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Exploring disruptive storytelling technology in theory and practice.

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      12 Dec 2011

      The Next Great Media Form | Fast Company

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      Many have written about the changing news business, how the economics of inefficiency that characterized newspapers ad sales, which still are the lion's share of revenues, don't apply in a world of plenty; how anyone with a smartphone and camera can act as a reporter and draw eyeballs away from so-called mainstream sites; how publishers are hoping the iPad and the teeming apps ecosystem will somehow toss them a lifeline. Fewer, however, have addressed how the actual content is changing.

      But we are in the midst of a transformative shift in the craft of journalism. Text-only stories, the kind your parents found in their morning newspapers and characterized by the classic inverted pyramid (most important stuff at the top, least important stuff at the bottom) could eventually go the way of 45-rpm records. The MP3 of journalism may be the "live blog," which relies on the merging of platforms and weaving of text with video, audio, external links to other articles (including those of rival news organizations), blogs, tweets, Facebook posts, and whatever other useful information is available. It doesn't matter if information originates from a New York Times article, a tweet from an eyewitness on the scene, or someone offering astute commentary and curating links, a video shot by a protester or produced by a team at CNN. Because in the live-blog format disparate platforms become irrelevant, and the walls between these separate silos of content simply dissolve...

      via fastcompany.com

      Now, consider live-blogging for fiction. Could be something akin to Nanowrimo.org (National Novel Writing Month) but published in real time. Add the notion of collaboration and an exquisite corpse (http://en.wikipedia.org/wiki/Exquisite_corpse) might emerge like a digital Frankenfiction.

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      8 Dec 2011

      How to Gift an eBook | BookBaby Blog

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      How to Gift an eBook

      by Chris Robley on November 29, 2011 in eBook Distribution, eBook News

       

      Black Friday and Cyber Monday sales reports are in; Kindles, iPads, and Nooks are flying off the shelf! I was in a Barnes & Noble on Friday and the line at the Nook station almost went out the door. What does that mean? eReaders will be under millions of Christmas trees this year. But it’s a little more difficult to imagine gifting something as virtual as an eBook, right? Wrong!

      Now you can easily gift an eBook with a few clicks of the mouse. Amazon and Kobo allow you to purchase specific eBooks as gifts. All you have to do is type in the email of the recipient, along with the date you’d like the eBook “delivered.” Or you can print out a gift receipt to put in a Christmas Card.

      For iPad, Nook, and SonyReader, you can purchase gift cards. (Amazon and Kobo also have gift cards.)

      Digital publisher Open Road Integrated Media made the above series of videos for anyone wanting to gift an eBook this season. The video can be a little bit glitchy, so give it a second to warm up. Also, click the “See More” button to select the appropriate video for the appropriate eReader.

       

      via blog.bookbaby.com

      This could be quite useful to ebook publishers/authors doing select press outreach. The ebook format provides a better reader experience than a pdf and also serves to remind that the work has inherent value -- it's not a freebie, it's a gift. Or a bribe, depending on your marketing strategy.

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      1 Oct 2011

      How to Use the Cloud as a Writer

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      Skywrite

      “Skywriting by Word of Mouth” was a posthumously published book of prose penned by John Lennon that I was gifted a quarter-century ago. It was writing born of an anarchic love of language that sufficed as depth when I was 14 and sometimes still haunts me. Well, at least its title haunts me.

      When general awareness of so-called “cloud” computing burst into media consciousness in recent years, I couldn’t help but think of Lennon’s book title and it’s reference to skywriting. Though the term is usually reserved for daredevils with an airplane, it’s become my personal metaphor for writing directly into the “cloud.” Whether that was with Google Docs, or ever increasingly, Evernote, the idea of putting words into some ephemeral-sounding digital mist appeals to me.

      Moreover, I can access it anywhere and on any device. Now, moments otherwise lost waiting for the train or between bouts with baristas for refills could be productive. I could “skywrite” my columns, my blogs, bits of books, scenes in screenplays when I would otherwise be twiddling my thumbs, or more likely, using my thumbs to scroll through the Facebook or in engaging some other digital distraction.

      Now, my thumbs are producers, world class hacks, hunting and pecking these very words you’re reading. What’s interesting to me is that writing to the cloud makes the creative act both incidental and opportunistic — with the right device in hand (an iPhone in this case), writing is like spackle filling the fissures in one’s schedule. Many a colleague might bristle that I’ve not ennobled the act of writing with it’s own appointment in my Google Calendar. Mind you, I do occasionally make a date with the muse but as a man with a toddler and a full-time career writing hokum on the clock, I have to let any “extracurricular” writing spring like weeds from the cracks in the concrete.

