Last night I went to Euan Semple‘s event to launch his book, Organizations Don’t Tweet, People Do, at the British Library. It was the first time I’ve live-blogged an event in ages, a skill I’m going to have to polish up a bit before Le Web London in June, hence the lag in getting this up on the blog. 

The event took for form of a conversation between Richard Sambrook (RS) and Euan (ES), which I have attempted to capture as faithfully as I can, but of course much of this is paraphrasing especially the questions. 

RS: Why do people Tweet, not organisations?  

ES: Got fed up of marketing folk doing 140 character press releases, felt intrusive, into what is a personal space. Surprised at industrialisation, it’s turned into a thing that can be bought and sold. But even if someone else does it for you, it’s still a person tweeting. Some corps are good, e.g Virgin Airways, they give a name, they’re open about the fact that there’s a person there. 

RS: Why is that important? 

ES: It’s important because we’ve lost our voices, having been part of the BBC for as long as I was, we’ve outsourced our storytelling to other people, our sense-making. We wait for others to tell us what to think, what’s right. Social media is giving us back the ability to tell our stories, and that’s very disruptive, and a lot of people are interested in assimilating it. A lot are making it just same-old same-old, and we’d lose a precious opportunity if we allowed that to happen. 

There’s a risk that some of us that ‘get it’ foist it on others, and that’s something we need to be wary of, so need to look at the opportunity. Once people grasp that opportunity a lot of the organisational norms we think are inevitable will turn out not to be. 

RS: You’re clear this isn’t about tech, but about what it enables. What is that? 

ES: We don’t have to all be the same, being different is what this relies on. If you end up with monoculture, you haven’t shifted things very far. Er, what was the question again?

RS: What is the cultural change? What makes it different? 

ES: This is more of the social changes that are happening anyway that the tech is enhancing, or speeding up. Tech appears when you’re ready, and I feel that the corporate period, the industrial then the corporate world that so many of us get sucked into and think that’s just what you do, have assumed that that’s what the world has to be. It’s infantilised us. At the BBC there was a divide between the infants and the grown-ups. So many big things, like democracy, are struggling, the financial world is struggling. And we have an unique opportunity – these phase shifts don’t happen often – to be part of something. That’s why I got into blogging, my kids will be into this more than I am, and if it’s going to be habitable we have to make it habitable. 

RS: You started from a position in Knowledge Management. 

ES: Twitch twitch

RS: But that’s a lot of what social media is used or these days. 

ES: And I’m going to have to get used to it, going to have to get over my discomfort with it. 

RS: What was the problem with KM? What was your epiphany? 

ES: It came out of my time at the World Service, as a studio manager I moved between the 30/40 different studios, and met a lot of people from different languages and cultures. The rest of the BBC was more tribal, silo’d, hierarchical and inefficient. Also the arrival of John Birt, but he took a sophisticated organisation and tried to plonk corporate ideas of efficiency on top of that and it didn’t always work. What I saw with the web was the opportunity of getting back some of those people-based ways of working that I’d seen before. Saw a virtual space, an organic online space that could flourish. 

RS: What were the benefits?

ES: We got into it long before anyone was calling it social media, and ended up, 25k staff had access to the forum. People had very practical problems about how to do things. A lot of small, low-level incremental stuff. Corporations go on about having strong corp culture, but then do anything to crush whatever emerges. Even just forums created more cultural change than official efforts. 

RS: What are the cultural benefits?

ES: Shared understanding of what we were doing and why. What did things mean? When the Freedom of Information Act became legislation, we had a good conversation about what that meant, and how to stick to that rule. 

Especially when you compare how that was ‘supposed’ to happen, via memos and official comms. If you tolerate the messiness of social spaces, people are at work and they want to talk about work. Treat them like grown ups then they’ll act like grown ups. 

RS: Lots of skepticism about self-organised spaces in business. There’s a limit?  

ES: yeah, it’s not  management by committee. It’s not bottom up, there’s as much value and interest in the senior and middle of an organisation using this. Shift from command and control, where people have authority due to job title, to having the ability to influence people through using these tools. The middle reasserts itself. There’s a role for middle management, and a chance to be more effective through using these tools. More senior folk are asking for help because they realise it’s not going away and there’s an advantage for them. 

RS: “Return on Investment”. That’s the wrong way to think about it, isn’t it?

ES: Yes, this is something that’s happening anyway. Don’t overplay Gen X/Y, but they’re growing up with this. So rather than ask to justify RoI for implementing it, justify RoI for preventing it. 

RS: What answers do you get when you ask them to justify preventing it?

ES: They don’t have any. There are people with non-trivial reasons why this stuff is hard, but ultimately they are going to have to face these issues and work with it. 

RS: How do you implement change in this way or, as you say in the book, “be strategically tactical”? 

ES: There’s a pressure on people to lay out a predictable, strategised future, and that’s not easy. Can make a case to be strategically tactical, ie you have guiding principles, but are willing to respond as this thing grows. ”Keep moving, stay in touch, head for the high ground.”

RS. “A new literacy.” What does that mean? 

ES: Remember having pressure to have to write a formal document, knowing no one would read it. Also that temptation you learn at school to write formally, to write management bollocks. Lots of people write this stuff, send it to each other, don’t read it, and are filling their days up with it. Whereas a well-aimed blog post and Tweet can change the world. People who read the book have said that it “felt like me talking to them”, skill you learn blogging.

RS: It’s finding an authentic voice. 

