Lessons from the success of Farmville

At the moment Zynga is one of the most talked about new social game companies with rumors that they are making tons of money and may consider an IPO in the near future. Last I read they are rumored to have revenues approaching $200M a year and have announced over 120M players across their range of games.  Until a few weeks ago I have not been a player of any of their games, I’ve been avoiding most Facebook games for the past few years as I haven’t yet found any that really engaged me or were much fun for me to play. Earlier this month I signed up for Farmville to test it out.

It is well designed to pull someone into spending money (or following offers to get the in game currency) and in that respect I have a lot of admiration for the game designers. Visually it is cute and pretty to look at and I can see (provided you grind enough to get the resources or spend cash) it could be enjoyable to decorate the screen with the various options and elements and there is a degree of interest in the resource management and balancing acts of what works best.  And the game is designed to become a habit, to reward the player for returning on a regular basis (and nicely on a basis that corresponds with the level of engagement the player wants to have with the game vis choosing crops with maturation periods that match the play cycle the player prefers).

And like many “social’ things I suspect the game play changes when you have friends who are connected with you via the game (out of over 500 friends I have on Facebook just 37 are playing Farmville and of those only about 10 have actually been actively playing the game the rest are still at the very beginning early stages of the game.)

I spent about two weeks explore Farmville, logging into it at regular if random intervals and very rapidly rising to level 21 (out of I think some 38+ levels which can be achieved). The game introduces many new elements on a regular basis both as you gain levels, as Zynga adds new features and as they add elements of a seasonal nature – currently decorations and other elements with a Halloween theme.

This pattern is actually not new, online games have followed a similar pattern to retain interest over time for a long time. A game I used to play, Kingdom of Loathing, has had seasonal events in the game since the start in 2003. And earlier games such as Everquest and Ultima Online also had seasonal in game events (as has World of Warcraft).

So what is new about what Zynga has done with Farmville (as well as many of their other games which share similar patterns)?

The simple answer would be Facebook. And certainly the viral elements Zynga uses from news feed posts to notifications help attract new players as well as get current (engaged) players to return are one key reason for the large numbers of players.

And the design of the game is clearly built to inspire many players to pay money or complete offers to get to the rewards faster (or to keep up with/impress their friends).

As a game player the actual game design of Farmville is very simple. Michael Arrington had a tweet that sums it up very well

Farmville is like simcity without any of the good parts

His point is that to do the fun stuff, if you want immediate gratification, you have to fill out an offer for Netflix or the like for each new thing you want to build.

But even if you have patience Farmville is not a serious game, it has some limited elements of resource management but for the most part it is more like gambling (of the slot machine variety not poker) than it is like playing a serious game of skill. Seemingly every other time I log into the game I’ve “Won the Daily Raffle” and there are many other elements in the game to grant you free in game resources. Including viral elements such as clicking through on “rewards” via postings from your friends who are playing the game on their newsfeeds who have chosen to “share the wealth” when they have accomplished some in game award.

However evaluating Farmville on the gameplay is missing why it is fun (for many people). Like a slot machine, Farmville is all the sights and sounds – in this case the clucks and moos.

Social game ideas – open ended, multi-sponsor ARGs

My background in games and the current state of things

I have been a game player since my grandfather taught me to play chess at the age of 4. In my youth I played AD&D, Shadowrun and many other role playing games – usually at the DM. At my high school there were a bunch of us who played all types of games on a regular basis, we played many boardgames after school, had AD&D campaigns including one we ran at times over lunch in the cafeteria and were regulars at the local games shops.

In fact the father of one of my high school classmates was a professional game designer at the time for Mayfair Games where he lead the development of many classic board games, games such as Cosmic Encounters. A number of us, myself included, occasionally were drafted as gametesters for new board games.

At the local games shop, a massive, custom designed building built by a serious historical minatures gamer, we would spend hours many evenings and weekends playing a wide range of games, including historical minatures, roleplaying games and all types of boardgames.

I always assumed that I would stay playing games on a highly regular basis when I entered college but that didn’t happen, somehow I didn’t stay as active a game player, though I did play the occasional game of chess and lots of card games with friends.

In the 90’s I spent many years as literally a professional Magic the Gathering player and dealer, in one year I earned over $40,000 trading pieces of cardboard and won prizes valued into well over $5,000 in many tournements which I often won or placed very highly. Friends of mine were even better, winning at a global level and traveling around the world to play Magic the Gathering (and winning well over $10k from some tournements in the process). I quite my regular job at the time when I realized I could make far more money in a few hours than I would earn in days.

A bit later I also became active in a range of Live Action Role Playing games, mostly around White Wolf’s World of Darkness game. The game I played started in the mid-90’s in Chicago, grew rapidly to include nearly 100 games in cities all around the world all sharing a common set of rules and world and which allowed players to play their characters from one city at the games held in other cities. As a result players could and did interact across continents (friends of mine went to Brazil to play the game) and there were games happening multiple times every week near to Chicago.

It was  great fun – immersive and engaging. While we did play in spaces we reserved just for ourselves (we would contribute to rent spacees from time to time) we also played in the midst of other events – often in nightclubs, once very memorably at the Chicago Museum of Modern Art when they stayed open for 24hrs to celebrate the Summer Solstice. Playing in the midst of 100’s or even 1000’s of people who were not playing the game added layers to the interactions and was extremely fun.

In the past few years Alternative Reality Games (ARGs) have become increasingly popular and successful, though with some notable caveats. Most, though not all, have been run as commercial promotions for a specific event or product – very often a movie or TV series. Currently the upcoming movie District 9 for example is running an ARG where you can play either a human or an alien in the world of the movie.

The model of ARG’s has become in some ways fairly formalized. They start with a series of clues usually embedded inside of something in mass release – billboards & posters, movie trailers, occasionally other forms of advertising. The clues in these ads, often a phone number or a web URL lead a player to signup to the ARG. From there a series of clues lead to other sites or phone numbers often with embeded small games or challenges.

Over time additional clues are released which further the ARG’s storyline. For most ARG’s the model has become a bit of a funnel, with fewer and fewer players continuing as the puzzles are released, usually these ARG’s lead up to a final end clue and often the players who figure it out in time arrive at an event or get a prize of some form (a sneak preview of a movie for example as well as other gifts & prizes). Then often the ARG comes to an end as the movie or TV show is released (or the season ends in the case of ARG’s such as Lost’s or Fringe’s where there were clues embedded inside of each episode).

These games are effective ways of engaging and building fans for a new media property but they have many unfortunate side effects of this model.

1. They generally are less and less engaging for new players as they grow in complexity – sure most of the time players set up Wiki’s or other sites to explain what is known so far, but as the game goes on it becomes less compelling for new players – and once the final reward is given out it often is far less interesting to new players (and even existing players may cease engagement)
2. While some ARGs have included a wide degree of player driven content & storytelling, for most there is a very heavyhand of the ARG designers at work in telling the story and though players can visit many parts & sites in any order they want there tends to be a very linear path of the story being told by the nature of new clues being released on a specific timetable.
3. A few ARGs have had occasional “real world” events but the global distribution of most media for the most part means that most ARGs now primarily employ mass media & the Internet for the game play (also often voicemail/800 numbers for some parts and frequently SMS messages to players).

A few weeks ago a variation of a type of game which has been popular for a few years inside of social networks such as Facebook was released on top of Twitter – Spymaster – these games build upon usually preexisting social elements and relationships to form part of the game play. In the case of Spymaster your twitter followers become the size of your “spy ring” and you gain game play advantages by having more of your followers also playing Spymaster (they become “spymasters” in your “spy ring” and give you game bonuses).

