One of the cofounders of Zynga, the company's executive vice president of sales and business development Andrew Trader, is no longer with the company, we've confirmed. He has been quietly removed from the company's management page. Remaining cofounders Mark Pincus, Michael Luxton, Eric Schiermeyer, Justin Waldron and Steve Schoettler, remain.

As of a month ago Trader's title had been downgraded to VP of Partnerships and Studio Services, although no top sales or business development replacement executive has yet been named.

Why is he gone? No one is saying. CEO Mark Pincus says only AT [Andrew Trader] and zynga have parted ways. He made an awesome contribution. We need to continue scaling the company. Trader hasn't yet returned a phone call asking for his comment.

Zynga's revenue growth has been nothing short of astronomical over the last 18 months, so it would be hard to blame him for not bringing in the dollars. Perhaps he took the fall for the Scamville saga although that has largely blown over now.

Trader was with Zynga nearly three years, so he's vested on a lot of his stock. Given how much money is at stake, the whole story about why the first cofounder of Zynga has left the building may never come out. Zynga raised $180 million in December 2009, at a rumored valuation of above $2 billion.

And no, I have no idea why he's holding a banana in the picture.

Twitter may be working on the imminent launch of its own advertising platform, but that hasn't stopped others from rushing to profit from the social network. A Twitter ad service called 140proof announced today that its ads will now be integrated into the iPhone and Android mobile apps from HootSuite, a Twitter tool that many businesses use to manage their social-media marketing campaigns. Unlike some other advertising options for Twitter, which have seen celebrities paid to endorse products in their posts, 140proof ads are messages posted to a user's stream by the company in service of a specific targeted ad campaign.

140proof, which is based in San Francisco and backed by a $2-million investment raised last summer from Blue Run Ventures and Founders Fund, said that its algorithm aims ads at users based on their profiles and other public data. Other Twitter advertising services include Ad.ly, which has gotten some press attention for paying celebrities such as Kim Kardashian thousands of dollars to endorse products to their followers, as well as Magpie, Assetize and IZEA.

The question all of these services will inevitably confront including Twitter itself, once it launches its own platform is how users will react to a wave of advertising in what was once an ad-free social network (in the case of 140proof, of course, you can simply not use HootSuite's mobile apps and you won't see them). Many of these services are only just ramping up in what will undoubtedly become a much bigger campaign to bring ads to the Twittersphere. So what will you do when ads start appearing in your Twitter stream?

Related content from GigaOm Pro (sub req'd):

How Human Users Are Holding Twitter Back

AT&T is constantly getting bashed about its network coverage and how it gets around anticipated shortages. The network has been the iPhone network in the U.S., and perhaps its relationship with Apple played a role in AT&T waiting longer than other carriers to get into the Android game. That is set to be rectified with the carrier's introduction of the Motorola Backflip, an Android-based phone which will be the carrier's first. The first AT&T Backflips are hitting reviewer's hands, and a mind-boggling function of the Google phone has come to light. AT&T has removed Google search from this Android phone, and replaced it with Yahoo search.

Yahoo has replaced Google as the default search provider throughout the phone. It's crazy: the home screen widget, the browser, everything's been programmed to use Yahoo.

It is not unusual for carriers to work deals for specific software on its handsets. They take money wherever they can get it. But this deal is sure to confuse the customer, as Android phones are commonly called Google phones by many. Let's face it, Google makes Android, and one of its strengths is the tight integration with the company's online services. And search is certainly one of Google's big services, but not on the AT&T Backflip.

This is the equivalent of a Windows PC hitting the market that has Internet Explorer removed and Safari as the only browser. Some customers might be happy by that but most would be confused. Then to make matter worse, imagine that Internet Explorer couldn't be installed by the user to get around this major change. That seems to be the case with the AT&T Backflip, as early testers are reporting the inability to get Google search working in any of the Android programs.

There has been enough complaining about fragmentation in the Android space, so I won't rehash that topic. But there is something so fundamentally wrong when an Android phone has Google search removed. And replaced by Yahoo search? I guess this makes the Backflip the Yahoo Phone.

Related research on GigaOM Pro (sub req'd):

As Windows Mobile Stumbles, Which Smartphone OS Will Seize the Lead?

