What can publishers learn from Pokemon Go?

Pokemon-go-logoLong considered nothing more than a gimmicky fad, it turns out that augmented reality (AR) is actually alive and well. At least that’s the case when it’s associated with a brand as large as Pokemon.

By now you’ve undoubtedly heard all the Pokemon Go stories and maybe you’ve even dodged a player or two, overly-focused on their phone while embarking on a virtual hunting expedition. On the surface it’s nothing more than another time-wasting game but I believe it offers some very important lessons for publishers.

Let’s start with the hybrid, print-plus-digital opportunity. Recent reports indicate ebook sales have plateaued and growth has shifted back to the print format. There are a number of underlying reasons for these trends including higher ebook prices as well as the adult coloring book phenomenon. But as I’ve said before, publishers need to stop thinking about print and digital as an either/or proposition. Some customers prefer print while others lean towards digital. Many readers are in both camps, switching between print and digital based on genre, pricing, convenience, etc.

Most publishers overlook the fact that digital can be used to complement and enhance print. Skeptical? Have a look at a few of the demos Layar offers on this page.

Stop and think about how something like Layar could be used to bring your static pages to life. Maybe you publish how-to guides, print is your dominant format and you’ve always wondered how you could integrate videos with the text. You’ve tried inserting urls but very few readers bother typing them in. QR codes are an option but they’re clunky and take up precious space on the page. Why not use AR to virtually overlay those videos on the page without having to dump in a bunch of cryptic-looking urls or QR codes?

Are you looking to engage your readers in the book’s/author’s social stream? Here’s your chance to integrate them virtually using a platform like Layar.

Better yet…have you always wanted to know who all those nameless, faceless consumers are who bought your print book from third-party retailers like Amazon or Barnes & Noble? Here’s an opportunity as a publisher or author to initiate a conversation directly with your readers. Add an Easter egg to the print edition where readers can receive a reward via an AR-powered offer; you will, of course, ask for each reader’s name and email address before handing out those rewards.

This approach to marrying digital to print is totally unobtrusive. Print readers who don’t want to bother with their phones can continue reading the book without interruption. Those customers interested in learning more, interacting with authors or uncovering special publisher offers will likely see the value of connecting their phones with the printed page.

The possibilities are endless. So the next time you see a Pokemon Go player wandering aimlessly be sure to thank them for helping identify new ways of distributing, promoting and enriching content.


The short-form content resurgence

Statistics-76198_1920I remember the first time I heard the phrase “info snacking” back in 2007. It was when the Kindle launched and Jeff Bezos said his newfangled device would slow the info snacking trend and enable deeper engagement with content.

The Kindle platform certainly launched the ebook revolution but it’s interesting that it didn’t halt short-form content momentum. In fact, I’d argue that info snacking is more popular than ever before and, ironically, that popularity is largely driven by Bezos’ own company, Amazon.

Remember the late 1990’s when it seemed like publishers could generate digital income by selling individual book chapters? Once upon a time I too thought that might be a viable model but in hindsight it’s clear books and chapters can’t be treated like albums and songs. Most books are written so that the individual chapters are too reliant on each other, thereby making them far less valuable individually.

We need to think about taking things in the opposite direction. Rather than tearing apart a book and trying to sell individual chapters, content needs to be developed in short, granular formats so that each piece can be sold on its own and can be remixed with other granular pieces. And while this is mostly true for non-fiction I can see where it also has potential for some fiction works as well.

Short-form content success is all around us. Amazon launched Kindle Singles several years ago and the program has grown to more than 2,000 titles today. A few days ago they announced a program called Singles Classics where they’re breathing new life into older short-form evergreen content from the pre-digital era. And earlier this month they launched a short-form initiative within one of their audio subsidiaries called Audible Channels.

All of this simply reflects the fact that we’re all pressed for time but we still want to consume content. Sure, there’s nothing quite like fully immersing yourself in a long book written by a wonderful storyteller. But these short-form services are simply addressing our craving to be hyper-efficient, aware of the latest trends in our jobs/careers and always up-to-the-date on worldly news.

The movement isn’t going away, so what is your organization doing to address it? As you think about that question be careful to look beyond written content. I finally decided to buy one of those Amazon Tap devices and it’s only reinforced my earlier belief that voice UI’s and audio content consumption will be important models in the future.


