't care tuppence about such matters. They buy Boyd's books in hundreds of thousands because they know him to be the most reliably page-turning of modern English novelists, full of old-fashioned storytelling virtues, of place evocation, pace, drama and sex.
Of the generation nominated "Best of Young British Writers" by Granta in 1983 – the generation of Amis, Barnes, McEwan, Rushdie, Rose Tremain, Pat Barker, A N Wilson, Adam Mars-Jones et al – Boyd's probably the author for whom ordinary readers feel the most fondness. The Queen is known to be a fan, though possibly more because of his Commonwealth background and blue-eyed charm than his prose style. He lives in a handsome Chelsea townhouse, with his wife Susan, editor-at-large at the American Harper's Bazaar magazine (he married her at 23 – they've been married for 37 years, and have no children) and in a converted farmhouse in Bergerac, where he owns a vineyard, Chateau Pecachard. For a chap who turned 60 in March, it seems an enviable life.
China is the focus at London Bookfair which predictably has raised some commentary about how some authors where chosen over others (Independent):
Did the BC have any alternative? Almost certainly not. But, via its literature director, it has chosen to tell us, chillingly, that "There was no disagreement with the Chinese government about the final list of... writers who regularly appear on well-respected lists of the best novelists and poets in China." Indeed. But so do many other Chinese writers - who live not only in exile but also at home, where they may have a vexing relationship with the cultural authorities. That's not to mention the dozens brutally silenced in the courts. At Amnesty International, the Tiananmen Square veteran Shao Jiang has greeted the run-up to the Book Fair with an invaluable day-by-day log of imprisoned Chinese writers: learn their stories at amnesty.org.uk/ blogs/countdown-china.
The non-state Chinese Independent PEN Centre comments, with grave courtesy: "We cannot but ask: to understand Chinese literature, should the British people rely on... recommendations by the Chinese government alone?" The Centre has objected to the British Council's collaboration with the GAPP, saying that if it "wishes to promote an authentic cultural exchange in a free and civilised way, please do not disregard the independent writers whose works are dedicated to shaping Chinese civil society".
Juicy gripping true crime story reviewed in the Observer:
In 1877, Harriet Staunton's husband and three others were accused of starving her to death and lurid newspaper reports of the Penge murder trial held the nation's rapt attention. A bestselling novel about the affair – written in 1934 and now republished – proves as gripping today .
Creating, writing editing and producing a magazine as performance art (Observer):
The idea to create twenty-four began selfishly: I wanted to make a magazine. For me, print magazines are a fascinating medium, combining content, design, a crafted physical object and the opportunity to curate an ongoing conversation around a single idea. Twenty-four is simultaneously a print magazine, an online experience and a creative challenge. The goal is simple: a small team of creative professionals conceptualise, design, write and photograph a print magazine in 24 hours and document everything via Flickr, Tumblr, YouTube, Storify and Kickstarter, making the process part of the product. Time-restricted projects have been done for comics, art shows, albums and other magazines before; it seems we increasingly invest in experiences over products and we want more transparency from the artists we love. This is why twenty-four was designed with documentation in mind; revealing our process live meant that we were not only producing a magazine for print but also creating a sort of online improv show.
From Twitter this week:

Amazon Massively Inflates Its Streaming Library Size

(In case you missed it) BBC News - US sues Apple and publishers over e-book prices

ALA Releases State of American Libraries 2012 Report.


Sunday, June 05, 2011

MediaWeek (Vol 4, No 23): Romance or Not, Grief in The Killing, The Value of College, Nordic Crimewave + More

