Information Squid

I was stopped on my walk home today by a gentleman who thought I looked like a person who reads newspapers. We had a friendly conversation:
Him: Do you get the Washington Post at home?
Me: No, I read it online.
Him: We have a new program where you can get a free home subscription to the Express [free tabloid sibling of the Post]….
Me: Sorry, not interested.
Him: If people don’t subscribe, there won’t be an online paper anymore.
Me: But there isn’t an online subscription.

I don’t want the physical version of the paper because I hate newsprint smudges and I like reading articles online (normal procedure: open lots of tabs, read through them in turn). And asking people to pay for online content doesn’t have a great track record (Slate subscriptions, TimesSelect, etc.), although some organizations have managed it (the Wall Street Journal, Salon Premium, the Financial Times, etc.). But there ought to be something else the Post could ask me besides “help us kill more trees to get our circulation numbers up.”

I have a lot of brand loyalty to the Post. I’ve been reading it pretty much daily since seventh grade, first my parents’ paper subscription and then online when I went to college. I’m used to the way its writers think – I know who writes the most entertaining Style stories (Monica Hesse), who consistently likes the opposite movies from me (Ann Hornaday), whose analysis I trust on the health care debate (Ezra Klein).

So why don’t I have a convenient way to support the Post that doesn’t involve acres of newsprint? I think they’re still stuck in a commercial model, and wish they’d adopt a bit of thinking from the nonprofit world – even if becoming a nonprofit isn’t the way they choose to go. I already see the benefits of their work, I’m a supporter, so let me participate in the mission. I can imagine seeing a message one day at the top of the homepage saying “Following our international stories? Support our foreign bureaus.” A couple of months after that, I’d see “Whether you love the Kennedy Center or the 9:30 Club, support our local arts coverage.” I’d give them $20 or $30 every so often, happily. That has to be better for them than the costs of delivering a free Express every weekday. It’s probably even better than my paying $1.50 a week for six months for weekdays plus Sunday home delivery of the Post.

The idea isn’t perfect. First, with advertising costs dependent on subscription numbers and online ads not nearly as lucrative as paper ones, my eyeballs aren’t as valuable as my blackened fingers. Second, it takes a good bit of effort to run an effective nonprofit fundraising program, and a for-profit fundraising program would require the same message crafting and analysis. Third, especially in a town where so many people are transient, my brand loyalty may be quite the exception.

But some of the blogs I read have Donate buttons in the sidebar, and if the blogger says “hey, I need help with my car repair / my hospital bill / getting to a conference” I’ll probably throw something into the kitty. At the moment the Post can’t figure out how to ask.

This is a slash: /
This is a backslash: \
So it bugs me when people say xyz.com/whatever as “xyz dot com backslash whatever.”

I know where it comes from: Windows directories really are separated by backslashes. It’s hard to adjust from that to the web, invented by Unix users.

So why do I care? I care because I like precision. I’m a programmer, so a misplaced semicolon or quotation mark often causes all kinds of errors. I learned grammar, so “it’s” instead of “its” rubs me the wrong way. Punctuation matters.

I read most of my text on blogs, where it may or may not have been proofread. I use Twitter, where people abbreviate and leave out words to fit into 140 characters. I’m seeing more and more typos in books and newspapers, as publishers don’t have time or copyediting staff to catch them. And here the Internet was supposed to usher in a golden age of text.

I wonder sometimes how long it will be before I stop caring. I think it’ll be a while. I’m still most impressed by people who can express themselves fluently in standard written English.

Note: Actually, that isn’t quite true – I can only evaluate the grammar in English, but I’m impressed by the ideas in the blogs I read in French as well. I was pleased to find I could decipher most of a post in Portuguese the other day, too…. Global Internet, here I come.

In these days of news organizations slowly and quickly and very quickly falling apart, I’m starting to catalogue types of reporting that really should be done by citizen media instead. Josh Korr at Publishing 2.0 thinks of scrapbook news; I’m leaning more toward inane trend stories.

Case in point: why did at least three major news sources decide today to publish stories about the Facebook 25 things meme? The New York Times, Time, and my local, normally-serious Washington Post all fell prey to this; anyone would think the meme had a gifted publicist. But how did I find out about two of the three stories? From a friend’s Facebook status. (The Post one I found on its website, in my daily “read the 15-25 stories I might care about” scan.)

I quite like the meme, as long as no one expects me to complete it – my friends’ random facts have been amusing (especially the 25 completely fictional “facts” one person shared). But if you care about the story, you know it’s happening because it’s on your news feed, and if it’s not on your news feed I can’t imagine you care about the story. So why spend precious journalistic resources on this? Is this the kind of content people will value enough to pay for?