Here’s what book publishers can learn from the podcast model

Screen Shot 2016-06-26 at 1.38.08 PMDid you make the same mistake I did and assume podcasts are yesterday’s platform, that interest in them has plateaued (at best) and they’re not worth thinking about today? If so, here’s a short article that might help you re-think your stance. If you’re still not convinced have a look at the infographic in this article, paying close attention to the chart showing how podcast listening is on the rise.

What seemed like a fad that’s dying off is actually showing nice growth. I’m contributing to that growth as I now listen to a variety of podcasts during my daily work commute. As I leverage this medium I’m realizing it offers some very important lessons for book publishers:

Simple, easy subscriptions – When I discover a new podcast I’m interested in I literally click once to subscribe and the content stream comes to me. What could be easier? More importantly, what’s the analogy in the book publishing world? How do I “subscribe” to an author, series or topic? We all have our favorite authors. Wouldn’t it be terrific if a single click could initiate a subscription to everything they write in the future? That includes having samples of their new books delivered automatically to your preferred reading app/device.

Steady rhythm – Your favorite podcasts are usually delivered on a predictable schedule. Some are daily while others are weekly. This rhythm leads to anticipation, knowing that today’s edition will be loaded on your device at the usual time. This is another concept that’s totally foreign to book publishers. Books are released according to seemingly random schedules and some publishers are still even locked into the old “season” model. If you’re going to enable readers to subscribe to an author or topic as described above, be sure to produce a steady, engaging stream of valuable content for your audience.

Discovery – This remains one of the hot topics, always on the minds of book publishers. If you’re focused on discovery think about this question: How well do each of your products enable discovery of your other, related products? Some publishers still rely on back-of-book ads, even in ebooks. How about automatically delivering other, related content to your audience? A good example is how NPR promotes new podcasts. Yes, they advertise by plugging new ones in old, established podcasts. But recently I noticed they took the bold step of automatically downloading the first segment of a new podcast onto my device. I don’t recall opting in to that and it might irritate anyone keeping a close eye on their data plans but it’s a novel concept. I wasn’t going to seek that new podcast out and now all I have to do is click “play” to try it out, yet another example of one-click access and engagement.

If you haven’t been paying attention to the podcast marketplace it’s time to take a closer look. Subscribe to two or three that look interesting and see what other lessons can be learned.


How “Send to Kindle” can help neutralize Amazon

Screen Shot 2016-02-07 at 10.52.39 AMPublishers who sell ebooks direct to consumers typically do so in EPUB format. That’s because most publishers are still wedded to the false sense of security DRM provides and EPUB offers a popular DRM solution. Contrast that with Amazon’s format, MOBI, where Amazon is the only company who can apply and manage MOBI’s DRM’d files and settings.

A former colleague of mine and I used to get a kick out of reading the many painful steps readers are forced to go through when buying DRM’d EPUB files direct from publisher websites. It’s not uncommon for the process to require more than a dozen steps to proceed from buying to reading. Most of the process has to be endured once again if the consumer decides to start reading the same book on another device.

Click here or here to see the many hoops one must jump through to install DRM’d EPUB ebooks on one device as well as read them across multiple devices. It’s no wonder when you search for help on the topic the most popular links aren’t how to manage the process but rather how to remove the DRM and eliminate the associated headaches.

More and more publishers are starting to realize that DRM is pointless but they’re still missing out on one of the biggest opportunities of all: Putting their DRM-free ebooks into a reader’s Kindle library.

It’s no secret that Amazon dominates the ebook marketplace. Most readers have built a substantial Kindle library and the last thing they want to do is create a new library outside the Kindle ecosystem. They simply want all their books in one place.

Amazon’s Send to Kindle functionality has been around for quite awhile and I believe it’s one of the most underutilized services available to publishers. The Send to Kindle email option lets publishers push non-DRM’d ebooks directly onto a consumer’s Kindle bookshelf. I’m sure it was originally designed for documents other than ebooks but I think it’s time for book publishers to take advantage of it for their ebooks as well.