From Salon reacting to a report on Utah's KSL.com that romance novels can he highly addictive and threaten marriages (Salon):
Now, a disclaimer first: These generalities are always problematic, because far more men and women represent unique variations on these stereotypes than perfectly adhere to the sexual mold. It's also true that romance novels do not all include sex, whereas porn does by definition. As Sarah Wendell wrote on her website, Smart Bitches, Trashy Books, "Anyone who picks up [romance novelist] Georgette Heyer looking for Jenna Jameson is going to be woefully and comically disappointed." A much more direct comparison can be made between smut and the hot-and-heavy action of X-rated fan fiction, but romance novels represent a larger, more mainstream audience. That's why researchers Ogi Ogas and Sai Gaddam used the two genres -- as well as billions of Internet search terms -- as a way to plumb the depths of the male and female sexual psyches in their book "A Billion Wicked Thoughts: What the World's Largest Experiment Reveals About Human Desire," and it's a gold mine for a discussion like this one.
Slate looks at how grief is a center piece of the AMC serial The Killing (Slate):
And so The Killing, AMC's moody police procedural about the murder of teenager Rosie Larsen, had its work cut out for it when it decided to tie its murder-investigation plot to a closely observed portrait of the grief of Larsen's parents, Stan and Mitch. Grief is not an easy sell to the American public in the best of circumstances. To portray it authentically is to risk alienating viewers. In addition to being an internal experience that's hard to dramatize, grief can make the bereaved seem prickly and standoffish, difficult to sympathize with. After a warm critical reception, The Killing has indeed stumbled lately, with The New Yorker's Nancy Franklin and Salon's Matt Zoller Seitz pointing out the show's many flaws—the way our relationship to main characters like the mayoral candidate and the detectives fails to deepen and the sketchy politics of the recent terrorist bait-and-switch subplot. To judge by the increasingly impatient responses from fellow viewers I've talked with, the Larsens' plight has started to grate as well. Ironically, though, it is probably the show's most original feature. If frustration with the detective story is due to The Killing's all-too-risible plot twists, frustration with the Larsens is tied up with the show's more-nuanced-than-usual portrait of grief.
In The Atlantic, Debating the Value of College in America by Louis Menand (The Atlantic)
Society needs a mechanism for sorting out its more intelligent members from its less intelligent ones, just as a track team needs a mechanism (such as a stopwatch) for sorting out the faster athletes from the slower ones. Society wants to identify intelligent people early on so that it can funnel them into careers that maximize their talents. It wants to get the most out of its human resources. College is a process that is sufficiently multifaceted and fine-grained to do this. College is, essentially, a four-year intelligence test. Students have to demonstrate intellectual ability over time and across a range of subjects. If they’re sloppy or inflexible or obnoxious—no matter how smart they might be in the I.Q. sense—those negatives will get picked up in their grades. As an added service, college also sorts people according to aptitude. It separates the math types from the poetry types. At the end of the process, graduates get a score, the G.P.A., that professional schools and employers can trust as a measure of intellectual capacity and productive potential. It’s important, therefore, that everyone is taking more or less the same test.
New York magazine takes an almost retrospective look at Scandinavian crime fiction (New York):
Stieg Larsson didn’t just write three blockbuster novels and create an iconic feminist sleuth named Lisbeth Salander. The author, who died at age 50 in 2004, introduced the world to Scandinavian crime fiction, a massive iceberg of a genre, decades old, of which Americans have seen only the tip. That’s already changing. In the next year or so, we may well see Zac Efron in a movie based on Jens Lapidus’s Easy Money, an adaptation of a best seller by Danish newcomer Jussi Adler-Olsen produced by Lars von Trier’s company, and Norwegian star author Jo Nesbø approaching Larsson-level fame (if Knopf head Sonny Mehta has anything to say about it). Over the past year, Mehta has been “busy turning Scandinavians down,” feeling that “I was inhabiting some kind of dark Nordic night.” But he plans to market Nesbø’s The Snowman to the heavens; 150,000 copies hit stores beginning May 10. Even academics are catching the fever: On May 20, a symposium on “Stieg Larsson and Scandinavian Crime Fiction” will convene deep in the heart of Chandler country, at UCLA. For those in search of a summer project, a guide to navigating this publishing phenomenon.
Finally, there's a lot of material from the Hay Festival on sponsors The Telegraph's web site but here is a list of best quotes (Telegraph):
Event 141 Eric Hobsbawm with Tristram Hunt “Eric’s books are on sale in the bookshop, because, as any Marxist will tell you, materialism matters.” Event 150 David Sedaris “One in three Americans weigh as much as the other two.”
From the Twitter this week: Learning to Read on Zero Dollars a Day - Girls, pick your bedtime reading with care Amazon May Soon Need to Collect Sales Tax - EBSCO Publishing and The H.W. Wilson Company Make Joint Announcement of Merger Agreement WorldCat Local adds access to more databases, collections and publishers Google and publishers weigh their options after lawyers are given more time by Judge Denny Chin And in sports, Lance Armstrong's lawyers have requested an on air apology from 60mins for the segment last week with Tyler Hamilton in which he accuses Armstrong of doping. As The Atlantic puts is: Do they think we're stupid? (The Atlantic)

Wednesday, June 01, 2011

Technology: Now It's Personal.

