The PUB 431 exhibition explores different facets of memory while investigating the formats of publication and the act of publishing itself, to explore how form and content can affect the experience of reading the material at hand. The exhibition features unique student projects on the theme of memory.
Nostalgic candy will be provided to enhance the experience while supplies last.
It’s been around a month now since the classwork portion of our Master of Publishing degree wrapped up, and now that I’ve had some time away from the intensiveness that was the last few weeks of school it seems like a good time to talk about the Media/Tech Project.
In the fall semester we devoted six weeks of our lives to starting fictitious publishing companies complete with a detailed list of books. But what to do in the second semester of a publishing degree?
In the spring, the program moved away from books to focus on media and technology (in the past, the program focused more heavily on magazines). As the publishing industry changes, it has become clear that in order to for publishers to remain relevant, they must understand how technology impacts all aspects of their business. It’s not enough to focus on print and traditional forms of publishing. We have to look ahead to what publishing could become. And so, our class became Media/Tech Project guinea pigs.
While we started off the semester working on the Media project and finished with the Tech project, for all intents and purposes they were the same thing—the second was simply an extension of the first, which meant the project ran the entire course of the semester.
On the second day of class after the holiday break, we were divided into our groups and told to form media companies based on direction we pulled out of a hat. One group was assigned B2B (they pivoted and become NFP2NFP instead), another group got arts and crafts, and the final group pulled politics. From there, the groups were tasked with building a media entity from the ground up.
How do you build a brand? How do you become financially viable? How do you grow sustainably? What gap in the market are you meeting? What will your product be?
In our groups, we began to answer these questions and sketch out our business plans. Nearly every week, groups met with instructors to pitch their updated businesses, which evolved as we completed more research and received more feedback. At the beginning of the project, it was stressed that our start-ups would need to be agile, and that became our mantra as the semester progressed and the work piled up.
And every week, we were given additional pieces to complete. Brand guidelines. Marketing and advertising plans. Financials. Websites. Podcasts. The list went on.
Halfway through the project we were divided into additional groups with specific skills (this is where the Tech project came in). The Web Development, Analytics, Media Production, and Ebook teams provided focused support to their media entities following a series of mini lectures aimed at providing them with hands-on skills. Of course, all students were invited to attend the other teams’ lessons.
And just like the fall book project, we made it through to the end of the semester, presenting our launch-ready companies to panels of industry guests. Some of the most rewarding feedback we received was that our final companies were even pitch-worthy to potential buyers. And some of the best presentations I’ve ever seen were on that final day as well: one group even “recorded” the beginning of a podcast as part of their presentation.
While the Media/Tech project will undoubtedly look very different by next spring as our field continues to evolve and the skills that are in demand change, what I hope future classes also take away from the project is the importance of being flexible and ability to find creative solutions.
While it may be pitched as the most intimidating and largest of projects, looking back on it from the other side, I can assure that the MPub Book Project is more than manageable. Future cohorts take note: you will make it through the next six weeks.
The Book Project is a compilation of everything we learned throughout the semester, and so nearly everything you do in the project has already been taught in class. It’s a way of putting things into practice in a mock real world scenario. While the eighteen or so assignments spread out over six weeks sound impossible at first, remember that you are sharing the workload with five or six highly competent classmates, and most of the assignments build on the previous assignments. These assignments are not marked but rather are opportunities for feedback from industry professionals and course instructors who lecture twice a week throughout the project.Read more
The 2016 cohort has now dispersed to begin the personal projects or internships that they will be writing their project reports on. Students are spread across Canada, working at small presses like Arsenal Pulp and Anvil, large houses like Scholastic and Penguin Random House, literary and lifestyle magazines, content marketing agencies, and non-profits that are building new models and technology for publishing. But before they left, the cohort presented their magazine projects to their classmates and some members of the publishing community. This year the magazine project was combined with the tech project, to expand upon the digital possibilities of marrying print and tech, and to explore the future of magazine publishing in a digital world.
The groups presented to three panelists: Anicka Quin, Editorial Director of Western Living and Van Mag; Michal Kozlowski, Publisher of Geist; and Joanna Riquett, Founder & Editor-in-Chief of Hayo Magazine. The three panelists weighed in on all aspects of the business plans and presentations, including the editorial tone and voice, circulation strategy, financial statements, and digital strategy.