Add in the fact that social tools such as Twitter (or Facebook) have many ways for you to communicate with people – and the games take advantage of these tools to send out messages about your game play activity to your social network (with your permission) and not surprisingly these games can and do often experience rapid, exponential growth as large networks of friends all start playing.

However while fun games such as SpyMaster or the multiple Mafia based games on Facebook (and in those cases now also with iPhone apps) suffer from (but also benefit from) a fairly simple game play and room for interactions between players. They offer only relatively limited sets of actions, have constraints on what you can do in a given period of time, and allow for only a handful of direct in game ways to interact with other players. Though often players evolve ways alongside of the formal game play elements to interact. In the case of SpyMaster many players have set up Twitter accounts only focused on playing Spymaster and have builtup networks of followers with whom they coordinate in game actions and for strong in game cliques.

I play Spymaster and enjoy it, though it is a relatively lightweight game, so I only play for a few minutes most days, if that. They haven’t yet settled on a business model, but it should be noted that some of the Mafia games on Facebook are already part of game companies rumored to be rapidly approaching over $100M/year in revenues, primarily through the same of virtual currencies to game players to use to enhance their game experiences.

A few players of SpyMaster are starting to expand the game via sites such as SpyMasterFans. There they are forming groups, sharing ideas & insights into the game, challenging each other to new interactions etc.

You may have noted that in my recounting of my own game playing background, I have not mentioned a lot of computer gaming. In the early 1990’s I ran a Muck (think an all text based version of Second Life) but I never got into computer gaming very much. So I haven’t played, though I do follow, the rise of social computer games. At present there are two very important models of social computer games.

1. Massively Multiplayer Online Games (mmog’s) most famously World of Warcraft (or WOW) but also dozens of other games from companies around the world. There are three primary models of MMOG’s – subscription (usually with regular expansion packs as well) – this is WOW’s model and is the most common, free to play but game and expansions needed (Guild Wars is one of the few that use this model) and the newest model free to play including the software but virtual goods & items available for purchase (Sony’s Free Realms uses this model though subscriptions are available with additional benefits).
2. Server based games. Increasingly console games as well as many PC games have multiplayer options and game companies are now often offering services that both run server instances and help players find other players to play against. Microsoft’s Xbox live for the XBox 360 and Valve’s Steam service for PC games are two examples of these game services. Often a fee is required for membership (for XBox live) and in most cases the games have to be purchased to play them.

There are many further nuances to computer and console games. For this post the most crucial of which is the number of players they are designed to facilate interactions amongst and the length of that interactions. Console games often are limited to a relatively small number of players competing against each other (4 vs 4) which can be over the Internet or over a local area network. MMOG’s differ in how many players they handle interactions amonst – many have multiple “servers” which are different instances of the world and which may have slightly different game rules, meaning that in most cases players on one server do not interact with players on another so they are limited to the number of players who choose to play on a given server. Some games are designed to encourage cooperative play where players cooperate together to achieve game goals (WOW has quests that can involve 40 or more players from a single Guild working together). Many games also have elements of player vs player interactions where players fight directly against other players – depending on the game this could occur anywhere in the game world (on a given PvP server) or in many games may be limited to a specific area of the game.

Some ideas for the future – open ended, multi-sponsor ARGs of a new form

While I know that computer and console games have many incredible aspects offering amazing graphics and game play capabilities they also have in-built limitations. Even with voicechat which is increasingly an important part of the player to player interactions in many games playing such games is limited to players who have the required equipment and financial resources to buy the necessary games & game subscriptions.

So here are a few ideas I have for where social games could go in addition the ongoing evolution of computer & console games.

Instead of an ARG which is sponsored by a single media property – and which is thus usually tied to the world of that particular movie or tv show (or less often an artist such as NIN) I would suggest a game with the following models & business elements.

• A combination of lightweight, easy to adopt technologies AND frequent, multi-city live interactions & events. Neither element would be necessary to enjoy the other but if you used both your game play enjoyment would be enhanced.
• The technologies could leverage and be built upon existing social tools such as Facebook or Twitter but would likely have a website and perhaps mobile applications as well
• Much of the world and game interactions would be driven by the players with a light touch of the people designing and running the game – they would mostly design the world & backstory and would occasionally facilitate in game activities and elements, but the game would be designed for the players themselves to evolve the plots & ongoing stories.
• In place of a single sponsor driving the event to a particular end point the game would have sponsors that come and go and which interact with the game in a variety of ways – I could see some sponsors embedding story from the game into their media (tv shows perhaps even movies) while others would provide real items and help support game related events in the “real” world (as well as having in game repurcussions). These interactions could at times be lightweight – having characters from the game (probably mostly actual player’s creations) who appear in the background of a movie – say as items in a newspaper story – this would I think be a lot of fun for players – and great marketing for those movies or tv shows.
• The game would be designed to allow for new players to join at any time and for players to play at a wide range of play cycles – some playing daily while others playing only a few times a month or taking a summer off and resuming months later. This takes careful game design to balance and to give everyone a lot to do without the game becoming boring for anyone – but it suggests that for the most part these games would only have light elements of “levels” or the like but heavy elements of role playing and interaction. Though there could also be puzzles and cooperative quests so players uncomfortable with heavy roleplaying could ease into participating in the game as well and be rewarded for that interaction.
• The business model could include clues & game elements embedded in physical items (t-shirts, trading cards, books, comic, digital downloads of many forms etc) which is a model that other similar in some ways games have already used quite successfully. Some of these products could be from sponsors who not only embed game elements in something they sell but also support the game finacially & through promotional efforts.

So that is the basic ideas – I haven’t yet designed an entire game example just started thinking about this, if it sounds like fun (or if you know of examples I should take a look at) please leave comments or contact me privately.

What is a business designer or how to work with Shannon

Of late I have started to describe myself as a business designer in response to the usual question of “What do you do?”

But what do I mean by the term?

A Business Designer, as I intend the term, is someone who uses the techniques of design firms, such as IDEO, to design new businesses – whether entire new startups or within the context of an existing, larger business.

I have been highly active online since 1991 and working on the web since the mid-90’s so a great deal of my work does involve the application of technology, especially web technology, to business problems. However my process starts before deciding what the solutions will be, it starts with the discussions about the specifics of the business, the resources available, and objectives.

Only then do we address the specific solutions required, in many cases applying technology both purchased, open source and customized to the business objectives.

So what is my process?

Earlier this week I attended the SanFran Music Tech Summit and over the course of the fantastic conference I had many long conversations with entrepreneurs and business people who were attending the conference. In these short conversations and discussions I practiced a shortened version of my business process.

1. Hear how the current business, or the business idea, is described today.
2. Explore what is behind the business, what technology if any current exists, what are the current clients, what is the current business process.
3. Get a quick sense of the business objectives of the team at present – new customers, investment, partners etc.
4. Brainstorm. In this process I leverage the diversity of industries and companies I follow closely, seeking examples often from unrelated industries which can help us decide on direction and business models for the business.
5. Make concrete suggestions of next steps for the business from simple text copy changes to complex shifts in business model.

That is the shortened process, at times taking only a few minutes, other times taking an entire lunch.