ES: I don’t’ care about orgs, I care about people, and that therapeutic element is interesting. Just that self-awareness you get from sticking things out there and seeing people’s reaction and learning to deal with that, and deal with people disagreeing with you. We’ve all got things we’re not comfortable with, but that thing about sitting in your room, about to publish blog post, wondering what people will think about it… That’s why the blogs called ‘The Obvious’, but that leads to this, writing a book, because you started off sticking things out there. 

RS: What’s the power of that? 

ES: Goes back to KM. Value of a company is the people, and the knowledge of those people, and we’re not good at giving them ability to make the most of people. Freeing people to be themselves and connect with each other. Ideal org, everyone blogs, not overdoing it, and thoughtful engagement, got to be productive. 

RS: Talk about ‘networks’, what do you mean by it? 

ES: It’s ‘community’ that I think gets misused a lot. Shift from institutional structured power, which has always been accompanied by networks, & relationships but  legitimising that, making it visible and accountable. I’m not overly idealistic, because we have hierarchies, they are inevitably human, but move towards ephemeral meritocracies. 

RS: David Weinberger, if we don’t have networks, we can’t cope. The world is too big to know.               

ES: The idea you’re in charge and should know everything is unsustainable. Change in what is leadership. Those who are good at working with others, building networks will be more effective than someone throwing weight around. 

RS: Radical transparency, can be scary for orgs to embrace. Asks a lot of the observers, need a new literacy. 

ES: Interesting in the journalism, the responsibility of that double sided relationship. Sometimes people push back and say not everyone wants to think, that I’m being unreasonable. We just got them that way because we trained them that way. In the right circumstances, everyone wants to take responsibility for their lives. 

RS: How do you sell radical transparency?

ES: By quoting Dave Winer: “Don’t have a shit product”. That’s what was interesting about Wikileaks – there’s a degree to which tech makes it hard to put a lid on things. Equally, that doesn’t mean we end up with a good outcome, because it can be used by the bad guys as much as the good guys. Can’t be naive about the competitive world they live in. 

RS: The whole privacy debate.

ES: There’s that. Issue with indiscretion, that’s a cultural shift, that’ll change. The whole thing about the people who won’t employ people who were drunk as a student. Well, I wouldn’t employ someone who hadn’t been! There’s something cleansing. It’s evolution on steroids. It’s not about age or web natives, it’s about open or closed. This is open, generative, so appeals to people who see the world that way. People who want to contain things, it’s their worst nightmare. 

RS: End book on blog post about love. Are you basically in favour of love, through the work place? You’re an ageing hippy? 

ES: Yes, except I wasn’t there the first time round! These techs have come out of ageing hippies in California and they manifest some of those ideas in their software. There’s an ebb and flow between control and release. We need a big story. Until WWI it was the church, then that fell apart and so the next one became communism, and then that becomes capitalism and the market, and we need… 

RS: This is the emergence of the next story? 

ES: I think so. 

Questions 

Talk about signal to noise, we’re a long way from semantic web, but getting there with hashtags. Did you leave it out on purpose? 

ES: Wary of the semantic web. What happens when you die? Should read Lessig’s Code, there are ways in which Facebook, Google etc impact how we can live our lives, has huge impact on those who don’t understand. Wary of automating, prefer the ability to point and say ‘that’s interesting because’. Goes back into knowledge management, the idea of harvesting information, haghstags are great because they are ephemeral and they come and go. Rather that than getting into semantic web. 

How does this affect social businesses, does that lead to them being more socially responsible? 

ES: Yes. Worked with some orgs I’ve been uncomfortable with, but have done so on the basis that if can help them get their arms round it, e.g. if banks had this before the dodgy mortgages, they might not have done it. Or selling food full of sugar. A lot of these things start because we have too small of a group taking responsibility for their business actions. What if people inside an org take responsibility for their actions?

If you’re right about social media democratising, why is Apple so successful? 

ES: If I had a penny for every time someone asked that. Some of the stories about how they work inside, they do give staff high degree of autonomy, happy to reshape and reinvent, so yes they’re not all over these tools, but they had 20-30 years of being the underdog who couldn’t afford to let ideas slip. In many ways, Apple aren’t typical. 

Dilbert Principle is best management book ever written. Youngsters empowered, they will bring their networks into the workplace. 

ES: Kids don’t alway know what a powerful took they have at their fingertips, and some kids are very conservative.  

A lot of the point of tools is to be more interesting face-to-face, not less. Interesting using location stuff, whether choose to turn it on, or not to. Almost like turning up/down a serendipity knob. 

In big orgs, have some areas that are bureaucratic than others, and need to consider legal implications. Doesn’t that lead to lumpy engagement, and tension between expectation of engagement, when not everyone is comfortable or able?

ES:  Not everyone will like it or take to it and shouldn’t dismiss those who don’t. Bus also how those groups manifest their responsibilities. e.g. using tools to talk about security is more likely to make your org secure. HR, IT and comms should be excited, but they aren’t. When you consider what they are meant to be doing, but they are stuck in places where they are more worried about status and formal stuff which is becoming less and less effective. 

For example, Head of HR for BBC came into office to do a live chat on the forum, 5k staff taking part. He and his team huddled to discuss what they’d answer, and then someone typed it in by dictation, but then he disagreed in what they’d typed. Conversational platform, tension was palpable, between live conversation and controlled process. Trick is to learn to migrate from one to the other. 

Want people to find a voice, but have they lost ability to listen and find a dialogue with colleagues? 

ES: Blogging, how you can write a blog post in such a way that it encourages people to react or respond, and turn it into a dialogue? If your’e just sitting there spouting stuff, unconcerned as to reaction of feedback, people will stop reading you. Conversations can only take place between equals. If this is a conversational platform, have to be willing to act like equals. 