Technology: Now It's Personal. Thinking strategically about how technology impacts what we do as publishers.

This speech was conducted several weeks ago for a group of Pace University students in the publishing business program. It is a long speech but traces some of my business experience and history.
“Technology: It’s Personal” is the general theme of this commentary. Though long anticipated, this transition has been a slow burn in publishing. I remind people all the time that, while at PriceWaterhouse in the mid-1990s, I participated in several high-profile pitches to large publishing companies which focused on “format-neutral publishing,” which meant delivering content in whatever form the user wanted. I could dust off some of those presentations even now because many publishing companies still face some of the same challenges.
I even go back to my bookstore days.

Good evening. I am honored to have been asked to address this group this evening as part of the Eliot Schein lecture series. I’ve been looking forward to imparting some of what I’ve learned since I started my career, as many of you are about to do. My topic this evening covers how I interpret the influence of technology on publishing and what we as publishing professionals should try to do to think strategically about how technology impacts our businesses.
Watching and participating in the transformation of the publishing business, as technology has become embedded in everything we do, has been not so much a choice as a job requirement. When I think of technology in its broadest possible definition over time, it seems to me that technology has always represented an impersonal rather than a personal experience. In publishing technology has always been a tool rather than something with which we interact from the invention of the first printing presses to the Mac computer. Each radical new technology delivered incredible benefits, but there was always a separation between its use as a tool and the final published product.
It is only recently that this separation has become compacted so that the tool has now become part of the product. Increasingly, we are beginning to see technology embedded in the personal relationship we have with publishing products. These products are now delivered uniquely, manipulated for a unit of one and offer many other benefits, such as the ability to mix and remix content. In concert, there is virtually no difference between the capabilities the user has access to in their job and at home. The consumer can be sitting at home creating his own photo book or working in a hospital emergency room referencing medical information at the point of care. Technology both enables this and has become part of the experience: Technology is now synonymous with our relationship with content.
“Technology: It’s Personal” is the general theme of this commentary. Though long anticipated, this transition has been a slow burn in publishing. I remind people all the time that, while at PriceWaterhouse in the mid-1990s, I participated in several high-profile pitches to large publishing companies which focused on “format-neutral publishing,” which meant delivering content in whatever form the user wanted. I could dust off some of those presentations even now because many publishing companies still face some of the same challenges.
To be clear, I am not a technologist. I have a ‘manager’s’ knowledge and understanding of technology and I am always most concerned with the utility of the technology and how it serves to achieve business objectives.
I often underestimate how interested people are in my background, so let me give you an overview of where I came from as a context for my comments.
My parents met each other… Oh wait-different speech.
In my final semester at Boston University, I had amassed enough credits to graduate but BU had a three-semester residency requirement for graduation so I took a light course load and an almost full-time job at the Museum of Fine Arts in Boston. After graduation, I became the book buyer for the store making $12,400 per year. As you can imagine, basic survival – shelter and food - was only possible by working 20 extra hours of overtime each week.
I learned more in that job than I think I appreciate: How to deal with staff, merchandising, customers and customer relations and working with vendors, for example. I dealt directly with many publishers’ ordering and customer service departments and, as a result, became eternally grateful for the Ingram Book Company. We did everything on paper. I counted inventory on index cards – by literally walking around the store to count titles and I ordered stock on order forms in triplicate.
My boss got a computer and on it was the spreadsheet software LOTUS 1-2-3. Unbelievable -you could do your numbers on a machine! But no one was allowed on it except the boss. I snuck on when I was working late but never really got the utility of the thing. Nevertheless, I was inquisitive and, at one point, I tried to reprogram our store point-of-sale consolidator. As a result, for about a week our cash reports and receipts were puzzlingly out of balance. I learned that being correct in theory isn’t any good for accounting and we put things back the way they were.
I enrolled in the MBA program at Georgetown because, I can say without any embarrassment, I wanted to make more money. After graduation, I ended up on the corporate staff at Macmillan, Inc. and, interestingly, my book retail experience played an important role in getting this job. Now, you may think you know Macmillan; in fact, this company in the late 1980s was not the company that now works out of the Flatiron building. Macmillan was a $2billion publishing holding company that operated virtually every type of publishing going: adult trade, trade reference, database and professional, language learning, education and even bookclubs. If there was ever a great introduction to publishing, it was working at this company at the corporate level where my colleagues and I had a front-row seat on how publishing companies operate. Macmillan was broken up by the mid-1990s after the media empire of Robert Maxwell collapsed.
From Macmillan corporate I transferred to Berlitz International – an operating unit – and over three years I got to travel a lot and manage a business. I applied to a classified ad in the New York Times and, amazingly, ended up working at PriceWaterhouse Coopers as a consultant in their Media and Entertainment consulting practice. At PWC, I worked on many different engagements - not just in publishing but also in the advertising industry - which was tremendous fun. To this day, my best project was an intensive, four-month project for an international advertising agency that defined the gaps between the agencys’ existing technology and their ability to match their clients’ technical sophistication.
