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Latency has already killed newspapers

10Jul10

Latency has become a massive issue in the delivery of all media, particularly news. We live in a time where on-demand is the norm and products that fall outside that are looking increasingly obscure and irrelevant.

As time goes on the of the period of latency that is acceptable and qualifies information as being “news” is decreasing. 24 hours used to be fine, it was an acceptable latency. Now only minutes and seconds will do.

Sure they only write the last bits that go in newspapers minutes before it’s printed but the latecy to the next edition of the paper is 24 hours at best.

The latency involved with publishing a hardcopy newspaper makes it completely irrelevant to a contemporary audience, who demand accuracy and the very latest, most accurate information. Yesterday’s rumours won’t do.

I write this after having seen somebody on the tube reading the second edition of The Sun which does clearly carry the news that Raoul Moat is dead, I had thought when I saw this “oh that’s good they managed to get it in the paper” it’s not really that good because I saw it first thing this morning on the Guardian website after having seen it on BBC Breakfast, I’ve seen all the pictures and all the video I need to, what can The Sun possibly offer me on this story? Literally nothing.

By now the story that the man was reading on the tube is probably completely out of date, and potentially misleading if any fact has now changed. I’m writing this at 16:41 on Saturday the 10th of July, the Guardian have the story” Raoul Moat killed by single gunshot in standoff with police” which was last updated at 16:18, just 20 minutes ago, so some facts have changed, this is news. The newspaper the man on the tube was reading isn’t news anymore it’s a reference, it covers events that happened yesterday, yesterday isn’t news anymore, it’s history.

It also isn’t news that England are no longer in the World Cup, it’s history a minute; a second after everybody in the country watched the whistle blow at the end of the game. So why do “news” papers all run “England are out of the World Cup” front pages? We already know that! It is completely irrelevant to tell us yet again with your clever headlines, which aren’t funny anymore, we’ve already seen the virals!

The day we went out of the World Cup I’d already read 5 or 10 news stories online analysing every possible angle on why we went out and I’d seen interviews from all the world’s top pundits on TV. If anything the same news being on the front page would make me not want to buy the news(reference)paper, there is no value there for me at all. Contemporary audiences demand value.

The only way you can now cover news is through a latency free digital medium. My generation will not buy newspapers when we’re 35/40. No way. Newspapers have 14/15 years left, it could be less, it won’t be longer. After that all news coverage will be digital, actually it already is!

What Henry Moore teaches us about publishing

02Jul10

Henry Moore, Reclining Figure, 1936

I’ve been to see Henry Moore at Tate Britain twice now and I plan a third visit before the exhibition closes in August. My favourite room in the exhibition is the one you come to last, Room7: Elm.

I love the Elm room so much because for me it is the clearest example of the way in which Moore worked, and it demonstrates his genius in vivid form. His genius was to work in collaboration with the material to produce his work, the material is as much part of the artistic process as Moore is.

Moore forms the shapes he makes around the wood, working with the grain to balance his vision against what the material is willing to allow him to do.

When Moore started work on the piece above it was a massive, solid block of wood, he didn’t know the exact grain patterns he would reveal, but he started working comfortable in the knowledge that as an artist he was not completely in control.

When Moore finished I can imagine him standing back and in conversation with the wood congratulating and thanking it for bringing him such monumental success. Without understanding and respecting the material Moore’s work wouldn’t mean so much to so many.

Perhaps when Moore finished making his work he didn’t get the shape he saw in his mind’s eye when he started, but the work is better for it, his sympathy and respect for the material to decide where knees, shoulders, breasts and head all precisely sit make the work wholesome, real and meaningful.

And now for the publishing bit…

Henry Moore served his audience work that was shaped around the material that he carved, we must do the same. As we carve our products into new forms we must continually react to changes in the surface of the material with which we work, we cannot force or dictate them into a shape that cuts across the grain; we are not carving a block of blank chalk but a beautiful piece of Elm.

As publishers this means adapting to the grain of cultural, social and economic shifts and where appropriate carving our products using new developments in technology and changes in editorial direction. We have to work in collaboration with and respect the environment in which we publish.

We can only form our products effectively and create them as art by understanding the raw materials we work with will change dramatically as we move forward, we must be ready to adapt quickly and sympathetically to these changes before we disrupt the grain and spoil our products, it is then that our art falters.

The importance of good management

02Jun10

Reading through a couple of articles by Ruth Spellman, Chief Executive of the Chartered Management Institute, a few issues she raises rang alarm bells, and I imagine they will do for hundreds of people across the UK’s publishing industry.

In an article about management style Ruth wrote.

If we are serious about pushing the UK towards economic recovery, businesses need to be innovative, accessible and empowering. It’s what employees need and want.”

Ruth Spellman, 2010

I couldn’t agree more, Ruth.

Detailing the plight of the managers Ruth goes on in another recent article to detail the following.

Yes, managers are currently under a great deal of pressure to restore their organisations back to pre-recession health, but there are no excuses for pushing employees so hard that the health of the individual is sacrificed for the health of the business. Work should be a place where people are built up, not broken down.”

Ruth Spellman, 2010

Read the last sentence again, it’s remarkable but it really shouldn’t be, it should be standard practice; we should take it for granted this will happen.

“Work should be a place where people are built up, not broken down.”