In addition to simply selling EPUB or PDF ebooks, why not provide readers with the MOBI version and push them directly onto their Kindle devices and apps? All you have to do is ask the reader for their unique Kindle email address and then have them enable inbound emails from your domain. Once that’s in place you’re able to place the ebook on their shelf just like Amazon does.

Once you’ve established that direct relationship with the consumer and their Kindle account, why not ask them if they want to opt in to receiving future related ebook samples from you? They’ll no longer have to search for similar books from your list as you’ll be able to automatically push samples to the reader’s Kindle bookshelf as they’re published. Take it a step further and make your samples available via this service 30 days before they’re available anywhere else. Get even more creative and offer a random free ebook prize to some number of lucky winners every month. There are plenty of ways to make Send to Kindle work for you and your customers.

It’s all part of creating a compelling reason for readers to come to you, the publisher, rather than always relying on retailer partners. Used wisely, the Send to Kindle service can help neutralize Amazon’s dominance while also helping publishers establish a better direct relationship with their customers.


What’s your mobile, snackable content strategy?

Snacks-1025396_1920Last week I highlighted some of the more interesting findings reported in a document Google published called Micro-Moments: Your Guide to Winning the Shift to Mobile. This week I want to focus on a couple of other important points in that document as well as provide an example of how publishers need to leverage the mobile opportunity that awaits them.

In my earlier article I mentioned Google’s stat about searches for video how-to content. The search giant said the year-over-year growth rate for how-to videos is 70%. So despite the fact that YouTube is hardly a new sensation it’s clear the momentum for how-to solutions is with video, not written content. After all, would anyone dare claim that how-to written content is growing by at least 70%?

Here are two other noteworthy stats in Google’s document:

  • On page 14 they state that 48% of smartphone users are more likely to buy from companies whose mobile sites or apps provide instructional video content.
  • On page 22 we learn that, when in stores, 82% of smartphone users turn to their devices to help them make a product decision.

Last week I asked you to consider how your brand performs on keywords searches that are vital to your business. Now let’s narrow that down and ask the same question specifically for an in-store mobile experience. My guess is your brand is nowhere near the top of the results and even if it is it probably doesn’t deliver a short, effective mobile-optimized solution.

In the publishing world we often focus on print vs. digital and how digital will one day replace print. Recent trends indicate that the digital shift has slowed and ebook momentum has plateaued, for example. I tend to agree with Bookshout CEO Jason Illian who points out that we’re actually on the same trajectory other technologies have experienced and that we’re currently sitting in what Gartner refers to as “the trough of disillusionment.

If so, what should the publishing industry do as we await the market’s advancement to the next stages on Gartner’s curve, “the slope of enlightenment” and “the plateau of productivity”? I suggest we stop framing print and digital as mutually exclusive and focus instead on how digital can complement print (and digital).

As an example let’s use the print edition of the best-selling book The Life-Changing Magic of Tidying Up. (I picked this one simply because it’s currently #1 on Amazon’s bestseller list but the same model I’m about to describe could be applied to a wide variety of titles and genres.) According to Amazon, the author offers 200 pages of advice on how to “declutter homes into spaces of serenity and inspiration”. My loving wife has often referred to me as a hoarder, so I’m sure I could learn quite a bit from this one…

I’m not sure I could force myself to read 200 pages on decluttering. It would be a long and slow effort but here’s what could make it more interesting and engaging: a mobile companion that provides inspiration and bite-size nuggets of tips to guide me on my decluttering journey.

The publisher could offer a free mobile app that complements and also serves as a marketing and discovery tool for the book. First the reader sets a goal of how fast they want to read the book. Maybe it’s spread out over a four-week period. The app also asks the reader if they want to opt into either push messages in the app or text messages to their phone; either way, the goal is for the app to provide the reader with tips on how to act on what they’ve already read as well as provide a preview of what’s to come in the next section of the book.

The key is to focus on mobile presentation and consumption. That means short bursts of content, much of which is probably 20- to 30-second videos.

This model offers the following benefits:

  1. It enables the publisher to establish a direct relationship with all their otherwise anonymous readers. The publisher features the free companion app on page one of the book and the quick registration process enables publishers to make the direct connection with their readers.
  2. The app helps make the book more engaging for readers, likely leading to a higher rate of success as they declutter their world.
  3. It serves as a gateway to discovery of the book itself. Since the publisher gives the app away it helps market the book by providing tips and techniques, the details of which can only be found in the book itself. Think of this as the next generation of the book sample.