Blogging, 3/4 paras to get people thinking, is different to ephemera of Twitter or Facebook, and it’s my blog! I can move it anywhere!

Interesting in future, and patterns that will emerge. Algorithms mining algorithms. Count on researchers to understand and analyse, compounded by fact that the dataset not published. Even thinking about Twitter, results are only available for a few days. 

ES: Thinkup, Gina Trapani, tools, if there’s enough of a demand people will come up with a tool and start paying for it. Wanted to save and search Twitter. Ephemeral nature is interesting. Genuinely worry that might be the first generation to leave not trace, no big manuscripts, just incompatible file formats. Which is why I use plain text, because I can move it effortlessly from one platform to the next.  

Worked with people good with numbers, but can’t do much with words. What hope to they have, where the winners are the wordiest? What about the value they create? Everything is about prose.

ES: We have an unbalanced world atm, people who are good face to face, so this isn’t perfect but it’s differently imperfect so slightly more equitable. 

You once said it is a slow process to introduce social media, change people one at at time. Has that changed?  

ES: No. How long to take full impact? 50 years. It’s impact will be that big and a lot of people as still early days. Been going for 11 years, but it’s still new to a lot of people. They don’t know. It’s shoe leather, have to give people – one at a time – enough reason to have a go, and that’s through conversation and advocacy. Build a network of advocacy, that’s what’s fascinating – world changing but only happens when someone sits down, writes something and presses save. Book written for people to give to those in orgs to help them get it. 

Crossposted from Chocolate and Vodka.

At last, Queen of the May is up on Kickstarter and ready your support! We have 28 days to raise $10,000, and already have $1905 pledged. Even if you choose the lowest support level, which is $3, please do consider taking part as every little helps!

You can also help immensely by telling your friends about it. No matter how focused your own personal network, every mention of the project helps. Here are a few things you can do:

Use your social networks
Send a Tweet, update your Facebook, MySpace and LinkedIn statuses, or leave a message on any other social network you use. Kickstarter provide a Tweet button that allows you to log in to Twitter and send a pre-written Tweet which says:

Queen of the May by Suw Charman-Anderson — Kickstarter http://kck.st/zv4p1f via @kickstarter

If you think that’s a bit boring, you can always try:

I’m supporting @Suw’s Queen of the May on @kickstarter and you should too! http://kck.st/zv4p1f (please RT!)

Or, of course, you can write whatever you like, just remember the URL: http://kck.st/zv4p1f

Kickstarter also has a Facebook Like button, which you can use to post to your Facebook timeline, but again, an original, personalised message will be more interesting to your friends. 

Write a blog post
If you want to write a blog post about the project, you can quote any of the stuff that I’ve written on the Kickstarter page or here to be part of your post. You can also embed the video if you like. The code is:

<iframe frameborder=”0″ height=”360px” src=”http://www.kickstarter.com/projects/suw/queen-of-the-may/widget/video.html” width=”480px”></iframe>

If you want to ask me specific questions or do an interview, please feel free to email me.

Tell your friends
If you have friends that you think might enjoy Queen of the May, why not just send them a quick email to tell them about it? Equally, if you’re on any mailing lists, forums etc. and feel like they might like to know about it, please do let them know. 

Share the link
If you’re a member of social sharing sites like Delicious, Pinterest, Metafilter, StumbleUpon etc. please do share a link to the Kickstarter project page. The biggest challenge for any crowdfunded project is to reach enough people and social sharing sites can be important sources of new supporters.

Every little really does help
It’s tempting to think that you have to famous to have an effect, but that’s not true and there’s evidence to prove it! Buzzfeed’s Jack Krawczyk and StumbleUpon’s Jon Steinberg recently collaborated on a project to analyse how links were shared across their networks. They said:

Our data show that online sharing, even at viral scale, takes place through many small groups, not via the single status post or tweet of a few influencers. While influential people may be able to reach a wide audience, their impact is short-lived. Content goes viral when it spreads beyond a particular sphere of influence and spreads across the social web via ordinarily people sharing with their friends.

[...] Even the largest stories on Facebook are the product of lots of intimate sharing — not one person sharing and hundreds of thousands of people clicking.

In short, lots of people sharing the link with just a few good friends is at the heart of what makes a project like this succeed, however counter-intuitive that might seem. I’ll write more about this in due course.

In the meantime, if you like the look of Queen of the May, do keep an eye out for updates from me on Twitter, as well as here on the blog and on Kickstarter. And here, for your delectation is the pitch video. Enjoy!

I was just writing a comment on Adam Tinworth’s blog post pointing out that there’s a huge ebook market out there that’s largely lying untapped by news organisations, but it started to get too big so here it is as a blog post.

There are a few challenges that news organisations need to overcome in order to really make the best of the ebook market. The first is around file formats. A friend of mine who does web comics looked at the Kindle, and the problem she came across was that anything with images becomes problematic, not just in terms of how the layout is affected by the ebook formatting, but also about upload file size limits. It makes doing a webcomic on Kindle impossible, and I would imagine that the same would be true of any news content with images. The standard news article format of image or video plus text doesn’t seem like it would work well on the Kindle.

That means that one would have to properly repackage content for ebooks: either big, timely articles, such as Ars Technica’s Apple OS X Lion review by John Siracusa, which netted Ars Technica $15,000 in 24 hours OR content with more legs, such as analysis, market intelligence, etc. I know some news orgs are experimenting with this, but some ebooks that I’ve seen of the latter type have been terrible – just a bunch of articles cut and paste into a file, barely formatted, and with no sense of cohesion or context.