AT&T is constantly getting bashed about its network coverage and how it gets around anticipated shortages. The carrier has been the iPhone network in the U.S., and perhaps its relationship with Apple played a role in AT&T waiting longer than other carriers to get into the Android game. That is set to be rectified with the carrier's introduction of the Motorola Backflip, an Android-based phone which will be the carrier's first. The first AT&T Backflips are hitting reviewer's hands, and a mind-boggling function of the Google phone has come to light. AT&T has removed Google search from this Android phone, and replaced it with Yahoo search. As noted by engadget:

Yahoo has replaced Google as the default search provider throughout the phone. It's crazy: the home screen widget, the browser, everything's been programmed to use Yahoo.

It is not unusual for carriers to work deals for specific software on its handsets. They take money wherever they can get it. But this deal is sure to confuse the customer, as Android phones are commonly called Google phones by many. Let's face it, Google makes Android, and one of its strengths is the tight integration with the company's online services. And search is certainly one of Google's big services, but not on the AT&T Backflip.

This is the equivalent of a Windows PC hitting the market that has Internet Explorer removed and Safari as the only browser. Some customers might be happy by that but most would be confused. Then to make matter worse, imagine that Internet Explorer couldn't be installed by the user to get around this major change. That seems to be the case with the AT&T Backflip, as early testers are reporting the inability to get Google search working in any of the Android programs.

There has been enough complaining about fragmentation in the Android space, so I won't rehash that topic. But there is something so fundamentally wrong when an Android phone has Google search removed. And replaced by Yahoo search? I guess this makes the Backflip the Yahoo Phone.

Related research on GigaOM Pro (sub req'd):

As Windows Mobile Stumbles, Which Smartphone OS Will Seize the Lead?

AT&T is constantly getting bashed about its network coverage and how it gets around anticipated shortages. The carrier has been the iPhone network in the U.S., and perhaps its relationship with Apple played a role in AT&T waiting longer than other carriers to get into the Android game. That is set to be rectified with the carrier's introduction of the Motorola Backflip, an Android-based phone which will be the carrier's first. The first AT&T Backflips are hitting reviewer's hands, and a mind-boggling function of the Google phone has come to light. AT&T has removed Google search from this Android phone, and replaced it with Yahoo search. As noted by engadget:

Yahoo has replaced Google as the default search provider throughout the phone. It's crazy: the home screen widget, the browser, everything's been programmed to use Yahoo.

It is not unusual for carriers to work deals for specific software on its handsets. They take money wherever they can get it. But this deal is sure to confuse the customer, as Android phones are commonly called Google phones by many. Let's face it, Google makes Android, and one of its strengths is the tight integration with the company's online services. And search is certainly one of Google's big services, but not on the AT&T Backflip.

This is the equivalent of a Windows PC hitting the market that has Internet Explorer removed and Safari as the only browser. Some customers might be happy by that but most would be confused. Then to make matter worse, imagine that Internet Explorer couldn't be installed by the user to get around this major change. That seems to be the case with the AT&T Backflip, as early testers are reporting the inability to get Google search working in any of the Android programs.

There has been enough complaining about fragmentation in the Android space, so I won't rehash that topic. But there is something so fundamentally wrong when an Android phone has Google search removed. And replaced by Yahoo search? I guess this makes the Backflip the Yahoo Phone.

Related research on GigaOM Pro (sub req'd):

As Windows Mobile Stumbles, Which Smartphone OS Will Seize the Lead?

While nosing around the web for some Android research, I came across a piece of software called Open Home. Mashable included it in a top Android application roundup this past weekend, but the software has existed for a while. The application takes the place of your default Android home screen, which is what you see when hitting the dedicated Home button. Technically, the button runs Launcher but for all intents and purposes, most people call it Home. The Open Home software adds a bunch of usability features, but I also noticed that it provides me with seven home screens on the Nexus One.

