Category: Media

Journalism, radio and stuff like that

  • Tap! and magazines’ digital future

    When I first got an iPad, I rushed to download some big-name digital magazines. They were rubbish.

    You’d think that tablets and magazines are made for each other — tablets are the perfect size, big enough that you don’t spend half your time zooming and scrolling but small enough that they aren’t uncomfortable — and they are, but it’s all too easy to make the reading experience worse than it is in print. For me, too many magazines did just that.

    I felt that the digital magazines I tried failed in three key areas: the text; the size; and the return of the interactive CD-ROM.

    Text was the biggie. With very few exceptions text on a screen can be tiring to read, and if that text is poorly rendered in the first place it can be particularly sore on the eyes. I found that many magazines exported their text as image files, and in many cases those image files were fairly low-res. After five minutes, my head was bursting.

    The second issue, size, is related to that. If you’ve got an entry-level iPad, 16GB of storage fills up fast — so when magazines require more than 500MB of space for a single issue, downloading the latest one usually means having to delete some video or apps first. That is an enormous pain in the arse, and it could well get worse as retina-display assets become more popular. If you think a quarter of a gigabyte is excessive, wait until issues hit the one or two gigabyte mark.

    The third issue is the return of the interactive CD-ROM. For a while in the 1990s, interactive CDs were the future of media: you’d get magazines as interactive apps, or training materials published on CD-i. They failed because they were shite: they were all about the bells and whistles, not about the content. Some of the magazine apps I tried reminded me very much of those discs.

    The upshot of all this? I’m on my second iPad now and hopefully upgrading to a third-generation one soon, but I’m still not reading my newspapers or magazines digitally. I think, though, that’s about to change. The reason? Aggregators and dedicated magazine apps.

    Aggregator apps such as Flipboard and Zite do a very good job of repackaging things that other people are sharing, and I think that Zite is the closest I’ve yet come to having a Daily Me, the personalised newspaper we’ve been promised for so long. It isn’t perfect — its filtering is fairly blunt and its Scotland category is particularly laughable, giving me either sport or the rantings of crazed SNP activists who live in ditches — and it deprives publishers of revenues by stripping all the ads from their content, but it’s pretty good at tech stuff. Between Zite, Instapaper’s recommendations and The Browser’s list of interesting links from around the web, I’ve usually got something interesting to read.

    Aggregators are handy things, but one thing they don’t have is a single voice. They can’t do, because they’re collections of many different voices. David Hepworth, founder of Q and publisher of Word magazine, once wrote that a new issue of a good magazine is like receiving a letter from a good friend, and I think there’s a lot of truth in that.

    Many of the magazines I write for are like letters from friends, I think, and while I’m clearly biased I think the digital editions of titles such as MacFormat, PC Plus and .net work really well on the iPad. They’re cheap, too, which is a happy bonus. What they don’t offer, though, is interactivity. Tap! does, and it manages to do so without invoking the ghosts of horrible crappy interactive CD-ROMs.

    If you’re not familiar with Tap!, it’s a magazine about iPads, iPhones and iPods. Not only does its digital edition run on the iPad, but it’s created on iPads too.

    Tap!, I think, gets interactivity right. The app doesn’t make the editor’s head float around the place or annoy you with unnecessary animations; instead, it uses interactivity where it’s actually useful — so you can spin product images to get a better idea of what they look like, or see how a game plays as well as read about it. In the current edition there’s a nifty sliding feature that shows you the difference between the old and new iPad screens, which is a great example of how interactivity can add value when it’s used sensibly.

    Here’s a wee video about the current issue:

    I think Tap! offers the best of both worlds: the clarity and serendipity of print (it’ll be something special on a retina display), and the benefits of digital publishing (embedded video, interactive elements and so on).

    As one of my editors, Dan Oliver, put it this morning on Twitter: “If magazines have a future on the iPad, it’ll be down to people like [Tap editor] Chris & team pushing things on.” I think he’s right: if you have an iPad and like magazines, I think you’ll really like Tap!

  • Some advice on ebook promotion

    An article I wrote for MacFormat has made its way to sister title MacLife, and while it’s been uploaded out of context — it’s one section of a longer article, so some people are mentioned without any explanation of why you should value their opinions  — it’s still full of useful tips from people who’ve sold a lot of books.

    For the record, Allan Guthrie is part of the Blasted Heath publisher and has sold more than 50,000 of his own ebooks, and Mark Edwards, along with writing partner Louise Voss, is a Kindle publishing sensation whose chart-toppers have led to an enormous book deal with a traditional publisher.

    There are multiple keys to success, Allan Guthrie says. “Getting the covers right, having an edited manuscript, having a properly formatted manuscript, getting the product info right, getting the price right, getting decent customer reviews, informing as many ebook readers as possible about the book – those are all key factors. Sadly, there’s no magic formula.”

     

  • A quick bit of advice for anybody making a video where they’re sitting at a desk

    If you’re keeping your hands under the table because you don’t want to wave your arms around or send knocks through the table into the microphone, make sure you keep your hands utterly, utterly still. If you don’t, it really looks like you’re having a wank.

  • “I used to think that the answer to piracy was to jail all taxi drivers.”