What I follow

At the moment I pay very close attention to a number of industries and technologies, these include:

• The music industry, especially the emergance of the online, digital music industry.
• “New Media” from the business models of old media applied to the new digital world to the emergance of new businesses and media leaders
• Web 2.0. I define Web 2.0 as the shift to a data centric view of web applications. Practically this means more open web sites, api driven services, dynamic flows of information, and in many cases user generated content
• Mobile applications. In particular I have been an early adopter of smartphones, currently heavily focused on the iPhone.
• Gaming. Though I am not an active game player, I have a longstanding and deep interest in games and gaming. I’m very interested in the application of gaming elements to serious purposes.
• Social Networks. I started Meshforu, a conference on the study of Networks in 2004 and have been an early adopter of online social networks. I also follow closely the academic study of Social Network Analysis as well as related fields of Network Science.
• Advertising. I believe that advertising, across all forms, is in a major transition. In particular I am a passionate proponent of Brands and believe that brands need to adapt to the new, digital landscape
• Internet Radio. While I follow the whole music industry closely, many of my current ventures relate to the new forms of Internet Radio.
• Community. Most successful businesses are driven by a community both online and offline. I’m an advisor to a number of startups focused very much on the support of specific communities enabled by the new digital media world. In many cases these cross over many types of media including online websites.
• The Food Industry. My father is a leading food technologist who has designed new products and business processes for most of the major food companies around the globe. I am a passionate foodie and follow emerging trends in the food industry, including restaurants very closely.
• Social Entrepreneurship. I run a small non-profit, MeshForum and am passionate about new models of business which include a strong social mission and purpose.

There are many other industries and specific technologies which I also pay attention to on a regular basis, I have worked for some of the largest banks in the world. I’ve also designed and build AI driven automated data applications and other complex pieces of enterprise software. But at present the above list of industries are the ones I follow most closely and where, primarily, I seek clients.

How I work

My preference is to work with clients over an extended period, typically via a monthly retainer with at least a three month minimum. In three months any business whether large or small can see specific results from the engagement. A retainer, instead of the more common hourly or day rate, allows for the wide range of ways I work for and with each client.

For most clients I will meet with the client, often onsite for a series of meetings and observations each month. I am often a part of internal discussions and meetings with partners and external vendors.

I am based in San Francisco but will work with clients anywhere in the world, combining in person meetings with extensive online collaboration.

Every engagement is different but a few specifics you can expect from working with me.

• New Ideas – a primary part of my job is offering a new, interdisciplinary perspective on the challenges of your business. A key part of this is carefully suggesting specific, implementable new ideas and approaches.
• Simplification - much of my practice is around paring ideas and processes back to identify what is most key and value creating. Many startups, as well as large companies, build technologies and processes which are overly complex. By focusing on simplification we end up with greater value.
• Clear processes and designs – After we have focused and defined clearly the specific business objectives, my role shifts to achieving those objectives. There my job is to define and often help manage the business processes, including working with development teams, to build and design the related parts.

I have over a decade of experience as an Open Space Facilitator and use that as part of my consulting. The result of a facilitated open space event is usually clearer understanding of both the business opportunities and the resources available to address them, as well as focused groups of employees (and often external partners including customers) to address each business need.

If you are interested in working with me, email me at shannon AT nearnessfunction.com or call me at 1.800.454.4929.

Evaluating the Cloud – first impressions

In theory I am a huge fan of and proponent of moving towards cloud computing, in practice as I look at currently available options even I find the curent landscape confusing, a bit convoluted, and rife with decisions and options. 

Though I can program (in lots of languages) I am mostly an strategic consultant and business advisor, so while I do have specific technical requirements to look at, this article will mostly be written as a record of my process of evaluating cloud computing options from a business perspective. For a good, though incomplete, starting point for looking at cloud computing options from a more purely individual developer perspective IBM has a great article on current clound computing options. 

As I have noted many times on this blog and on my twitter I am not a fan of Microsoft Vista (I consider it the worst OS I have ever used in some 25+ years of using computers). Though I have managed fairly large scale Miscrosoft servers in the past, I am also not a fan of Microsoft centric solutions for web applications – I don’t use Visual Studio as my primary development platforms, I would never encourage a client to build a web application that requires IE. So while Microsoft Azure is a cloud computing option I am not going to consider it in this blog post.

There is a more practical reason for this as well, as I write this, Microsoft has not yet announced the costs of Azure and it is currently only a Community Technology Preview. Without this data or a production ready environment Azure is not a responsible choice for a startup nor for a new venture which will be used in production of a larger company. 

So what factors will I use to evaluate cloud computing options? And then what are my initial conclusions?

Factors

1. Development platforms and options. Google App Engine, for example, currently only supports Python but will soon also support Java bytecode (which in turn opens it up to a range of other languages potentially). For some development needs and teams this is not a limitation at all, for others it removes App Engine as an option. Any cloud computing offering that allows for in essense virtual server instances will typically support a wide range of languages on those servers (as well as development frameworks). However other business concerns, such as how you plan on load balancing and scaling your applications may impact language and framework choices.
2. Business tools included. This is more of a factor for a startup, especially a bootstrapping startup than it is for a larger company. A larger company may have preexisting payment processing systems established or may build an application for reasons other than direct revenue via the application. Not every startup either will need monetization or pass-through billing options. Here Amazon Web Services has a small lead over competitors at least in my initial research as they offer a range of options to handle payment from clients, including billing which includes the Amazon Web Services costs and only charges a small percentage on what you bill your clients over the costs of the client’s usage (currently 3% + $0.30 in most cases).  Salesforce.com for example might offer access into a pre-qualified pool of potential customers, customers already paying on a monthly, per-user basic for software-as-a-service. 
3. Match to your business model. Different providers of cloud solutions have created those solutions based on a wildly different assumptions about the business model of their customers, understanding this and making best guesses (in the case of a startup or of a new project at a larger company) will help narrow down to a manageable pool of vendors. Some providers are optimized for the needs of applications which will store and distribute large amounts of data – here the costs per GB of data (stored and distributed) could be a key business factor in evaluating vendors. As importantly performance could be a key factor, some cloud computing vendors have already built relationships with Content Distribution Networks which can help with the delivery of large files to large numbers of people. But the same cloud vendors might not be a good solution for streaming options (depending on how they work with those content distribution networks and a range of other factors such as network topology). 
4. External factors - a simple example, if you have the type of service which can (and should) be crawled by search engine robots, then it needs to be easily crawled by them at all times – this means that your service needs to be persistent and likely you need a static IP address for the web server(s) hosting anything which might be linked to via external services. A more subtle point, if you will be exposing your appliction as a widget in other sites or as an application inside of social networks you will likely need to ensure 24/7 access to your application and need to have very good response times. Add in a requirement to work with external 3rd party API’s and services (ads, web services etc) and you may need to look at hybrid approaches or base your business models upon an assumption that at least one instance remains up at all times (and then have to factor in how much time it takes for additional instances to instantiate when you are looking at how you will scale if demand spikes). 
5. Your comfort with business partner risk - some cloud computing vendors seem unlikely to either go out of business or to exit the cloud computing business. Google and Microsoft for example are unlikely to go out of business any time soon, Salesforce.com has built a substantial and growing business on the cloud, and Amazon.com seems both profitable and deeply committed to their cloud services. Smaller vendors such as Rackspace or GoGrid or the dozens of smaller still companies present a bit more of a risk. In Rackspace’s case the risk is not so much that they will go out of business (they have prospered for many years now and are growing) but rather how/if they will consolidate a number of aquisitions. GoGrid has a compelling suite of offerings but presents a bit greater risk. For really business critical deployments (including for many startups especially once past the initial bootstrapping stage) I would thus recommend an exercise of exploring how to move from one cloud vendor to another as well as to stay aware of and have plans in place to use non-cloud based options. 
6. International considerations - if your business is entirely inside of the US then any cloud vendor with a US presense is a viable option. However many cloud vendors have restrictions which may impact your decision as you look at global use cases. Payment processing, a key selling point for some vendors, is often restricted to only US customers. Some vendors have great pricing of data usage within the US but charge additional fees for international traffic (directly or indirectly). For example, Amazon Web Services has different clouds for the US and the EU, data transfers within a cloud (between EC2 instances and S3 for example) are free, but if you need to move data between the EU and the US then fees are charged. 

