Sunday, October 2, 2011

HOW TO: Haunt a Modern House [COMIC]

Mashable is the largest independent online news site dedicated to covering digital culture, social media and technology. With more than 50 million monthly pageviews and 14 million unique monthly visitors, Mashable has one of the most engaged online news communities. Founded in 2005, Mashable is headquartered in New York City with an office in San Francisco.

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Scientists Turn Brain’s Visual Memories into a Mind-Blowing Video

Ever dreamed of recording your dreams and turning them into a video clip? The technology that enables you to do that is near: UC Berkeley scientists figured out a way to turn the way our brains interpret visual stimuli into a video, and the result is amazing.

To be able to do this, the researches used functional Magnetic Resonance Imaging (fMRI) to measure the blood flow through brain’s visual cortex. Then, different parts of the brain were divided into volumetric pixels or voxels (the term might be familiar to those who remember early 3D games which were based on voxels instead of polygons which are more commonly used today). Finally, the scientists built a computational model which describes how visual information is mapped into brain activity.

In practice, test subjects viewed some video clips, and their brain activity was recorded by a computer program, which learned how to associate the visual patterns in the movie with the corresponding brain activity.

Then, test subjects viewed a second set of clips. The movie reconstruction algorithm was fed 18 million seconds of random YouTube videos, which were used to teach the program how to predict the brain activity evoked by film clips. Finally, the program chose 100 clips which were most similar to the movie the subject had seen, which were merged to create a reconstruction of the original movie.

The result is a video that shows how our brain sees things, and at moments it’s eerily similar to the original imagery.

“This is a major leap toward reconstructing internal imagery. We are opening a window into the movies in our minds,” said Professor Jack Gallant, a UC Berkeley neuroscientist and coauthor of the study published in the journal Current Biology.

Recording our dreams and “reading” the minds of coma patients requires a lot of work still, as current technology only enables scientists to interpret brain activity while the test subject is watching a movie. Ultimately, it could be used to decode how our brain processes visual events in everyday life or, perhaps, our dreams.

Check out another video, which shows the movie reconstruction algorithm at work, below. More details about the study can be found here.

[UC Berkeley via Gizmodo]


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Why Facebook Timeline Is Made For Its Youngest Users [OPINION]

This post reflects the opinions of the author and not necessarily those of Mashable as a publication.

When Facebook launched its integrated messages system in November 2010, founder Mark Zuckerberg related an anecdote about his girlfriend’s younger sister. He talked about how the young woman and her friends, high school students, used Facebook in a way that was foreign to him. When he asked them what they used for email, they said they don’t really use email — it’s too formal; they use Facebook and SMS.

It was this story that I couldn’t stop thinking about as Zuckerberg revealed the latest iteration of the Facebook profile at f8 on Thursday called Timeline. This was a feature aimed squarely at the generation of users who grew up with Facebook. As Zuckerberg was talking, my former colleague Brenna Ehrlich tweeted out: “new facebook seems like too much work. i do not enjoy scrapbooking, IRL…” My response, “That’s what I was just thinking…”

For many older users, myself included, it is doubtful that we will go back to the time before Facebook (for me, late 2004) to fill in the gaps on my Timeline. From talking to other people my age since the announcement, it seems more likely that people of our generation will sanitize stuff that resurfaces rather than adding more content to the stream. But for younger users, they don’t need to fill in any gaps — their Timeline is already more or less complete.

When Zuckerberg asked those high school students how they found out about new Facebook messages if not by email, their response was, “Through Facebook — we’re already on there.” Teens and children ages 9-19 spend about 55 minutes each day on Facebook, compared to 38 minutes per day for older users, according to recent research. They also share more about their lives than older users (though mostly because they spend more time on the site, say researchers). I see this anecdotally every day; my high school-aged cousins talk to their friends in near-real-time via messages on each other’s Facebook walls. They share every aspect of their lives, from the mundane to the exciting, from locker combinations to results at gymnastics meets.

It’s these users at which Timeline (and the other updates that make sharing experiences even more universal) is aimed. Slate’s Farhad Manjoo worries that this new variety of “frictionless sharing” will kill taste. “I know this sounds obvious, but it’s somehow eluded Zuckerberg that sharing is fundamentally about choosing,” he wrote in a recent column. “You experience a huge number of things every day, but you choose to tell your friends about only a fraction of them, because most of what you do isn’t worth mentioning.”

Manjoo worries that the new Facebook encourages too much sharing. He doesn’t want to be bored by your updates. But I think he’s missing the point: The new Facebook isn’t for him, it’s for users half his age. It’s all about positioning Facebook as the ultimate communications tool for the next generation — one that goes beyond facilitating communication, but also records the history of everyone on the planet.

Just like I would talk to my friends on the phone every day after school when I was a kid, today’s youth talk to each other on Facebook and via text messages. And just like those phone conversations included their fair share of the banal (Really, how much can happen in the average suburban 13-year-old’s life to fill in daily two-hour phone conversations?), so too will those Facebook conversations include plenty of “boring” bits that would offend Manjoo’s sensibilities.