The first magazine to present was Somata, a charmingly-offbeat food culture magazine that encourages you to “play with your food.” They kicked things off with a rousing game of “Mission Statement Mad Libs” which set the tone for their editorial style. They went into detail about their irreverent tone, events-based funding model, digital-first strategy, and in-depth social media plan in a lively presentation which included a PowerPoint that featured many gifs.
Next, Boundless, “the magazine for women wanderers” detailed how they planned to target backpackers as their main audience and differentiate themselves from other more luxury-focused travel magazines. They cited how millennials travel less often, but for longer periods of time, and crave immersive cultural experiences. While they are a print magazine, they have a thorough digital strategy, particularly with creating brand awareness on Instagram.
Lastly, START is a not-for-profit digital magazine that both serves and supports the emerging artist community in Canada. With a focus on art students, they provide an online space for a community of tomorrow’s artists to connect and communicate. Featuring webinars of art skills or career tips, spotlights on recent gallery openings, and a user submitted gallery of art, essays, classifieds, and events, START wants to be as indispensable to artists as sketchbooks.
The presentations made for a day full of entertainment and education, and each of the magazines illustrated the breadth of interest and experience of its group members, and of the MPub itself. This included the different ways publishers are using technology–from entirely digital first strategies to using social media to create brand engagement and awareness. And after the presentation, the cohort mingled with our valued industry guests, and looked towards bright futures in an evolving publishing landscape.
Join SFU’s Master of Publishing students as they present their final magazine media projects. This year we have combined the tech and magazine projects to expand upon the digital possibilities in marrying print and tech. Our students have created their own “maga” projects that explore the digital possibilities of magazine publishing today.
Friday, April 7th in room 2270 and running from 1:30 to 4:30.
Like, Tweet, Read: Exploratory Analyses of Social Media Data as an Indicator for Readership Behaviour in the Newspaper and Periodicals Industries
By Tilman Queitsch
MPub Project Report, 2014
Magazine and newspaper publishers benefit from readership studies conducted by large research organizations. They help publishing professionals keep track of readers’ habits and their competitors’ success. In most areas, surveys of readers and Internet users generate the findings that the publishing industry is interested in. In recent years, market research has developed a new approach combining such survey data with social media data. This approach offers new ways to analyze how social media audiences can be segmented, how readers choose between different media, how they use mobile devices, and how magazines or newspapers compare to their competitors.
Tackling each of these research scenarios, this report summarizes a series of analyses conducted at Vision Critical, a multinational market research technology company. By using basic functions in R, a freely available statistical programming language, the analyses show how this approach enriches results in a way that is useful for publishers.
Envisioning the Future of Publishing—Ambit Publishing, a student project from Pub401, taught by Juan Pablo Alperin—guest post by Holly Vestad, English major, publishing minor at SFU
It seems all student papers and year-end projects in publishing courses have a common theme: envision the future of publishing.
It’s not difficult to understand why the industry is going through significant change, and the Internet certainly needs no introduction. The future of print may remain a mystery, yet one group of students, when assigned the task to envision the future of publishing in Juan Pablo’s course Technology and the Evolving Book, ran with the assumption that print will hold an important place for decades to come.
Although the rest of our classmates designed elaborate and impressive business structures and new mediums that align with an increasingly techno-centric world, Karen La, Lauren Madsen, Alison Roach, Caili Bell and I (Holly Vestad) stuck with something perhaps seemingly more simple, yet infinitely more complex; a viable business plan for a print-only publisher.
The result of our research was Ambit Publishing, a theoretical publishing house whose central objective was to create brand loyalty.
Establishing brand loyalty was the most basic aspect of our thesis for the project, which sprang from our own noticeable lack of loyalty to any one specific publisher. As self-proclaimed bibliophiles and publishing students, we found ourselves to be the perfect market for publishers to reach out to in order to increase loyalty, and yet we felt unmoved by their efforts.
In order to establish loyalty for Ambit, we knew we needed to know our market inside and out. With research we discovered a niche market in Vancouver of affluent book lovers. From the information we knew about this market, we designed the company; our logo, clean aesthetic, mandate, book cover template and book synopses were all designed with these readers in mind. (Our full report can be seen here.)
To increase our brand recognition we decided all of our books would have the same cover, with only a central image that would change from title to title. We hoped this design repetition could work to increase tribe mentality amongst readers by helping them feel connected to Ambit’s aesthetic.
In addition, we created Ambit merchandise in the form of book totes and stickers with the intention of handing them out for free to our readers in the early stages of the company’s growth to help spread the word and gain that loyalty we were after. And we knew that if we could establish this loyal tribe, then authors would be attracted to the opportunity to promote and sell their book through the network of loyal Ambit readers.
