Publishing is Dead – Long Live Publishing!

The name of this blog was inspired by a former colleague at The Thomson Corporation. As our team embarked on a major push into digital media in the mid-90s, he reminded us that the old publishing mantra “Content is King!” was being recast as “Content in Context”. Simply having loads of content was no longer enough to command a dominant or exclusive market position – publishers had to make sure their content was timely, relevant and easy to navigate. Ultimately, content has to help users find insights to their problems and solutions to their needs quickly and efficiently.

I was reminded of this recently when I heard some data storage experts talking about the challenges of what to do with all the data we are creating – especially at the rate we are going. According to latest analysis, 90% of all data was created in the last 2 years.

We keep being told that publishing is dead, but it is clear that we are producing more content than ever before – in which case, it’s great to be part of a dying industry! Sure, the business models are changing, and so is the technology; but there are still a number of core publishing disciplines that we risk losing sight of as we continue to develop boundless and limitless volumes of digital content.

There are several skills that publishers traditionally bring to any new content, print or on-line. And it’s not just about technology, SEO or the number of “Likes”. Any content owner seeking to engage vendors to develop their digital assets and manage their on-line presence would be well advised to ask potential suppliers about their experience, strengths and processes in each of the following areas:

  • Commissioning – having a nose for new authors, where to find them and how to nurture their talent
  • Editing – turning text and data into meaningful and coherent content, including length, structure, tone, clarity and access (tables of contents, indexing, cross-referencing, citations, footnotes, bibliographies, etc.)
  • Design – using appropriate formats, layout and fonts to suit the material and the readership
  • Customer Engagement – bringing the audience into the publishing process, through market research, pre-sales activity and user groups
  • Marketing – knowing how to distribute particular content or promote a particular writer
  • Content Management – analysing the usage data and capturing audience feedback, to understand the value of the publishing assets

Yes, these skills do exist in the digital realm, but increasingly the publishing process is being made subservient to the technology, often at the expense of meaning and comprehension. Doubtless this stems from the misconception that the speed and frequency of publication renders everything as mere ephemera – so why do we need to bother with such archaic ideas as an index?

An author acquaintance of mine recently lamented the response of his publishers who, when informed that his text-book needed an index before it could be distributed in schools, responded, “what a great idea – why don’t you send us one!” I can only assume that the publishers were so caught up in on-line media that they had forgotten how most readers navigate books or other content, especially when they are accessing them for the first time.

On-line developers do us a great disservice if they forget that digital content needs tools such as indexes and tables of content to aid user navigation and accessibility – text tagging and search functions are all very well, but they do not always return relevant or meaningful results, and they can create unintended or unforeseen linkages that may be completely out of context.

As a consequence of the exponential growth in on-line content, and our simultaneous interest for archive material (and the demand for data analytics), publishers are increasingly taking on a new and important role as curators – managing content assets, understanding how to present them, knowing the value of the material they are dealing with, and finding the right context in which to provide this content.

This shifting role of publishers is just confirmation that publishing is far from extinct.

6 Melbourne Start-Ups to Watch…

LogoRecently, I blogged about Audiobus, and the success of its collaborative approach to app development. So last week, I attended a very entertaining “pitch’n’pizza” evening for start-ups, to see what other interesting things are going on in app and content development. The event was organised by Lean Startup Melbourne and hosted by inspire9. Other support came from BlueChilli, General Assembly, Startup Leadership, PlayFi and Kussowski Brothers.

The idea was a mix of Open Mic Night, and “Dragons’ Den” – 6 start-ups presented their pitch to a panel of VC’s and angel investors, in front of an audience of 300+ friends, colleagues, hangers-on and curious onlookers all fuelled by free beer and pizza.

Melbourne is something of a “Silicon Laneway” – not quite a valley, but more of an alley, given the city’s landscape of back streets and converted warehouses that are fostering a culture of start-ups, digital creatives and social media entrepreneurs.

On the night, the 6 hopefuls that presented were:

  • Tablo – a self-publishing platform for authors – sort of Bandcamp for books, but with even better content distribution
  • PetHomeStay – an on-line booking system for pet owners who want to leave their animals with a trusted pet lover while they are on holiday
  • CareMonkey – an app that shares childrens’ health care needs with relatives, schools and sporting clubs, so that teachers, coaches and carers have relevant support information at their fingertips
  • CoinJar – a platform that enables consumers and merchants to transact with Bitcoin
  • Fairshare – an app designed to take the hassle out of shared living (but not to be confused with FairShare….?)
  • SwatchMate – a combined app and smart phone device for matching colours, primarily for painting and decorating

Each presentation was of a very high quality, although some were more polished and rehearsed than others, and only a couple really shone through in terms of having both a great idea and a great commercial offering.