Although Open Home is an $3.99 app, I'd really call it a platform. With it, you can skin or customize your Android interface, add Live Folders, shortcuts and such. And there's tons of custom skins, fonts, icon packs for sale in the Android Market to enhance it. There's even an experimental 3D cube interface in the latest version as you swipe to other home screens, the screen rotates like a cube. I haven't dropped the $3.99 just yet, but I did install Open Home Lite, which is free. It wasn't until after installation that I realized the software adds two extra home screens to the Nexus One. I don't have enough apps and shortcuts to fill up seven screens just yet, but I'm heading in that direction, so the extra space will come in handy. Each of the screens can hold a custom descriptive title as well check this old but relevant video to see how one user categorized the screens on his HTC Magic.

Aside from the extra home screens, Open Home adds dedicated search on the left and an interesting little slideout drawer on the right side of the screen. Simply tap and swipe the star to pull out the drawer. I'm thinking of placing the most used apps in the little drawer so that they're available from any of the seven screens. And I don't even have to give up my Live Wallpapers since Open Home supports them on my handset. Perhaps one of the best features of all Open Home allows for home screen rotation to landscape mode, something I wish Android would support natively.

I'll be playing some more with the free, lite version of Open Home, but I'm already inclined to drop the $3.99 it's a small price to pay for two extra home screens and customization features.

Images courtesy of Better Android Apps

Related research on GigaOM Pro (sub req'd):

Google's Mobile Strategy: Understanding the Nexus One

This post is my attempt to distill together many different threads into a common tapestry. There is a lot of turbidity in the publishing, podcasting, music, film, television worlds right now. I have these feeling that every bit of this is all part of a larger whole and I'm going to take a stab at defining it. This post will either be awesome because it succeeds or a miserable failure. There is no middle ground. Off in to it. This will be long, you have been warned.

First, let me inventory the raw materials that got me thinking this way. Recently JC Hutchins posted that he had been dropped as an author by St. Martins Press and that they would not be publishing the 7th Son sequels. The post lives between a gut-check and a crisis of faith from one of the pioneering new media creator/ novelist hybrid guys. He also posted about monetary realities of writers pubishing via ebooks. Not that long before this, I had listened to JC's Hey Everybody interview with Pablo Defendini and Ami Greko from The New Sleekness blog. It's a really interesting discussion about the future of book publishing by industry professionals young enough in their careers to be less invested in the status quo and more willing to help a new future emerge. (Side note 1: I met Pablo and Ami at last year's Dragon*Con in the classic SF con fashion I wanted to meet them, saw them in a hotel bar, asked if I could sit with them, introduced myself and hung out for an hour. Try it, it works! ) Much in my thinking was informed over the last month by the Amazon/Macmillan ebook pricing wars of far too large a trail to link to anything. In that debate I did first run across Joe Konrath, his fiction and some of his posts with amazingly open and detailed statistics of what he sells and what he makes from digital publishing. (Side note 2: I bought, read and enjoyed his book Whiskey Sour as fallout from the debate).

There are many other bits of thought in the mix, such as my feelings about beginning my own novel during NaNoWriMo and thinking about hiring my friends at Sterling Editing to work on it and what I might choose to do with such a book when)it is finished. That's enough of a prelude, though. Time to hit it.

JC Hutchins struck a nerve when he basically waved the white flag on his current way of working.

Creating podcast fiction does does not generate direct revenue for me. Based on anecdotal and statistical data, very few people are willing to pay for general podcast content, much less podcast fiction. Since my goal is to make a living wage with my words, the current monetization models including in-show advertisements will not deliver this. Dedicating time and effort to my non-fiction podcast projects will deliver equally underwhelming monetary results.

It is also apparent to me that using the Free model to promote a tangible product, such as I did with 7th Son: Descent and Personal Effects: Dark Art, does not deliver sustainable sales results. I have friends some of whom are my best friends, the most talented people I've had the privilege to know and work with who have absolute faith in this model. I treasure their trailblazing efforts and enthusiasm. My faith, however, has been fundamentally rattled.

Put simply: The new media model viably supports only the most blessed and talented of authors. The time, effort and money I invest in entertaining you for free pulls my attention and talent away from projects that can generate revenue. While podcasting, podcast fiction, and most importantly your support and evangelism has positively impacted my life and career in ways I'll never be able to fully express, I cannot continue to release free audiofiction if I wish to make a living wage with my words.