In order to do ebooks well, you do need to have someone able to spend the time both on making sure that the content is right and typesetting it in a style suitable for ebooks, and getting it out onto the main ebook platforms, not just Amazon. I personally think there’s a market there, and news orgs really should have all the requisite skills in-house, but what seems to be missing is vision, budget, and time. The idea that you can simply slap a load of related articles into an ebook and Bob’s your uncle is erroneous in the extreme. You need to add value to your content, so provide analysis or information or context or something that your readers can’t simply get from your website. The added value in terms of the Ars Technica Lion review was timeliness and convenience, but single topic articles where that will be enough to prompt so many sales will be rare. I do think that news orgs should be looking at ways in which they can use ebooks to exploit their archives and start to gain revenue from reanalysis of existing content.

As for apps, I think they actually scratch a different itch. They are mainly about accessing today’s news in a more convenient manner. Were I to be pointing in a direction for news apps,  I’d say that news orgs should be looking at hybrid HTML5/native apps which require less in the way of original coding (think of platforms like PugPig), and which can stretch across operating systems with just a single source of content (the HTML5). The development and redevelopment of apps for this platform and that platform is time-consuming and uses up resources unnecessarily. As I said to .Net Magazine, this is the only real way that content producers can keep up with the demands of different platforms.

Of course, this isn’t actually an either/or scenario. News orgs should be looking at both ebooks and apps with a clinical, disinterested eye, working out what users want and how to provide that effectively, rather than simply shoehorning their existing content into these different-shaped buckets and hoping no one will notice that it doesn’t really fit.

Disqus has released an infographic of some analysis they’ve done on their comments to compare pseudonymous, eponymous (real name) and anonymous commenters. They looked at both quantity and quality and found that pseudonymous commenters are better for a community than either eponymous or anonymous commenters. To save you from having to wade through a rather pointless infographic, here are the key facts:

Disqus measured Quality and Quantity:

Quality

• Positive measures
  • Number of times a comment is liked
  • Number of times a comment is replied to
• Negative measures
  • Number of times a comment is flagged
  • Number of times a comment is marked as spam
  • Number of times a comment is deleted

They found that, by these measures:

• Pseudonymous comments were
  • 61% positive
  • 28% neutral
  • 11% negative
• Anonymous comments were:
  • 34% positive
  • 55% neutral
  • 11% negative
• Real name comments were:
  • 51% positive
  • 40% neutral
  • 9% negative

Quantity

• Aggregate number of comments by identity
• Average number of comments by identity

They found that the percentage of comments by identity was:

• 61% pseudonymous
• 35% anonymous
• 4% real name

The average pseudonymous commenter contributed 6.5 times more than the average anonymous commenter and 4.7 times more than commenters identified via Facebook.

Now, this data is interesting, but although it’s not really a smoking gun, it certainly should give companies pause before they start trying to force people to use their real names instead of pseudonyms; they may well be encouraging a less civil environment rather than the more civil one they are trying to, or telling us that they are trying to, nurture.

I would like Disqus to repeat their work but be a bit more rigorous. For example, testing their data to ensure that they are accurately differentiating between pseudonymous, anonymous and eponymous commenters. After all, using Facebook to log in doesn’t guarantee that someone is eponymous, nor does not using it mean they are not. I’d also like them to test their quality measures against both sentiment analysis and a panel of real humans. The latter would be relatively easy to do via something like Mechanical Turk. Of course, if they’ve done this already they should publish the details in a methodology.

The whole argument about anonymity, pseudonymity and real names on the internet over the last year or so has been mainly people arguing from assertion, so it is nice to see some real data. And there can be no doubt that Disqus has a lot of comments to analyse, so this isn’t just some skewed sample from a tiny corner of the web. But we do need both to see more work in this area and more companies taking notice of the evidence instead of sticking to their well-oiled but misfiring guns.

In a happy coincidence, today I launched both my new blog on Forbes.com and Chatham House released the report on the effects of the Eyjafjallajökull ash cloud event to which I contributed.

My new Forbs.com blog will be covering the rather disparate topics of book publishing and high-impact low-probability (HILP) events. Slightly an odd mix, perhaps, but both are fascinating topics and we’ll see how it develops.

The Chatham House report, Preparing for High-impact, Low-probability Events: Lessons from Eyjafjallajökull, looks at the impact that the ash cloud had, as well as examining the need for companies and organisations to be prepared for these HILP events. My contribution was Chapter 4: The Battle for the Airwaves, which looks at the media response to the ash cloud disruption. You can get an overview in my first post on Forbes.

Do let me know what you think, both of the report and the new blog!

(Cross posted from Chocolate and Vodka. Please comment there!)

So yes, I know it’s nearly Christmas Eve and I know I should be turning my brain off, but this blog post about ebook pricing by Declan Burke came across my radar today on Twitter (and yes I know I should have turned Twitter off too) and I couldn’t not reply.

Declan writes about his experiences with pricing the ebook version of his novel, Eightball, which he says started off at $1.99 and ended up at $7.99. He also briefly mentions the different pricing structures from publishers, and discusses the attitudes of some readers who appear to think that all culture should be free.

But the main bit of Declan’s post that caught my eye was his discussion of cost and value:

The other odd thing, from a personal point of view, is exemplified by the drop-off in sales for EIGHTBALL BOOGIE once its price started to go up. The e-book fan (or anyone with even the vaguest grasp of economics) will very probably be screaming right now at the screen a variation on, ‘It’s the economy, stooopid.’