Another significant aspect of Ambit’s business structure was that it explicitly positioned itself against Amazon. Ambit books would only be available through ambitpublishing.ca, our shop front or local retailers—no copies would be available for purchase on Amazon.
Ambit was designed with a specific hyper-local niche in mind; the global coverage that Amazon provides was not necessary. Our goal was to stay simple by tackling a local market and thriving within it. We also knew that explicitly defining an enemy would help to build tribe mentality. The very public battle between Hachette and Amazon only helped our case; Amazon’s true ugly and powerful colours really blossomed in 2014. Ambit positioned itself as a way for readers to stand against Amazon by supporting writers and a small, independent local publisher.
The financial aspect of Ambit is the area we think still needs the most help; although we created profit and loss statements, a financial statement and advertising budgets (as seen in our final report), we were worried of the projections for the second year. Regardless, we truly believe the structure behind Ambit provides a successful model for reader, author and publisher alike.
Find out what Regina, Ryan Gosling, and Bundling have to do with book publishing, and other sales and marketing tips shared by industry experts at ABPBC’s recent professional development day in this guest post from MPub Candidate Paulina Dabrowski.
On Thursday September 11th the students in the Masters of Publishing program were given the opportunity to sit in on a seminar put on by the ABPBC (The Association of Book Publishers of BC), which focused on marketing and promotional strategies for Canadian publishing.
Bruce Walsh of the recently re-branded University of Regina Press (formerly Canadian Plains Research Centre Press) gave an inspirational keynote address on how to stand out in a crowded marketplace, including pioneering the first reality tv show on publishing.
And after a collegial lunch at Steamworks, the attendees dug into the nuts and bolts of working with a sales rep and bundling eBooks.
The professional development day concluded with a roundtable discussion on the questions, frustrations and lessons learned by the members and presenters in attendance.
For those readers interested specifically in the “how-to” component of the day, here’s a recap of the session run by Kate Walker, sales rep and former owner of Ampersand, and Cheryl Fraser, VP Ampersand Inc. and manager of the gift division for the agency.
Everything you ever wanted to know about working with a sales rep but didn’t know what to ask
Kate and Cheryl have decades of experience in the industry and have worked with booksellers, librarians and specialty customers, authors and publishers. They described being a sales rep as follows, “we work with everyone in the publishing company, connecting book publishers to their customers, and customers with book publishers. Our goal is to get the books publishers acquire to the right customers in the perfect markets.”
In order to do this efficiently sales reps work hard to be good mediators. They spend most of their time communicating the right information from publishers to booksellers and back, and in order to do this they are constantly reading, and keeping updated on the book world. They need to keep track of which books are selling, which books are winning awards, and predict needs before they arrive. Kate describes sales reps as “adaptable chameleons” in that they must be responsive to the customers or book publishers’ needs.
Utilizing sales reps effectively can save publishers a lot of time and money. Sales reps have a more personal relationship with book buyers than publishers, and they use this in-depth knowledge to place books where they will sell. Sales reps create and distribute lists on “hot topics” making it easier for book buyers to see a single collection of comparable titles from multiple publishers (books by First Nations People, for example). They make it a priority to visit and build professional relationships with book buyers, creating what Kate refers to as a “bankable trust relationship”, which is a huge benefit to publishers both immediately and for future productions.
Kate and Cheryl also took the time to explain ways of creating good relationships with sales reps. Many times this relationship begins at sales conferences, when publishers present their books for the season. It’s important for publishers to be prepared and speak clearly. Reps will be asking what they know their customers will ask so they expect presenters to know intimate details such as the author’s hometown, or sales history for previous books by the author. Kate notes, however, that it’s important not to make “promises” to sales reps about acquiring information they are missing in their presentation. It’s better to come with a thorough knowledge of the book, and enthusiasm to get sales reps excited. Publishers should know the competition as well as comparable titles, and be open and honest with sales reps as to where the promotion money will be focused, as well as be transparent about any pre-arranged special sales.
The next stage in an important publisher-to-sales-rep relationship is to keep the doors of communication open, and to share information about updates with the book such as pushed release dates, nominations for awards, or upcoming events. It’s also important for book publishers to have easily understandable terms of sale and distribution channels.
In planning author events, it’s important for the publisher to do their research. They have to ask themselves:
Who is this event for?
Is the author prepared and do they have the right personality for the event?
