By Tom Foremski - March 16, 2010

Most journalists I know can barely type, they certainly can't spell but they can tell a great story.

Most professions have to continually upgrade their skills yet I know lots of journalists that are very reticent about adding new skills. They hate to shoot photos, or video, or edit the video. I know a journalist that does not know how to upload a photo!

Carrying a pencil and a notepad is not enough, journalists need to know how to produce media content in a variety of ways.

Here are ten basic skills journalists, heck, anyone should know:

1 - How to shoot a photo with a digital camera and transfer it to a computer for a quick edit.

2 - How to upload an image to a web site in the right format and size.

3 - How to add a hyperlink to a word or part of a sentence by hand. (i.e. hyperlink)

4 - How to quickly shoot digital video and do a quick edit and upload it to a hosting service such as YouTube, in the right format.

5 - How to embed the code for a video in a web page and resize it to fit the page width.

6 - How to capture audio for a video, or just an audio-only podcast, so that the audio is clear and background noise is minimal.

7 - Know some basic HTML and what it does so that common problems with a web page can be quickly fixed.

8 - Know some basic CSS (Cascading Style Sheets) and what it does, and be able to quickly fix any problems with a web page.

9 - Know how to promote your content on the Internet without alienating contacts and family.

10 - Know how to get used to an always-on work day that often extends beyond 9-to-5, and produce three times as much digital media content as you think you can, while maintaining high standards of quality and accuracy.

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

It won't.

I was talking not long ago with editorial folks at an unnamed media company that rhymes with The New York Times. There was some possibility of my blogging over there. They were intrigued, but couldn't fit it into their grand plan, at least not right away. The problem was resources were already allocated and such an endeavor takes months to mount and costs tens of thousands of dollars.

No it doesn't, and that's the problem with Big Media.

When I was at PBS we did occasional redesigns and I never knew what they cost because for most of my 11 years there I was just a paid contributor. But toward the end of my tenure I became a producer which means I was finally exposed to budgets and was, to some extent, even responsible for paying some of them. And I was shocked to learn that my final design for a Moveable Type blog over there did, indeed, cost tens of thousands of dollars many tens of thousands of dollars.

PBS isn't a company that rhymes with The New York Times but it still qualifies as Big Media, so the pricing was more or less confirmed.

Now look at the screen you are reading right now, my Wordpress blog at cringely.com. It cost me NOTHING to design. I did it myself in a single night with the help of an experienced and generous friend, Benjamin Higginbotham of Spacevidcast.com. This blog is hosted by Media Temple in Los Angeles and costs me $50 per month, which is a lot compared to most blogs, but then I'm getting more than a million page-views per month. One more Christmas card or IBM column and I might bump up to $100 per month just to get some more resources, but I think I've made my point: a good Internet media product doesn't have to cost a lot of money. This is my living, remember, that's putting three kids through school. What are my gross margins 10,000 percent?

While those are my gross margins they aren't the gross margins at PBS or at a company that rhymes with The New York Times. Those outfits have overhead I don't. They have legacy relationships and obligations I can't even imagine. They can't just go from there to here in an instant even if they wanted to.

Which brings us back to the iSomething to be introduced tomorrow. No matter how great it is, it can't support the legacy infrastructure of Big Media, which includes mid-town office buildings and business lunches (hence my picture of New York's 21 Club, if you hadn't already figured that out).

Big Media wants revenue approaching what they could charge if a web site was a printed magazine. Remember the original lure of the Internet for publishers was the idea that there would be more profit without the expenses of printing and distribution. But it didn't work out that way because Internet users won't generally pay for content.

But Apple has the mojo. Steve Jobs has been firm from the start that content should be paid for and his generally is, except of course for my podcast on iTunes. Big Media likes the way Steve thinks. And so they can with one breath condemn him for killing the music album, yet in a second breath they can see him as the savior of magazines, newspapers, and good-but-thinly-watched TV series.

And Apple CAN be that savior, but only after a rationalization and severe downsizing of Big Media overhead, which I am not at all sure Big Media is really ready to do.

Based on the rumors I've heard so far I'm guessing the new Apple product will be like the Apple TV a hobby, a critical success but a business failure, though one with enough potential that Apple will give it a few years to succeed. It's in giving those few years where Apple really can save Big Media, which will undoubtedly by then be not so big.

Giants of trip hop visit the lounge for the very first time this week, as do several friends old and new. Plus, we're giving away four free copies of Artemis' new EP Auralei. Check out my Twitter feed for more details.

Playlist for Dave's Lounge #182:

1. Massive Attack, "Girl I Love You (feat. Horace Andy)" Free download from: RCRD LBL
2. Jazzra, "The Only One" Buy from: iTunes | eMusic
3. SoulAvenue feat. LazyGrooves, "Walk With Me" Buy from: iTunes
4. Colette, "Like the Sun" Buy from: iTunes | eMusic
5. Artemis, "Ella" Buy from: Bandcamp
6. Adani & Wolf, "Lady in Black" Buy from: iTunes
7. Water (feat. Fay Lovsky), "Hold Me" Buy from: iTunes
8. Yubaba, "One" Buy from: iTunes | eMusic

Not an eMusic member? Click here to sign up for a free 15-day trial and receive 25 free MP3 downloads, plus 35 MP3s a month for only $15.89. It's a great value for indie music lovers and a great way to support both the artists and this podcast.

Own an iPhone or an iPod touch? Check out the Dave's Lounge iPhone app, which will givw you to access all the latest episodes of Dave's Lounge from anywhere for only $1.99. The Dave's Lounge iPhone app is now available from the iTunes app store.

Dave's Lounge has it's own Facebook page! Become a fan today and find out how to win a free digital copy of Artemis' new EP!

Enjoy the show!

Today, as I am sure you have noticed, I'm short on my five blog posts a day by about . . . um, five. That is until now.

I've been down with a bug all day and feeling a little better thanks to a great post from Bruno Giussani on his blog Lunch Over IP. The post is titled, Tips for Conference Bloggers, and includes an incredibly insightful and well designed PDF cheat sheet.

His post from a little over two years ago holds strong today and is resonating with me enough to crank this post out. Timing is important in this case since we are beginning a new conference season with mega events like SXSW on the horizon.

I spent nearly the entire last week at CES and had my pride handed to me by this monster trade show/conference/press extravaganza. I was ill prepared for everything that the event would throw at me and approached it like an average conference. This is a mistake I won't repeat.

What I learned at CES was that there are two types of attendees: those doing business and those covering the event. Those in the first category are more concerned with parties, sales and future business relationships. Those in the latter are analyzing, comparing and framing the event for publication.

Publishing from CES is a formidable process. Most press covering the event have teams of people dedicated to gathering information and creating media needed for a final publications. This is a smart move for an event with over 100k attendees.