And these are by no means the only factors I am looking at, but are some of the initial ones I am considering as I research options. In follow up posts I hope to explore the current Cloud Computing landscape as well as my initial perceptions of each vendor I look at seriously. I will also, I hope, write up in more detail the technical requirements I have at the moment for the specific project which is inspiring this search. 

Please add other factors you would suggest I consider in the comments below!

Tasks for a new startup – Radioki.com and Startup Weekend SF

Saturday was a busy day. Spent at Startup Weekend SF.

Today will be an even crazier day as in less than 24 hours I will be taking 4 pages of notes sketching out a whole application and putting together a mess of parts and web services into what will be a compelling and useful service for many people. After I post this, my evening (well early morning) will be reading API and data format specifications and working out how to build out our first functional pieces.

However just having a great working application is not all of the tasks that a modern, web 2.0, 2009 edition company needs to do to be successful. Here for my own use (and my teams) as well as I hope for many other entrepreneurs is a checklist of tasks we also will have to try to do this weekend. Please add anything I have missed in the comments below!

[and before you mention it - legal structure & incorporation, partnership agreements etc are indeed important and if as we hope it does Radioki takes off we will complete them, we are building this in the context of pre-existing friendships as well as the Startupweekend open & collaborative ethos]

• Register your new brand domain. We did this Saturday afternoon. Nothing at Radioki.com yet, but that will change rapidly.
• Sign up for Twitter for your new brand. I’ve set up @radioki follow us to get updates on our progress, access first and we hope a few other surprises.
• Set up an internal tool for documentation and collaboration. We chose the very simple and easy to sign up for and use PB Wiki as a repository for our team notes, drafts, pseudo code, internally important data etc.
• Establish a simple version control system. Even if you have just one developer, work with a version control system everywhere you can (which is pretty much most things). A wiki for internal team documentation gives you version controls & who made what change data tracking inherently (assuming you as I would suggest use a private tool for that collaboration)
• Register for all of the relevant API keys your applications will require. These days this can be a very long list. In our case we have at least three major API’s which we will use, multiple web services, Javascript frameworks, web hosts, domain registrar and much more which we need to sign up for and use.
• Establish early on (as in before we launch) customer support & feedback channels. Almost certainly in our case this means that we will create and set up a GetSatisfaction for Radioki (using the free version first until we have a business model to support more) – note, when we complete the next task, we have to go back to sites such as Twitter and GetSatisfaction and upload our logo there as well.
• Design a logo and pick a basic design pattern. Be comfortable with this being basic and expect it to change, but to launch quickly create a simple (even text only) logo to use at your avatar image across the web, to use on your home page, and along with it a basic color palette and design style for your overall web presence. Expect to change this but spending a few minutes early on in the process helps you create a clean, consistent look across web services and sites.
• Set up corporate email addresses. Even if all you do is have them auto-forward to your regular email, yourname@newcompany is useful and is used as proof of employee status by some sites such as GetSatisfaction.
• Join the appropriate networks as the new corporation. In the case of Radioki this means Facebook but because we have a strong Music component also means active engagement with Myspace.com (and especially MySpace Music).
• Update the personal sites and network profiles of all founders. When you launch your personal site and blogs should note this and the profiles of all of the founders (and early employees if you have any) should be updated to reflect involvement with the new company. This is a signal for people who follow you on each network or who read your blogs that you are working on something new.
• Link back to and thank publically as well as privately all the services your new company uses and works with. Besides being just common politeness everyone who builds any service wants to see it used and welcome thanks and updates about how their solutions are being deployed. Also many API providers offer directories of applications using each API. Building relationships with each company your solution relies upon and works with can also lead to lots of helpful advice, guidance, updates about new features and opportunities for promotion.
• Remember to add contact information and background to your new company site. Yes, focus on getting the service built and launched, but also remember to include who you are who are building the company as well as how to reach you and who to reach out to for any media who might want to contact you. Photos of the core founding team are great as are short bios. All serve to humanize what can often be a dehumanizing process (web applications for example). And yes, real names and a corporate mailing address do combine to give lawyers someplace to send stuff – but it also gives journalists, bloggers, investors and future business partners someone to talk with as well.
• Build logging and analytics into your site and application from the beginning. Deploy Google Analytics or another similar product on your new domain from before you share the URL with anyone (hmm we’ve broken this one so have to fix this quickly) For your main application make sure that user actions are logged so you build up a history of interactions. In our case this means ensuring that every search query entered is captured. Ideally you also log what output (or if something failed what error messages) resulted from that interaction.
• Reach out to your friends. A new project whether big or small is perhaps the best excuse to catch up with your friends old and new. In fact I love it nearly every time a friend sends me an update about new projects or companies. Often these updates are the first time I’ve heard from someone.
• But don’t forget to also reach out to the media. Start with the media who are also your friends. If you friends also covers your space then reach out to them on a personal level. Don’t send your friends mass, blast emails if you can avoid it – if not, then follow up (or send in advance as well) a personalized note. Do not rely on your friends having your contact details handy – include a direct phone (cell phones are great) as well as your personal email address.

And those are just the relatively simple, basic stuff. When a new company is launched a whole additional set of tasks get added nearly immediately. A few things to think about relatively soon.

• Corporate banking relationship. This will require legal incorporation in some form (or will require initially to work off a founder’s personal accounts – opening up reams of tax/legal complications. However such a relationship is a key part of being a real business – it gives you a way to sell to people via giving you a means of depositing checks.
• Corporate legal relationship. Establishing a legal relationship, even if a relatively simple and low cost relationship is another part of being prepared to be a real business. A lawyer may early on be called upon to help with incorporation, reviewing various agreements and you hope reviewing customer contracts or investment documents (or best case both).
• Building out the non-functional parts of your new site. What I mean here is collecting excerpts of blog posts and news articles & embedding audio or video coverage. This also includes keeping a new corporate blog up-to-date and continued use of the corporate Twitter account etc.
• An ongoing PR relationship. Of course with a firm who knows your business area, with whom you can work closely and who gets your product as well as process. Great PR firms add incrediable value.
• Telling a clear, updated and ongoing story. If you (or co-founders or early employees) are not great storytellers or public speakers then likely your PR firm (and perhaps other advisers) will need to help with this but especially early on it is vital to have a clear story about the company and your new, emergent brand. This story should be short and clear (oh and compelling)
• Have a business model (or two or three or four). You do not have to implement the business model immediately, nor do you need to share it with anyone (though your co-founders should also know). But having a business model in mind can be exceptionally helpful as you evaluate what to use/not use, what to build/not build, what to track/not track

And yes, this list is long and incomplete.

I skipped over raising money, I skipped over legal incorporation (rarely a good reason not to just incorporate as a Delaware C corporation). i skipped entirely over office space. Until an income is generated a large number of boring but important tasks are delayed (salaries and benefits for example).

For now, sleep then back to work.

Radio Schedules 2.0 at Startup Weekend San Francisco 2009

Back in Dec I posted about Radio Stations 2.0, an idea I had for a return of great radio schedules, updated and enhanced for the 21st century. My post attracted some great feedback and some comments as well as backchannel reactions. I placed my ideas out in public under a bit of a CC license and encouraged anyone to implement them (though I requested at least some attribution).

