Two more downloadable social media guides that caught my eye over the last couple of weeks.
UGC and The Law
Published by moderation company Tempero, this guide helps site owners get to grips with how their social media ventures might fall foul of the law and how to avoid that happening. Relying on former audience members to generate your site’s content for free sounds like a jolly good wheeze, but the consequences of using non-contracted employees as your writers might be a spell in the slammer if you aren’t careful. And it doesn’t matter how big you are or where your company’s headquarters are located, as Google discovered recently. The most common problem is copyright violation, of course, but defamation, discrimination, incitement to bad things, privacy violations, aiding and abetting and obscenity are all perfectly possible. Most of the time common sense should be a good guide: if it is illegal offline, then it’s illegal online too; if someone asks you to take something down and gives a good reason, then you should take action or seek advice; a site owner can not rely upon the defence of being a ‘mere conduit’. Nonetheless, pretty-much anyone will discover things here that will open their eyes and lead to a spot more caution.
At 48-pages, this is quite a comprehensive overview. However, like a lot of ‘free’ legal advice, the guide tells you just enough to persuade you that you probably need a lawyer. ;-)
The Definitive Guide to B2B Social Media
The second guide comes from US marketing firm Marketo and gives a good overview of how B2B companies can use social media. These media are still somewhat under-exploited in the B2B space with the likes of Twitter and Facebook often viewed as wholly consumer-facing vehicles. The guide has a workbook format with exercises to do and model examples to help show best practise. It encompasses quick guides to particular networks, but the main meat of the book is designing strategies to help guide what content to create, how to measure it and how one might justify the necessary investment. Also 48-pages long. (Hat-tip to my friends at Velocity for their design and sub-editing work).
The video is Carnegie Mellon University Professor, games developer and former Disney imagineer Jesse Schell on the surprise success of the likes of Farmville, Webkinz, Club Penguin, Wii Fit and X-Box Achievements. All of these are concepts that must have sounded insane on paper when they were proposed three-or-four years ago and then went on to become massive money-spinners for their creators. It’s also about the ways these games foreshadow the future in their crossover between gaming and real worlds.
We tend to imagine computer gaming as being about fantasy, but the really important thing that this new, commercially successful breed of games all have in common is the way they blur the boundaries between fantasy/online and meat-space. Farmville is about your real-life friends helping you out; Wii Fit is physical as well as virtual; Achievements is a meta-game about social status. Then we have Nectar points; Club Card points; Caffe Nero points; Petrol points; Alcohol Units (what? you’re not supposed to collect them?). Gaming is becoming ubiquitous.
From completely the opposite direction, the desire for authenticity in a world that is becoming increasingly more virtual is a theme Schell touches upon and has been a frequently mentioned topic on this blog.
Schell invokes this — and I really must get this book about it that he mentions — but then somehow segues between that and this approaching world order in which everything you do potentially scores you points. I’d agree that ‘gaming everywhere’ seems a likely future – one that’s already partially arrived, but I’m not sure that this will satisfy any of these other desires for a more real, visceral experience of life. So some sleight-of-hand there, I think. Brilliant presentation, nonetheless.
Many thanks to mobile guru Tomi Ahonen, who was kind enough to forward me some extracts from his Almanac 2010. The Almanac collects together data about the mobile industry worldwide. If you aren’t already switched on to Tomi, I’d very much recommend anyone interested in this field to check out his publications and also the Communities Dominate Brands blog that he co-authors with Alan Moore.
I got the ten-minute version of his work. For your convenience, here’s a two minute version, covering some of the figures that might be surprising or interesting to readers of this blog.
Q: How big is mobile?
A: Very big.
The population of the world is 6.8bn. There are 4.6bn mobile phone subscriptions. That’s 700,000 more than there are FM radios; three times as many as there are TV sets; four times as many as there are land line phones or PCs; five times the number of cars in the world.
In the Industrialised World, the penetration rate is 133%. In other words, a third of us have two mobile subscriptions.