    Me, piracy, PC Plus:

    When I was young, a truck full of chocolate bars lost its load a few streets from my house. By the time the police turned up – which was, annoyingly, long before I found out about it – the cargo had gone. People didn’t take the chocolate because they were forced to; they took it because, hey! Free chocolate! The rewards were so attractive and the risk of being caught was so remote that half the town went on a three-day Wispa binge.

  • Magic-powered joy machines

    A wee column I wrote for PC Plus has made its way online:

    Buying a PC online often feels like you’re playing the world’s worst text adventure. Do you want the new Argonomicon 15, or the Mongrolodian F2? Would you sacrifice a half-gig of RAM if it meant getting the F9321A processor instead of the F32321?

    It’s all about specs.

    Shouldn’t it be about sex?

    I don’t mean sex in the horrible, local newspaper advert “SEX! AHAHAH MADE YOU LOOK! BUY A FRIDGE!” sense. I mean in the sense of possibility, of excitement, of the sheer joy of doing amazing things that make everyone think you’re amazing too.

    Художник

  • Our radio rocks

    A true story: when I used to have a day job, I’d listen to BBC Radio Scotland during my morning commute. I’d listen to the people on comedian Fred MacAulay’s programme and think “that must be a laugh to do. Imagine if that was your job.” These days, I’m one of the people going on Fred’s programme, and I’m thinking “this is a laugh to do. I can’t believe this is my job.”

    Radio’s a magical thing. I have fond memories of listening to Irish radio under the covers when I was supposed to be asleep as a child, trying and failing to get into the bands on John Peel’s playlist as an adolescent, drunkenly calling late-night phone-in idiot-fests as a twentysomething, hearing my own band played on an indie rock show in my late twenties and damn near falling out of my car laughing at various programmes – some of them serious – today. It’s a fantastic medium and I feel very privileged to be even slightly involved in it.

    It’s World Radio Day today. As UNESCO director general Irina Bokova says:

    “In a world changing quickly, we must make the most of radio’s ability to connect people and societies, to share knowledge and information and to strengthen understanding. This World Radio Day is a moment to recognise the marvel of radio and to harness its power for the benefit of all.”

    UNESCO explains:

    Since the first broadcast over 100 years ago, radio has proven to be a powerful information source for mobilizing social change and a central point for community life. It is the mass media that reaches the widest audience in the world. In an era of new technologies, it remains the world’s most accessible platform, a powerful communication tool and a low cost medium.

  • Jumpin’ Jack Flash, it’s a £500 copyright licensing fee

    From time to time I get a wee panic about Coffin Dodgers and I have to go and check that I took the U2 lyrics out: there’s a scene that revolves around a U2 song, and in the first few drafts of the book I quoted a couple of lines from it. That’s a no-no, as Blake Morrison explains:

    For one line of “Jumpin’ Jack Flash”: £500. For one line of Oasis’s “Wonderwall”: £535. For one line of “When I’m Sixty-four”: £735. For two lines of “I Shot the Sheriff” (words and music by Bob Marley, though in my head it was the Eric Clapton version): £1,000. Plus several more, of which only George Michael’s “Fastlove” came in under £200. Plus VAT. Total cost: £4,401.75. A typical advance for a literary novel by a first-time author would barely meet the cost.

    The linked article is two years old. I very much doubt the fees have gone down since then.

    [Via Lexi Revellian]

  • “Really, Jim, respectfully, you’re worrying about very stupid shit”

    In the US, magazines employ (employed?) fact-checkers to go through every line of a piece before publication. This is a dialogue between one such fact-checker and a writer. It made me laugh a lot.

    FINGAL: Do you have any documentation of that, like notes from your trip?

    D’AGATA: You’re asking for evidence of a rumor?

    FINGAL:
     If you’re saying that there was a rumor, I have to find out whether there was in fact a rumor, even if I ignore the truth value of the rumor.
  • In which I suggest blacking out Wikipedia doesn’t really change much

    Today’s the big protest against SOPA, the latest bit of dangerous anti-internet legislation. I’ve written a wee column suggesting that it won’t change much in the long term, because lobbyists are fighting a long war:

    Copyright industries want the net regulated, and they’re willing to spend huge sums to make it happen: SOPA is a battle, but the lobbyists are waging a war.

    You don’t fight that by turning sites black. You fight it by supporting the EFF, and the ACLU, and the ORG, and by lobbying your elected representatives, and you fight it it in the ballot box. In the last general election just 55% of 25-34 year olds voted, while turnout for the 18-24 age group was a pathetic 44%.

    We need to do better, because the best way to fight bad laws is to stop clowns from getting into power in the first place.

    According to somebody on Twitter, that’s akin to telling women of the 1960s to shut up and know their place. I’m a bit baffled by that.

  • The Guardian: the amazing disappearing newspaper

    I’ve been meaning to mention this for a while: The Guardian, the newspaper I’ve bought every day for more than twenty years, appears to be disappearing before my very eyes. I know why sections are being folded into the main paper, why pagination’s being cut and why some of the best columns are being killed – the paper’s losing tens of millions of quid every year and it’s desperately trying to cut costs – but as I read yet another “this is my final column” sign-off or see another section compressed I can’t help thinking that, if you want to reverse a decline in circulation, getting rid of all your content while charging more for the product probably isn’t the best strategy to adopt.

    I’m still paying for my paper, but I’m increasingly wondering why.