I understand that. I really do. But from my point of view, EIGHTBALL BOOGIE is the same book regardless of whether it’s $1.99 or $7.99: it’s not a quarter as interesting, or funny, or thrilling, at the cheaper price, and it doesn’t come in at 25,000 words rather than 85,000 words.

It’s not my place, by the way, to say that EIGHTBALL is interesting, funny or thrilling. I’m just saying that whatever qualities the book had at the $1.99 price, those qualities remain the same regardless of whether I charge $7.99 or give the book away for free.

I suppose my central concern, when it all boils down, is that fans of e-books are confusing cost and value. That’s not to say that very good books aren’t being sold for $1.99, or $0.99, or even being given away free. But it’s patently self-limiting for a reader to impose an arbitrary price of (say) $4.99 on a book, and state that he or she refuses to pay any more, regardless of the quality of that book.

Unfortunately, I fear that Declan confuses inherent value with market worth, and the two are very different indeed. As writers, we would all like to think that our work has inherent value. The blood, sweat and tears that we leaked all over the page should, we tell ourselves, be valued by others as much as it is by us.

But the price that the public is willing to pay has little to do with any sense of inherent value; it is directed by what price the market will support. When it come to deciding what price we put on our ebooks, it is not sufficient to think about our concept of inherent value. We would all love our ebooks to sell by the shedload at a nice, high price. (And if we’re famous, they might well!) But for most of us, we should instead be striving to understand which price will maximise our profits. If we sell thousands at £1.79, is that going to bring in more profit than if we sell hundreds at £5.99?

And this is where almost every single blog post and news article I’ve seen on the subject falls flat on its face. The horrible, uncomfortable, inconvenient truth is that for independent ebook sellers and small publishers, we have no clue whatsoever as to what price will maximise profits. We just do not have the data. We have a few anecdotes from both ends of the spectrum, from the “I sold $millions” so the “I sold sweet FA”, and a very little from the middle where people are selling “enough”, for whatever value of enough they care to assign.

What we don’t have is what the big publishers have: Numbers. It’s impossible to compare the sales of a handful of books at different prices and draw any meaningful conclusions, because the books are not equivalent goods. My novelette Argleton is not equivalent to anyone else’s book because it’s not a perfect substitute.

If you’re in the market for a hammer, one is pretty much a perfect substitute for another. If I buy a hammer from Shop A, I am not going to buy a hammer from Shop B. But books are not substitutable goods. If someone buys Argleton, that doesn’t mean that they then don’t have any interest in buying Eightball.

Even comparing sales of the same title over time is more complex than saying “It sold a lot at $1.99 but nothing much at $7.99″, because market conditions change. It’s only in the large-scale aggregate that the numbers starts to provide genuine information. And sadly, that kind of data isn’t available to the likes of independent and small publishers.

So what do we fall back on? Belief.

I believe that my biggest problem right now is that not enough people know about my writing. My sole purpose is to introduce as many people as feasibly possible to Argleton in the hope that they will like it and be interested in my future work. That means that I believe that giving away Argleton for free is in my best interests.

But I also ideologically believe that free goods do not necessarily cannibalise the sales of the same goods offered commercially. We have some interesting data from people like Cory Doctorow, Lawrence Lessig and Tom Reynolds that even if they don’t increase sales, CC-licenced copies of books do no harm to sales either. For them.

Of course, things could be different for other authors or other genres but again, the truth is that we simply don’t have enough data to say one way or the other.

Additionally, I believe that me giving away my books free has no impact on what someone is willing to pay for Eightball, or any other book, because the two are not substitutes. I’ve heard the argument that authors who give away their books are undermining authors who sell their books, but I’ve not seen a jot of evidence, or even logical reasoning, to support that point. The book market is not a zero-sum game.

And I disagree with Declan over the idea that giving away books is a “race to the bottom”.

For now it seems that many authors are happily collaborating in a race to the bottom on price. The mantra is very much quantity over quality, to the extent that many writers, in a desperate bid to get noticed and put one foot on the bottom rung of the slippery ladder, are now giving away their books for free.

There’s a certain kind of logic to this, although it only exists inside the e-publishing bubble, which appears determined to eat itself. Because once you give away one book for free, the expectation is that all your books will come at no cost, an expectation that derives from an entirely understandable mentality that runs, ‘Well, if you don’t value your work, why should I?’

I’m a teeny tiny sample, but by this logic no one should buy the Kindle version of Argleton, but they are. By this logic, no one should ever buy any of Cory Doctorow’s books, but they do. And also, by this logic, no one should ever give good, honestly earnt money to a nobody writer on the promise of delivery of a book, which could be fundamentally shite, and with absolutely no guarantee that they are going to get what they paid for and then, knowing all that, actually pay more than the book itself is worth. And yet, they have.

Our beliefs are sculpted by our experiences and our ideologies. My experiences appear to show me that giving books away whist also selling them, and tapping into an amazing community of generous supporters to achieve the publication of a physical book not only works, it is profitable. My belief is that people will happily pay for books that they like and that those who pull the “culture should be free” line out of their arse are the same people who would not have bought my book anyway, so there’s simply no sale lost.

But, just like Declan, I lack hard data.

This, sadly, means that rather than eating our own young, independent authors and small publishers are doomed to chase our tails, cherry picking the case studies to fit our ideologies and rejecting the points of view of those who disagree with us.

There is only one cure to this: Independents need to have a standard set of data that we all regularly submit to one big database which we can then pull reports from. We need, collectively, to share what numbers we each have, because that’s the only way we’re going to get the kind of scale we need to turn anecdotes into data. And data is the only way we’re going to get meaningful insights into how book buyers really behave.