Friday night after the fantastic Web 2.0 Expo I arrived late to Startup Weekend San Francisco which this time is organized by many fantistic people (and friends of mine). As people went around the room offering up their pitches to the crowd (and to the panel of VC/angel investors who were offering feedback on the form of the pitches) I decided that I would offer a pitch myself.

So I remembered my Radio Stations 2.0 idea, since it is an idea I have already shared publicly, I don’t mind sharing it again, and there is the chance that by doing so at Startup Weekend (and of course following up with a great deal of work most likely) I may be able to inspire enough help from others to make it a reality!

I’ve updated my original post with some more analysis of the competitive landscape (in the comments). In the rest of this post I will set out our goals, targets and next steps for this weekend. Hopefully we will be able to cobble together something working by Sunday evening (and continue to refine it further after that).

Basic Idea

Finding radio content whether in a rental car in a new city, on a mobile device or at your desktop is frustrating. Radio Schedules 2.0 is a simple, lightweight, API driven directory of terrestrial, satellite and Internet radio shows. The API will allow for both write & read functionality and likely will be combined with a wiki(like) set of data (station ranges & descriptions, show descriptions etc)

Competitive Landscape:

Since RadioTime does exist (and is a commerical entity already) we are going to look carefully at what we can (and should) do to be different, lightweight, and add real value as a competitor (in some ways) or perhpas even as a complementary service in other ways.

Other competition includes PublicRadioFan.com which lists most public radio stations from around the world (with Internet presenses) and a project started in 2003 (and put on hold in 2003) do something similar.

Steps for the weekend

1. Define a simple data structure(s) to store the data we gather. Of particular note this will likely include a geographic focused set of data – station data driven by actual tower locations & signal reach. Potentially this could include variations by time of day & date especially the case for AM radio in the Midwestern US. It will also include a temporal set of data – shows on a given station aired (or scheduled to be aired) at specific times.
2. Design our data to build up over time – i.e. not just “what is on now” or “what is scheduled to air next” but also “what just aired” or “What was on this morning during my commute…”
3. From the beginning expect to build & deploy on servers located in the Cloud. This means evaluating Rackspace, GoGrid, Amazon’s Web Services as well as others.
4. Design for a data-driven business model. Perhaps surprisingly a great deal of this design will be involved in streamlining and simplifying what data we need to collect & store from people. But by design this will include storing a great deal of log data & anticipating using such data extensively.
5. Stay and work openly. I will likely update my blog with one or more posts of our progress as it happens this weekend – probably including some calls for help in specific areas.

Current design thoughts (very early, very rough)

• Stations – are associated with One or more “dial” positions For terrestrial radio this is the dial number (or numbers in cases of stations with multiple towers). Have a related schedule (or schedules in a few rare cases). Associated with a bunch of data about the station (probably in a wikilike manner that allows for versions)
• Schedules - related to a station (rarely but occasionally multiple different stations). Composed of many “shows” and a true temporal dataset (with start & end times, times normalized to a single timezone) may occasionally also have further details in a wiki (but less often, though “source of data” will be tracked – could be API calls, could be web crawl)
• Shows - A unit of a schedule, but shows can have a meaning by themselves (syndication). May have further data in the wiki.

When a request comes into the system that request MAY have the following:

• a geographic location (which in turn implies an likely interest in Terrestrial radio schedules)
• a range of time (blank may imply “right now”)

At some future point the system may do more with who makes the request (individual web user, individual web user w/tracking cookies, API called etc.). The system may also do some matching/recommendations (using Last.fm profile info or the like as a starting point) but that’s probably not in the first release.

Technology thoughts

• Start with standards – ideally calendar data will be available in an iCalendar form, via standard means of access. Where microformats make sense we should use them to semantically market up pages we generate (ideally this happens in the background so if a given page is editable ala a wiki the microformats are applied on top of that where they apply)
• Design for API use - ideally this means even for our own interfaces we use the SAME API’s we make available for third-party use. This then forces us to make the API’s simple and as stable as possible (we may of course use white-lists in the future to rate throttle some API access). It should also facilitate the use of other web standards – for example since we are starting from the beginning there is no reason we shouldn’t start using OpenID/OAuth instead of implementing our own Identity systems.
• Focus on simplicity – there are many directions we could go and we will want to explore how best to compete (or not) with RadioTime. Almost certainly our best approach is to keep it simple, do something exceptionally well and iterate.

Sessions and Keynotes to attend at Web 2.0 Expo in San Francisco

I generally attend only a few sessions at most conferences – especially most multi-track conferences with many keynotes and speakers, conferences such as SXSWi and Web 2.0 Ezpo. Instead my usually way of “working” such a conference is to spend most of my time talking with people in the hallways or in blogger or press lounges – attending the occasional “big” keynote, a friend’s panel (or less often a panel or session with a speaker I really want to meet). 

In part this is because most of the time I could be a speaker at such events – and often I have as much (or more) experience as most of the speakers, not to mention in many cases the speakers are friends and will be talking about topics we likely have gone over privately months earlier.

But this is not uniformly the case and this year I am looking forward a number of the sessions at Web 2.0 Expo here in San Francisco. Here is a short list of a few of the sessions I personally find of interest – these are in no particular order and by no means are complete – as new sessions and tracks continue to be announced my actual plans will definitely change. 

And a reminder - Use code websf09trt12 at online registration for 30% off any registration package!

Technical Sessions:

Drizzle – rethinking mySQL for the web – 1:30 pm on Thursday April 2nd. Brian Aker from mySQL will talk about Drizzle which is a fork of mySQL designed for multi-core, cloud computing applications. Since I am both thinking of and working on a number of cloud based applications myself as well as advising companies who may also, this is of a great deal of interest to me. Both to see if it may help as I design my own solutions – but equally to be well informed about an emerging development in a core component of much application development – the database, which has not seen a great deal of innovation to keep up with the pace of changing applications and use cases (i.e. web 2.0, web services based, cloud deployed applications). I’m also curious if and how they are solving for the needs of applications which have to scale very highly very quickly (i.e. in response to a Twitter, Digg or other rapid spike in interest and users)

Visualizing a web of data 11:00am on Thursday April 2nd. Michal Migurski of Stamen Design will talk about approaches to visualise the torrent of data available on the Internet (and as a result of the Internet). I am always interested in hearing (and seeing) the latest visualizations of large quanities of data. In my own conference organizing I have always had speakers who spoke about various visualization efforts around showing large, complex datasets. While I am not a designer myself, I am deeply interseted in the challenge of visualizing data in ways that are both accurate and which can assist in making sense of that data, ways which help see patterns, trends and potential issues. All while keeping an eye out for issues of scale or hidden assumptions which might make false patterns or cause people to draw errant conclusions. 

From AD-versity comes Opportunity 2;40pm Wednesday April 1st. My friend Scott Rafer of Lookery and Ted Cadogan of OpenX will speak about the current state of the online advertising market. Since my main project for the past year has been working on getting an Ad network started (slowly and fitfully at times) this is a topic of great interest to me.

Meet the New Boss – The FCC, Net Neutrality and Web 2.0 1:30pm on Thursday April 2nd. Unfortunately scheduled againzt another session I want to also attend (which happens often) but this is a chance to hear from Bill Maher of Morrison & Foerester [full disclosure - MoFo is a past client of mine] talk about the changes at the FCC and what recent rulings and new ground rules have been established which impact many Web 2.0 businesses. This is the type of detailed and vital discussion which I really enjoy hearing at conferences – not sexy and perhaps at times a bit dull, but done well it is a chance to hear a real, up to date expert distill a lot of information into a consise and digestible form – and then a chance to ask follow up questions to explore issues which are raised. 