Mashable editor-in-chief Lance Ulanoff worried in an op-ed about Facebook Timeline on Thursday whether other Facebook users would embrace the new service. “Zuckerberg should keep in mind that Facebook succeeded with the Moms and Dads who traditionally left ‘the new’ to their kids. They use Facebook almost as much as their kids and when the kids have moved onto the next new thing, they’re still in Facebook getting real-time information about stuff that matters today,” he wrote. “Let’s hope that [Zuckerberg] doesn’t inadvertently leave his users behind.”

I’d argue that it doesn’t matter in the long run. Though I fully expect a call from my mom once Timeline rolls out to the masses asking what the heck happened to her Facebook, in the end, she can still use it in more or less the same way. But for the generation that has grown up with Facebook, this new direction plays right to them.

Facebook’s current mission statement is “to give people the power to share and make the world more open and connected.” But with Timeline, that mission might be shifting. If Timeline is embraced by the youngest generation of Facebook users, the new mantra might be something more along the lines of, “help people communicate and record their lives.” That might not appeal to you, but then, you might not be a teenager.

Image courtesy of iStockphoto, ilbusca

Is Facebook Trying to Kill Privacy? [OPINION] HOW TO: Use the New Facebook to See Who Has Unfriended You Run a User-Submitted Photo or Video Contest On Your Site With Olapic This Week in Politics & Digital: The Public Speaks hideFlaggedComments(); $('.comment-timestamp time').toRelativeTimeFromAttr('datetime'); var OB_permalink = "http://mashable.com/2011/09/23/facebook-timeline-youth-communication/"; var OB_Template = "mashable"; var OB_widgetId = 'FT_1'; var OB_langJS = 'http://widgets.outbrain.com/lang_en.js'; OutbrainStart();

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Saturday, October 1, 2011

Jim Henson Honored With Interactive Muppets Google Doodle [VIDEO]

Google has rolled out a new Google Doodle to honor the 75th birthday of Jim Henson, the famous puppeteer who created The Muppets.

This is not just any Google Doodle, though. The Jim Henson Company and The Creature Shop partnered with Google to create an interactive doodle to honor his legacy. Using the Henson Digital Puppet Studio (yes, there is a digital muppet studio), they designed and animated the characters, which users can then manipulate using a mouse and keyboard. A YouTube video detailing the work that went into designing and creating the Doodle is embedded below

And, as with all good things, there are lots of easter eggs to discover. We’re still busy trying to find them all.

To play with the Doodle yourself, head over to google.com.

View As Slideshow » Each package gets larger with a mouse-over, and a click on it returns search results pertinent to a specific country or the particular items featured in a scene. This one is from December 24, 2010. The Google Doodle team stars in an homage to the silent film era's greatest star's 122nd birthday, April 15, 2011. This Doodle commemorated John Lennon's 70th birthday in October 2010. Debuting May 10, 2011, this Google Doodle marks dance choreographer Martha Graham's birthday. Commemorated the birthday of the inventor of the Bunsen burner, German chemist Robert Bunsen on March 31, 2011. The great inventor's birthday was honored on February 11, 2011. Marking Independence Day 2010. A real crowd pleaser was this playable Pac-Man game, which appeared on May 21. 2010. Here's a playable version.

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How the Crowd Is Shaping the Future of Storytelling

Molly Barton is president of Book Country, an online community for genre fiction writers, and VP of Digital Publishing, Business Development and Strategy at Penguin Group (USA).

Stories are the foundation of human communication, even when first relayed over campfires — an inherently social and communal setting. The storyteller can change his tale based on the expressions on the faces of his audience — speed up here, slow down there, give more background on a character. The storyteller may hear someone else retell his or her own story in a different way, and use that experience in telling new stories or iterating upon the original. The story gets stronger and more nuanced in the retelling.

In the modern world of broadcast and publisher media, the traditional model relies on a series of individuals reading and choosing which stories will appeal to broad audiences. These gatekeepers evaluate commercial and literary potential based on books that have previously succeeded. Daring stories that push boundaries and bend categories may be passed over because they are more difficult to market. But the tastes of readers and viewers often progresses more quickly than the stories readily available to them reflect.

But what if we created lots of little fires around which writers could tell their stories and gauge the reaction of a keen audience, improving their storytelling before bumping up against the traditional media filter? Would we get more interesting stories? Could we uncover a new group of brilliant creators who might not have connections to those gatekeepers?

Crowdsourcing fundamentally alters the process of content selection — and by extension, storytelling itself — by bringing authors and readers (and, potentially, viewers) closer to the acquisition process. If viewers and readers are given a structured, fun way to give feedback on cutting edge stories, stories that might have been passed over before, these tales have a better chance of gaining the attention of editors and producers who have the funds to bring them to a broad audience.