After PriceWaterhouse, I joined RR Bowker and ran that company as President. Since 2006, I’ve been consulting on my own, although I much prefer business operations to consulting. Most of the recent engagements I’ve consulted on are oriented around the marriage between technology and business strategy. I really have no idea how this focus developed but the direction of my career does reflect the way the publishing business has been transformed over the past 20 years so I guess it shouldn’t be a surprise.
As I thought about this lecture, I thought I would first reflect on some ‘lessons learned’ relevant to the use of technology in publishing and then illustrate how I interpret the personalization of technology within the publishing context.
Lesson 1: Perspective and relevance are very closely related partners in planning.
As I noted earlier, I believe that each successive new technological advance is eroding the distinction between “the thing” and the technology that enables it. Publishing is increasingly illustrating this trend. For the average consumer, technology is becoming more and more personal. Traditional publishing long ago lost any lead position as a technologically innovative industry and is left to adopt and adapt the technologies others have developed.
The danger in this for all of us is in maintaining some perspective in this rapidly evolving world: This is so important as we try to define the products and services we want to offer our customers. Technology is so embedded in consumer behavior and moving so quickly that we really don’t have time to appreciate or reflect on our past experience so that we might anticipate its future direction.
When I joined Macmillan in the corporate planning department we had no computers. Any presentation material, charts or graphs – numbers or not – went into “typing”. Anyone watch MadMen? All those desks lined up in the middle of the floor – that’s ‘typing’. Our department at Macmillan wasn’t as extreme since we only had one typist.
Shortly after starting, I was tasked with putting together the initial proposal for four new IBM personal computers. When these arrived, one of them went on the desk of the boss and the other three went on these little carts. So the five analysts in the department shared the three computers on carts for about 18mths. We were perpetually wheeling them around from office to office. What’s interesting about that experience – while funny in retrospect – is that our perspective was so narrow. These machines, while not even convenient, represented such a huge advance in our capabilities that we lost our perspective. None of us at Macmillan spent anytime really thinking what a computer could or would mean to our customers and, more importantly, we didn’t think about how computing might evolve.
That might not have been that important had not the members of the department represented the future management of the company. And it strikes me that we can often get so wrapped up in the newness of something – like an iPad – we miss the implications of the new technology we have at hand. I didn’t see the future iPad as a derivation of my IBM desktop experience just like some of you might not in see the connection between the iPad and the chip imbedded in your eye socket in 20 or 30 years – or whatever. Sure, I agree it is impossible to be fully predictive, but if you want to be a leader in this business you should show a willingness and desire to challenge your current perspective and extrapolate. That’s where true insight comes from and that’s what will make you valuable to your employer.
Alvin Toffler might find predicting easy; for the rest of us, it’s quite difficult. The important thing to realize is that thinking about the future isn’t really about being ‘right’ but about extrapolating beyond your current circumstances. One fun workshop I have conducted tries to accomplish this by proposing as many as ten future scenarios to a group who then vote independently on the likelihood of these scenarios occurring. As a group, we then pull each scenario apart and discuss them separately. Each scenario needs to be relevant, thought out in advance and managed correctly to get the participants really thinking about the implications of what might happen in their market and, in turn, what the impact might be on their company. Activities like these, and work that you do can on your own, will help to balance your perspective and make what you are discovering relevant to your business.
Which leads to my second lesson related to strategic planning:
Lesson #2: As technology moves faster and faster, planning – methodical and accountable - should be a counter weight.
I’ve noticed that traditional methods of planning and accountability to get short shrift as technology and rapid prototyping push us to operate faster and faster. In this environment – which is becoming the norm - it is important to be more accountable to time, money, resources and, most importantly, business objectives.
The rigid requisition process at Macmillan - by which every purchase had to be justified - was also mirrored in the annual strategic planning process. One of the functions of my old department was to put together the annual planning meetings for each business unit. In doing so, we had to gain a deep understanding of each business in a short period of time and, as I reviewed prior business reports and plans, I began to notice that, each year, many business units had simply recycled their strategies. Often word-for-word. So, in the agendas for my meetings, the first item was always something like ‘Describe how successful last year’s objectives and strategies were: Which ones worked and which ones were abandoned or failed to execute?’ My boss at the time rejected this item before any were sent out to the operating units and I still laugh at her reasoning: That it would be an unfair question because they hadn’t been told the year before that we would ask them in the following year to reflect on how they did.
Even as a wet-behind-the-ears recent grad I knew this was crazy thinking and, thankfully, publishing has now moved on from the attitude that accountability is “nice to have”. Defining return on investment and being accountable for the business strategies you support and promote is critical to a manager’s success and questions should and will be asked. I find, however, that few managers really grasp the fundamental concepts behind the idea that an investment has to return something to the business. You don’t have to be an accountant to understand this but, if you do, you will have an edge over your colleagues – (and, let’s face it, even some managers senior to you).
Thinking about the planning process, Macmillan’s strategic planning cycle (typical of many companies) was yearly and in today’s world that just doesn’t work. Business simply moves too quickly for a rigid annual planning program. In my recent experience, we’ve developed three-year strategy plans that we revisit in detail, at minimum every six months, and adjust and change as required. We also include frequent discussion of strategic objectives in monthly reports.