And finally pretty much the entire Marketing and Community track  which is a chance to hear from a mix of many of my friends as well as many others whom I know of but haven’t yet met in person speak about the current state of marketing and community online. Since this is an area I spend a great deal of time working in and thinking about – indeed much of my own consulting practice today is related to advising startups around Social Media related issues, this is a track of sessions which interest me greatly. Plus unlike many recent conferences this is a series of talks by friends of mine which I haven’t actually heard before – Scott Monty of Ford Motors talking about their brand engagement, Tara Hunt talking about Wuffie (and her new book & job at Intuit) and much much more. If I had to pick, I think this may be the strongest track at Web 2.0 – and it will definitely be my default track during timeslots I don’t otherwise have a session I want to attend. 

And a few other parts of Web 2.0 Expo I will be attending:

The Heather Gold Show keynote on Friday April 3rd morning at 8:55am. My friend Heather Gold’s shows are always interesting and engaging – each is different but each is also a chance to hear great, diverse guests peak in a casual almost Oprah like manner and format. 

Douglass Rushkoff’s Keynote on Thursday April 2nd at 8:55am. Douglass is another friend of mine and his talks are always engaging and interesting. He and I don’t always agree on everything – but he is one speaker I will block out time to listen to, confident it will be engaging and challenging – even if I don’t agree with him on every point. 

Jeff Veen’s Keynote on Friday Aptil 3rd at 10:15am. Jeff Veen is a highly respected designer, formerly of Google, and someone whom I have met many times here in San Francisco, however I have actually never had a chance to hear him talk about his work – I’m looking forward to this opportunity to hear what he is thinking about these days post-Google. 

Ignite at DNA Lounge on Wednesday April 1st at 7:30pm. This year, for the first time I will even try to submit my own talk in time to potentially be among the speakers at Ignite. Past Ignite events have been among my favorite evening networking/tech events ever – the format forces people to distill their talks down, removing the cruft and getting to the heart of the story and point they want to make – in nearly every case the result is a better, more engaging talk. However in past years I have been negligent in submitting my own talks to Ignite – this year i hope to make up for that and will be submitting my own talk.

And of course I’ll wander through the booths, attend (and perhaps host) the Birds of  Feather sessions in the evenings, as well as the many parties – official and unofficial. There will be a bunch of other things that I will almost certainly attend – but this is the rough outline of the talks and sessions which most interest me at the moment – and which I feel are particular highlights of this year’s show – which is, I think, a highly impressive show schedule indeed!

March conferences – SXSWi & Web 2.0 Expo SF

I will be attending two major conferences this month – SXSWi in Austin and then at the end of the month Web 2.0 Expo here in San Francisco. I almost decided not to attend SXSWi this year, due to the current economic situation, but I am attending because, as I noted in a conversation just this week, nearly 100% of ALL my business opportunities come from in person networking. 

Occasionally this is immediate – I attended a one day conference years ago in NYC where I met a future client during a lunch roundtable, spoke with him briefly during a break, then met with him after the conference and closed a 5 figure consulting project to start nearly immediately the next day. 

SXSWi

More typically conversations and interactions at a conference lead to follow meetings and emails, to discussions, to introductions and in turn these turn into very real business. What makes SXSWi so valuable is that it is long, it is insanely social, and as a result it offers a nearly endless opportunity to network – dozens of chances to grab coffee, brunch, lunch, dinner, or to get pulled into a hallway conversation. Not to mention some of the best parties of any tech conference (especially if, as I do, you know most of the party organizers and can get into them with VIP passes).  

But I don’t drink very much – so for me these parties are mostly an excuse to get to know people in a casual, laid back manner, to engage socially with people whom I may later work with (or more likely refer others to and occasionally get referrals from). 

For me this year at SXSWi I will be focusing on two main things. 

1. Promoting tbnl. I will have a basic web presense for tbnl before SXSWi and at SXSWi I will be looking for subscribers, advertisers, supporters/sponsors, and most importantly great writers and content sources. I’ll be following up with the dozens of writer friends whom I will see at SXSWi and will be asking them to submit a story (fiction or non-fiction) to tbnl. 
2. Expanding my consulting practice. In 2009 I am looking to do more significent consulting engagements, especially paid work helping startups (or large more established companies) explore their business strategy and opportunities – especially focused on how technology & social media can help. I am one part McKinsey and one part a tech system integrator/custom architect sprinkled with more than a bit of social media expertise (since 1991). 

I will be arriving in Austin on Friday March 13th in the afternoon and will be in town until the evening of Thursday March 19th. If you are in Austin and want to meet up and grab coffee follow me on Twitter (@rycaut) and feel free to dm me or call me directly. 

Web 2.0 Expo

This will be my third year attending the Web 2.0 Expo which will be held March 31st to April 3rd at the Moscone Center West here in San Francisco. I’m one of the official blog partners for Web 2.0 Expo and will be covering the conference both here and at my other blog on Branding – Slow Brand. 

As a blog partner I can offer you my readers a discount - Use code websf09trt12 at online registration for 30% off any registration package.

I am really looking forward to Web 2.0 Expo this year, in part because the “buzz” about Web 2.0 is muted at the moment due to the economy, what I’m looking forward to seeing is who is still standing, what they are working on and launching, and how the general audiance is approaching the current changes in the economy. I am a huge believer in the transformative power of the web and especially the revoluation represented by Web 2.0. 

I am also a believer that downturns, such as right now, are some of the best times to start a company. All of the necessary parts are cheaper and more available – from office space to employees to partners and service providers. All are more willing to negotiate and more willing to devote themselves to helping you succeed. In turn it is a great time to build relationships – helping people make money in the current economy will result in very real and significent rewards in the future. 

For myself I am looking at a lot of opportunities at the moment – advising startups as well as dusting off technologies and ideas I have had in the past and seeing if there are ways to implement and launch them in today’s economy to be positioned strongly for the future.

So I hope you can join me at Web 2.0 Expo in San Francisco at the end of the month – I will probably be organizing a dinner or two during the conference as well as other meetups and like SXSWi I’m always happy to grab coffee and meet up with readers.

tbnl Magazine – more on types of stories we want

Earlier this week I posted a long post on the first thoughts on submissions, subscriptions and advertising on tbnl Magazine. In this post I will outline more about the types of work I will publish in tbnl Magazine and, I hope, will inspire submissions (or proposals).

tbnl Magazine is about great stories, stories that took time to write and time to read

That said, tbnl is also intended as a magazine for readers. In many ways I am thinking of each issue of tbnl as a small book. Since every issue of the magazine will remain available (via print-on-demand and digital sales at a minimum) for a year or longer, the goal is to only publish stories which will remain of interest and relevant even years after they were published.

There are at least three main types of writing I expect to publish in tbnl that fit this criteria.