Having positive reviews and interest from readers pre-publication will help push the boundaries of what a curator in a big company will be willing to consider. This happens in academic publishing with blind peer reviews, but has not been applied to trade publishing. Birthing stories in this context means that writers who’ve been through the peer review process approach the traditional media filter surrounded by a community of supporters who can help their story successfully launch into the crowded media landscape.

This is more than just crowdsourcing. It’s the advancement of the structure of media — broadening the gates, making the gates smarter and more sophisticated so that storytelling innovation is accelerated. Audiences are broader than ever because the people creating the stories are from a broader geographic and socioeconomic cultural swath.

This new model will deliver writers from beyond the traditional media epicenters of New York, Los Angeles and London, and give storytellers from Omaha, Neb., to Oswestry, England, access to previously inaccessible workshopping and publication resources.

When Neuromancer was published in 1984, the genre called “cyberpunk” did not exist. Until Michael Crichton introduced us to The Andromeda Strain in 1969, the “environmental thriller” was but a category of stories waiting to be told. By expanding the process through which stories are found, we give those who are passionate about new kinds of stories the opportunity to influence, and in so doing, increase the likelihood that new genres and sub-genres of stories will develop and find eager waiting audiences.

As self-produced content (whether that be a homemade YouTube music video or self-published book) becomes increasingly popular, many have expressed concern that the quality of the stories will suffer. Here, too, a well-organized crowdsourced model offers a viable solution. Identifying compelling stories is not a numerical game; basing success solely on the number of “thumbs up” votes has not worked and frustrated those who tell stories as well as those who read them. Moving this to a qualitative model — one in which readers offer feedback to storytellers to help them hone their tales and editors rely on substantive feedback to identify stories that appeal to audiences — creates a path for new stories to be noticed.

Online, stories don’t have to be “mainstream” to succeed. They find their way to the right readers and viewers without debuting on thousands of big screens in one weekend. Storytelling of the future will be targeted to audiences that have a clear and expressed interest in that particular sort of content. Writers will continue to become more keenly aware of the depths of their chosen niche as they become as accurate as possible about whom they’re writing for and how to reach those people.

Image courtesy of iStockphoto, AnthiaCumming


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Start a Magazine that Complements Your Blog … in 5 Steps

This guest post is by Deidra Wilson of deidrawilson.com.

They say that print is dead. That the Internet laid waste to the magazine rack at the airport. But that line of thinking has the good old boy driving the diesel pickup today behind the wheel of an electric car tomorrow.

Print is, and always will be, alive and well. You blog, eBay, search for Thai food recommendations and interact online, but you will always read magazines.

Have you ever considered adding a print arm to your digital empire?

If you have ever entertained the idea of publishing your own magazine, it is not as difficult as most suggest, and can be done for a small initial investment. Maybe you want to start a magazine that compliments your online business. For example, if you run a wedding website/portal/blog, look into self-publishing a local/regional wedding publication (and you already have the best advertising and self-promotions spots saved for yourself).

Let’s talk about how a print arm of your blog can benefit your brand and your bottom line. Whether you will admit it or not, you on occasion take a peak at your closest competitor’s Twitter follower count and compare it to yours. If their count far outweighs yours, you assume that a large part of the public would consider your more followed competitor’s brand more legit than yours and to an intelligent extent you would be right.

What does adding an offline component to your blog’s brand achieve?

Similar to that monster Twitter follower count, the general public believes what it sees. It is rational to place a value on the increase in credibility your blog will gain from self-publishing your own print magazine. If you structure your whole effort properly by always pointing your magazine readers to your blog and other online efforts, you now trump the most common online “noise” your competition is creating due to the simple fact that stands the test of time and always will—magazines are perceived as glamorous and convey credibility. Run your own impromptu poll. “Media company” sounds more Fortune-500 than just “blog”—creating a strong and professionally credible percecption will make everything you do online easier, which leads to more readers and more profits.

As soon as your first issue is on the streets and in reader’s hands, you will hear a knocking on your door. Answer it and you will see new revenue streams, new readers, new traffic and new business relationships that can not be created in the 100% online world. If you sell/manage your own advertisements on your blog, you now have added value to offer your advertisers by either offering a la carte print advertising space or a bundled package of both online and print.

Diversity is the glue that holds media companies together. There have been times where I have relied heavily on revenue generated by Google Adsense, and that always made me nervous. I found myself asking “What if the Adsense market fails? What if Google fails?” Those fears lead me to always seek out a balanced diversity for all of my businesses. Adding a print publication to an online-only identity adds a solid amount of diversity to build overall value in your business should you ever decide to sell and also help you weather any rough cash flow storms along the way.

You work hard on your blog, writing solid content that you hope goes viral and gains a web of deep inbound links, retweets, digs, etc. When you put your magazine in one person’s hands there is a high probability of them “passing along” that copy of the magazine to a friend—especially in multi-occupant households. Why is this important?