      Writing into the cloud allows me to do this into a single document, always waiting for me in the sky when inspiration strikes. Of course, the “cloud” is just a server farm in an air-conditioned warehouse but by the same token, one’s muse is more neurochemistry than a visitation from the divine but we can romance it all the same.

      Of course, I haven’t yet bothered to extend the cloud metaphor to its logical conclusions, namely the various forms of digital precipitation that might occur if Google flipped the wrong switch. Would words rain from the heavens? Not likely, but the waterworks would be real for me and thousands of other bawling scribes who entrusted their work to a couple of Stanford dropouts in Mountain View.

      This is where a healthy denial mechanism is useful. Having lost an opus or two to various snafus (I once watched the lone copy of a terrible play I’d written wash out to sea), one might think I’d reconsider my precious “skywriting” notion and commit everything to good old pen and ink. Try emailing a page from a notebook sometime. I try to keep about a hundred miles between me an my editors for safety’s sake, so emailing is the only option for deadline writers like myself. And if by some miracle particle physics I was able to email my handwritten scrawl it would be unintelligible anyway. My carefully-keyed missives are borderline as is, so I don’t want to push it. For now, I’ll keep putting my words in the sky and hope they don’t get lost amongst the Lucy’s and the diamonds.

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      29 Apr 2011

      Publish Your Goddamn Book Already

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      Publishing is dead. Long live publishing. Or at least, self-publishing, which, thanks to a plethora of services and a general de-stigmatization of the so-called vanity press could be entering something of a golden era. So where are the literary breakouts? The through-line from Gutenberg's invention of movable type to the desktop publishing revolution of the mid-'80s to our present social-media megaphones, which permit instantaneous publishing of any thought to traverse from one's temporal lobe to one's fingertips, can be graphed with a zigzag darting between the authors and publishers and whoever thinks who is in charge at any moment. Turns out, the author has always been in charge. Moreover, the social acceptance of blogging and other forms of essentially self-published writing has fomented a sea change in the minds of authors who once fretted whether their work was legitimate or not if it hadn't passed through the hands of a third party. Remarkably, until the 20th century, most literary works were author-published, an MO that seems to be returning thanks to a myriad of new publishing solutions that have emerged in the past decade. Besides the ubiquity of print-on-demand services like CreateSpace and Xlibris that provide an a la carte menu of services to escort one's work from a manuscript file to a printed paperback, the burgeoning eBook phenomenon is rapidly becoming where one is most likely to find the next Jonathan Franzen or Sarah Vowell. Electronic readers are approaching market ubiquity. At present writing, at a cafe, three of the four people reading on the patio are doing so on electronic devices—two Kindles and one iPad; the lone analog holdout is reading a yellowed, dog-eared paperback that looks as if it were rescued from a recycle bin. Apple's online iBook store, Amazon's Kindle Store and Barnes & Nobles' Nook store are among the throng of new venues for the written word now available to authors. Pushing written content to readers online has been here since day one of the internet. But the ability of readers to push real dollars back up the pipe to the author, conveniently, safely and instantly is something else entirely. New companies are springing up to facilitate these transactions and deliver "creator-owned" content (as they say in the indie comics trade) into your digital devices. Among them is independent music stalwart CD Baby, which took its music marketing model (they aid direct-to-consumer music sales for bands via downloads and on-demand CD delivery) and retooled it for authors. Book Baby is among the latest ventures serving this emerging market, helping authors place their creations on iPads and alike for a nominal fee. It's high time the would-be literati exhume their treatises and tracts, tell-alls and tomes from the virtual drawers of their laptops and begin the next renaissance in letters. The sound the next literary lion makes won't be a roar so much as a click.
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      21 Mar 2011

      Twitter the "Mayor" of the Middle East?

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      I'm just sophomoric enough to still enjoy a typo or two when it comes from in such a venerable a news organization as the New York Times. In a article exploring the 5th anniversary of the launch of Twitter, the Times substituted the word "mayor" for "major" when describing its role in the recent uprisings in Middle East. "Mayor," of course, is the distinction earned by players of Foursquare to recognize their provenance as a patron of a local business. Given that millions in the Middle East have "checked in" to Twitter in recent weeks, one might say that Twitter is indeed its Mayor, in the social networking meaning of the word. Maybe it will be rewarded a coupon for a free falafel or maybe a slice of fresh baked democracy...