1. Great fiction. I define great fiction as being great stories – not as being limited to a specific genre. Specifically I do not like the majority of the fiction in The New Yorker and I will be very open to publishing great science fiction, fantasy, mystery and perhaps even romance. I’m also open to being surprised by a work with features of other genres. I expect to also publish non-genre fiction but I will be biased towards stories that engage me, that have a plot, strong characters as well as great writing. We may also publish some poetry.
2. The “new” non-fiction. Non-fiction with a strong voice, often with some of the features of fiction writing. Think “This American Life” or the collection of writings in “The New Kings of Nonfiction” edited by Ira Glass. Many of the stories, though not all, in The Atlantic and in The New Yorker fall into this style of writing (Malcolm Gladwell’s stories for example). Writing where the voice of the author is strongly present, where the focus may be on a personal story, or it may be on more traditional reporting. But it is also writing which is passionate about the topic – far more than just reporting on the “facts” – and a style rarely found in newspapers these days. I’m open to an extremely wide range of topics – in fact one sign of great writing of this form is that it can take a topic I wouldn’t normally think I’m interested in (indeed may have never thought about or may be actively negative towards) and make it engaging, draw me into the the story about it and show me a new perspective.
3. Academic writing for non-academics. In every issue I intend on publishing at least one piece of great writing by (or on) serious academic topics. Again these may be wide ranging – a deep history of pop music in one issue, a new theory of the universe in the next. Here think of the content of the talks at TED – wide ranging, serious, yet intended for a non-academic audience. An important criteria for these works is that they should be written for a non-academic audience, yet should also meet all the usual academic rigor and requirements. Indeed we may do peer review for articles which cover emerging areas of research and we expect to link to and publish on the web many additional resources for each issue’s papers. Given my own personal interests may of these works may include research around the study of Networks. I will also be strongly biased towards reporting on (and supporting) research which is interdisciplinary in nature. The authors will be paid for these works (or equivalent amounts donated to their institution or the organization(s) they select). We will seek to strike a balance with these works between being highly readable by a lay audience and with adhering to a given academic field’s standards which differ from field to field.

Initially my intention is to publish about 35,000-40,000 words in a typical issue of tbnl Magazine though the exact amount will depend on the final typography, page count (anticipated to be 80 pages for the first few issues) and other factors. This includes an expectation of including at least one, or more if they add value images with each story (photographs or illustrations).

Roughly this will probably mean the following range of works in each issue:

• short fiction stories totaling about 15,000 words (typically 2-3 stories of roughly equal length and rarely any works over 7000 words)
• one or two academic reports on research totaling about 7,000 words (typically one long and one or two shorter reports)
• five or six works of the new non-fiction which are relatively short form (so totaling about 7500-10,000 words)
• one or two long form works of the new non-fiction (also totaling about 10,000 words)

In any given issue one of the above categories will be shorter to make the page count, the plan is to publish about 10-12 different authors in each issue. Some stories may be <1000 words and we will edit everything to ensure that it is highly readable and focused – but that said we will err on the side of more writing vs less.

We are still working out the rates and minimums (and perhaps maximums) which we will pay and the pay for a story is for the words & related images (so may be split amongst multiple people). Roughly we will look at the number of pages as an important criteria. We also will be working towards being able to meet the definition of “professional” market (as determined by various writer’s unions/groups).

For non-fiction works of over 5000 words we will probably accept proposals and may occasionally include some expenses in our pay – but at least initially we won’t be “assigning” stories. We may work to match up artists and authors.

This is all still in flux – and I’m open to proposals of works that are not in the categories above. But note that the goal is always to publish works which are timeless – so reviews, time-sensative reporting, “exclusives” etc are unlikely to be published.

tbnl Magazine – call for submissions, subscribers & advertisers

Over the weekend I posted about the magazine – to be named later – I’m thinking about starting. Now having gathered feedback from many folks – in response to my blog post, to email exchanges, and personal conversations I’m ready to announce the next steps and to issue a call for submissions, and  pledges to subscribe or advertise. 

First a simple announcement – until someone suggests a better name (and pending various trademark & domain searches) my working name for the magazine is, in fact: tbnl Magazine. And yes, that stands for “to be named later” and yes, my intention is to refer to it in the lowercase form at least for now.

I wrote a lot about my impetus behind starting tbnl in my first post, having now talked with many people here is a quick summary of the types of works I’m looking for, as well as my intentions around the scale of the magazine (at least initially).

Size: My target, primarily due to practical matters of the technology of magazine printing (multiples of 16 pages offer advantages as most magazine printing presses print 16 pages at a time) is for an 80 page magazine + cover, on a relatively heavy, recycled paper stock (ideally with green inks etc) probably with full color inside and out. The physical size will be close to 8 1/2″ x 11″ (slightly smaller when printed on demand), saddle stitched (i.e. staples not perfect binding). Inside I plan on running advertising (more on that below) with a target of 12-16 pages worth of ads (some will be partial page ala New Yorker small format ads) and will keep the housekeeping pages (table of contents, colophon, staff, writers & artists bios) to a minimum. That leaves around 60 pages for content each issue. The design I’m leaning towards will take inspiration from The New Yorker and the redesigned Atlantic Monthly with somewhat more images (and likely heavier paper) than The New Yorker and probably somewhat (but not by much) less overt design than the new Atlantic Monthly.  Very roughly this means around 35,000-40,000 words per issue (depending on ratio of images to text, final font & font size decisions and other factors). 

In turn this means that published pieces will likely range between 1000 to 5000 words, probably a bit longer for the one or two fiction pieces in each issue (at least one of which will likely be a ‘genre” piece – probably Science Fiction or Fantasy but I’m open to great mysteries or even romance if done very well, probably still less than 10,000 words however). 

In researching current rates in the market, it appears (not entirely surprisingly) that rates for most markets are quite, quite low. Lower than I expected. For fiction it appears that higher than $0.05/word is considered quite “high paying” with $0.07 being considered a premium rate. Non-fiction rates are harder to view publicly but I know many writers in various genres so I will be checking with them to determine what would be good and more than fair rates.

My intention is to be a “high” paying market, I want to get the best possible work from the best writers I can find. While I don’t expect what we pay will (at least for the first few years) be high enough to be lifechanging or a significent income, I do want it to be more than just the cost of a nice dinner out somewhere. 

Submissions:

Initally they will be EMAIL ONLY.  

For the first issue(s) I will start with an OPEN submissions policy. However I reserve the right to publish works from people I as for pieces and we may close or somewhat restrict submissions in the future to manage the flow.  A few guidelines