This is pretty big stuff in the world of podcast fiction. Hutch was one of the pioneers of the form and his getting picked up by St. Martins was considered a watershed and a validation for the medium. So if he can't make it in this world, what does that say about all the other podcast novelists who are less engaged, have less of a fan base, less sheer horsepower? Does it mean this medium is screwed?

I am positing that Hutch had a terrible misfortune of timing, that he arose as a viable author at exactly the wrong moment in publishing history. As he started down his path it seemed like the end game was to get a book deal with a major publisher. For writers of the last 100 years, this was the reasonable career success path for authors, and practically the only one. In the last few years though a sea change has happened so rapidly and thoroughly to flip that Hutch got his boat capsized in the process and he will be far from the only one. As crazy as it may sound, for a certain kind of author at this point I think a major publishing contract may seem like winning the game but is in fact losing it.

The red flags I got from the JC Hutchins post started here:

Examining the lead up to, and release of, the novel, I cannot see how I could have promoted it any better than I did. I literally went broke promoting this book and Personal Effects: Dark Art (another novel that will not have a sequel; it also underperformed). I conceived numerous brand-new online marketing campaigns that dazzled you and others. I asked you to purchase the novel, and many of you did.

If JC is literally going broke promoting 7th Son and Personal Effects book, I think a reasonable question to ask is What is St. Martins Press' role in this? If JC is willing and able to put so much of his own time and money into the promotion of the books, what value is he getting from the big publisher that is worth giving away 90% of the sale of the book to them? 50 years ago, and 20 years ago and 2 years ago, this made sense. It was pretty much impossible to get a book published and into the hands of the world in any significant way especially in a way that a writer could make a full-time living without a major publisher contract, especially one paying advances at a level to be a livable wage. Nowadays, especially due to the markeplace enabled by the Kindle, Nook, Sony Reader et al, that's a different equation.

Joe Konrath's post about the money he makes from the Kindle store shows a really clear pattern that he summarizes with:

My five Hyperion ebooks (the sixth one came out in July so no royalties yet) each earn an average of $803 per year on Kindle.

My four self-pubbed Kindle novels each earn an average of $3430 per year.

If I had the rights to all six of my Hyperion books, and sold them on Kindle for $1.99, I'd be making $20,580 per year off of them, total, rather than $4818 a year off of them, total.

So, in other words, because Hyperion has my ebook rights, I'm losing $15,762 per year.

For a writer with an engaged audience, like JA Konrath has and like JC Hutchins has, there may well be more money in their books self-published primarily through the Kindle and other ebook stores. An interesting bit from the Konrath numbers above, that's from making 35% of the sales price for his direct books. When it changes to 70%, he'll be making twice as much per book as he posted above for the self-published ones.

Let me say it again: for a writer who is engaged with their audience and reasonably prolific (because you need new books to keep this engine turning), we may be at the turning point where a better living is available through self-publishing than a big New York publisher book deal.

There are certainly authors that this model will not work for. During my preparation for last year's Podcasting for Working Writers panel at Dragon*Con I talked to both James Patrick Kelly and Kelley Eskridge on this topic and they both raised the point that for a number of old school writers, the idea of engaging at the level of podcasting and doing large parts of their own publicity is anathema. A reasonable chunk of authors don't want to get out in the limelight and picked this career specifically so they don't have to engage. They write their books, maybe do a few conventions a year, do some bookstore events and that's it. Back to the keyboard where the serious work happens. That's fair enough and those writers will always need a publisher to do the parts of this business that would make them unhappy to pursue.

I think of the classic big publisher and big record label model as basically serving the function of the bank or maybe as VC. The manufacturing and distribution of the creative work was too capital intensive for an individual so this company would lend that money to the process, make the books or records show up in the store, do some publicity and keep most of the money. They insulate the creator from the process and from the retailers and fans. What publicity efforts exist, the big media company acts as a semi-permeable membrane to let a little of the public through, but not a lot. Ultimately in this model, the relationship with the fans of the buying public is owned mostly by the retailer and the publisher or label, very little by the writer or musician. For the author that doesn't want to feed and water that relationship, that's perfect.