We can’t afford to fanny about getting all ideological and relying on our beliefs to determine our business strategies. My biggest worry about my current strategy is that I could be horribly, hideously wrong, but I have absolutely no way of testing my hypothesis on my own. If I am wrong, then I will change my strategy immediately, because I’m not interested in proving myself right. I’m interested in creating a new career for myself where I get to live comfortably and make up stories for a living.

(Cross posted from Chocolate and Vodka.)

Last month there was a great blog post by Anne Allen about how important Amazon reviews are to new authors:

[...] Amazon reviews, which were only mildly significant three years ago, now have a make-or-break impact on an author’s sales.

When you’re buying an ebook, there’s no helpful bookstore clerk to tell you what might be appropriate for your nine-year old niece, or if there are any new cozy mysteries you might enjoy, or whether the new Janet Evanovich is up to her usual standards.

Instead, you check reader reviews and Amazon’s “also bought” suggestions. These are all generated by consumers, which gives the ordinary reader immense power.

The post then goes through some really good guidelines for people who might want to leave an Amazon review for an author they like. It’s well worth a read, even if you’re familiar with Amazon, because Anne gives a very clear idea of how the whole review system works.

I didn’t quite understand the power of Amazon reviews until I started publishing in the Kindle stores. I have books available now in six stores:

• Kindle UK
• Kindle US
• Kindle France
• Kindle Germany
• Kindle Spain
• Kindle Italy

The only store in which I have any reviews so far is the UK store and sales in that are way ahead of every other store, even the US store. Now admittedly there are potential language issues in the French, German, Spanish and Italian stores, as the buyers there might not be so interested in an English language book. But that shouldn’t be the case with the US and, in fact, the majority of my Kickstarter supporters were from the US so in theory I should have a good showing there. But so far, I do not.

I think this is down to reviews. I have three good reviews so far on Amazon UK, none in the US. It’s a shame that reviews don’t cross-pollinate stores, but there we go.

So if you’re feeling generous this festive season and you have read a book by a new author that you liked, it would be a wonderful thing for them if you took 10 minutes to write even a short review, or just give a star rating. Four and five star ratings are particularly useful as Anne explains:

Anything less than 4 stars means “NOT RECOMMENDED.” Don’t expect an author to be pleased with 2 or 3 stars, no matter how much you rave in the text. Those stars are the primary way a book is judged. Without a 4 or 5 star rating, a book doesn’t get picked up in the Amazon algorithms for things like “also bought” suggestions. Giving 1 or 2 stars to a book that doesn’t have many reviews is taking money out of the author’s pocket, so don’t do it unless you really think the author should take up a new line of work.

If a friend asks you to review something you found amateurish, or wasn’t your cup of tea, just tell her you don’t feel you can review it. That happens all the time and we appreciate it.

On the other hand, a 4-star review that recommends the book even though you have a few reservations, will earn you eternal gratitude from the author.

In fact, 4-star reviews can often be the most helpful. If a reader sees something like, “I loved this mystery, but the humor is pretty farcical. If you’re looking for a standard whodunit, this isn’t it,” or “this is awfully intellectual for something called chick lit.” Those offer honest information to buyers, without telling them not to buy.

I’m not saying you shouldn’t be giving 1-3 star reviews. I’m just saying that on Amazon (not all review sites) 3-Stars is usually taken as a negative rating. If you intend to be positive, then 4 stars will better convey that sentiment.

This was certainly something I hadn’t really thought about in detail before reading Anne’s post.

So if you have a favourite author who’s either just starting out or hovering around in the midlist, why not take a few moments over the Christmas holidays and leave them a review?

(Another cross-post from Chocolate and Vodka.)

As a newbie to self-publishing, I find myself transported back a decade to the time when I was so obsessed with my blog traffic stats that I made a spreadsheet and noted down what events caused spikes in traffic. After a while I lost interest in the numbers, but now I’m back to tracking thems, although the patterns are very familiar to me and rarely am I surprised by what I see.

I’m also now obsessing over my Kindle sales statistics. And yes, I have a spreadsheet which notes both sales through the Kindle store and free downloads from here. If you’re curious, to the end of November I had given away 6140 downloads of Argleton and sold 27 ebooks via the Kindle store, netting me a royalty of approximately £30. Well, we’ve all got to start somewhere.

But where it’s relatively simple for me to track downloads and traffic to this site, tracking my Kindle sales is a laborious process. Amazon’s stats pages are… well I can’t use the word “designed” because that would imply that some thought had gone into them, and it’s clear that’s not the case.

As you can see from this screenshot, you don’t get much information. This is the page for the UK shop. If I want to see reports from the other shops, I have to pick from the dropdown list. And if I want to look at last month’s sales, I have to click that link. Very tedious.

Worse, if I don’t keep a spreadsheet of my monthly sales, I lose access to that data as Amazon only gives me this month and last month’s. And there appears to be no way to go back further than that prior month.

Now then, if I want to see my royalties, then I can see those not monthly, but weekly for the past six weeks. Eh? Why give me sales by month and then royalties by the week for only the past six weeks?

Now, if I don’t grab this data, I can at least go do that third link down and download monthly spreadsheets from the previous 12 months. Except this is what those spreadsheets look like:

It’s a complete mess. I’d have to spend so much time doing basic spreadsheet cleaning before being able to process this in any way, it’s just not funny. Imagine if I was selling lots of different books: The spreadsheet would become unworkable.