In addition to the excellent PDF from Giussani's post that addresses the 95% of the concerns of a blogger in 2010 there is 5% that could be added for the here and now. There are new event realities and technologies that can enhance his original thoughts.

1. MiFi is a must have for connectivity. This is especially important for Giussani's rule of blogging an even no later that 10 minutes after it has ended. Conferences don't as often have wifi available as they did back then except in a few locations like press or blogger lounges.

2. Photo/Video lighting gear. Get used to shooting in dark to minimal light and learning your cameras settings well. Check your first few shots or reel to view the quality and make corrections as needed. Much of this can be enhanced with lighting rigs that will allow you to get the shots you need when they happen . . . not when you are ready for them with white balance or aperture settings.

3. Backup workflow. You have a machine that you love and take every where with you, right? What happens when it goes down? Before the event or during you should have a backup plan for gear failure so that it doesn't destroy your workflow. Blogging an event can be difficult in the first place, but when the workflow you went into the even is disrupted it can be detrimental to timely coverage.

4. Speak to previous attendees of the events you are going to be covering. This falls under the guidelines on page 6 of the PDF of collaboration. However, this is a proactive measure before the conference begins so that you can understand what obstacles you might be up against.

5. When the authors recommend having fun, it shouldn't just be at the end of the day for parties or networking. It should be throughout the day. It is counterproductive to be worried during the day about connectivity, media fails or missed opportunities. If something happens that you're not happy with, put it in the back of your mind or write a note down for it and move on. Dwelling on something that you can't do over is to your detriment and that of your readers ro viewers.

Please head over to Bruno Giussani's blog and download the PDF that he has made available. Even if you're not blogging a conference or trade show, there is great value in these tips for any writer publishing to the web.

Image: Screen shot of the PDF cover (Bruno Giussani).

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How To: Conference Blogging is a post from: TechStartups.com

The Tech Podcast Network team, about 7 of them, canvased CES 2010 shooting video from open to close every day.

The video below is a highlight that they shot on Saturday with Ted from RED.

If you would like to see more information about it and hear straight from Ted about the Scarlet this is the video for you.

There was a ton of video shot at CES this year from all the press and attendees. To sift through all of it would be impossible. I chose to share this from the Tech Podcast Network team because of their dogged dedication to sharing as much of the show as possible.

Sharing a coffee with them in them in the blogger lounge (which was much more comfortable and less packed than the press room) was an opportunity to pick their brains for the next booths to hit up.

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Tech Podcast Network from CES is a post from: TechStartups.com

Chinese computer maker Coship wasn't turning heads with its netbook specs at CES.

However, with a sexy body like the beauty on the left, they're moving in the right direction to delight in the future. Other low cost netbook manufacturers like MSI and Asus should keep an eye on this competitor.

The Coship ZCULV30 is a shining example of taking the gloves off and following a design vision. In a world filled with bland silicon and plastic slices this netbook is a delightful departure.

The body is slick plastic that gave it a unique feel, it is light weight and is way hotter than the Monster Ferrari.

Limited specs below.

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Coship Netbook #CES Sexy MF ZCULV30 is a post from: TechStartups.com

I wonder if they will look more their mom or dad? Which one is which in this situation?

Okay, that was lame.

Last week Focal Press, an imprint of Elsevier Books, announced that it has partnered with Variety to begin publishing books focused on the entertainment industry. What that really means is that these are books written in partnerhsip with Variety by media professionals that are now finding their way online.

This is for the record I haven't read either of these books and am strictly commenting on the press release itself.

The first two releases in the arrangement have focused on what has become the most important question in creating content today how to make money. One of the books, quite possibly has the most ambitious title filled with a bazillion keywords, The Business of Media Distribution: Monetizing Film, TV and Video Content in an Online World. I'm sure it's Amazon search hits are sky high.

Focal Press has a reputation for taking on new growth opportunities that are presented by technology. They have been very astute at following trends online and being able to cash in on them. A few years ago it was podcasting and now they have moved on to what became of the podcasting landscape the Media.

Now that Hollywood is arriving, with wise media faces and a neophytes sense of producing for the internet, they are ripe for education. You could say that they have been producing content for the internet for years and just haven't been paid for it. But let's not tell them that yet and let this illusion persist.

Collectively, with independent producers, the Hollywood crowd is helping to ease us into the next phase of Media. I'm using a capital on the word Media to make it the royal Media the one that we are all now participating in since the tools to create and distribute that media are so ubiquitous. Entertainment is simply an inherent element of this Media.

It makes sense for Variety and Focal Press to hook up and make beautiful books together. For now they will be cute and stuff. However, as they age, they'll start talking back and become insolent ne'er-do-wells that become a reckoning point in the history of media production.

So love these little babies while they have a shelf life and a twinkle of something new and shiny in their eyes. Because the Media is coming and soon enough it will take with it the idea that this newness is anything other than shifting distribution mechanisms that are no different any of the others that have caused this industry to quake in its boots.

DISCLOSURE OF MATERIAL CONNECTION: http://cmp.ly/0

Variety and Focal Press Hook Up to Make Books is a post from: TechStartups.com

Did you pick the content of the RSS feeds that you are syndicating from your site right now? Or did you let your readers pick?

Within reason my guess would be that most of you answered, yes then no. I know on my sites, even this site, I would have answered the same.

The solution isn't to create more feeds. The best solution is for publishers to create no feeds at all. Let your readers make their own.

Here are a couple examples why this is a better method for content syndication than relying on your own editorial skills.

Example 1: How not to do it.

Don't get me wrong on this, CNET is offering nearly all of its content up for syndication. This is an excellent strategy to create value from older content. However, do readers really need the option of subscribing to 100 plus predefined RSS feeds? Simply, no.

Finding feeds for the topics you are interested in is difficult. The worst of it is that you can only access them individually, i.e. you want 10 of feeds, copy and paste them one by one into your feed reader. If you have more skills you might use a service that rolls all of them up into one feed for you. I would guess that about three people have done this. Sounds like a party to me.

Why overwhelm your readers with the CNET model? It is pretty intimidating for someone new to the RSS game. Shouldn't they be able to access your content in a way that makes it relevant to them?

Example 2: How to do RSS right.

What you see above is one of two flavors of how to let your readers pick what they receive in RSS feeds. It's a simple and easy to use text input that allows readers to enter keywords and phrases that they want in their feed. There's nothing fancy, easy access to old content in the straight-forward way that RSS is delivered; updates of the newest items first and set number items in the feed, usually twenty-five.

What the second screen shot shows is the magic of thinking differently about RSS feeds. This image demonstrates what happens when someone clicks on the advanced' link. The reader is then given control over every aspect of the RSS feed. They choose the content, when it is delivered, how much content, in what order (none of this newest stuff first mumbo jumbo great use for episodic content) and how many updates to get at a time.