Translating strategy into tactics leads to another lesson.
Lesson #3: Your customers will be both intensely frustrating and also your most effective resource for executing your strategy.
I think of this in two parts: Firstly, you will overestimate how much your customer knows about your product (which is the frustrating part) and, secondly, only products that make the customer’s life easier or more productive are likely to be successful.
At Bowker, as our sales and marketing strategy matured, we began to reduce the number of sales reps in the market and replaced some of them with in-the-field product trainers. Trainers were responsible for educating our customers about the product after they had already purchased the database. Our trainers organized sessions at libraries and colleges across the US and I happened to attend a couple. In my very first one, the trainer was describing a basic component of the product – the inclusion of over 1million full-text book reviews – which, on the basis of sheer quantity alone are hard to miss – to a room of over 30 library staff who had had access to the product for over six months. Most attendees had no idea the reviews were in the product! My trainers frequently told me that type of response was typical of their sessions but that education and training always helped. If left unchecked, this type of disconnect can be devastating especially if you are dependent on recurring subscription revenues. Never take for granted that your customers will immediately appreciate or utilize any features of your products.
This leads to the second related lesson which is that we will only be successful if we solve problems for consumers and make their lives easier or more efficient. Many of you will have heard the catchall ‘workflow solutions’ to describe products intended to replace static databases or information products that have been converted from print to electronic. In many industries there is a ‘land-grab’ here because a publisher wants to be the platform deliverer of many database and information products and lock in the customer to a single-source arrangement. In professional segments such as legal, tax, medical, risk, etc., the competition is fierce and each vendor has built solutions that meaningfully improve the working life of their customers.
Simply launching some new application or feature is not a strategy for success. Technology is adopted only if it helps users do what they need to do in a better, easier, more efficient way. Our trainers became our most important asset in renewing customer accounts because they educated the customer about product capabilities and, as a direct result, we increased usage and integrated the database into their daily workflow. We also gained insight into the customer’s working environments which informed product management by providing key details about how customers were using, and could be using, our products.
Gaining active insight into the customer experience is important, and deploying in-market trainers is just one of many examples of ways to achieve it. Focus groups, interviews and “day-in-the-life” reviews are a few more.
Equally important is doing everything you can to expand your personal knowledge, understanding and experience so my next lesson is simple:
Lesson 3: You can be the expert.
If technology is personal, then your experience as a consumer is just as important as your experience as an employee. Expose yourself to as much new technology and as many new applications as possible. Actively managing your own career and recognizing where you need to improve upon your experience or expertise shouldn’t relate to age and my comments aren’t only applicable to those under 30. If you care about your career, constant self-evaluation and improvement is important.
When I left Bowker, I saw in that break an opportunity to educate myself about all the new things I didn’t have time for when working full time. Most of what I did was oriented around technology: I started a blog, put a bookstore up on Amazon, built a website and some other stuff. Each month, I also try to attend the meeting of the NY Tech Group, which brings together over 800 technologists, investors and hangers-on like me. At these meetings, about 10 new companies get to present their big new idea. I find the meetings fascinating. What I’ve been after is the development of my own personal experience with this technology that has suddenly become so accessible and potentially powerful. It is hard to maintain credibility in our media world now – at any management level – if you don’t have some specific experience with the types of technology your customers, employees, competitors, etc. are routinely using.
On a current consulting engagement, I am responsible for a production department in a large educational publishing company. I stole an idea from a friend of mine and gave my direct reports some homework: For the last fifteen minutes of our weekly status meeting, they report on whatever newfangled and interesting stuff they’ve discovered in the intersection between technology and publishing. Why would I do this? Because it helps lower the barriers and the intimidation factor – maybe even alleviate some embarrassment – for a staff that has been focused on technology that is now rapidly changing (to the point where some publishing staff don’t even consider printing to be a “technology”). As this company makes the transition from print on paper to electronic publishing, this production department will undergo incredible change and, unless they’re comfortable with new technology, they may not be able to adapt. And I should point out that I learn stuff from the staff during these discussions as well.
As a team, as we become more comfortable in exchanging information and educating each other, I think my next assignment will be to ask the group to do more interpretation – to take experiences from other industries (or even other segments of the publishing business) and think about how they might apply those experiences to what we do in educational publishing.
When I ordered those computers at Macmillan, they were called ‘personal computers’ but that’s not really what they were. Based on our collective experience with all of Apple’s products, only now are we experiencing technology that is truly personal. We carry it around, we choose our own products and applications, we upload and create our own content, and communicate and manage concentric circles of acquaintances and professional relationships. Arguably, technology has helped bridge the gulf between the personal and private worlds to such an extent that, to many, there is no distinction between the two. And publishers and content producers are following this lead by producing flexible and reusable content that consumers can integrate into their daily lives and activities.
As I wrap up my comments, let’s look at two examples where I see true personal technology: the app and medical publishing.
Firstly, the app world or environment is a true phenomenon that was virtually non-existent only three years ago. Some see the book app eventually replacing the traditional book experience – and remember that the eBook version is really a transferred experience from paper to electronic. The thinking is such that the book app will truly engage the reader in a multi-faceted experience far more expansive than the current book eReading experience. It will be a completely different experience and one significant by-product of this development will be that the publisher will be able to develop a variety of one-to-one relationships between themselves, their authors and contributors and readers. Whereas publishers formerly made assumptions and decisions on behalf of their consumers, the multi-faceted experience I mention will now place far more choice in the hands of the consumer – which will make their experience with the book app intensely personal. In an extreme case, a consumer will be able to turn a travel guide or civil war history book into their own scrapbook and invite others to engage with them around this content. In another, a quizzing app for medical students can serve up a unique set of questions and then adapt those questions based on your performance in answering the questions. And just think about all the fan fiction that could be collected around one vampire app series.