The questions asked by the panel of experts provided some helpful insights on what makes a successful or engaging pitch:

  1. Why? Having a personal experience resonates, and can avoid the awkward “is this a solution in search of a problem?”
  2. Competitors? What makes you different – smarter? cheaper? quicker? Are you truly disruptive or innovative? Or have you just designed a better mousetrap?
  3. Commercialisation? Show me the money! What’s the business model? Where is the revenue coming from? (“Simple is not always best, but best is always simple”)
  4. Customers vs Users? If the paying customer is actually different to the end-user, then make sure this is clear and you have a strategy to connect the dots and to monetize the key part of the transaction
  5. Real world vs On-line? Are you replicating something which already happens in the real world? Can real world transactions easily dis-intermediate your on-line business model?
  6. App or Website? Is it a dedicated app, or is it a website that works well on mobile devices? Going for a well-designed website may be cheaper, and lead to greater/faster customer adoption.

And in keeping with the spirit of this blog, I would add that the essence of all of these new businesses is having interesting content and a meaningful way for people to engage and transact with it.

At the end of the presentations, the panel selected their favourite pitch (the winner getting the chance of a meeting with the VC of their choice), while the audience voted for the people’s choice. Not surprisingly, the panel went with CoinJar, while the people went for Tablo (which also got my vote).

Disclosure: The author does not have any connection to or commercial relationship with the presenters or sponsors mentioned in this blog. He didn’t even get there in time for a free slice of pizza or bottle of beer.

Audiobus – a case study in app collaboration

An elegant solution for audio app management

Like many leading CEOs and successful business people, I think it’s essential for all of us to have a creative outlet or a hobby, something that is not directly connected to our working lives.

For my part, I like to compose and record music using iOS apps, under an assumed nom de musique. Several of my compositions have been broadcast on national radio, and occasionally listeners are kind enough to purchase and download the music from my artist website.

In exploring this newer form of music-making, I am fortunate enough to gain access to pre-release and beta versions of new apps, which allows me to provide constructive feedback on new designs and recommend suggested features. This activity also provides some insights on best practice for collaborative app development:

  • Listen to your customers and their needs
  • Listen to your customers’ suppliers and their problems
  • Create a common technical standard (not the same as an open standard)
  • Encourage early adoption by making the standard available to key suppliers
  • Embark on an engaging programme of pre-release marketing via social media
  • Underpromise and over-deliver (but always deliver what you promised, and on time)
  • Repeat the process ad infinitum

There is a very active community of iOS musicians. This community is a thriving cottage industry: most practitioners are non-professionals; some are working on the fringes of the music industry; and a few are well-known software developers, producers and commercial recording artists in their own right. It’s a supportive community, and one where it’s easy to find your own level. It also tends to be a highly collaborative environment, with most participants willing to share their knowledge and provide help and advice. There are dedicated micromusic blogs, helpful product review sites and supportive technical forums.

Which brings me to Audiobus, one of the more interesting new apps that is gaining a lot of attention from developers, users and reviewers alike.

Music apps can be divided into 3 broad categories:

The problem is that most of these apps were not designed to “talk” to one another. Initially, it was possible to connect some apps using MIDI tools, but for many amateurs, this is probably a technical stretch. Besides, in the real world, I can plug a guitar and a keyboard into the same amplifier, or connect them to my desktop recording software via a single interface, easily enough.

Unfortunately, real-time audio generated in one app could not be connected to another app. Audio recordings could only be shared across multiple apps using some tedious save/copy/paste functions, or long-winded export and import processes. Audiobus solves this problem with an elegant design solution that works so simply, you have to wonder why Apple didn’t think of it themselves.

Rather than provide a technical overview of Audiobus, I’m more interested in the business model, and the potential case study it offers for future collaboration between app designers and content developers:

1. Audiobus is a collaboration between the developers behind two of the more successful audio apps, SoundPrism and Loopy HD

2. The developers have released an SDK for easier integration of new and existing 3rd party apps

3. There were a reasonable number of existing apps compatible with Audiobus when it launched, and more are being added all the time

4. As one reviewer has commented, buying the Audiobus app actually increases the useability (and therefore the value) of other apps

5. The key to Audiobus is providing a common standard for handling and processing audio recordings created in different apps

At least one app developer abandoned a new design for audio sharing between his own apps when he realised that the Audiobus solution would offer much more flexibility.