Studies have shown that pass-along copies of magazines generate the same positive value in the hands of the secondary readers as the first reader, and that all readers share the same measurable action ratio, ie: one copy of your magazine will bring multiple new people to your blog and online efforts.

Each and every new small business startup needs some capital, and magazines are no different. Just how much do you need? As little as a few hundred dollars will work (not including your printing costs) to get your first issue on the streets and/or news stands. I started my first magazine on roughly $300. If you have your sights set on producing a higher end magazine, you will need significantly more, depending on what market you are entering and how big you are going right off the bat. Bigger is not always better here—this magazine is a supporting effort for your online business, so think light and fast.

You have solid computer skills which will benefit you here, as you won’t have to hire an office full of employees. The key is to do it yourself. Stay away from the urge to make a lot of noise (advertising, events, etc.) about your new magazine in the beginning. You have a computer, you own a camera, and you own Adobe Photoshop. All you need now is publishing/layout software. Adobe InDesign is the gold standard of magazine layout and costs around $300 online.

You probably have an idea of what type of magazine you want to publish, but from here you need to construct some basic framework. Pick a name for your magazine carefully. Make sure you are not stepping on anyone’s trademark by searching national trademark databases. Be creative: you can’t survive without offering something new to your readers in an attractive package, and for this, being creative is a necessity.

Your website’s domain name is also something to consider when choosing your name. Search for open domains that match your magazine’s name as closely as possible. It is okay to use a few pseudo-odd takes on domains for magazines, like magazinenameonline.com or magazine-name.com. Keep your targeted keyword in mind when selecting your magazine’s domain name.

Your website does not need to be award-winning right out of the gate; it just needs to be something professional that’s clear about who you are and what your magazine is about—or consider adding your magazine’s online identity to your existing website. You can always offer your web design company a service trade—they design, and you advertise their business both in print and online if you do not code your own websites. A website or some sort of online presence is an essential part of this process, though; do not skip out on this one.

Okay, you have a name and a website, what’s next? Figure out what you are going to include in your first issue by writing out an editorial outline. That’s a fancy name, but in reality, just write out what you want to feature, how many pages you want to devote to each item, and how many pages you want to stash away for ads (this will be dependent on how many ads you sell for your first issue).

How many pages should your magazine contain? Two factors are in play here. One is the cost of printing the magazine—obviously, it costs more to print a bigger magazine. The second question is: how much editorial can or do you want to produce? You do not need a 100-page magazine your first go around so, depending on what your competitors are doing, aim for around 40-50 pages for a local or lifestyle magazine and 90+ for a magazine you want to distribute on national news stands.

Contrary to popular belief, you do not need an army of journalists to publish your first issue. I have produced content for hundreds of magazines by myself or with the help of just a handful of people; it is simply a matter of putting together text and images that will occupy a predetermined amount of space.

Start with item number one on your editorial outline. Write your text first, making sure to follow basic guidelines for writing editorial (Google search it for tons of help). Have friends read the copy and get their honest opinions. Did you lose your readers’ attention at any point? Are your facts correct? Do you have any typos? Does anyone actually want to read this? What type of content that’s relevant to your niche has worked on your blog in the past? Could a version of it work in your magazine?

A picture is worth a thousand words—literally. People like pictures—big, colorful pictures and lots of them. Now it is time for the fun part. You own a camera, so get out there and start snapping. Make sure you are shooting in RAW or on a setting the produces 300 dpi images (every image in your magazine needs to be 300 dpi, no larger, no smaller—nothing comes off as more rookie than low-res photos in magazines).

Remember that if you have any people in your photos, you’ll need to get them to sign a “model release” allowing you to use their image in your publication. Your readers will quickly form their opinions of your magazine based on three things—your cover, your layout/design and your interior editorial images.

After you have knocked your editorial out, sleep on it and go over it yourself. Is it good? How many magazines have you seen that all regurgitate the same tired “electronics features” on iPhones, or some silly gadget that not many people care about? Lots. You have to have a new take on things if you want to see issue number 2, 3, 4, or 54.

Going back to my example of the local wedding magazine, you have to offer your reader new venues, vendors, and ideas that they have not seen anywhere else. Instead of writing about “How to pick your wedding colors,” think along the lines of “CityName’s hottest wedding colors for 2011? and include information straight from local wedding venues, with actual images and quotes from planners, brides and photographers. Never underestimate the power of putting someone’s name in a magazine!

New publishers often fall into the trap of just focusing on the creative side of the magazine and ignoring the sales. As an independent publisher, you have to wear both hats. Start by putting together a media kit for your new magazine. A media kit is a couple pages, printed out (on good card stock), that act as a resume for your magazine. It features all of the details of who your magazine is for, how many you print, your distribution tactics, what ad spaces you offer, how much they cost, etc. I have always lived by the motto that the media kit should look better than the actual magazine.