For the other kind of author, a JC Hutchins or Mur Lafferty or Scott Sigler, going with a major publisher outsources to a third party a relationship with their fans that these writers are really really good at maintaining. When Hutch is paying his own money to publicize his books and his his own direct line into his own fanbase, what can the big publishers do for him? They could give him large enough advances to keep his bills paid while future books are written, but obviously they aren't willing to do that because sales aren't high enough. JC's books earn money, but not enough money to keep him in that system. For me, the real question is Did St. Martins Press do 9 times the work than JC did to get the work promoted? If not, what did they do to deserve a 90/10 split?

Last November for NaNoWriMo I began a novel that I have literally been thinking about since 1991 when I was 23. While I came nowhere near finishing it that month and am nowhere near finished now, I have a goal to finish this novel in 2010. I've already been thinking about what happens when I finish the book. Do I try to find an agent and then try to have them place it with a major publisher? Since I don't have any plans beyond that one book and thus don't necessarily have a writing career in mind, how does that affect my decision making? At the moment I'm leaning towards not bothering to place the book with any publisher at all. I'll pay Nicola and Kelley at Sterling Editing to work with me to get it publishable and hire a book designer and/or artist to hone the final product and then publish it to the Kindle store, Smashwords, the Nook store and whatever else seems reasonable at the time. I'll probably release it via Podiobooks.com at the the same time, do my publicity via that and the other usual online suspects and let it ride. The key point to me is that the energy I could spend in placing my book at a big publisher could be spent selling the book to readers and I'll probably make more money that way in the long run. This isn't the way things worked for the 19th and 20th century and it may not be the way it works in the future, but March 2010 it is the way it looks to me now. The validation of having a major publisher decide I'm their sort of writer doesn't do anything for me. I don't need the book contract to pay my living, I'd end up doing mostly my own publicity anyway so what the hell does the publisher have to offer me anymore? Rather than have them put out a $15 Kindle book that I see a buck or two from and no one buys with a print version that is on and off the shelves in head-swimming time on a death march to the warehouse remainder store, I'd rather put out a $5.99 ebook version that I see $4 from each one and more people buy. I have a whole rant on how the true function of ebook platforms is to enable impulse buys, but this current post is already too long. That must come later.

When I interviewed Cory Doctorow in 2006, one of the things he said is that the generation coming of age now is the first one to arise without a stigma attached to self-publication. Since I've been paying attention to the world of science fiction and writers in general, a giant shift has happened. When I joined GEnie in 1992, the notion of self-publishing your work meant that it was unreadable tripe and the very thought of it was risible to any serious author. Nowadays, it might well be the most rational economic choice available. If you aren't already in the system and earning livable wages from advances on your books, and you are the sort of writer and person with that drive a JC Hutchins, a Scott Sigler, a Tee Morris, a Mur Lafferty, an Alec Longstreth, someone willing to do more than thrown the manuscript over the wall and wait for finished copies to return it might be time to take the reins yourself and just do this. The costs are low which means the cost of failing is low. The traditional publishers aren't paying that much anyway so the opportunity costs are low. Just do it. Lynne Abbey, CJ Cherryh and Jane Fancher did. The writers at Book View Cafe did. I will. Don't pin your hopes on a big publisher with economic drivers that are different than yours. Just do it yourself, work the people yourself and keep as much of the money as you can.

Tags: akismet, amazon, ebooks, jakonrath, jchutchins, kindle, macmillan, publishing, sterlingediting, stmartinspress

Shared by Kristopher
android apps, android, nexus one

The Android Market may still lag behind the iPhone App Store in terms of variety and quality, but there is something to be said for the Android operating system's extremely tight integration with existing Google products, and the wide choice of devices and carriers.

There's no question that the iPhone has many wonderful apps, but Android's smart syncing with existing tools, interesting Android-only experiments coming every day from Google employees, and its open marketplace model have yielded some tools that may give the average iPhone user pause.

If you're looking for a change, or you're in the smartphone market and still weighing the pros and cons, consider these Android-only apps and how they might fit into your work, play, and mobile lifestyle.