Where will the event be held; private spaces offer intimacy but public spaces open the event to potential new audiences.
It’s also important not to forget attention to detail; does the event have a microphone available, will the event need seating, does the date conflict with any holidays, will the publisher provide extras such as food and wine?
And, which channels will be used to advertise the event? Sales reps can assist with this type of planning, after all who doesn’t enjoy a good party!
Cheryl also explained the dynamics of the “gift market”. Gift books are fun and exciting, but not all books one might give as a gift are appropriate for the gift market. To give an example of the differences, below are two books by photographer Philippe Halsman.
The first is a coffee table art book, it’s large in size and is filled with Halsman’s well-known jump photography alongside accompanying text that share the stories behind the photographs. The second is a smaller, simpler book; a photo interview with Salvador Dali that is quite silly and playful, meant to share with the reader the many faces of Salvador Dali and his famous mustache. The first book, Jump Book is a great book to give as a gift, but the second book Dali’s Mustache is a book made for the gift market.
How gift books are bought by buyers differs in many ways from how other trade books are bought. Gift book buyers are really focused on the visual. They want to see the book, hold the book, place it by their cash registers and see how it looks. It’s important for gift sales reps to have physical copies of the books to bring to their customers. Authors are much less important, and the focus is all on the visual appeal of the subject matter. It’s no surprise to hear from Cheryl that her top sellers last season were books on Ryan Gosling, Cats, and Darth Vader.
The gift buyer also heavily relies on the print catalogue, which led to an interesting discussion about the use of electronic catalogues. But I’ll save that for another post.
After a short break, Mary Alice Elcock gave the final presentation before the roundtable discussions.
How to Bundle Up: Making the Most of your Bundled eBooks
Mary Alice is a MPub alumni who is VP of Marketing and Publisher Relations for BitLit. BitLit is an app that allows publishers to offer eBook editions to readers who have purchased a print copy. To quote Mary Alice, BitLit “connects readers to books, and connects publishers to readers”. BitLit’s main market are hybrid readers, ones who read both print and eBook, as research has shown more readers are beginning to fill this middle category.
Out of 120 million people who own eBooks only 4% are eBook only readers.
Their studies have shown that 48% of people would pay more for a print book if it came bundled with the eBook.
Currently less than 1% of customers have purchased both the print and eBook edition of a book, which means there is no cannibalization of sales for publishers if they decide to bundle.
BitLit bundling pricing is typically done in one of two ways. In all cases the bundling is available after point of purchase, but publishers have the choice of offering the eBook as a free add-on which is the case for about 25% of the books BitLit currently has bundled, or the eBook is offered for around 75% off the cover price.
Bundling gives publishers great opportunity to create extra net income. Mary Alice provided example pricing of a book and its net income in print, eBook, and bundling.
BitLit can currently be downloaded (for free) on Apple and Android devices. The user opens the app, takes a picture of the cover which is then recognized in BitLit’s system. To claim the book, the user takes another picture of their name written in capitals on the top of the copyright page, which BitLit uses to match with the user’s name on the credit card they provided in their sign up. Once the book is claimed, the user is given a link to their eBook if it is provided for free by the publisher, or the user is offered the eBook for the discounted price which they can then purchase. The reader can then choose to read the eBook on any of their eReading devices including Kobo, Nook, Kindle, or iPad.
For being only 2 years old (and local to Vancouver) BitLit has already made some major waves in the publishing world. There are currently 20,000 books available to bundle and many authors have fallen in love with the cross-media platform such as well-known horror writer Joe Hill (son of Stephen King).
BitLit’s next big move is a project called “Shelfie” which will save book lovers (and book hoarders if you’re like me) tons of time. Users simply take a picture of their book shelf and “Shelfie” will find all the books which are currently available to bundle, so there is no need to search titles one by one!
McKellar & Martin, a small Canadian children’s book publisher, converted their first titles from print to ebook in August 2013. They approached the conversion as a pilot project to develop their own digital publishing strategy. This report analyzes the development of McKellar & Martin’s strategy from the initial goal-setting to the point at which the ebooks were ready to go to market. The report reviews the publisher’s unique context, the audiences they aimed to reach, and the two titles selected for conversion. It provides a detailed account of the conversion process and tactics used, and discusses how McKellar & Martin overcame some unique challenges. The report concludes with recommendations for McKellar & Martin as they begin their ebook distribution and marketing. The aim of the report is to provide small publishers with a blueprint for developing their own digital publishing strategy that will stand the test of time. Read more