In the beginning, most of your sales will not be because of your media kit—this is just an essential tool to have that you can leave with prospective advertisers. I could go on and on about how to sell ads for new magazines but if you read it, you’d have to send me a pretty big check as that is closely held information by all in the industry.

What I can tell you is: start with a plan. Call on advertisers that make sense for your magazine. It is a waste of time to try and sell an ad to Budweiser if you are a new magazine that is about quilting—it’s just not going to happen. Put yourself in that business owners’ shoes: would you consider buying the ad space? Back to the wedding magazine example, go and see all of the local wedding venues, planners, photographers, cake makers, dress designers, etc. Include a vendor directory in your magazine and offer inclusion in that directory at no extra charge for all new advertisers.

Now is not the time to get rich quick. You want to sell ads to pay the bills, and hopefully recoup your investment and promote your online business. That means pricing your ad offerings in reality. For an idea of what reality is, try and find out what similar magazines in your market are charging. Do not go too low on your pricing however. Believe in the value of your magazine—giving it away free almost guarantees future failure.

I know of one magazine that just kept throwing money at itself, starting in new markets without first being profitable in one and, to appear successful, they gave away their ad space for free. A couple years later and it is common knowledge in the media buying industry that no one pays for ads in that magazine, ever. If a potential advertiser says they want the space for less than you want to sell it for, pass on them politely and come back to them in a few months, when you can prove a stronger value to justify your rate card.

Most importantly, offer value to your advertisers. There are a gazillion different ways to do this, but it all starts with you delivering a strong, readable publication on time. The old under-promise and over-deliver adage works well here.

It’s crunch time! Layout is hardly ever pleasurable. The first issue of a magazine I ever designed took me about 72 hours of work with about six hours of sleep in that period—not exactly what I call an awesome time. Make sure you know how to use your software before you need to start laying out your publication.

If you flip through a random magazine here and there, you will notice that a lot of them have an inconsistent layout throughout the book, meaning that the fonts and styles change every few pages or every story. If this style appeals to you, knock yourself out—just know that it is not a good practice to follow. You need to aim for a balanced flow with your layouts and a consistent overall look. The first page of content should look similar to the last page, and don’t stray too far in between.

Use a text font at or above eight points in size, and never smaller. Don’t forget those pictures: use lots and lots of pictures! Get into Photoshop and clean your photos up. I have spent at least 60 seconds with every photo I have ever placed in a magazine layout—it is a crime to run photos with zero post work done on them.

What you need to do is end up with a PDF file for each page of your magazine that you will give to your printer. Name each file in a standard way, e.g. p01_NAME.pdf. Covers will be labeled C1, C2, etc. You will have the option to view proofs of your files before your printer fires up the press to start your job (a big chunk of what you are paying them to do). Always look at every proof of every page; once it gets put on a plate and starts laying down ink, you are locked in.

Make sure you are happy with your printer. Do some research, talk to all of your local printers, and get quotes. It is tough to do but I have pulled it off many times—you can offer your printer one full page of advertising in the magazine for a discount on printing. Always control costs. I recommend getting your finished magazines carton-packed rather than skid-packed and wrapped in plastic, as this practice guarantees a percentage of waste as the magazines on the outside of the skid aren’t protected.


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How Tumblr Helped Put My Site on Top

This guest post is by Ryan Shell of Fashables.

I won’t even begin to act like I’m some sort of SEO ninja, because I’m not. What I do know is that a particular post on one of my sites has ranked in the top three spots on Google, with a majority of that time spent at number one and outranking a major clothing brand.

Tumblr played a huge part in making that happen, and I’d like to share my almost accidental findings.

Fashables Break dancing (Image courtesy PhotosbyRy.com)

I’m a marketer by day, but one of my many side projects is running a men’s and women’s fashion blog called Fashables. I attended a Dockers event on April 7 for the launch of one of a new line of pants, the Alpha Khakis.

After the event, I went home, wrote a new post and scheduled it to be published the following day. The post was well optimized for the phrase “Dockers Alpha Khakis” and search engines have since sent my site a good amount of traffic for those keywords.

One of the reasons why I’ve received the traffic is because of keyword optimization, but another huge part of the SEO puzzle is what happened with Tumblr, and that’s the real story here.

This could get confusing, so keep I mind that Dockers Alpha Khakis is the primary post in question.

A recurring feature on the site is a street style fashion post that is published twice a week. One of the photos previously published is the one you see to the right—it’s of a young girl taking part in a break-dancing circle at Union Square in New York City.

One of Fashables readers evidently liked the photo enough to share it on Tumblr. Now, this is where the accident happened.

When they shared the photo on Tumblr they, for a reason unknown to me, linked the photo to the Dockers Alpha Khakis post on Fashables.

Once the photo hit Tumblr, it got reblogged and reblogged—maybe 40 or so times in total. Each reblog provided another link back to the Dockers Alpha Khakis post on Fashables and increasing the post’s Google juice.

Before long, I started noticing that searches for “Dockers Alpha Khakis” were sending a decent amount of traffic to Fashables.