As I mentioned earlier, this solution works well for a book on decluttering but that’s just one example. And notice that I positioned the app as a companion to the print edition. It also complements the ebook, of course, but my point is to show how print and digital can work together.

Give some thought to the type of content you produce. Can you envision a model where a digital companion delivers the three benefits I outlined above?


Maximizing mobile micro-moments

Girl-925284_1920Google recently published a document entitled Micro-Moments: Your Guide to Winning the Shift to Mobile. You can download the PDF here. It’s a quick read and worth a close look.

I’ve long felt the publishing industry is too focused on simply delivering the print experience on digital devices, something often referred to as “print under glass.” That strategy has created new revenue streams over the past 10 years but it’s not the end game. Mobile represents opportunities for new methods of engagement and discovery; that’s precisely what Google’s document outlines with plenty of interesting stats.

For example, the document notes that “we check our phones 150 times a day” and then reminds us that each session is barely a minute long. That might be an average length but I’ll bet the mean is even shorter. How often do you pull your phone out for only a quick, 10-20 second peek at your email inbox or news? That’s probably my typical session length and based on what I see around me I’m confident it’s the case for plenty of others as well.

So what about that oft-used scenario of pulling the phone out to read an ebook while standing in line at the grocery store? That’s clearly something publishers fantasize about but consumers rarely, if ever, do. It’s more info snacking and short, bite-sized pieces of content that are consumed in most of these mobile sessions.

That trend isn’t changing anytime soon. As the Google doc states, in the past year mobile sessions have increased 20% while session time has decreased 18%. We’re shifting from longer desktop sessions to shorter mobile sessions.

Google asks this very important question: How does your brand perform on keywords searches that are vital to your business? Don’t just focus on search results ranking, btw. You may appear at the top but does the resulting link take a visitor to a terrific mobile experience? Responsive design is part of that but the more important point is that the destination page is constructed with content or a call-to-action perfectly designed for those 10-20 second mobile session bursts.

What does a great, mobile-optimized destination page look like? For one thing, it’s probably a single screen requiring no scrolling on even the smallest of phones. If you can’t deliver on that promise you need to focus on giving the visitor a reason to provide their email address for more details. Again, everything should be designed for an extremely short user session.

On page 8 Google says that that video how-to searches are still on an extremely steep growth trajectory. They’re up 70% year-over-year and far from plateauing. Your business is probably built around written content, but if you’re in the how-to space you’ve got to think about how to remain relevant as more solutions are discovered via mobile searches and delivered in video, not written, format.

Take a few minutes to read and highlight elements of Google’s report. There’s a lot of terrific information here and I guarantee it will both inspire you as well as force you to think about the importance of reframing your brand around mobile. There’s so much here, in fact, that I want to revisit the document in next week’s article. So stay tuned for part two where I’ll highlight several other important points as well as share a use-case for how mobile can complement, not replace, print.


Kindle Instant Preview reinforces Amazon’s dominance

Screen Shot 2016-01-10 at 3.51.46 PMEbook preview widgets have been around for quite awhile but when was the last time you saw one on a blog or website? I can’t recall the last one I saw but I’ll bet that’s about to change.

Amazon recently released their Kindle Instant Previews widget and it does what its name suggests. In short, this tool makes it incredibly easy to embed or share an ebook sample on a web page or via email. The fact that it’s offered by the biggest ebook platform on the planet means it’s well positioned for success.

The sample below showcases the Kindle Instant Preview widget with one of my favorite books, The Innovator’s Dilemma.

It’s simple yet quite powerful. Most authors want to push their sales towards Amazon to help boost rankings there. Now authors will be able to place samples directly on their site, encouraging visitors to explore their content without ever leaving the site. Kindle Instant Preview also lets you add your Amazon Associates ID so you’ll be able to earn income from purchases generated by the widget.

As simple and effective as this widget is, there’s at least one key feature that’s missing. Some website visitors will have the time to read an entire sample while they’re on your web page but many won’t. The widget offers a “Read in Kindle App” button that opens the sample in the Kindle app on your device. I don’t want that though as I’ll probably discover the sample while browsing on my laptop but I don’t have (or want) the Kindle app installed on my laptop. Amazon, the king of “one-click buy” should add a “one-click send” option to push the sample directly to my Kindle app or maybe even my email inbox where I can read it later.