Imagine working in a business where the driving force was to build up employees, make them better, bring them a wealth of experience and look after them. That would be good for employees and for the business, especially in these hard times.

The requirement for good management steps up a level and becomes a lot more serious when you look at the implications bad management can have on the health of employees and what that means for the business.

If employers need a financial incentive to develop smarter processes to avoid putting pressure on their workforces to deliver more for less, they should bear in mind that presenteeism — underperforming at work due to ill-health or stress — costs the economy £15bn each year, almost double the cost of absenteeism. This fact alone should encourage employers to do more to manage increased workloads, keeping morale and staff productivity levels up.”

Ruth Spellman, 2010

Management is a two-way thing. Most managers don’t get this, they don’t realise they are managing humans, they think they are just managing a spreadsheet. Most managers don’t innovate, and they aren’t accessible or empowering because they don’t understand the employer/employee equation involves delicate unpredictable human emotions not raw data, which can be manipulated at the click of a button to tell them what they want.

And why does this happen? Because only one in five managers have any type of professional management qualification. A lack of qualified managers has bred a class of authoritarian, bureaucratic and secretive managers obsessed only with the maintenance of their own seniority. This doesn’t work, it isn’t productive, and it ultimately leads to failure for all involved.

All employers have a duty of care to employees and are legally required to assess the risk of work-related stress, it is a duty of care the UK publishing industry does not take seriously, this needs to change if the task managers have of “restoring their organisations back to pre-recession health” is to be achieved.

In an industry that has taken big hits and suffered harshly at the hands of the recession we need innovative, accessible, honest and open managers who can create an environment where the people left after the streamlining process of the last two years can be built up and bring the UK’s publishing industry a new lease of life.

The importance of clarity

23May10

You wouldn’t expect a broken lens to take a perfect picture, it will take one, but it will come out looking like half the image it could have been, even if the person processing the image isn’t making a mistake.

A lack of clarity is a very real and present danger in publishing, without leaders and working environments that provide clarity products fail their audiences, and businesses fail their employees; breaking the duty of care that is legally afforded to them, which results in stress and anxiety in the workplace. This is not acceptable in any circumstances.

Without a working environment that aspires to deliver its product or service with clarity of thought and vision at all levels, the only result can be a failure to meet the product’s maximum potential.

Clarity must come in 4 areas to avoid failure:

  1. Clarity of communication:
    Communication chains must be clear and open. Nobody must be hidden and nothing covert.
  2. Clarity of strategy:
    A strategy needs to be unambiguous, focused and forthright.
  3. Clarity of planning:
    Planning must seek to deliver on the answers the strategy is finding for the business.
  4. Clarity of execution:
    Plans must reach those who execute them in a clear framework so all objectives are met.

A lack of clarity in any of these areas will play havoc when trying to deliver a media product. Decisions will be hard to make, then misunderstood and not executed correctly.

It is not a clear management strategy to keep people in the dark, avoid talking to them and conduct one’s self in a manner other than that which leads to amicable understanding.

Media products are complicated, they require editorial, commercial and technical input. Due to this complex nature the need for clarity in operational procedures is vital to assure products meet their full and unadulterated potential.

Let me be clear:

A lack of clarity is a fatal black hole, which will swallow up everything in its path and end in disaster for publisher and audience.

Don’t crave followers. Do crave advocates.

05May10

Image by Spencer Tunik

People like making and maintaining human connections; they are what make us who we are. The people we form these connections with become acquaintances and friends; you can have a shared experience with these people that make a valuable addition to your life. If you form a connection like this you mutually advocate each other, this is a positive, active, human connection.

These human connections mean a lot more than the passive brand connections many people have with media products, and which some brands are actively looking to increase without thinking about what value, if any, these passive followings really have.

We don’t just need more people following us, we need more acquaintances and friends, we therefore need to make our brands more human and personable so people form relationships in which they feel they can advocate what we do.

The image above isn’t included for titillation or shock value. Specer Tunik once said of his art that the subjects are pivotal to the work. His work is credible because those involved completely buy into the idea, they advocate it, they are not just a following but working in collaboration with him to produce something startling, special and completely unique. Art.

It never ceases to amaze me when ordinary people get into the spirit of what I’m doing. It’s pivotal to my art.”

Spencer Tunik

People are pivotal to media products. Our products are our art.

Publishing brands are losing their credibility and relevance because audience expectations around forming connections with them have changed. This is due to the proliferation of interpersonal methods of digital communication like email, forums, Facebook and Twitter. The ability to share information with other people in real-time is easier than it ever has been and we maintain regular communications with more people than we ever have done, so why should we listen to what a brand has to say with the same level of interest as a human connection? We shouldn’t and we don’t.

There is still massive value in the media brand as a platform to enable professional content creation but more than ever before it is the personality and human behind the brand operating on the platform in which our audience are interested in and want to form a meaningful connection with. If the opportunity to do that is absent for the audience they don’t buy into it.

To facilitate the audience advocating our brands we must humanise them to the greatest degree possible, the audience should feel they can connect with the people behind the brand and form a connection with us on a human level.


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I'm David Williams the Creative Director of Men's Digital at Bauer Media.

This blog is my take on the media and technology issues that matter to me. I am particularly interested in audiences, brands and technology.

You can also find me on Twitter, Facebook, YouTube, Delicious, Flickr and Friend Feed

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The views in this blog are those of the author alone and not of Bauer Media.