In fact, for quite some time my post was coming up number one in Google searches and outranking the main Dockers website. This was a huge deal: my little fashion blog was outranking a major brand’s website. This had my inner nerd awfully excited, which made my mind curious about how these findings could be used, on purpose, in the future.

We can talk until we’re blue in the face about ways things were done or ideas about outcomes, but at the end of the day, you need to know how they can impact you.

For this Tumblr example, my immediate thinking is that this could alter the way bloggers, or anyone wanting to promote a specific webpage, run contests.

Currently a lot of people who do giveaways focus on email entries, comment entries, Facebook entries, and Twitter entries. The time may now have come for Tumblr to be part of that game. If you want a high search engine rank for Widget X, using Tumblr to have a link reblogged time and time again will add significant influence to a specific page and its keywords.

Keep in mind that the photo that was posted to Tumblr from Fashables had only one link that connected it to the Dockers post. To be clear, there wasn’t a mention of the product or keyword in the original Tumblr post, so this method can be used without appearing overly spammy or self promotional.

In the end, I didn’t plan on ranking so high for “Dockers Alpha Khakis,” but I certainly welcome the traffic that has been driven to Fashables from search engines. Do you think this tactic could work for you?

Ryan Shell is a marketer by day, and he runs the fashion blog Fashables by night. Connect with him on Twitter at @RyanShell. And if you like fashion, make sure you connect with @Fashables.


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Seth Godin on Blogging and Productivity

With the launch this week of Seth Godin’s latest book, We Are All Weird, we wanted to share this interview we recently conducted with Seth on productivity and blogging.

Seth’s among the world’s most prolific bloggers, but he’s also a profuse book author and serial entrepreneur.

How does he fit it all in?

Seth Godin Seth (image copyright Brian Bloom Photography)

One of his secrets might surprise you: “I’m America’s worst attender of meetings,” Seth reveals. “I don’t do any of that.”

“A meeting is a very special thing: it’s three or more people talking to each other about a decision that’s going to be made, and probably trying to get someone else to make it,” he explains. “And so I don’t have those. If I need information I have a conversation with one person. That’s not a meeting, that’s a conversation.”

He refers to Al Pittampalli’s book Read This Before Our Next Meeting, which was released in August through Seth’s publishing venture, The Domino Project, and which suggests more productive approaches to the traditional concept of the “meeting.”

Of course, that’s not the only way Seth manages to keep on top of things. As the interview reveals, his philosophy rests on a very clear vision of what’s important to him. It’s that vision that motivates him, helps him choose where to direct his energies, and enables him to make the everyday decisions that keep his media empire growing.

Our favorite piece of advice from the interview?

In a world where there’s not a lot of scarcity of ideas, and where digital stuff isn’t going to be able to be priced based on scarcity, ubiquity is a better strategy. If you can help change the conversation, if you can say stuff that’s worth saying, the money takes care of itself.
—Seth Godin

Start listening!

Or read the interview transcript in full:

Today I’m talking to Seth Godin of SethGodin.com. He’s a blogger, he’s a bestselling author of thirteen books including Poke the Box, he’s the inventor of permission marketing, and founder of Squidoo.com.

Seth, if there’s one word that could be used to describe your work, it’s prolific. You have six websites, you blog every day, you’ve written thirteen books, you do plenty of public speaking, you’ve founded dozens of companies and you carry the weighty mantel of “America’s Greatest Marketer.”

But when I emailed you about this interview, you replied. You set the appointment in Google Calendar and you sent me your Skype details. So I’m wondering, is it possible that America’s Greatest Marketer doesn’t have an assistant?

That’s correct.

How can this be? We imagine that you’re America’s Greatest Marketer, and America’s Busiest Man. Is that not the case?

Well, neither one of them is true, to be fair. I guess you make decisions about how you want to spend your time. What you didn’t mention is that I’m America’s worst watcher of television, cause I don’t spend any time doing that, zero. And I’m America’s worst attender of meetings, cause I don’t do any of that, zero. So I know people who do five hours of each every day. So right there I save myself ten hours a day.

The part about not having an assistant has to do with how permeable do you want to be to the world. You know, I don’t use Twitter, I don’t actively use Facebook, because I can’t do them justice. But if I hired someone to answer my email, it’s be better not even to use email. Cause what’s the point of having that filter? So I try to sort of strike this balance between doing some things at an insanely quick, prolific rate and doing other things not at all.

So in terms of permeability, you run a company, and you have publishers. I’m just wondering, if you don’t attend meetings, then how does permeability work with those kinds of operations that you’re working in?

Well, you know, we just published a book two weeks ago called Read This Before Our Next Meeting, and the author Al Pittampalli argues that a meeting is a very special thing: it’s three or more people talking to each other about a decision that’s going to be made, and probably trying to get someone else to make it. And so I don’t have those. If I need information I have a conversation with one person. That’s not a meeting, that’s a conversation.