Nowhere does Amazon give you an at-a-glance summary of your sales, or graphs showing how you’re doing over time, or an easy way to download properly formatted raw data. Is it really that hard to take a bunch of numbers, generated preferably in real time, and present them in a usable, sensible way?

What’s also frustrating is that I have absolutely no context for my buyers. Where are they coming to Amazon from? Are they finding me here on this blog and then clicking through to Amazon? Searching for me or Argleton on Amazon itself? Coming from some other site? Finding me from some other page on Amazon, eg recommendations on another book?

Amazon knows, but it won’t tell me. And without that information I can only see half the picture. I don’t know how to direct my promo efforts. Should I be blogging more here? Should I focus on pimping to book bloggers? Should I be Tweeting more? Facebooking? I have no clue, and I will never find out.

It’s great that new authors like me can sell our books without having to find a traditional publisher (not that I’d turn one down if it made sense!), but Amazon could do a much, much better job of providing stats. Surely it’s in their interests to do so, as the more successful I am as an author, the more money they make off me?

Sadly I hold out precisely no hope whatsoever of useful change, so I’ll just have to keep checking back every month and writing the numbers down in my spreadsheet. What a nerd, eh?

(I’m writing a bit more often over on Chocolate and Vodka at the moment, so thought I’d cross-post the highlights here)

The last 18 months has taught me a lot about Kickstarter and putting together my own self-publishing project. This is the first of a series of blog posts in which I’ll go through what I’ve learnt, partly in case it’s of interest to anyone else but also to codify it in my own head so that, hopefully, I won’t make the same mistakes again. So, herewith Part 1!

If there was one overarching lesson that I’ve learnt doing Argleton, one thing that I really wish I’d thought of 18 months ago, it would be this:

Don’t go off half-cocked

Whilst there’s some truth to the idea that ignorance is bliss and that if I’d known what I was taking on I perhaps wouldn’t have done so, I think there’s more truth in the idea that I would have saved myself a lot of pain if I’d planned things better. Instead I bouncily assumed that it couldn’t possibly be that much work and that I’d have the whole thing done by the end of the summer. In 2010. Whoops.

So here are a few thoughts on how to make sure you’re fully prepared before you launch your Kickstarter project.

1. Finish as much of your project as possible
I naïvely thought that I could finish writing and editing Argleton whilst the Kickstarter fundraiser was underway, but promoting the campaign took more effort than I had anticipated, leaving me not much time to write. This had serious knock-on effects: Because I didn’t know how long the story was going to be, I couldn’t get accurate quotes for printing and so my rewards were priced by roughly guessing. I’ll go into budgeting issues in another post, but suffice it to say that guessing is a Very Bad Idea.

Another impact of having not finished up as much as I could was that it lengthened the time between people pledging support and my delivering my book to them. My ‘deadline’ for sending out the books just kept slipping and whilst most people were very patient, a couple sent me rather sharp messages questioning my commitment. I have to say that stung, but I could have avoided it if I hadn’t gone off half-cocked.

I should have had the book finished, critiqued, edited, typeset and converted into multiple digital formats, with all my rewards properly designed and fulfilment planned before I even considered launching my Kickstarter project.

2. Understand how much of your project remains
You can’t always finish everything up front. Had I hired someone to design my cover, for example, I would not have been in a position to do that until the Kickstarter money came in. That’s fair enough, but make sure that you know exactly what tasks are outstanding, how you are going to complete them and how long they are going to take. This allows you to be up front with your supporters about what’s left to do and how long they’ll have to wait for the finished thing.

3. Complete the design and prototyping of your rewards
Another really time-consuming part of the project was designing and prototyping my rewards, the books. Whilst they were easy to describe in text, they turned out to be difficult to turn into a reality. I learnt that I am not a natural graphic designer and that my ideas about what would work as a cover in print and in silk were very difficult for me to realise. The silk cover in particular went through about nine prototypes all together.

Had I gone through that process before launching my Kickstarter project, I would have learnt early on that I needed the help of a designer and I could have worked that into the project costs. I also would have realised how difficult the silk cover would turn out to be to actually make and just how long each one would take. I might still have gone ahead, but it would have been with eyes open.

4. Get your suppliers lined up
This is important not just for budgeting, but also to save you time when it comes to getting everything done and sent out. The first printer I looked at turned out to be incapable of doing the job in the way that I wanted: They didn’t have experience making books and didn’t have the right kind of binding technique which meant that when you opened the book, the pages fell out. Not really the result I was aiming for.

Finding a new printer, briefing them, and going through more prototypes was time consuming and set me back by months. In the end Oldacres did an amazing job, and I will be using them again on my next project so the relationship I formed with them is important, but I could have got there sooner. (Especially as they were actually the first recommendation I had had. :/ )

5. Understand your incompetencies
Obviously, I like to think I’m a half-decent writer, so the task of finishing and editing the story was easily doable. I’m also quite good at typesetting, having done that professionally in a different incarnation. But what I hadn’t really banked on was the fact that I’m a shit graphic designer and an even worse puzzle writer.

Not only did my weaknesses slow the project down (I’m still finishing of the puzzle, for example), they also made everything unnecessarily difficult. Had I looked at the puzzle before I launched, I would have realised how much effort it was going to be and might even have questioned whether it was even needed. In retrospect, I think the inclusion of the puzzle or geogame was more a statement of my own lack of confidence than a genuine contribution to the project.