Given the popularity of free titles, especially the first one in a series of other paid titles, I’m wondering how liberal Amazon is with their definition of “sample.” Since the book is free I could see where an author might want to offer the entire book as the sample. If so, they could then enable visitors to read the entire book on their website. Again, that’s only for visitors who have the time to read an entire book on a website, but perhaps a few creative authors will find ways to encourage this sort of behavior.

No matter how this service evolves, one thing is clear: It only helps Amazon further increase the reach and dominance they already enjoy in the book industry.


Solving discovery with better content marketing

Screen Shot 2015-12-07 at 9.39.30 AMAsk a publisher to tell you the biggest challenge they face today and you’ll get a variety of answers. I know because I’ve been asking publishers for quite awhile now. I also made sure I posed the same question to the 20+ publishers I met with at the recent Frankfurt Book Fair.

Although the answers vary there are a small number of popular responses. One of the most common ones is simply “discovery”. Publishers are concerned that their content will never rise above all the marketplace noise.

One of the keys to addressing discovery is to focus on where consumer eyeballs already are. Facebook is a terrific example. As the planet’s largest social media network it represents an enormous opportunity for content discovery and consumption.

But go to any publisher’s or author’s Facebook page and what do you see? Mostly timelines with tips, comments and observations. Many authors that I’ve spoken with tell me that they’re trying to quickly redirect Facebook visitors to their personal websites where they have more control over things like sharing content samples with prospective customers. These same authors tell me they realize they manage to get far less than 100% of those Facebook visitors to click through, so many visitors leave without ever sampling the author’s content.

Other publishers and authors tell me they love it that they have tens of thousands or even hundreds of thousands of Facebook likes, but they don’t see any way to engage more deeply with those fans. As one author put it, “most people probably simply like my page and never come back.”

I’m pleased to announce that the Olive Software team, where I’ve had the pleasure of working since 2013, has come up with a way to help publishers and authors make their Facebook pages more engaging. And while it’s not limited to Facebook, let’s start there…

For a live example of this, check out best-selling author Valorie Burton’s Facebook page. It looks like a lot of author Facebook pages, right? One key difference is the “Read FREE Sample” button in the page’s nav bar. Click it and you’ll be taken to this view of her page; there the timeline has been replaced by a sample of her blockbuster hit, Successful Women Think Differently.

Rather than asking visitors to jump to another site or go through a multi-step process to download her sample, Valorie now lets them experience it right there on her Facebook page. And thanks to Olive’s SmartLayers capabilities, we were able to quickly add a call-to-action at the end of the sample where readers can buy the book from their favorite retailer.

I mentioned this capability isn’t limited to Facebook. Olive’s platform presents content directly in the browser, so there’s no app to download and no plug-in to install. That means the same sample widget you see on Valorie’s Facebook page can also be docked on an author website, on a publisher’s catalog page and even right inside the message body of an email marketing campaign. That’s right, publishers can now embed their ebook samples in email messages and not force readers through a bunch of multi-click gymnastics before they can even experience the content.

This solution goes well beyond samples, btw. A couple of publishers I’ve shown it to noted how they could resurrect some of their older, long-tail titles by publishing them in a serial fashion on their website, Facebook page and elsewhere. Their plan is to put the first chapter up one week, then replace it with the second chapter the next week, etc. They see this as a way of encouraging readers to visit their website or Facebook pages regularly, not just clicking a like button and never coming back.

It’s time for publishers to revisit the discovery problem, this time, applying tools like Olive’s Dynamic Book (ODB) application where content can be placed directly inside the pages and platforms where prospective customers are spending all their time.


What is a "book-plus" and who are tomorrow's readers?

Amy July 2014Some people think the book is dead, much as Joe referred to obsolete single-use devices like the GPS while discussing the potential for peer-to-peer content distribution. The truth is, we're living in a world that's going to want and need not necessarily more books in general, but more great books. These books won't be plain-text as so many are today. They'll be book-plus, not book-minus.