In the Emerging World, representing 4/5 of the world’s population, the penetration rate is 56%. Not so high, but mobiles nonetheless account for more than double the number of radios; five times the number of televisions; six times the number of PCs. Ahonen states that mobile is the first media in the emerging world; it’s the “only medium able to reach half of the population”.
Twitter users come in two colours according to recent reports: over-sharing or silent. Last week, audience research company Nielsen released figures suggesting an enormous polarity between active and inactive members in the UK. The graph shows that 79% of time spent on the site comes from just 7% of its members:
Only poor MySpace has a greater proportion of slackers, while Facebook seems like a hive of communal activity in comparison, with a whopping half of the users there accounting for nearly all the time spent on the site. (sarcasm not intended, but may be enjoyed nonetheless).
Finding this video so quickly after yesterday’s post proves something. More on making money from media content, even though people can get it for free. Mike Masnick of Techdirt describes the ways Trent Reznor and Nine Inch Nails have created a profitable business from their music, after they sacked their record label in 2007. In short, they give away most of their music to connect with fans, but then create premium goods and live experiences to give those fans a reason to spend money. I like Masnick’s assertion that they’ve learned how to ‘compete with free’. His own commentary on the presentation is here.
Note that this isn’t the same as digital maoism. Reznor and the rest are still focused on making music and being rock stars, not selling T-shirts and so forth. Masnick also makes the point that getting all the extra “business” stuff done is a useful job for an agent or even a label, and might help justify their existence.
I wrote yesterday about the difficulties of selling media content when people can get something more-or-less identical without paying. It looked a bit bleak. In this – more positive – post, I’m going to look at some of the ways media owners might persuade people to pay for their content, focusing on the good, bad and ugly methods built around the recent Electronic Arts games release Dragon Age. A hotly-anticipated title, developed by role-playing game specialists Bioware, the production cost millions of dollars and took nearly six years. I think it would be fair to say that it had to be successful.
Like other media owners, computer games publishers have a hard time with piracy and other unauthorised distribution. You know this is true because you were a teenager once yourself and you copied disks and downloaded cracks. In my case, it was copying cassette tapes of Spectrum games. It’s really quite a big problem: 2DBoy, the publishers of indie puzzle game World of Goo, had a built-in mechanism for tracking every copy of the game in circulation. They discovered that 90% of those copies were unauthorised, and that’s discounting any versions whose distributors had found a way to circumvent the tracking. While that doesn’t mean that game publishers only get 10% of the revenue they would in a world without piracy, I think we’re likely to agree that it’s probably a fair chunk.
Social tools, devices and web evolution are creating epochal change in media, society and business. The plan is to hide under the floorboards till it’s all over document some of the interesting parts of that change. More….
Published by moderation company Tempero, this guide helps site owners get to grips with how their social media ventures might fall foul of the law and how to avoid that happening. Relying on former audience members to generate your site’s content for free sounds like a jolly good wheeze, but the consequences of using non-contracted employees as your writers might be a spell in the slammer if you aren’t careful. And it doesn’t matter how big you are or where your company’s headquarters are located, as Google discovered recently. The most common problem is copyright violation, of course, but defamation, discrimination, incitement to bad things, privacy violations, aiding and abetting and obscenity are all perfectly possible. Most of the time common sense should be a good guide: if it is illegal offline, then it’s illegal online too; if someone asks you to take something down and gives a good reason, then you should take action or seek advice; a site owner can not rely upon the defence of being a ‘mere conduit’. Nonetheless, pretty-much anyone will discover things here that will open their eyes and lead to a spot more caution.
The second guide comes from US marketing firm Marketo and gives a good overview of how B2B companies can use social media. These media are still somewhat under-exploited in the B2B space with the likes of Twitter and Facebook often viewed as wholly consumer-facing vehicles. The guide has a workbook format with exercises to do and model examples to help show best practise. It encompasses quick guides to particular networks, but the main meat of the book is designing strategies to help guide what content to create, how to measure it and how one might justify the necessary investment. Also 48-pages long. (Hat-tip to my friends at Velocity for their design and sub-editing work).
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