If a decision needs to be made it gets made and then followup happens about what we’re going to do about the decision, but that doesn’t need to be a bunch of people around a table either. So there’s lots of interactions I have with people. I just don’t have those things that so many other organizations have where everyone sits around looking for the tallest poppy to chop down.

Fair enough. So can you tell us a bit more about what productivity means to you, and what motivates you to be so productive? Because obviously you are very productive.

Well you know, I think that it doesn’t count unless you ship it—that planning it and noodling it and refining it and thinking about it and keeping it in a drawer don’t count. You might as well do nothing. I think there are lots and lots of people who put in way more time than me, who may even create more than me, they just don’t ship.

No one calls up a plumber and says, “Wow, I can’t believe how many toilets you unclogged this week!” No one goes to short-order cook and says, “Wow, that’s your eight-hundredth hamburger of the week! That’s incredible!” Right? That’s their job. They ship for a living. If they don’t ship, they don’t get paid. And somehow we’ve seduced ourselves into thinking that it’s okay to hide. It’s okay for a playwright to write a play every five years. What was going on the other four and half years? I don’t know. If no one’s seeing your play, you’re not a playwright.

That’s interesting because I think many bloggers tend to see writing as a creative pursuit that does require shutting yourself away from the world, and having quiet time, getting in the zone, and noodling, as you say. And you’re not just writing blog posts—you’re writing book after book. How does the creative thing work for you? Do you take time out of your other work? Or is it just part of your regular routine? Are books and blog posts different for you? How does that work?

Okay well we need to be really careful here because a lot of times creative people want to know what other creative people do to do their work, as if using the same pencil as Steven King is going to do anything for you, ’cause it’s not. I know lots and lots of productive creative people and we all do it differently. So I think at its face, it’s not a particularly useful philosophy.

I will share one tactic which is that I write like I talk. The reason that’s important is that no one gets talker’s block. And so if you wake up in the morning unable to speak, then you need a physician. Everyone else doesn’t have that problem. So if you can train yourself to talk in complete sentences, and actually come up with thoughts that are worth sharing, then writing isn’t particularly hard—you just write down what you say.

That’s an interesting point you make about coming up with thoughts that are worth sharing. You’re a marketer so I’m thinking that you’re constantly looking at the market and looking at what people need to know or want to know or have a desire for information on. Have you trained yourself or honed your thoughts to meet those needs? Or are you just coming up with ideas every day? How do you make sure that your thoughts are worth sharing?

Oh they’re usually not!

What percentage would be worth sharing?

Five, maybe two.

Well how do you differentiate between the ones that are and the ones that aren’t?

Well, I notice things. That’s what I do. If I see something that I don’t understand I try to figure it out. If I see something that’s broken, I try to understand why it’s broken. And then you say either in writing or out loud what you noticed, and if it sticks with you for ten or fifteen or twenty minutes, maybe it’s worth writing down. And then you look at the ones that you wrote down and sometimes they’re worth sharing.

So in that regard do you use your blog as a bit of a proving ground, I guess, for ideas? ‘Cause a lot of bloggers would do that—they’d use their blog as a proving ground, and then they’d go away and write a product based on what they’ve honed over time on their blog. Do you do that or is your blog just as finished as a book would be?

In some ways it’s more finished because I get feedback as it’s going. I can fix something on my blog the next day, etcetera.

I don’t have products. I don’t think about products. And I’m not trying to monetize any of this. It monetizes itself, which is fine, and if it didn’t, that would be fine. So I think that when people start to think, “What can I hold back? What can I sell? How can I move people through a sales funnel?” they start getting themselves into trouble.

Why? Specifically why?

Because then who’s the customer? Who are you serving? In a world where there’s not a lot of scarcity of ideas, and where digital stuff isn’t going to be able to be priced based on scarcity, ubiquity is a better strategy. If you can help change the conversation, if you can say stuff that’s worth saying, the money takes care of itself. And too often the $59, $99, $499 special report is neither special nor a report.

It’s true. Well, we’ve talked about the writing a bit. Let’s talk about the bigger picture. It’s very easy to look at the Seth Godin we see in the media and say, “Okay, this guy’s in the business of content. He’s a content producer.” But you’re not that. You’re also a marketer, you’re a business owner, and the reason you’re a bestselling author is because you’re one of the most innovative marketing brains in the business. So I’m wondering what do you describe as being your true passion? And how important is that passion in your level of productivity?

You know, I have way too many conversations with myself about this. I would say that my passion is having people surprise themselves by what they’re capable of. And if I can be present at least a little bit for some of that internal dialog, that’s a privilege and a thrill for me. And when I hear from somebody who was working as a janitor for some company, and then four years later they own it, and they give me, right or wrong, some of that credit, I’m pretty pleased with that.

Because I think that people have way, way more potential than society lets them believe, and if I can help unlock that, that’s a privilege.

So that’s what motivates you when you get out of bed in the morning?