      Media_httpdhowellcomi_cique

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      23 Feb 2011

      Online Journalism, Then and Now

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      Trend-tracking in online journalism has yielded some interesting findings. Notions of community and monetization are key as this info-graphic suggests. Via @daigledigital
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      22 Feb 2011

      How to Make a Newspaper

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      From 1937's Trees to Tribunes. Gotta love the juxtaposition of newspaper hacks and trees being felled – this could be the moment the term was "hack" originated. Kudos are due to the composer for such a rousing score. It's my new ringtone for my editors.
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      10 Feb 2011

      The Daily: Murdoch's iPad Newspaper Can't Wrap a Fish

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      For a media magnate whose empire first began to bubble in vats of newspaper ink, one might think launching the first of its kind iPad-only newspaper app would not be in their best interests. Unless, of course, the magnate is Rupert Murdoch of News Corp. whose vats runneth over – and now with ones and zeroes. Led by veteran newspaperman and editor-in-chief Jesse Angelo (late of the New’s Corp-owned New York Post), The Daily is being billed in-house as “a category first: a tablet-native national news brand built from the ground up to publish original content exclusively for the iPad.” This one can glean from the new apps’s website (even apps have websites apparently) but that’s essentially where the new venture’s relationship with the web essentially ends. The Daily is meant to be consumed entirely within the sleek interface of Apple’s tablet phenom as a discrete standalone experience forged from words, images, video, infomatics and animations baked fresh daily and delivered piping hot direct to your iPad. Sentimentalists wax fondly that “newspapers are a daily miracle” (or in some cases, a weekly miracle), however, The Daily, for all its journalistic aspirations, serves more to remind how miraculous the iPad is. If ever there was a proof that there exists a unified field theory of media delivery – supplanting television, radio, print, cinema and daily newspapers in its wake – this is it. That said, Murdoch’s quotidian quota of bleeding leads and the sundry other tropes squeezed from ye olde printing press is quite impressive – not least of which for sinking $30 million in development (and $500,000 in weekly expenses) into what amounts to a video game with news. “My first impression is very positive,” said Roger Fidler, program director for digital publishing at the Reynolds Journalism Institute who also oversees the Digital Publishing Alliance, which brings together media industry leaders and innovators, including the New York Times, the Los Angeles Times and the Wall Street Journal. “Team Murdoch has done what I’ve always hoped newspapers would do with their tablet editions – create an interactive hybrid of print and web that is visually rich and enjoyable to read. It clearly demonstrates the value of involving publication designers in the production process.” For Fidler, The Daily has been a longtime coming. Internationally recognized as a new media pioneer, Fidler first envisioned tablets and digital newspapers back in the 1980’s. Now that they’ve arrived bundled as The Daily for a mere 99 cents a week, or $39.99 a year, they might just save newspapers. “The app has a lot of advantages, one I think simplicity for people, more of a feeling of being a curated package of information with a beginning and an end,” observed Fidler. Or perhaps, The Daily is a so-called “killer app” that will actually destroy newspapers but in so doing free their spirits to live in the Digital Age. Sure, the app might not save all newspapers but it will certainly help Murdoch’s newspaper holdings eventually transition into the light. “I think newspapers have to realize that the publications being developed for the iPad may, in fact, become the dominant forum for reading news content in the not too distant future,” said Fidler. “We clearly are seeing a steady trend of declining leadership of printed newspapers and of steady migration to digital.” “Digital” is an abstract concept, the iPad is $600 of cold, hard cash in the midst of a recession. At that price point, will Murdoch’s new format find the ubiquity of the traditional media upon which his empire has previously relied? “You know, people felt the same way about television when it first emerged in the 1940s and 50s, that only rich people would have it,” said Fidler. “Now they have people with television sets in almost every room of their house and it’s become the common medium. My sense is that the tablet will evolve intro a common reading device and media device for education, for business, for a host of applications and that reading newspapers on it will be just one other important use for that device.”
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      28 Jan 2011