Sure, it’s content that got me to write a blog post. And maybe that’s what newspapers and magazines value now. But eyeballs are one thing, and money to support your foreign bureaus is another, and I wish the people I rely on for news had a better idea how to keep delivering it.

There are advantages to being famous. Not many bands can challenge the whole worldview of the music industry with one act. Radiohead is releasing their new album in a rather unusual way: as a digital download for which fans can choose their own price. They’ll certainly undercut piracy. They’ve gotten plenty of press attention. But they won’t be succeeding because they’re famous. This will work because the internet is still psychologically a gift economy. If we find your contribution valuable, we want to give in return.

Jonathan Coulton can make $3000-5000 a month with a website that explains

There are lots of ways to get music from me, whether you’re a cyborg from the future with an iPod in your skull, or a little old granny in Idaho with nothing but an antique “CD Player.” Lots of it is freely available depending on how technical you are – you can get all of it for free if you really try. But please remember I do make a living this way, so you like what you hear I’d certainly appreciate you throwing a little payment or donation my way. If you can’t afford it, for goodness sake please send copies of everything to all of your friends.

John Scalzi wrote a novel to prove he could and then decided to post it online. The Agent to the Stars introduction says: “People could read it, and if they liked it, they could send me a dollar, or whatever sum they liked (even if that sum was zero). If they didn’t like it, well, clearly, they wouldn’t have to send me anything.” He made about $4000 over six years, and today the introduction says, “I’m no longer soliciting a dollar if you enjoy the novel; the story has long since proved its worth in that respect.”

So you don’t have to be famous to survive on voluntary contributions. You just have to be a little bit famous. You have to have fans who not only will give you money for your creations but also will spread the word. The free sample that proves someone should buy is the entire work. Not so different from a book sitting out on a bookstore shelf.

Interestingly, according to Charlie Stross, in the old shareware scene they expected about a 4% registration rate out of the people who downloaded software. According to his sales increase after Accelerando was posted online, about 3-4% of the people who downloaded it then went and bought a copy (Time Traveller Show, 4/22/07: Stross, Scalzi and Buckell on International Pixel-Stained Technopeasant Day). In this case the audience demographics are probably similar (others might vary considerably); opportunities change, people’s willingness to give back doesn’t.

ETA: Wired’s take on Jonathan Coulson and giving music away, 10/12/2007

ETA part 2: NYTimes on how creating and releasing the album affected the band, 12/9/2007

ETA part 3: Wired interview with David Byrne and Thom Yorke, 12/18/2007

Ebooks seem to be hot again, at least for slightly warm values of hot. I’ve seen more articles mentioning them in the past month than I had for quite a while before that. Most prominently, both the Washington Post and New York Times had survey-of-the-industry articles, the Post’s pegged to a review of the Sony Reader.

The more interesting development was that the Times article and a BloggingStocks post bring up the idea of iPhone as ebook reader. One of the difficulties for the industry has been that current devices and before them the Rocket eBook cost real money, $300 and $500 respectively. Most people don’t want a separate, expensive device just for reading on pixels. iPhones (or future iPods with a similar screen) could make ebook readers widely available – at which point more people would start using them.

Then the problem becomes the cost of the books. Charles Stross, science fiction writer, pointed out in March that “the economics of the commercial ebook market are sick”. Ebooks are sometimes being sold for almost the cost of hardcovers, which is crazy. Audio editions I can understand being worth that much, since they have added costs in the form of voice actors and sound editing, and they still have media and packaging costs. Ebooks? The simplest way to produce an ebook is to distribute the Word document you’re working from. You’ll still have costs for editing, promotion, distribution channel, etc., but none for paper and printing. How can that require charging as much as for a hardback?

I like physical books because I can see them and be reminded to reread, which (even with something like Apple’s CoverFlow for book covers) is unlikely to happen with ebooks. I like physical books because I can decorate my apartment with them. I like physical books because I can easily loan them to friends – and given the fog of DRM around most ebooks (there are exceptions like Baen), that’s not going to be possible any time soon. Ebooks aren’t worth as much to me as dead-tree editions, and I’m not sure what price would be right.

Some publishers are starting to think about the price problem. Baen’s ebooks cost a little less than paperbacks. Toby Buckell notes that Stross’s publisher was persuaded by his arguments to price his books’ electronic editions at three pounds. And of course the romance e-publishers have consistently kept their prices comparable to series romances, less than single title paperbacks. But most traditionally published books aren’t available as ebooks for anything like an appropriate price. Hopefully that will change soon.

Note: this is about ebooks-as-purchased-content rather than ebooks-as-freely-distributed-marketing. The latter strategy is going strong, with HarperCollins expanding its sample pages program to an iPhone-compatible website, authors posting first chapters on websites, and ebook authors expanding their work for traditional publishing deals.