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1. OpenHome

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There's no denying that the iPhone OS is a gorgeous piece software. But when it comes to the home screen, you get what you get, and you don't get upset, to quote a nursery school mantra.

Android is completely open-source, which means that apps can change the functionality and appearance of the OS, if you permit them to. This isn't always good for safety, but it's great for customization.

OpenHome is one of the leading customization apps available on the Market. It functions as a replacement for the default home screen, into which you can load customs skins, icon packs, and fonts many of which are freely available in the Market and created by other users.

In addition to the look and feel of your OS, OpenHome also allows for other custom tweaks including soft keyboard improvements and widget modifications.

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2. Google Voice

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Imagine a world where you never have to listen to another voicemail again. That's almost what you get when you set up Google Voice and utilize the Android app. Google Voice lets you keep your existing mobile number, but will forward your missed calls to a generated Google number that you can check on the web, in your e-mail, or via the app.

The service automatically generates voicemail transcription that is usually accurate enough to get the gist of what the caller is saying. Instead of getting a voicemail on your phone, you'll receive and e-mail (or text message) with the transcription.

The app then lets you scroll through your messages visually, like an e-mail inbox, and stream the audio messages from the web as needed, all without wasting precious mobile minutes.

There are certainly other great voicemail alternatives for the iPhone (and Voice is available as a web-based service), but Google Voice's deep integration with Gmail (you can also enable audio playback within web e-mail messages) makes it a great compliment to your hand-held arsenal of communications tools.

Google Voice is still an invite-only service at the moment. You can request an invite from Google here, or hit up your friends on social networks for one.

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3. NESoid

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Classic gamers rejoice! NESoid is a Nintendo ROM emulator for Android that actually works. The app itself is software that interprets ROM files the format of choice for hacked console games. Assuming you're loading a worthwhile ROM file from your SD card, the gameplay is really smooth.

The lite version of NESoid is free, but prevents you from loading a saved-state of a game. The full version will cost you $3.49 and unlocks this feature.

Most ROMS are not exactly kosher in terms of copyright, so we'll leave it at your discretion whether you want to actually track down the games. This is likely why console emulators have not made it through the stringent App Store approval process, but are now appearing in Android's more liberal Market.

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4. Google Finance

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If you've got an eye on your stock portfolio 24/7, Google Finance can be a useful tool for getting customized, real-time quotes.

The Android app syncs directly to your Google Finance portfolios and streams live data right into your hands by way of quote updates, charts, and financial news.

Android is currently the only mobile platform with an official Google Finance app.

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5. Google Listen

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Google Listen is a unique offering from Google Labs that functions like a search engine and subscription tool for podcasts across the web. If you're on the train and realize you've forgotten to download the latest episode of NPR's This American Life, simply fire up Google Listen, search for it, and stream it immediately, from the source.

Google Listen effectively eliminates the need to download podcasts or connect your handset to your computer. And with subscription options built in, once you find a show you like, you'll never miss an episode while you're on the go.

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6. Gmail and Google Calendar

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Last but not least, the utility of the fully integrated Gmail and Calendar apps that come built-in to the Android OS cannot be overstated. One of the core reasons why any Gmail or Google Apps user should go Android is that the handset will complete your suite of cloud computing productivity tools.

Because of the intrinsic link between your Android phone and your Google account, the mobile functionality of Google apps like Gmail and Calendar are seamless. Draft an e-mail on your phone and it is instantly viewable in your drafts folder on the web. Update an appointment on the web Calendar, and it's reflected on your phone seconds later.

Android users also enjoy the built-in functionality of shared calendars, Gmail labels, threaded conversations, and Send As accounts if it is configured in your settings.

If you live and work out of your Gmail inbox, an Android handset is the perfect extension.

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More Android resources from Mashable:

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- 7 Mind-Blowing Free Android Apps
- Free Multiplayer Android Games [3 of the Best]
- 3 News Apps for Android Compared
- The Best Free Twitter Apps for Android
- 30 Android Apps to Watch
- 8 Android Apps Worth Paying For (And Some That Aren't)

SFWeekly Web Editor Alexia Tsotsis (not pictured left) spent some time early this morning trying out Chatroulette, a website that connects random strangers for a video chat. The results are unlikely to surprise you. Unless you are new to this whole Internet thing. Screen shots of some of her more entertaining chats are below the post.