      New Tune from Static People: The Late Projectionist

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      [audio:http://fmrl.com/wp-content/uploads/2011/01/The_Late_Projectionist.mp3|titles=The_Late_Projectionist] [caption id="attachment_3137" align="alignleft" width="189" caption="The song is a better page-turner"]
      Media_httpfmrlcomwpco_fhlab
      [/caption] Static People takes you to a mournful matinee with its latest track, "The Late Projectionist." Give it a spin here or download it, compliments of the band. You may also enjoy the novel of the same name by Static People's bassist, now available digitally... Get the Kindle version of The Late Projectionist. Here’s the complimentary Kindle app for iPhone (launches iTunes). As always, The Late Projectionist is available in paperback. Very cheap.
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      13 Jan 2011

      iPad App Takes Comic's Content Over Medium

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      Sad Comics droll addition to iTunes' burgeoning (comic) book store

      Media_httpfmrlcomwpco_bdjgq
      Somehow, someone in every generation claims to have had the inaugural issue of – insert comic book title here – stowed in the attic, garage or under the bed only to discover that their mothers had disposed of it with the one-eyed teddy bear and one’s cummerbund from prom. If this well-worn tale is true, millions of dollars of collectible comic books are now moldering in landfills across America. When your progressive mother claims to have “recycled” your pristine first edition of Action Comics No. 1, remind her that having $317,000 pulped into toilet paper is little consolation. How the ephemera of children’s entertainment transforms into high-end obsessions for collectors requires more analysis than this space allows, though we might surmise names like Freud and Peter Pan and would come up as frequently as Frank Miller and Stan Lee (also, notice how it’s always the mother who dumps the comics in these tales of multi-panel of woe). Entrepreneur Alex Komarov has a product that will prevent comics from ever being dumped again – keep the content, ditch the medium. Komarov’s latest foray into the iPad app market (coming on the heels of his popular “Accordéon” app, which replicates the squeezebox in nothing less than HD) is an elegant addition to the growing library of graphic novels now available on the tablet device. Komarov’s, however, is a standalone application entitled Sad Comics, a clever anthology written and illustrated by Roman Muradov that invites readers into a “world of delight and dismay” and features the ruminations of a dying fish (and its notion of seducing Hitler’s bride Eva Braun) and a bear negotiating an existential entreaty with his terminal brain cancer. That both Komarov and Muradov hail from Moscow might account for the distinctly Dostoevsky-ian sensibility of the material rather than the muscle-bound, Spandex-clad tortured redeemers one often finds in comic books. This is content for its own sake. Whereas a traditional comic book is collectible as an artifact, Komarov’s product is only collectible in a sense – you can purchase all 5 issues on iTunes for $3.99 (the first issue is available for $0.99). There is no inherent value, however, to the digital one and zeroes that ultimately comprise the experience. In fact, since digital media is infinitely replicable, it’s tantamount to ubiquitous, which, in terms of market scarcity equals worthless. Sad Comics, however, is worth far more the aggregate pixels that form its tastefully murky palette – like the best graphic novels, Sad Comics is diverting, contemplative, beautifully rendered hybrid of art and literature. Its method of delivery, however, raises intriguing questions about how we not only consume media but how and why we value it, and by extension, art. Hang an iPad frozen on Sad Comics on your wall and you’ve saved on a frame by wasting an iPad. However, a lithograph of the tumorous bruin signed by Muradov might fetch you some rubles on eBay. Will this valuation model ever change? Komarov, one can safely assume, doesn’t care – for him it’s about the content, not the debate. The eponymously-named Alex Komarov, Inc., is a “mobile interaction design and strategy” company, which generally creates solutions for clients in the digital mobile space. Publishing Sad Comics and other material under the Pretentious Press banner is a relatively recent development for the technology firm, which quickly realized comic books represented an entirely different kind of challenge. “I think the biggest challenge is the content,” said Komarov. “No matter how good your eye is, at the end of the day what matters is ‘Are the comics interesting enough and do people want to read them?’” The technological aspect of the project rolled straight out of Komarov’s wheelhouse. “The iPad does not present too much of a challenge because the format of the screen is perfect. You can read it on the screen as if you’re holding the real comic book,” said Komarov. “This is exactly what we’re trying achieve – the feeling of the real comic book, to basically transfer the magic of the comic books that you have on your shelf to the iPad.” Sad Comics will soon release a “premium app” that will feature high-resolution artwork and “extras” reminiscent of DVDs, including “making-of” material like early sketches, additional illustrated short stores and “secret bonus content.” Which, sounds kind of collectible, but only kind of – so far.
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  • FMRL Blog

    Writer and producer at FMRL where we explore new ways of making media for fans and brands.

    Columns: Bohemian.com | SonomaNews.com

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    "I Heart Sonoma: How to Live & Drink in Wine Country" available now at an eBookstore near you.

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