Who is better to choose than the person doing the consuming? Syndication needs to be like Burger King where a customer can have it their way.

When this concept is applied to large volumes of content the value of it increases with each new article or podcast. Imagine if you could have this type of access at the NY Times or with your local paper. Even the obits from 30 years ago are now of value again. Value to the reader and value to the publisher as dynamic ad inventory.

The future of content syndication isn't in prescriptive channels created by publishers. The future is in the subjective choices of the consumer. They neither need or want every product that you have to offer.

We need to be smarter about our syndicated content via feeds and take into consideration how to make that user experience more satisfying. Whether it is by allowing users to pick topics or order of updates, something needs to change. Why? Because it is all about attention the premium of which is measured in subscribers, influence and the influence of those subscribers.

DISCLOSURE OF MATERIAL CONNECTION: http://cmp.ly/0

Syndication With A Content Shopping Cart is a post from: TechStartups.com

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The application aggregates live streaming and recorded radio broadcasts from across the US, displays their current and planned content schedules and now offers a search function that stretches across all those different types of content: live streams, podcasts and text show descriptions. It's a free app and the the organization that makes it hosts almost nothing on its own servers. The end result is a remarkable user experience that ought to be an inspiration for old media of every kind. It isn't perfect, but it's getting better fast.

The app was made by a non-profit organization called Public Radio Exchange (PRX). PRX was founded and is run by Jake Shapiro, a man who used to be an associate director at Harvard's Berkman Center for Internet and Society. Shapiro used to produce an NPR radio show with Christopher Lyndon and before that he was one of the first tinkerers with web distribution of music for his band Two Ton Shoe.

Two Ton Shoe didn't find a lot of success in the United States, but thanks to the long tail of the web Shapiro says they somehow found a big fan base in Korea. The band toured there and Korean bands have covered some of their songs. "I'm a Korean rock star," Shapiro says, "and I believe there's a 'Korea' out there for everybody."

About a year ago Shapiro says he called around all the major players in public radio and argued that they had a unique opportunity in the iPhone platform if they could collaborate and create a really strong offering. An organization called American Public Media decided to contribute the work they had done so far on their own iPhone app to Shapiro's project and NPR and Public Radio International agreed to lend their support to what would become the Public Radio Tuner, today renamed the Public Radio Player.

Funding Local Radio on the iPhone

Public Radio Player could facilitate that long tail experience for obscure local public radio content by making it far more available on the iPhone. But PaidContent's Rafat Ali worries that by freeing radio listeners all the more from their local radio station, the Player could sever the loyalty and fund raising connections that keep public radio alive.

To that concern Shapiro has two interesting responses. First, he says that survey data shows most users prefer listening to their local stations on the app, along with a variety of favorites from elsewhere.

Even more interesting is the project's collaboration with Cluetrain Manifesto co-author Doc Searls. Searls is at Harvard's Berkman Center now, developing a framework for what's being called Vendor Relationship Management (VRM) - a customer-based response to the business paradigm of Customer Relationship Management (CRM). The VRM project and Shapiro's PRX are developing ways for Public Radio Player users to track what they listen to on the player and make financial contributions to the radio stations they've consumed from the most.

Shapiro says that part of the project faces a major roadblock from Apple. Though Apple introduced in-application payments last month, the feature is only available to paid apps (Public Radio Player is free) and charitable contributions through the iPhone are strictly prohibited. They can't even be talked about, Shapiro says, because Apple doesn't want to deal with the possibility of charity scams, there's tax complications, the platform's standard 30% fee for payments isn't tenable in a non-profit context and Apple has no financial incentive to solve this sticky complex of problems.

For now the app is funded by a grant from the Corporation for Public Broadcasting. That funding is up for renewal this summer. Shapiro says that a second round of funding would be used to create "showcase apps that would break new ground and create new technology." He says the company is particularly interested in technologies that represent a hybrid of digital and broadcast. "With radio," he says, "there is still a tremendous amount of reach that you don't want to give up on when you move into the digital space."

Fixing the App

That hybrid paradigm is very well represented by the new version of the Public Radio Player. The previous version, called Public Radio Tuner, was one of the most popular free apps in the iPhone store but it didn't really work that well. Radio streams got dropped a lot. That's no longer a big problem with version 2.0.

The new version of the app tackles the problem of dropped streams by making the buffering settings much more sophisticated. Remember, the App doesn't host any of the audio, it just points to the live streams or podcasts stored on public radio stations' own servers. Project manager Matt MacDonald says the app now determines what kind of bandwidth the receiving phone has, then buffers the inbound stream accordingly before serving it up to listeners. The end result is a radically more usable radio app on wifi, 3G or Edge connections.

It's still not perfect; this like every app is at the mercy of AT&T's wireless network, but dropped streams appear to be much, much less frequent than they used to be. The interface sometimes hangs when loading menus, but Shapiro says that with the new release today bug fixes are a top priority and though crash reports are appearing infrequently, they are being closely watched. "Just shake the phone," he jokes. "Then it will work better."

More Than One Kind of Content

The new app brings a whole lot more radio to your iPhone. In addition to pointing to hundreds of radio streams, PRX has co-ordinated a number of different sources to pull show schedules down to be stored locally on your phone. "Scheduling data has been a big effort," Shapiro says. "It never existed in one place and is still a moving target."

A company called Public Interactive (recently acquired by NPR from Public Radio International) has a metadata tool that originally captured music playlists but now publishes radio show schedules as well. NPR and many radio stations also display schedules on their own websites. PRX aggregates all that data, stores it on your phone, syncs it with the radio stream links and then checks for changes each time you launch the Public Radio Player app.

Having the particular show that's playing displayed along with a station name makes a very big difference in the user experience.

The 2.0 version of the app also includes support for "on demand" or podcast listening. Hundreds of podcasts are navigable by featured shows, category or alphabetically. Podcasts are integrated into some of the show schedules as well. When listening to a streaming station, you can view the rest of the day's schedule and see what other shows will be broadcast later. Then you can choose to listen to previous recorded editions of those shows. It's a pretty seamless experience.

Search is No Small Matter

The new search functionality integrates all of the above, letting you search for keywords or topics and finding both recorded and currently live shows that match your search. MacDonald says the company used an open source program called ThinkingSphynx on the back end, worked closely with the NPR API team and is still working on teaching local radio stations about the importance of standards-based content titling. Listening to streams and podcasts on iTunes or an iPod may not have been so difficult with incomplete file names, but show a radio station how broken its content looks in a dynamic iPhone directory and the message comes through loud and clear.