Harkening back to the days of A/S/L, the random vidchat service Chatroulette is one of those online arenas where not being a white male looking to get off puts you in a definite minority. Founded by a 17 year-old Russian high school student named Andrew Ternovskiy, the service is a more successful Omegle, combining elements of the MTV show Next with vidchat capabilities.

Aspiring chatees click to play and as an escape latch you or your partner can hit Next anytime if you get bored, scared, or have to get back to work. The Report video as inappropriate button also seems to provide some comfort, but by judging by the nsfw fare served to me last night, doesn't provide much of a threat.

I pressed play last night at around 3:00 am PST and after about 45 clicks on Next encountered 5 straight up penis shots, a lot of camera disabled chats, two women who automatically clicked Next once they figured out that I too was a female, and a lot of very grateful looking guys, including a Chinese fan of Google and a French guy in indoor sunglasses, who asked me whether I was a more dominate lady or submissive woman in the hope that I would be the former.

Out of the 10,920 of my fellow Chatroulette participants, my Roulettees were a good cross section of Internet humanity. And while I did not encounter the suicide hanging videos alluded to in many of the chats, things like did you hear the one about the guy who shot himself in the bath tub, were brought up in conversation quite a few times, as examples of just how crazy Chatroulette can get.

Anywhere you get a mass of people communicating uncensored (and yes much like 4chan.org, China has not yet blocked Chatroulette) will be subject to typical groupthink behavior like urban myths and requests for interaction better left to the casual encounters section of Craigslist. Nonetheless, the service's potential for more substantial acts of communication is formidable.

Chatroulette is what you'd expect it to be, micro-interactive reality TV with a large heaping of cybersex. While most people are (whether they admit it or not) voyeurs the fact that Chatroulette lets the both participants see each other limits the site's potential user base to the weirdos and despite piquing VC Fred Wilson's interest it doesn't seem like there's currently enough weirdos to turn the humble startup into something mainstream.

One Roulettee, when asked what he thought the service was most useful for, responded, connecting with people around the world. Yeah, and asking them to show you their boobs.

I recently went looking for some software to make a blog into a book. Here's what I found:

- Lulu will take PDF files for a book. Blogbooker.com will try to create a PDF from a blog. Unfortunately, my blog made BlogBooker choke (I have 991 posts from my blog) even when I excluded comments.

- Blurb.com will try to create a book from a blog, but it only supports blogs hosted on WordPress.com, not other WordPress blogs. That will help some people who want to print their blog into a book, but not everyone.

- I had the best luck with FastPencil. In order to reduce the size of your exported blog, you'll first want to go to your comments section, click on the spam link and clear out any spam comments by selecting all the spam comments and clicking Empty Spam. Then you can export your WordPress blog (from the Dashboard, click Tools, then Export) as an XML file that you can download to your computer. From there, FastPencil lets you upload the .xml file and then select which blog posts to include in the book. You can also filter by time, which I had to do. Even my blog posts (no comments) from the last year and a half still made a 350+ page book, and FastPencil choked on turning my entire blog into a book.

FastPencil did a few things well. Included images were imported, and some formatting such as bold made it into the PDF. But other formatting, such as code formatting and newlines/spacing between paragraphs didn't make it. Embedded content such as videos or polls were likewise empty. Trying to import my entire blog also didn't work. But all in all, I was impressed with FastPencil. They also have nice collaboration tools (e.g. you can designate editors, reviewers, co-authors, and project managers to help in writing/polishing the content). The site also works through your web browser instead of as a downloadable program, which appealed to me. If you're used to WordPress, FastPencil won't be too much of a change.

It's still not a point-and-click affair to make a nice looking coffee table book out of a blog, but it's getting closer. Right now, the make a book niche feels like the early days of recordable CDs. Back then, CD-R discs were expensive enough that I would spend time to make sure that I used all the free space on the CD. Eventually prices dropped so much that you didn't feel bad about burning a half-empty or not-perfectly-polished CD.

If you've tried other blog-to-book services or websites, let me know your experiences in the comments.