One of the biggest lessons of self-publishing and the e-book explosion is that form and function are inextricably intertwined. What goes between the covers of a book (or on an e-reader or tablet) matters. We have tools and technology right now (EPUB3) to make books that are visually exciting, and which present imagery, type design and interactive elements in ways that work together to delight readers.

Form is one aspect of innovation. Content, i.e. writing, art, and design: these things also need to be made better in order to meet the expectations and needs of readers.

Let's take writing itself, for example. For some reason, even among publishing veterans, many people think that writing a good book that delivers value to the reader is some sort of accident – or they think it's something that is best-done under extreme adverse conditions (such as working in a hostile environment for free for years). Writing is may also be assumed to be a simple skill anyone can learn quickly from reading a couple of books or taking a $99 "Masterclass" provided by video instruction.

Of the over 2 million books published each year, fewer than 20 sell more than 250,000 copies – and of those, some are multiple editions of the same book/author (i.e. paperback and movie tie-in versions). Those same crazy big numbers also tell us that a lot of people desire to communicate with others via the written word.  We have more books than ever before, but we don't have better ones. We also don't have books that meet the needs of all of today's potential readers, much less the readers of tomorrow.

Book innovation isn't about quantity of product or "discoverability." It's not about devices or technology. Today's innovators in other industries aren't making new tools, they're inventing new ways to use the tools we already have. Take Slack for example. Slack is taking the working world by storm, revolutionizing how teams work together. The company took marketing and development inspiration from Michael Schrage's 2012 book (yes, book – published by the Harvard Business Review) Who Do You Want Your Customers to Become?

According to Schrage, "innovation is an investment in your customer’s future — a human capital investment in who your customers really want or need to become."

Currently, about 20 percent of North Americans regularly buy and read books (about 70 million people). This percentage hasn't shifted much in recent years. Although book quantity has increased exponentially, book quality in physical and objective content measures hasn't. Almost 80 percent of North Americans have read at least one book in the prior year, far more than have listened to all genres of music, used Facebook, bought a movie ticket or watched the Super Bowl. The highest rate of readership is found among a group that media sometimes portrays as non-readers: African-Americans. Media also portrays millennials as online consumers, not readers. The truth is, young people ages 18 to 30 read more, and more often than any other age group. They prefer paper books to e-books for reasons of quality, user experience, and personal benefit from reading. You can see these facts reflected in the 2014 PW sales figures.

These facts are all opportunities for innovation.

Despite the technology that has enabled a large number of people to self-publish books – the publishing industry and nearly all of its elements and operational systems hasn't changed much since Jack London's day. The only difference is that now, self-published writers can directly reach readers. They still have to perform all the other tasks that go into making, publishing and selling a book in any format.

Books are still made and sold with the same attitude and approach as they were during a time in which a much smaller number of "elites" were literate and had time and money to buy and read books. In those days, Henry Ford famously said, "If I'd have asked my customers what they wanted, they would have told me a faster horse."

Ford inspired Apple's Steve Jobs (who equally famously - and wrongly - declared "No one reads any longer" – ironically, the iPad is the best delivery system for enhanced e-books today, far superior to the Amazon Kindle, a product that Jobs was criticizing at the time).

"We build products that really turn us on," Jobs told Fortune in 2008. "It's not about pop culture and it's not about fooling people, and it's not about convincing people that they want something they don't. We figure out what they want."

We can feel what today's young readers want in their aspirations, hopes and idealism. We can see their openness to change, their embracing of diversity. Our young people are encouraged to participate equally in school, learn as part of collaborative teams, and express their thoughts openly. They graduate to a world of one-sentence pitches, arrogant agents, elitism, aggression, "fan communities," social media "platforms," and false market-driven conformity that assumes they are stupid herd beasts.

As one young reader recently said at San Diego's Comic-Con: "I like paper books because they're not like my tech. Their batteries don't run out." He said he enjoyed reading something that made his heart beat faster and put his mind in a better place. He spent about an hour reading Is SHE Available? "It's not like other books," he said. "It's a lot more. I have to go slow. It's overwhelming."

Is SHE Available? has blown everyone involved in making it away, and everyone who's bought and read it. Making it managed to bring the best out of everyone involved, from the author to the book designer to each of the 26 artists involved, the animators, and the musical artist/recording director.