There have been other efforts to index all the public radio streams online; Public Radio Fan is the most notable and is more international, but is less sophisticated and is based on the desktop and browser. (After listening to some international broadcasts via Public Radio Fan it's hard not to be a little disappointed with even Public Radio Player's extensive but exclusively US menu.)

As a media technology, Public Radio Player offers a unique blend of content aggregation, focus on both real time and recorded content and extensive data integration on the back end. All on the iPhone. Its design and performance continue to improve. It's a very impressive offering in terms of content delivery; if it can find a way to use the new platform it's on to transcend the public radio paradigm of on-air pledge drives, that would really be remarkable, wouldn't it?

Jake Shapiro says that offering Public Radio Player on other platforms, including a web interface, is a logical next step. You can follow the project's progress on the Public Radio Player blog and download the application here.

Luckily, I found it first try. I decided to try out Linc Fessenden's bashpodder. It's a 50 line bash script that takes a simple text file of feed URLs and fetches them. No muss, no fuss, no BS. RSS feeds in, podcasts out. I like that. There are now many variations as hackers have fiddled with the functionality, but I'm running the core vanilla mainline version. This one collects together shows into a date based directory. Because of the way it is using wget to fetch the actual files, in most cases it preserves the timestamp of the server version of the file. This actually helps me out a lot in my attempts to listen to shows in chronological order. I did make my own little hack to it, changing where it does the logging of a show URL to the history. The original script does it unconditionally, I have it check the exit code of wget and only put it in the history if that was successful. This way, a failed download will retry later.

Switching from one podcatcher to another is always a bit dicey at first. Since some of these feeds do the insane thing of keeping hundreds of episodes in them, if you aren't careful bashpodder will fetch every one of those and fill up your hard drive. Here's how I handled the transition. It was a bit labor intensive and required me watching it, but after the first run everything was perfect. The thing to be aware of is that there are two files podcast.log and temp.log. The first is the permanent list of fetched files, the second is a working copy and at the end of the run the two are combined, duplicates filtered and the whole thing resaved to podcast.log. As files are fetched, it checks to see if an URL is in podcast.log and if it is, bashpodder skips it.

I ran the script from my MacBook in a terminal window. I ran it via:

sh -x bashpodder.shell

so that it was outputting all of its variables as it worked. When it would get to a new feed, it would splat out the list of file URLs that were parsed out of the RSS feed. I'd copy the files from the list I didn't want downloaded and just put them directly into podcast.log via a file editor. You can be somewhat sloppy with this. When in doubt I let it fetch the file and I'd delete it later. If the URL goes into podcast.log more than once, no problem. It will get taken care of later. This required me riding the script for 45 minutes or so, but I mostly got the old shows into podcast.log manually. After the first run succeeded, I ran the script one more time. It fetched a few at the edges that I missed but then was completely caught up. I deleted files that I knew I had already listened to and away I went.

Now when I run it, I get only the new files. They go into that day's directory, they sort themselves out somewhat by timestamp. I set up a cronjob to run this at 5 AM and now I'm in business. All the scripts that I use to put the files on my Insignia MP3 player work fine with the new directory structure and I'm back in business. Thanks Linc. This workflow is better than what I had, I no longer have Juice bogging down my machine and eating a lot of memory to do this simple task, and the whole thing runs in a simple bash process that I'm comfortable modifying if I want to. Right on.

Tonight I managed to get out for my first decent run since racing in the Cabot Trail Relay a few weeks ago. While out pounding the trails for what felt like forever, I was able to catch up on some of my podcast listening. I highly recommend you check out two of the episodes I listened to, from two of my favourite podcasters.

TVO Search Engine

If you're not a regular listener, you may not know that Jesse Brown's excellent podcast recently moved homes - from CBC (their loss) to TVO (their gain). Michael Geist has done a wonderful job recently of drawing attention to plagiarism and bias in a report by the Conference Board of Canada claiming that Canada is a hot-spot for internet piracy (the report has now been recalled by the organization). In his second Search Engine episode in his new TVO home, Jesse interviews Anne Golden, CEO of the Conference Board. It's awkward, it's uncomfortable, and it's fantastic journalism from someone that doesn't let people get away with a template messaged response to questions. Make sure you check it out.

CBC Spark

Nora Young's Spark podcast has long been a favourite of mine. While it has a similar tech focus to other podcasts to which I subscribe, Spark tends to cover stories I might otherwise overlook. In Spark episode 80, Nora interviews Andrea Reimer from Vancouver City Council about Vancouver's plan to open up municipal data (in the same manner also announced by David Miller for the City of Toronto at this year's Mesh Conference). I found the interview immensely refreshing. Coming from a government background, I know that there's often a fear within government of what people will do with information. This often leads to the minimum information necessary being shared with the public. Reimer's take, in contrast to that:

we shouldn't, as policy makers, fear the public knowing what we know when we're making decisions, and in fact by knowing it perhaps we could inform ourselves better maybe they'll think of new creative or throw in more information that we didn't have

I found myself nodding and smiling throughout the interview. Well worth a listen, for a refreshing take on how governments can go about sharing information with the people who are funding its collection. What other podcast episodes have caught your eye (or ear) recently?

(Here's an even larger version if you'd like.)

In the spirit of one of the above, here's the podcasts I currently subscribe to - and occasionally listen too! ;>

Ever wonder about the business of being on the radio or on TV? Leo Laporte is one guy who has done it all. On the way to this interview we were listening to him in the car on KGO Radio. He was one of the key people who started ZDTV/TechTV, which now is mostly gone. People who work with him have become household names. He is the king of tech talk and in this interview Leo tells us all about what the bleeding edge of creating media is like today. We talk a bunch about how media is changing now that everyone can create media and there no longer are gatekeepers you need to talk into distributing your videos or audio shows.

Part I. 18 minutes.
Part II. 17 minutes.

It's obviously not a good thing. But what was surprising is that within 45 minutes, the other people on the team adopted the bad apple behavior. They started acting like the bad apple. Turns out it's contagious.

This got me thinking about team dynamics, and the criteria we use when we build teams, interview people for a job, etc. When it comes to looking at the personality traits, and how well a person can fit within a team, it occurs to me that it's crucial to avoid someone with those bad apple traits, because it will spread to the rest of the team.

Thinking back to teams that I've been on, I know this is true. I've seen it happen. And I'm really grateful that the team I'm on now at work, Intel Software Network, doesn't have any Bad Apples to bring us down. I've marveled at how great the team dynamic is in this group since I joined almost two years ago, but only now do I realize that the lack of Bad Apples is one of the (probably big) reasons.

So keep Bad Apples away from your teams! It's hard to make a person change behavior, and if you can avoid it, it's probably better to not get into that situation in the first place.