When combined with apps like AudioShare (a document management and conversion tool for audio files) and SoundCloud (THE social media platform for audio), Audiobus is really helping to open up and foster a multi-function environment for musicians through content compatibility, integration, sharing, exporting and collaboration.

Frustratingly, I sometimes struggle to figure out which of my iOS apps I need to use to open, edit and share text files, pdf documents, spreadsheets and slides. All too often, files suffer from incompatible formats, fonts, layout and graphics. If only we could have the same level of collaboration for e-books and productivity tools that Audiobus has fostered for music apps!

Portfolio, Portmanteau or Protean: what shape is your career?

In a previous article, I commented on the non-linear nature of career development in the Information Age, in response to changes brought about by new technology, market dynamics and demographic trends.

Following recent research and policy proposals on workforce flexibility and workplace productivity by the Australian Workforce and Productivity Agency and the Australian Industry Group it is clear that more than ever, employees must take more responsibility for managing their own career, and be willing to embrace life-long learning and skills re-training to navigate non-traditional career paths.

Whether it is the need to address the current shortage of IT skills, or the need to prepare for the post-mining boom, employers will have to re-think traditional approaches to hiring, engaging and performance managing the workforce; and employees will be obliged to re-think the shape of a traditional career trajectory to take advantage of new opportunities, and to remain relevant in the modern workplace.

There are essentially three career models emerging: Portfolio, Portmanteau and Protean.

Portfolio Career: this model is probably quite familiar to more mature workers, who have embarked on a mix of different career activities, either as a planned transition to retirement or as a means to re-enter the workforce; or by default in response to external changes in employment circumstances.

In this scenario, someone might work part-time in a paid job or consulting role, volunteer part-time for a not-for-profit organisation and hold 1 or 2 non-executive board positions. In my own case, for example, I consult to a number of corporate clients on a regular basis, I am a member of an advisory board for a family owned business, I am working on start-up projects, and I have also been known to do some broadcasting on community radio. My significant other, meanwhile, balances a part-time job in accounting with her practice as an artist and art teacher.

This portfolio career model is no longer the exclusive domain of baby-boomers – witness a former and much younger colleague of mine who undertakes a series of HR contract roles, while helping to build a new IT business with her partner. The portfolio career typically appeals to people who enjoy a variety of different activities, have a broader mix of skills and experience, or who wish to create a personal work-life balance.

Portmanteau Career: this is a term I have coined myself, in an attempt to describe a career model that applies to either meaning of “portmanteau” – a) a travelling case, or b) a compound word.

In the former meaning, a portmanteau career is one where an employee’s skills are easily transferable to another role, a different organization, or even a new industry – the skills are literally portable, and can be carried from place to place. In my own case, I once transitioned from law publishing to financial information services, even though at the time I knew little about the latter – it was the core skills around content development, product management and commercial publishing models that were applicable and relevant.

In the latter meaning, a portmanteau career can be a product of new and emerging technologies or sectors. For example, digital media and social networks (in themselves, “portmanteau” industries) are attracting people with a mix of IT and marketing skills, a combination that would have been highly unlikely 10-15 years ago.

Protean Career: the protean career model is not a new concept but has been brought into the spotlight by the current economic environment, a supply/demand mismatch in skills, and the challenge of employees taking responsibility for their own careers. This challenge especially applies to employees coming into the workplace for the first time – even recent graduates who have gravitated towards a specific career path or vocation based on their choice of courses and qualifications  must be cognizant of the fact that they need to maintain and update their skills and knowledge once they enter the workforce.

In my own case, after graduating in law, and following a career as a paralegal, I decided I wanted to make a move into publishing. I retrained as an editor, and then looked for roles where I could combine my academic qualification with my personal interest – resulting in a successful career in law publishing.

I would summarise the protean career model as one where the individual defines, manages and determines his or her own destiny, rather than letting a career “happen” to them. It requires a pro-active approach to career management, combined with continuous skills improvement, supported by formal and informal learning, a willingness to embrace flexibility, an appetite for taking informed risks – and all underpinned by heightened self-awareness gained through experience and enhanced personal development.

The person who understands and pursues a protean career will likely be creating their own work, managing their own work preferences, and making easier and happier work choices.

In each of these career models, employers must also be willing to embrace flexibility, to adopt creative solutions for hiring and engaging their workforce, and to resist traditional “square pegs for square holes” resourcing models. As the productivity and flexibility debate continues to gain traction, the opportunity to re-think traditional approaches to career development and career management should not be lost in the noise.