The current sub-set of regular e-book readers are fine with e-book text dumped on a screen, but the majority of people don't just want text dumped on a screen and aren't interested in the same stories re-told with slight variations. This is one of the reasons why younger readers prefer paper books. If art, video, and music are included, it should serve the book well, not be tacked on as an afterthought. The writer has to be involved at all steps, not left behind at the production gate. Books, ideally, should be designed with readers in mind, not dumped into flat, HTML-based formats or crammed onto the smallest number of printed pages possible to save a few nickels.

Is SHE Available? is Chameleon's showpiece and first major publication. It won't be our last.

Thank you to Joe for giving us this opportunity to present our vision. It's about product, process, and value to the reader. Henry Ford loved cars and manufacturing and money: he created drivers. Steve Jobs loved tech and user interfaces, accessing data and other people and communicating and working: he created users.

We love words, ideas and books. Not for yesterday and not even for today. We want to create readers and writers for our world of 8 billion, not 70 million.

This article was written by Amy Sterling Casil. Amy is Founder and President of Chameleon Publishing, Inc., the visionary publishers of "Is SHE Available?". 


“What is code?” illustrates rich content potential

The painful reality is that we still live in a print-under-glass world, struggling to produce content that leverages our powerful phones and tablets. I was explaining this to a publisher recently and the phrase “escape velocity” came to mind.

In simple terms, escape velocity is what’s required for an object to break free from another object’s gravitational pull. For example, a rocket being launched from earth or, in this case, a publisher trying to create content that’s more deeply engaging than simply putting the print edition on a digital screen. In the latter case, everything from significant print revenues to industry indifference represent the gravitational pull that needs to be escaped.

The latest example proving we’re still in the print-under-glass era is a terrific Businessweek article called What is code?  The fact that rich and engaging pieces like this draw so much attention and are so few and far between proves we’re still only in the early innings of digital content innovation and evolution.

If you haven’t read the article I highly recommend you take the time and carefully go through it. If you’re not a programmer you’ll learn a lot. But even if you’re a coding master you’ll still learn a thing or two, including how content will eventually take baby steps away from today’s print-under-glass approach.

Here are the most takeaways I got from this Businessweek article: 

  • Measuring visits and reading time – I opened and closed it a few times before finally reading the entire piece. I found it interesting that a pop-up noted how many times I had opened it previously as well as how long I had already spent scanning it. This information may not be valuable for a magazine article but it would be very useful for tutorial content to see how long it takes to learn a subject. It would also be extremely valuable for publishers to discover where readers tend to spend the most time.
  • Dynamic visuals – Be sure to check out the circuitry animation that appears at the start of the second section. If you’re not familiar with the concept of logic gates, take a minute or two to read the callout and watch the animation. And have you ever wondered what happens when you press a key on your keyboard? There’s another animation for this and, as the callout notes, quite a few things happen behind the scenes before the key you pressed appears on your screen. Note that neither of these are “enrichment for enrichment’s sake”. Creating deeply engaging content like this requires a great deal of work, especially when it comes to figuring out exactly what type of dynamic visuals will add to the experience, not interfere with it.
  • Deeper dives, but only if you want them –Note the rounded rectangular numbered items interspersed throughout and how they’re used as pop-up notes. It’s not the best UI element but I love how they quickly provide more depth without taking the reader away from the current paragraph. A key here is to provide this additional depth unobtrusively. The best UI enables a smooth reading flow for readers who don’t care to read these pop-ups while ensuring the additional content is easily accessible for those who want it.
  • Annoying visuals – As good as this Businessweek article is, it would have been even better without the animated blue box character with the black hat and flower. The designer probably felt it added personality or maybe even gave the piece an attitude; in reality, it made the whole experience feel like a 1980’s experiment featuring a Walking Dead version of the Charlie Chaplin PC Jr. character. The lesson here is to focus on functional value rather than gimmicks.

If you read to the end you’ll discover another feature that combines something useful with yet another gimmick, which is unfortunate.

I applaud Businessweek and author Paul Ford for helping show the possibilities of a post-print-under-glass world. Here’s to hoping escape velocity is just around the corner and soon this sort of content will be considered standard, not edgy.