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Joss Whedon on the Veronica Mars Kickstarter campaign that raised a record 2+ million in 12 hours.

So what was your reaction when you heard this was happening with Veronica Mars and it was so successful?

Joss Whedon: It was unfettered joy. A) I thought it was an awesome and ballsy move. B) I love V. Mars and want more of it. And C) It feels like a real game-changer. Like, not since Louis C.K. [selling his comedy special directly online].

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dhcontentsummit:

“This year’s event, which took place in early March at Midtown Manhattan’s McGraw-Hill Building, reinforced the view that dramatic changes in the media landscape can be weathered. Many new developments, in fact, like the jaw-dropping success of Netflix’s unprecedented David Fincher/Kevin Spacey “House of Cards” original Web marathon and the increasing capabilities of mobile devices, are downright thrilling.”

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This.

The screen was supposed to be limitless, a portal to another dimension…yet novels have merely traded one container for another.

 

And more importantly, THIS.

Huge amounts of attention are therefore being given to more or less superficial parts of the debate: pricing, formats, business models, the latest gadget. What are being sidelined are the most important aspects of literature’s digital future. Namely, how can we use digital devices to change the way we tell stories?

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xoxco:

In the complex decisions between responsive HTML5 websites and native mobile applications, publishers shouldn’t take sides.

The insight of content management systems (going back decades ago to document processing systems and technologies like SGML) was to separate content from presentation.

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“The next wave of the ebook revolution is coming and it’s going to be led by kids.”

theeditorialintern:

By Jeremy Greenfield (January 31, 2013).

While just under a quarter of U.S. adults are reading ebooks, some 54% of kids are reading them — that’s more than double.”

“The next wave of the ebook revolution is coming and it’s going to be led by kids.”

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j5rson:

Industrial Plutocracy by ~j5rson
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picadorbookroom:

Smart tips on using your Kindle from Mom. 
Not surprisingly, this went viral.
(Thanks to FSG for the tip.)

picadorbookroom:

Smart tips on using your Kindle from Mom. 

Not surprisingly, this went viral.

(Thanks to FSG for the tip.)

(via ebookporn)

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Stories will spread cross-platform whether we want them to or not. Content creators need to be paying attention.

dmtrendsonline:

Watching television while also using a smartphone or tablet is one of the most popular leisure activities of the mobile era. The mobile industry is working hard to create mobile apps and sites that relate to what’s on TV, in order to capitalize on this behavior.  

This approach is often referred to as the “second screen,” the idea being that the tablet or smartphone becomes a TV companion device, allowing for added levels of interactivity— whether on social networks or dedicated second screen apps and sites that complement on-air content. 

In a recent report from BI Intelligence, we examine how second screen apps, social networks, and mobile sites will ultimately succeed in drawing significant audiences, analyze how they will begin to see some advertising dollars, and detail the opportunity represented by audience analytics and second screen commerce.

Here’s why the second screen industry will ultimately succeed:

(via dhcontentsummit)

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iconoclantastic:

Henry Jenkins on Transmedia.

iconoclantastic:

Henry Jenkins on Transmedia.

(via dhcontentsummit)

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Why publishers should hire storyrunners

So what’s a storyrunner? Have no idea. In fact I’m pretty sure I just made that up. As you might already know, I spend an inordinate amount of time thinking about and writing stories for digital platforms. The other day, as I was sifting through vast amounts of content trying to reorganize it for better flow and continuity, I started feeling less like a writer and more like a showrunner.

Anyone familiar with the television industry knows a showrunner is the individual charged with giving a show tone and direction. The showrunner is usually an Executive Producer, the head writer, and more often than not, the series creator.

But what is a storyrunner?

A storyrunner is essentially a high tech editor charged with overseeing the distribution of content across various platforms while maintaining overall tone and direction, and ensuring story continuity. Or maybe it’s the storyworld’s author themselves, only with more creative control and a broader partnership than is given to writers under a standard contract.

Why do publishers need storyrunners?

Because authors are becoming content creators and stories are growing outside of the confines of the book.