6. Understand your dependencies
I hate to say it, but I should have Gantt-charted the project and thought hard about what was dependent on what. I wasn’t always clear on what could be done in parallel and what had to be done in order, and so I often defaulted to doing things in serial, thus delaying the project further. Partly that was a psychological thing: It felt easier to deal with one set of related problems at a time, rather than trying to solve issues on multiple fronts simultaneously. There’s no doubt at all that drastically slowed me down.

Had I sat down and worked out my dependencies, I would have been able to prioritise my to do list better. I would also have known when I needed to make educated assumptions, and what I would have to find out in order for those assumptions to hold water.

One good example is calculating postage. I hadn’t finished the story, so didn’t know how long it was, so didn’t know how many pages it would be, so couldn’t figure out the weight or find the packaging and so couldn’t make even a vaguely informed calculation as to the likely cost of postage. As it was, it cost a lot more than I had anticipated, as did the printing come to think of it, and I was lucky that I had raised more than I needed so didn’t actually lose money.

7. Don’t overcomplicate things
As I mentioned above, the geogame in the end turned out to be more of a gimmick that I hoped would get people interested rather than integral to the storytelling. Whilst I have done my best to produce something that is enjoyable, the fact that it has only now reached the testing stage shows just how difficult I have found it. I could have done without it and, if I had, I don’t think the project would have suffered at all.

Whilst most of the rest of the Argleton project was relatively simple, if time consuming, I did apply this rule to what was going to be my next project – a story told through the medium of a newspaper, complete with fictional character profiles, classifieds and sports page. I still love the idea, but during the planning process I realised that it was actually a very complicated project that would require collaboration with a number of people. I’m not ready to do that yet, although I will definitely be keeping that on my list of projects to look into when I’ve got a better flow of money coming in from my ebooks.

My aim in all of this is to produce a small but growing body of work, both electronic and in various physical media, which can give me an income. To this end I need to ensure that future projects are doable in a much, much shorter timespan than Argleton. Taking two years to do a novelette is not sustainable, so future projects will be much, much simpler and will hopefully complete more quickly.

Next time: How to think about your rewards.

Just recently, one of my favourite blogs moved a new home on Wired and, in the process, moved to the Disqus commenting system. I’ve sat in many meetings where Disqus has been named as the desired commenting system. I have often found myself on the fence, preferring, say, the built-in WordPress commenting system over any third party system, but still understanding that the issues with managing very high volumes of comments can encourage companies to outsource them. Until recently, though, I hadn’t had any real in-depth experience of using Disqus as a commenter.

I have now. And I have discovered that Disqus kills conversation and frustrates users.

The problems with Disqus surprise me, because they’ve been around a while and I would have expected them to understand how online discussions actually work, and adjust their tool to facilitate conversation. Instead, Disqus quashes conversation. Here are the issues, and possibly a few solutions:

Comment display is broken
There has long been a debate in commenting circles about whether threaded comments or flat comments are best. The truth is, neither are better than the other, both have their strengths and weaknesses. But Disqus, or at least the installations of it that I have recently seen, do not provide an option to view comments in a flat, strictly chronological or reverse-chrono order.

When you have a rich and fast-moving conversation in blog comments, threading kills it because it is nigh-on impossible to know where the new comments are in the various threads. An option to show comments in a flat view would allow users to quickly see which comments are most recent. We are smart enough to thread the conversations we’ve read already in our memories, but wading through threads in order to find the one new comment is a chore no one will bother with.

This means Disqus kills conversation in big, complexly-threaded discussions.

Being able to easily switch between views would be even better, so that you can find the newest comments, but then switch to see them in context of their threads.

Comment paging is broken
If there’s one thing that drives me nuts about Disqus it’s that there is no “view all” option. On my favourite blog, I have to page through comments in chunks of 40 at a time and, once the thread gets over 80, it becomes very tedious on page reload to have to re-page through to the newest comments if I want to actually see them in reverse-chrono order. My only option is to then view them newest-first, which means I have to then find the join, which is again a pain in the arse, especially if when I last looked there were 100 comments, and now there are 200.

I recently saw a blog post with 900 comments, which were only accessible in pages of 10. If anyone thinks that people are going to bother to page through all those comments, ten at a time, they need a reality check. It’s already hard enough to get people to read comments before they write their own, but this just encourages drive-by commenting, which is very bad for conversation and community-building.

Disqus needs to have a “view all” option. I don’t care if it takes a minute or two to load, I just want everything, on one page, so that I can scan it at speed to pick out the comments I care about.

Other issues:
Login kills comments. On the train into London this morning I wrote a comment, then realised that I wasn’t logged in. I logged in with Google, as I usually do, and Disqus threw away my comment. WTF? Really? That’s how you treat logging in?

Newest first is weird: Newest first also does really weird stuff with within-thread threading which I haven’t get got my head round, but it bloody annoys me.

Page refresh breaks flow: On a lot of commenting systems, if I refresh the page in order to fetch new comments, the browser will remember where I am on the page and all I need to do to continue reading is, well, continue reading. Not with Disqus. Refreshing the page essentially resets Disqus, meaning that I have to re-page through everything and search for my place. A comment bookmarking system might help with this, or they could just offer a persistent single page view.

Just say No to Disqus
I have to say, I would now actively militate against clients using Disqus if they have any desire to create conversation and community. Disqus frustrates passionate readers, drives away interested but less committed readers, and makes genuine conversation difficult or impossible. It seems to be a great system for collecting comments to be ignored, but it’s terrible if you actually care about your comments or your commenters.

Given that Disqus has been around since 2007, the fact that it hasn’t cracked comment display yet is shocking to me. I honestly thought they of all people would have nailed it. Quite the opposite, in fact: Their design can only be described as user-surly.