• Submissions MUST be original, complete, unpublished works. This means no previously published pieces (which includes blog/web published works). Complete means no parts of longer works (i.e. part of a novel for example). See “proposing a story” below for guidelines if you have a nonfiction story you want to propose writing vs. have in a completed form.
• Submissions MUST be in a standard format. This means: in the email text (with clearly marked beginning and end), as a txt attachment, or as a well formated PDF attachment (well formatted means 12 point font, double spaced, with page #, title & author on every page). An estimated word count should be included, along with a SHORT author’s bio & website link(s)
• Submissions of nonfiction should, if possible, also include related illustrations. Every story in tbnl will include at least one, in most cases more than one, related images. For nonfiction where possible these should be photographic (or relevant illustrations). For fiction these will be either carefully selected photographs or art. If you submit artwork you MUST have the rights to those works (or show that they are Public Domain works). Creative Commons licensed works which allow for COMMERCIAL USE will be considered. 
• The payment for a work will in most cases be for the BUNDLED written work and related images. Thus if you do not own the images (i.e. you took your own photos) a split payment will be negotiated between the writer and the photographer or artist for that particular piece. 
• tbnl will be buying “FIRST PUBLICATION” rights. This means that you are free to sell or publish the work in a collection after it has been published in tbnl. NOTE that issues of tbnl will remain in “print” via Print-on-demand for at least a year and likely longer. Also tbnl will have a “digital” edition for sale to ebook readers which also will remain in “print” for at least a year. tbnl will be purchasing these related digital rights (for first publication) and the right to keep the issue in “print” via Print-on-demand. The intention is to keep every issue in print for as long as possible – but also after some threshhold has been met to pay additional royalties to all contributors to an issue. The specifics of this are to be determined, if you are uncomfortable with this level of uncertainty, do not submit a work for publication in our first few issues. 
• Deadlines for the first few issues will be announced, with a limited amount of grace period around each (but since submissions are initially “email only” the expectation is that deadlines should be met. Works submitted after the deadline for a given issue MAY be considered for future issues – but a note will be sent (likely autogenerated) noting the missed deadline. Requests to not consider the work will be honored.
• tbnl will NOT accept simultanous submissions. This is to keep our process as simple as possible for the first few issues. In the future, especially for fiction submissions we likely will change this guideline. This means that if you are submitting a work to tbnl you do NOT currently have the same work being read at another publication.
• tbnl encourages but does not require CC licenses for the works we publish. Done well we think that CC licenses make a lot of sense for most authors and allow for works to see wider distribution & creative reuse. 
• The type of writing being submitted MUST be clearly defined. The best way to do this is to include a short (as in one paragraph) introduction to the work. Clearly noting if it is FICTION or NONFICTION. 
• For a good example of the type of nonfiction tbnl is seeking see the book The New Kings of Nonfiction edited by Ira Glass. Also listen to the stories told on This American Life or on stage at shows like Fray or The Moth. This means a strong, personal voice and point of view, a wide range of topics, and strong writing which can incorporate some of the techniques of fiction writing. 
• Authors who do not wish to be paid will have options to reallocate their pay. Some writers may not wish to be paid for work they submit. Options will be available to reallocate these payments – likely ranging from donations made in the name of the author to one of a select group of charities or to raising the rates for the other authors and artists in that particular issue. 

tbnl is NOT a forum for “breaking news” or for time-sensative reviews. The print schedule for tbnl is still being determined, at least quarterly though the plan is to go to bi-monthly or monthly as soon as possible.  While we may publish some long form non-fiction which is not in a “personal” voice it will always be with the focus on writing which will be relevant and worth reading for many years so reviews of a new movie, restaurant, play, book, album or product will likely not make the cut. Nor will discussions of topics “in the news” (pending elections, business moves etc). 

tbnl is a forum for great, timeless stories. 

Topics.

In no particular order the following are some (and by no means the only) topics we expect to publish in the first year of tbnl:

• Serious food – especially looking at “Slow Food” and being a foodie/locavore
• Hacking – in the original, positive sense of exploring the limits of technology and of creative ways to do things
• Serious design – especially of the worldchanging variety 
• Networks – I am the founder of MeshForum, a conference on the study of Networks so not surprisingly I expect to publish works exploring a range of network related topics in tbnl
• Art – especially emerging art including digital art. Also ways to view and “read” art that illustrates the power of great art
• Music – not reviews of new albums but rather stories of and about music – about a personal history around music, about the art of making music, about the history behind specific works. Especially of interest is writing that crosses musical boundries – I’m personally a fan of Opera as well as Mashups, Folk music as well as Electronica. 
• Economics and “smart” business – timeless, great writing about Economics or business are rare and difficult to do, but tbnl will look for great, engaging stories
• Games – again not reviews of particular games but stories about games, about the game industry, about game design or the mindset of game playing. Everything from computer games to chess to live action role playing games are welcome
• Much, much more.

The primary focus of tbnl is timeless, great stories presented in a highly reader friendly form. ”Great” is of course subject to debate but the goal will be to publish a magazine which you read cover to cover and which introduces every reader to a new perspective, to a way of engaging with topics they might not think are of interest. 

I am a geek – but a geek with a very eclectic and quite wide ranging set of interests tbnl will reflect this eclecticism. 

Subscribers

Pledges to subscribe are being sought now. Exact costs will depend on the number of issues we decide to publish in the first year and we are exploring a tiered model as well as a range of publishing options. tbnl Magazine is intended primarily as a labor of love, as such it hasn’t yet been decided if the underly organization will be non-profit or for-profit. In either case tbnl will be run as a business seeking to generate sufficient revenues to pay all parties and contributors and to put out the highest quality publication possible. 

Here are some, very rough, initial thoughts:

1st year (at least 4 issues) subscriptions: $50-75 (less for US subscribers, more for overseas). The planned print-on-demand rate will be between $15-20 + shipping per issue. The retail price, if copies of the initial print runs are sold at retail at all, is likely going to be $15 at least for the first few issues (will probably be lower when/if we move to a more frequent publishing schedule). 

1st year SUPPORTER subscriptions: $150, includes some range of bonus/special features to be determined. This level (or higher) will mostly be supporting the existence and formation of tbnl Magazine. The plan will be to have a range of ways of thanking supporters – this will likely include special events w/author readings, limited editions of art, bonus items and more. It will also include public (unless the supporter wishes to remain anonymous) thanks on the tbnl website.

1st year DIGITAL ONLY subscriptions: $30. Probably around half of the print subscription rate. Individual eBook copies of each issue will also probably be available, likely at around a rate of $10/issue (though exact pricing will be decided based on feedback, costs incurred via the ebook sales partners etc)

Print-on-Demand.  The plan is to make each issue of tbnl Magazine available on a print-on-demand basis. Most likely via MagCloud for a price of between $15-20 an issue. This is, however, limited to US orders only until MagCloud exits beta. As such, the plan is to have a small, limited edition print run for each issue for subscribers (including non-US subscribers) prior to the release via print-on-demand.

Advertising:

From the beginning tbnl Magazine will accept advertising. The initial design allocates around a total of 12-16 pages for advertising out of the expected 80 + cover pages. The full page cover inside & back will be highest priced ad pages. Interior ads will be accepted in full page, (half or 1/3 page – depending on if we settle on a two or three collumn layout), 1/4 or 1/8 page ads (think the ad formats found inside of The New Yorker for examples). 

All ads will be included in all editions of tbnl Magazine including digital editions. If we decide to make some or all of the content of tbnl Magazine available on our website this will include advertising from a given issue so advertisers are requested to include a target URL for those ads.

Like the other content of tbnl Magazine advertising in the magazine should be Timeless in nature. That is, it should remain relevant to readers for at least the next year and preferably the next two years from the date of publication. Thus advertising for brands and ongoing ventures is preferred to the promotion of specific events (i.e. a movie studio vs. a new movie, a publisher vs a specific book). 

The audience of tbnl Magazine is obviously still being determined, but the expectation is that it will be a diverse, highly literate, and deeply engaged audience. Likely small, but also influential and passionate.

Advertising Rates:

These are very much still being determined and to a degree will depend on the initial print runs. But here are some, very rough and subject to change, estimates. Discounts for prepayment and multiple issue committments will be made and agency fees may be extra. Discounts for some types of advertisers may also be made (non-profits, publishers, startups, galleries etc). These are also all based on expectations of relatively low print numbers (<10,000 per issue) when/if demand raises and/or retail distribution is determined these rates may go up. And remember that in addition to the subscriber only print run, the ads will run for 1-2 years (or longer) in the print-on-demand and ebook editions. 

• Cover (inside, back and inside of back) - $5000/issue. This may be glossy, will definitely be color
• Full Page – $3000/issue
• 1/2 page (or one column if a three column layout) – $1500/issue
• 1/4 page – $1000/issue
• 1/8 page – $500/issue

As I noted – these are just initial, rough estimates. And they are negotiable. Priority will be given to advertisers who are willing to preebuy and to presupport for the full 1st year of issues (which ensures that those issues will be published).

Email me at shannon DOT clark AT gmail DOT com with submissions or advertising inquieries. Please include tbnl in your subject in all such emails!