Interestingly, the researcher on This American Life said they discovered an antidote to Bad Apple behavior - someone who exhibits strong leadership by asking a LOT of questions, of everybody. In fact, that person in the study was the child of a career diplomat. So if you do get stuck with a Bad Apple on your team, there may still be hope.

Fix Problems by Reinstalling Windows

As a tech blogger, part of my job involves reviewing software which is so interesting but frequent installation (followed by un-installation) of software programs also tend to slow down the computer.

To deal with this problem, I did a clean installation of Windows last weekend and re-installed all the important software programs from scratch. As expected, the boot-up time has reduced and the computer's performance has improved significantly. Luckily, this task is not as complex as it may sound but here are a few things you should remember before taking the plunge:

Pre-Installation Checklist

1. Get Magical Jelly to retrieve a list of product keys that were used to install Windows and Microsoft Office on your computer. Print this information.

2. Get Belarc Advisor to create a detailed report of all software programs, hotfixes and hardware devices available in your system. Print this report as well.

3. Uninstall all software programs that had to be activated at the time of installation (e.g. Adobe Creative Suite or Microsoft Office). It's important that you do a proper un-installation of these programs through Add/Remove Programs because simply deleting the folder from Program Files directory will not free up the license on the manufacturer's activation server.

4. Install Driver Max to create a backup of all device drivers currently installed on your system. This will come handy after reinstallation incase you are not able to locate the driver installers on the vendor's website.

5. Create a backup folder on c: (say c:\old_files) and add the following files to this folder

i. Your Outlook pst file that has all the mails, contacts, tasks and other Outlook items.
ii. If you have purchased any custom fonts, copy the relevant ttf files from the c:\windows\fonts folder. c. All documents, Live Writer drafts, pictures, music and videos from your My Document folder.
iii. Backup your custom dictionaries from Firefox, Microsoft Word, Live Writer, etc.
iv. Export all browser bookmarks and copy them to the backup folder.
v. Open your Firefox add-ons window, take a screenshot and paste that image in the backup folder. This is a good way to remember your favorite Firefox extensions.
vi. Export your podcast subscriptions in iTunes as as OPML (XML) file.
vii. Product keys (serial numbers) of all licensed software.

6. If you have a partitioned hard drive (say C: and D:), just copy* the backup folder created in step 5 to the D: drive. If you don't have a partitioned hard disk or if the size of partition is small, install Live Mesh, add c:\old_files folder to your Live Mesh account and wait until all the files are uploaded on to the web. Mesh offers 5 GB of space and it may therefore be a good idea to burn all the heavy files (like videos, music, etc) onto a DVD instead of transferring them online.

*You can copy large folders across drives through Windows Explorer or the xcopy utility.

Re-Install Windows from Scratch

Now is the time to do a clean installation of Windows. This is probably the easiest part. You can either boot your computer from the original Windows installation CD** or, while you are running Windows, pop-in the installation CD and run the setup.exe program just like you would install any other Windows app. Always choose "Fresh Installation" instead of "Repair".

**If you installation media doesn't include the latest service packs, try creating one yourself. Windows XP with SP3 is available as a downloadable ISO while you can slipstream SP1 into Vista fairly easily.

Post-Installation Tips

It can take around 30 minutes (or more) for the whole installation to finish. Now jump to the Windows Update website and let your browser download all the hotfixes, security updates, driver updates, etc. If your computer is unable to connect to the Internet, chances are that your computer doesn't have the proper network drivers. No problem as you can easily get the drivers from the dump that you created using DriverMax utility.

If your display is acting funny or there's no audio, just install the right drivers from the vendor's website (preferred approach) or use your backup media. Once all the patches are installed, Windows Vista users can free up few gigabytes of disk space by making SP1 permanent. Windows XP users may skip this step.

Now turn on the Firewall and install all the other software programs and associated updates in any order. The next important step is to clone your disk image via DriveImage XML (free software), Acronis True Image or Norton Ghost. Windows Vista Ultimate also comes with a "Backup & Restore Center" that you may use to create a complete backup image of your entire computer to another drive, external disk or a DVD.

These disk images will come very handy after few months when your Windows PC get slow again. You won't have to repeat the rebuilding exercise as the PC can be easily restored to the original state through these disk images.

Don't experiment on your main PC

If you are tech enthusiast who loves to try new software / browser add-ons, I would strongly recommend that you don't install these software on your main system - instead get Virtual PC (it's free), create a Windows XP / Windows Vista virtual machine and use that environment as your new playground.

Another recommendation - do get a cane of compressed air to remove all the dirt from components inside the computer case. Sometimes software may not be the reason behind your slow and slugging PC - the culprit could be the dust sticking on the CPU heat sink.

How to Rebuild your Computer and Reinstall Windows Without Headache - Digital Inspiration

Click the play button below to listen, or click here to subscribe to us on iTunes!

Here are the show notes for this week's episode:

Shownotes for The Singularity Law Podcast: Episode 8 for December 8, 2008

Our Panel for Today:

• Prof. Michael Scott of The Singularity Law Blog
• Josh Kagan of The Josh Kagan Blog

Video Game Law as a Hot New Practice Area: Hype or Reality?

• Wall Street Journal: Video-Game Law: The Niche Legal Practice Du Jour
• LA Times: These Lawyers Got (Video) Game
• Michael Scott's blog: Videogame Law: New Legal Specialty or Marketing Hype?

The Limits of Section 230 Immunity, Part 1: Malware

• 47 U.S.C. 230
• Venkat Balasubramani's SPAM NOTES blog: Could Facebook Be Liable for Spreading the Koobface Virus?
• Green v. AOL

The Limits of Section 230 Immunity, Part 2: Trademarks

• Alleyinsider: Amazon, Google: eBay Shouldn't Have To Hunt For Trademark Infringers
• EFF: Jewelry Company Quest to Expand Trademark Law Could Quash Internet Commerce

Practice Pointer: The Continued Importance of Forum Selection Clauses

• Internet Cases blog: Court enforces forum selection clause in web hosting agreement
• Carnival Cruise Lines, Inc. v. Shute, 499 U.S. 585 (1991)

Turning Piracy Into Profit: The Myspace Experiment and Other DMCA Issues

• Reuters: MySpace, MTV Test Piracy-Profit Plan
• Michael Scott's blog: Priming the Pump - Copyright Style

Final Thoughts: Entrapment by Emoticon

• Wall Street Journal: Emoticons on Trial at the Nebraska Supreme Court

This recording is an informational resource only. It is not designed to offer legal advice.

On October 28, 2008, Google and the AAP announced a settlement of the litigation. The agreement, stretching to 141 pages, provides that Google pay $125 million, plus establish a new licensing system with publishers. The system will allow any copyright owner to opt-out of the project, will require Google to pay 63% of all revenues generated by users' access to the database to a collection society (the Book Rights Registry) for distribution to copyright owners, and will result in the implementation of a DRM/subscription model for full-text access, but not for search which will be limited to short snippets for in-copyright works.