Lastly, to finish, many professional publishers have long proposed work-flow solutions for their customers and, in the provision of these, the relationship with the consumer has become closer and closer. Publishing in these segments used to be about mailing large printed directories; now, their content is embedded in a product or platform that is much more powerful and comprehensive. Using the ReedElsevier platform, a practicing attorney can manage his or her entire legal practice using practice development, research, legal submissions, accounting and more. Content is still important but is now only a small part of a much deeper relationship. The other aspect of this model is that the embedded nature of this relationship makes it harder for attorneys to end their subscriptions to the Lexus product.
And in all these cases, both the creator and the user are able to access and engage in the content via multiple platforms and, increasingly, that platform is some mobile device that further encourages the user to view the technology merged with content as a personal experience. While app development is significant today, we are really only just starting to see the full potential and opportunity in the development of personal technology especially as that transformation impacts our publishing business.
To conclude, I have suggested that publishers long ago gave up being the masters of their domain with respect to technology advances. We have certainly seen that recently with the iPad where trade publishers have scrambled to catch-up. I had been pessimistic about publishers’ prospects in readdressing this imbalance but I now think that view was premature. It wasn’t that long ago that publishing companies like Thomson and Reed Elsevier were dependent on technical advances made by their vendors and partners. Today, information and professional publishers provide the best examples of how content companies can re-write their future from a technology standpoint. These companies lead in the integration of content, technology and workflow tools and are not dependent on new products developed by Apple or Google. It is likely that education and trade publishers will eventually master their opportunities in a similar fashion. I believe we are already starting to see that unfold and it will only accelerate in the coming years.
Thank you.