It is. It’s exactly what it is. I think if I was trying to make money, I would do something else for a living. There are certainly more lucrative ways to spend one’s time, and I think if I was trying to work on my tan, I wouldn’t sit indoors in front of a computer screen all day. So yeah, this is why I’m doing it. For that.

So how do you prioritize? That’s your passion, and it drives you to do a lot of different things, so how do you prioritize the different interests that you have? And how do you decide that you’re going to add something new to the list? Cause I’m imagining that the list is pretty full.

Yeah, I’m very bad at this. The answer is “poorly.” I decide poorly. That’s my only answer: I’m bad at it.

So what kind of internal struggle, if you like, do you go through when you’re facing doing something new. For example, if you were thinking of writing a new book. You’ve just written a book, but how do you decide when it’s time to start a new project?

Well, books are different. The only reason I ever start a new book is because I have absolutely no choice. There’s no excuses, delaying or anything else left. The book forces itself to be written. That’s been true for the last probably seven books. It’s such a long journey, it’s so frustrating, it’s such a hassle, so few people read it compared to my blog. There’s only going to be a book when the muse insists on a book.

Okay, so what about things like new businesses? Because you’ve started dozens of companies, so how did thy get onto the list?

I have, but I’m getting better at breaking that habit. The last company I started was six years ago, and Squidoo is doing really nicely—we’re the 76th biggest website in the United States. But I started that because there were some people I really needed to work with and they wouldn’t work with me unless I had something to work on.

But there’s tonnes of businesses that someone who was willing to work harder than me would start if they saw what I see; it’s just really hard to persuade myself to sign on for a ten-year project like that. I probably should get better at that.

Right, so I’m just thinking one of the things you mention is delaying, delaying projects and also the ten-year thing, the timeframe. So do you prefer to go for things that are a bit of a shorter timeframe or … I’m just trying to get an idea of how you would sift out these things. ‘Cause obviously you’ve got lots of ideas and lots of possibilities and I’m just thinking if, indeed, the average person has this great potential that you see, then that’s potentially overwhelming to have that potential. So I’m trying to get an idea of how you would prioritize.

Yeah, the book I wrote, The Dip, I take very seriously. I think that being the best at what you do is far more important than most people think. Which means that you need to make the thing you do small, so that you can be the best at it. And I also believe that we live in revolutionary times. Which means that…

You know, Henry Ford could have done anything he wanted once he got started. He could have started any one of 500 other businesses. And you know, he did cars, then he did trucks. But he could have done golf carts, he could have done boats, he could have done motor scooters, he could have done motor cycles—all these things. At one point Henry Ford had Ford shepherds who were tending Ford sheep so they could shear Ford wool to weave it on Ford looms to make fabric for Ford seats to put into Ford cars. Because he could.

You need to make the decision about what change are you passionate about making, cause it’s all a hassle. And there’s no formula. You just have to have an instinct, I think, for how hard are you willing to push to be the best at that thing. That’s why I don’t use Twitter, right? Because I get why people think it’s fun. But I also know that I couldn’t be as good as it as I could be and still do everything else I do.

Thinking about Twitter, and Facebook—you said you’re not on Facebook—and you don’t do meetings, are there any other tools or approaches or philosophies that you have to manage all the tasks that you do? Obviously not doing, not subscribing to certain things that you can’t give your all to is one of your approaches for getting through all the tasks, but are there any others that you can share with us?

Well I think, you know, I posted a couple of weeks ago about the Zig Ziglar Goal Planner that we published, and it really is my secret weapon. I mean, it saved me from bankruptcy. There were seven or eight years in a row where I was within two weeks of running out of money. That’s a really long time. 900 rejection letters from publishers everywhere. Window-shopping in restaurants cause there wasn’t money to buy a plate of spaghetti. And the Goal Planner saved the day.

We’ve update it; we’ve modernized it, but I don’t care which version you use: there’s something extraordinarily powerful. I have never met anyone who has seriously written down their goals, and done it properly, who is stuck or is considered a failure. Not one person.

Excellent. That’s great. Just before you go, I wanted to ask if you could share with us one piece of advice that you’d give to other bloggers who want to increase their creative productivity to a level that they can use to generate a full-time income.

Oh, I don’t think you should do that.

Excellent! And why not?

Because then you just, you’re doing it to generate a full-time income, aren’t you? And this is amateur media; this is not professional media. And every once in a while an amateur gets so good that people come to them and beg them to take money. But if an amateur sets out to be a professional, she starts making short cuts and she starts trading in relationships for cash. And I don’t know how to tell people to do that.

So obviously for you the relationships are where it’s at, not the cash.

Yeah, because if you do care about cash, sooner or later enough people who admire your work and trust you, it’ll turn into cash. But in the long run, we never ever keep track of how much cash someone has. We always keep track of what their reputation is.

Very true. Well, that’s an excellent note to finish our interview on. Thank you very much for your time, Seth.

Thank you Georgina, it was a pleasure.


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