Who won?

While the copyright owners will receive compensation for the use of their works, the settlement (if approved by the court) will definitely work in Google's favor going forward. First, the high settlement amount will discourage others from entering the field giving Google a virtual monopoly on every book, periodical and other copyrighted work coming within the settlement. Second, it will be more difficult for others to claim fair use if they decided to compete with Google. While there was no determination of whether Google's conduct was or is fair use, a judge in a subsequent case may look at this settlement as evidence that massive digitizing of copyrighted works is not a fair use otherwise, why would Google, which claimed fair use all along, have settled for such a large amount? A decision in this case that Google's use of copyrighted material was a fair use would have opened the door for many competitors who could have piggybacked on the court's decision and built competitive databases protected by fair use. So a lack of a ruling on this pivotal issue plays into Google's hands.

The settlement allows Google to charge for access to these millions of digitized works something that previously would have been difficult for Google to do and still claim fair use. So the settlement establishes a legal business model for Google to monetize this huge and growing database of copyrighted materials with the copyright owners' blessing. Google get 37% of all revenues generated, where previously it was getting nothing. (Much more than iTunes gets for their music downloads.)

The settlement agreement is, in essence, a compulsory license for Google to copy virtually any copyrighted work without having to negotiate individually with copyright owners. And it sets the market rate for any negotiations Google will have in the future with copyright owners who are not part of the settlement. While copyright owners are free to opt-out of the system, it would be foolish for most copyright owners to do so. They essentially have three choices go along with the system, opt-out and forego the revenues they would get under the system, or try to set up their own system to monetized digitized version of their works (which hasn't worked in the music industry and is unlikely to work here). A fourth choice do a deal with another database developer is unlikely, since this settlement sets up huge barriers to entry for any competitive service.

So, despite the price tag, I would say that Google is the big winner in this battle, and that the publishing industry may (no, I predict, WILL) live to regret the day they gave Google exclusive control over the online, worldwide distribution of their works.

For all of the millions of blogs on the web, only an incredibly small fraction generate enough revenue to serve as full time jobs. Most people are happy enough with just sharing their thoughts with the public, even if they only see a few hundred hits a months with the very occasional comment. But what if there was a way for even these small-timers to generate enough money to put food on the table?

Larry Genkin, the founder and editor of Blogger and Podcaster Magazine, is looking to help the long tail of bloggers turn their hobby into a lucrative job. He has started the Blogger and Podcaster Media Network, a consortium of bloggers and related companies looking to help bloggers of all sizes effectively monetize their sites without having to worry about having a relatively small audience. The site is currently open for signups, but won't go live until early next year.

At launch the BPMN is a rollup of companies including Genkin's magazine, Fuel My Blog (A bloggers' social network based in the UK), Podcast Pickle (a podcasters' social network), and SocialRank, a company similar to Sphere that monitors blogs for related and popular content.

Each of these companies will help promote the new network, and will also offer technology to help bloggers build out their site (for example, they'll be able to use SocialRank's technology). The BPMN will also try to partner with large media companies to help give blogs more exposure. To help each blog get started, the company has partnered with PR NewsWire, which will offer each blogger a promotion package Genkin says is worth $2000.

The BPMN will also have a dedicated sales team for advertising. Genkin says that large ad networks like Federated Media cater to large blogs, leaving most of the long tail bloggers to fend for themselves. Because BPMN will be representing a large number of blogs at once, Genkin says it will be able to secure more favorable deals. The network will have a rev-share agreement with bloggers, giving 70% of ad revenues to members.

Beyond advertising, The BPMN is also employing an affiliate scheme to help bloggers generate revenue. Genkin says that for every blogger a member brings into the network, they'll earn around $500-1000 a year. It sounds like this is the primary way the BPMN expects to help small time bloggers earn full-time salaries (just recruit 50 bloggers and you're set!), but recruiting bloggers is more difficult than it sounds, which is where I think the BPMN might fall short. To further entice bloggers, The BPMN is offering a (presumably small) equity stake in the company to early adopters on the network who sign up by the end of the year. And the last selling point: bloggers will have healthcare coverage, though the details for this have yet to be worked out.

The Blogger and Podcast Media Network is going to have a long struggle ahead. Even if advertisers are enticed by the ability to make large ad buys across the network that are more favorable than AdSense, most individual bloggers still won't be seeing much income from their ads. And the affiliate scheme sounds too good to be true - I doubt many people will be able to recruit enough bloggers to earn a sizable income. If Genkin can pull off some partnerships with large media corporations (his magazine already scored a deal with USA Today), these bloggers may be able to increase their traffic and generate some revenue, but I have a hard time picturing small time bloggers earning full time wages.

Crunch Network: CrunchBase the free database of technology companies, people, and investors

This is a first for video podcasts. We've been running advertisements in iTunes since last year but this is the first time we're able to serve them dynamically and offer third-party tracking.

The importance of third-party tracking cannot be overstated. Until now there's been no reliable way for advertisers to measure the success of their advertisements in podcasts. The best metric available has been downloads. The problem is that not everyone who downloads a video podcast watches it, and not everyone who watches it sticks around long enough to see the advertisements. This has meant that advertisers have been leery of spending money on podcasts. Advertisers need a way to measure the effectiveness and efficiency of their buys.

I should mention that Volomedia has a system that can do semi-dynamic insertion (insertion is done at download time) of advertisements in downloaded QuickTime. Volomedia's system can also track impressions and clicks, but only when viewers have installed their Volocast plug-in. Kiptronic can also do semi-dynamic insertion but only offers tracking of downloads, not impressions. Our implementation does not require the viewer to install any software other than iTunes or QuickTime Player, and even works in non-iTunes podcatchers like the excellent Miro.

Our system is already in production running a Puma sponsorship on Golf Girl TV (link goes to iTunes so you can see the ad in action!) and a Skype campaign on Back on Topps. The system supports prerolls, postrolls, midrolls and overlays. All ads can be clicked and clicks are tracked using DoubleClick within iTunes or QuickTime Player. Clickability is not (yet) available on devices like the iPhone because of limitations of those platforms.

We're not running any third-party ad networks in QuickTime because they don't support the environment yet, so the ads we're running in QuickTime are limited to those that we sell ourselves or that content creators sell. If you opt into run of network advertising on blip (click on Advertising from your Dashboard) we'll serve ads into your QuickTime videos as they're available. If you have your own sales force and would like to traffic your own campaigns in your QuickTime downloads you can e-mail support AT blip DOT teevee and let us know. We'd be more than happy to traffic your campaign for you (a self-service interface is coming soon!).

I can imagine that you may have some questions about this announcement. John Furrier (the former CEO of PodTech) did too. He wrote up a blog post on the subject. He seemed a little confused about what exactly we were announcing and why it was innovative. I figure that you may have many of the same questions as John, so here are some excerpts from my discussion with John in the comments on his post:

John Furrier:

thanks for commenting. are you turning on ads for all your videos or just select groups? what kind of metrics are you reporting? Views, clicks, and plays? do you guys do dynamic insertion?

Mike Hudack:

Absolutely. Any show on blip can opt into advertising from their Dashboard (http://blip.tv/prefs/). Shows that opt in receive a blend of ads from our direct sales force plus various ad networks (Google, ScanScout, YuMe, Adap.TV, VideoEgg, et cetera) for views in Flash. We have some daisy chaining and yield optimization technology that chooses the highest paying ad for any individual play.

In QuickTime we're limited to ads that we sell and ads that our content creators sell. This is because none of the ad networks that we work with can serve into QT right now. So shows that opt in will receive some ads in their QuickTime views, but we're not yet filling 100% of the inventory. Any of our 37,000 show creators can sell into their QuickTime inventory, though, and we'll traffic their ads for them.

In Flash we're reporting video views, advertisement impressions, advertisement clicks and engagement. The engagement is shown on a timeline it shows how many people viewed each second of video. This is particularly useful for brand integration and product placement (we can see exactly how many people saw the brand integration or product placement and how many times).

In QuickTime we're reporting video downloads, advertisement impressions and advertisement clicks.

In both Flash and QuickTime the metrics come from third parties (DoubleClick for ad impressions and clicks, Illumenix for engagement).

I think that the most important thing here is that, with both QuickTime and Flash, we're measuring impressions according to the IAB standard the client requests the ad, and the impression is recorded only at that time. We need no software on the client to do this. Just regular iTunes or regular QuickTime. There's no need to download anything, and the viewer doesn't have to be incented to allow measurement to take place it just works.

John Furrier:

Mike thanks for replying this is great content and thanks for basically agreeing to do an asynchronous interview Q&A here on my blog.

A few questions:
1. An you sent me a pointer or particular publisher video playing in iTunes that you can measure

2. Can you measure while iTunes is in a disconnected state? If not, then is this just streaming iTunes, and who watches video this way? Perhaps you means QT player and not iTunes?

3. Can you deal with .m4v and .mp4 files?

4. you mentioned above we're measuring impressions according to the IAB standard the client requests the ad, and the impression is recorded only at that time. - are you saying that you record an ad impression even it they don't watch it if it sits in the library of the users itunes. I'm asking to be specific between requested download, partial download, fully download, and actually watched

Mike Hudack:

You can find links to particular campaigns running in iTunes on the NewTeeVee story that you already linked to. Both are verified using DART.

We've found that between 50 and 75% (I know it's a wide delta, it varies from show to show) of iTunes views happen in iTunes while connected. Apparently *lots* of people watch video this way. For what it's worth, I do too. I subscribe to podcasts in iTunes and then watch them fullscreen on both my laptop at home and on my Mac desktop in the office. I find it to be a generally better experience for watching shows I like, rather than happening upon embeds on the Web.

Our implementation is also compatible with the standalone QuickTime player and with any software that uses the QuickTime player software (Democracy Player for example).

In terms of what file formats we work with, we deliver the videos and advertisements in a QuickTime container that's fully compatible with the entire range of Apple portable devices and with the AppleTV. We have about 37,000 active shows using blip today (they release about three new episodes a month each) and so as you can imagine we have to deal with a very wide variety of incoming video formats. Before we deliver videos we're trafficking against to iTunes we transcode them to the universally compatible QuickTime format and then modify the container to insert the pointers to DART.

In terms of recording impressions, I'm actually saying exactly the opposite. Current iTunes advertising implementations (Kiptronic, Volomedia unless you download their iTunes plugins) record impressions as soon as the video is downloaded. This is a flawed practice because not everyone who downloads the video watches it (at least not while the campaign's running and the ad is still relevant!), and not everyone who views a video actually sees all the ads. What we do is measure an impression *only when the ad is actually viewed*. This is what the IAB standards require. As far as we know no other implementation that doesn't require a download by the viewer (and I'd be curious to know what the install base is for these measurement plug-ins is) does this none of them comply with the IAB standards, and as a result they (unfortunately) overcount impressions.

It's important to note, again, that for the purposes of advertisements we're *not* counting downloads. And certainly not partial downloads. We do record those metrics, but for content creators, not to give to advertisers to measure the success of their campaigns. We are counting *impressions* - people actually seeing the advertisement. I can't stress this enough.

For a month of Steve Gillmor has been telling me that I was philosophically inconsistent for still having any Twitter in my life. He thinks I should hide it all on FriendFeed if I'm such a hardcore switcher. I've toyed with the idea but am not ready to pull that trigger. FriendFeed has a beautiful transition plan in place automatically so why not take advantage of that a little long. Now I heard on his show that Steve too has ceased to originate tweets, in his case choosing to use Identi.ca exclusively. If he's getting fed up, then things are coming to a head. He's been a die hard proponent for longer than is reasonable and a better friend to Twitter than it was to anyone else as it enters the fast part of the toilet bowl swirl. I've always wondered how much of this love of Twitter by Silicon Valley types even as it was sucking ass was for the service itself and how much is residual affection and loyalty for the founders? Odeo was winning awards for best podcast startup when all it had was a under construction page, so this dynamic of over-valuing their ventures is real.

Now, as if all the various unreliabilities weren't enough, users are finding their accounts blocked for TOS violations and removed with no apparent cause. I've obviously been done with Twitter for a while, but this should be check and mate for everyone else. When the unreliability goes beyond website downtime, rollback of feature sets, intermittent unavailability of your account data into full fledged spurious lockouts from the account, it is time to bail. Twitter is like your drunk uncle, and now this is the 5th baseball practice in a row that he has failed to show up and give you a ride home. Are you going to trust it to be there when you need it? I don't.

I'd suggest that everyone that still cares about the Twitter mode of interaction move to Identi.ca or FriendFeed (or both hooked together), leave a pointer in your Twitter account that you are moving over and shut out the lights. Enough is enough. I understand you once loved the service but if you continue to use it now you are entering the codependent enabling phase of the relationship. Don't come crying to me when you get hurt. It doesn't deserve your loyalty, so withdraw it. I'll see you on the other side, as geniodiabolico at both FriendFeed and Identi.ca. Check and mate.

Post Zinger evolved from a software product called Castlock that was originally developed by Kris Smith, a subject matter expert on RSS technology and podcast production.

As a natural innovator and metrics hound, Kris was often frustrated by the lack of tools providing insight to the likes of RSS subscriptions, podcast downloads, time of day listeners were tuning in, etc. He also found that common blog platforms lacked the level of RSS feed management he would expect an enterprise or professional podcaster would eventually require.

There's been some discussion in the last few days about so-called blogging 2.0. Here are a couple of quotes that explain the new paradigm of blogging 2.0.

via The Inquisitr:

If blogging 1.0 was about enabling the conversation on each blog, blogging 2.0 is about enabling the conversation across many blogs and supporting sites and services. The conversation has matured and no longer is it acceptable to believe that as a content owner you hold exclusive domain over conversations you have started. Users/ readers today demand more than a conversation on one site, and blogging 2.0 facilitates this.

via Louis Gray:

Blogging 1.0 centered around who could:

• Amass the most page views
• Display the most ads
• Get the most comments
• Attract the most RSS subscribers

But then came along some inconvenient wrinkles to the mix:

• Full RSS feeds took page views away from the blog
• Readers installed ad filters, and didn't click
• Comments started to live elsewhere
• Every blogger in an industry covered the exact same stories

The world of blogging has changed. Those bloggers who accept the changes will have a natural advantage over those who do not. The additional time it takes to engage on FriendFeed, Twitter and other social media sites will absolutely pay off in the end, even if it's hard to understand for those who've always accepted things for what they are.

Call me blogtarded, but this blogging 2.0 idea seems to be missing the most basic thing that has made the growth of blogging and Internet media interesting: the Internet is unrelentingly lowering the barriers to content publishing, to the point that it is becoming trivial to publish content.

You Can Do It

The fundamental idea of blogging is that You can do it.

You can go to a website, register and be blogging 5 minute later. You can install Wordpress on a cheap Web hosting service and create your own site.

The same idea is central to podcasting. You can use a microphone and Garageband and podcast to the world. You can use your video camera, or even the camera built into your computer, to create a vlog or video podcast.

When people talk about blogging being about getting the most page views, getting the most comments or displaying the most ads, they are missing the point. Worrying about page views and ad views are traditional media concerns, and are not things that differentiate blogging.

And you have to wonder if we should be navel-gazing about blogging 2.0, when 55 million people in the US alone haven't even caught up with email 1.0.

Blogging, vlogging and podcasting are still too hard for most people, and that makes the Internet a lot less interesting than it could be.

What makes blogging and podcasting interesting is that you can do it. You can make the long tail longer.

And when you make the long tail longer, that means there's more tail for everybody. (Or something like that!)

Image: Mrcio Cabral de Moura

The latest (free) video from Stompernet is a walk through of their Stomper Site Seer product - a free tool that shows you what's wrong and what's missing from your Website pages - at least in terms of from the point of view of the search engines.

Give the search engines what they want, and they'll bring you more traffic.

They're giving away the Stomper Site Seer product as a promotion for their coming Stompernet launch.

Fine, let them, that's what they do.

It's a free product and it's a free video.

If you're at all serious about natural (free) traffic from the search engines, watch this video - it will blow you away.

And, in all seriousness, I predict some SEO Experts will grab this software and make a killing writing reports for clients on what this software reports to them.

Technorati Tags: stomper, stompernet, stomper site seer, seo, search engine optimization

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Despite being the one company that, more than any other, raised awareness of podcasting and gave the music industry a kick up the ass with iTunes, Apple is dismissive of social software. The company discourages employee blogging. It sued some of its biggest fans. It shut down online forum posts when people complained about problems with its Leopard operating system.

Jay Moonah mentioned Apple on his (excellent) Media Driving podcast the other day, wondering why brands like Apple and Seth Godin don't get attacked for not joining the conversation.

So why doesn't Apple feel the need to engage with other customers? How come it hasn't descended into Dell hell (and had to dig itself out) yet?

Because it doesn't need to. Apple has an army of fans that does the job way better than the company ever could.

Apple focuses on creating a fantastic user experience. Whether it's the iPod, the Mac or the iPhone, Apple's strength of design gives an experience that people love.

Sure, they would probably benefit from engaging with customers, listening to what they're saying and responding like Dell, GM or Comcast. Let's face it, though, like it or not those companies don't have the rabid following that Apple does. They need to reach out to convince people.

Apple's fans do it for them. When your brand is this strong, why take a risk using untried tactics?

Not everyone agrees with me on this. There are plenty of people that wonder if Apple really wants the crazed few defending its reputation and who think the company really needs to engage.

What do you think?

Jon Dahl of Slantwise Design presented at Minnebar on "Consulting for fun and profit"

Dahl provided a Jeopardy style list of topics to choose from. The thoughts below come from a combination of Dahl and audience participation.

Hiring

Pitfalls to avoid with hiring employees. Should you fire friends? The audience differed on the value of this. Don't hurt your business by hiring someone just because they're a friend, but do hire those who are truly valuable.

90% of working with people is chemistry. But it's hard to know whether someone will have the right chemistry based on interviews. Try to find people with complimentary skills. Don't mistake the effectiveness of your personal relationship for a relationship that would work in a business setting.

You may like the people you work with but not hang out with them. That's fine.

We have found all of our developers through Craigslist and the community (events like Minnebar).

Finding Customers

Look for small projects first. Easier to complete some projects and build a portfolio.

Consider partnering with other small firms to build relationships.

Have a blog. Prove that you're well-spoken, smart, and thing about interesting things.

Have your principles do sales. Customers want to talk to the people who are ultimately responsible for the success of the project on your end.

Placement agencies can help to find projects.

Rates & Prices

"Everyone does work hourly, but it doesn't make sense to me." explained an audience member. Reusable work seems to make more sense to sell on a project basis.

User-interactivity: Better off billing hourly since people generally don't know what they want when they're starting.

If you're "a person on the team" consulting, hourly works well.

Fixed bids seem to work better with government and large companies who are used to bidding. But be sure to contractually lock down the deliverables.

Fixed bid requires a closer eye on the scope / more project management.

Hybrid: Do an hourly project to determine requirements. Then put together an estimate for a fixed-bid project.

Scope Creep

What to do? Get new customers if you're doing fixed-bid work. For hourly, keep billing them.

Determine the customer's budget when determining an appropriate scope/bid.

Don't change features during each iteration. Write down and hold features until the next round.

Fire them.

Raise prices until they fire you.

Do a bad job until they fire you?

You can fire customers, and you can find new work. However, even difficult customers can be dealt with if you work with them.

Tools and Work Environment

Coffee

Good Accountant

Good Lawyer - Dahl uses NewCouncil.com

IRC or Campfire - Especially great when working contractors.

Basecamp for Development - Audience member: "Where programming project go to die."

Bug Trac