Tag: Publishers

You Get What You Pay For

 

Recently the news and commentary website Salon instituted a policy of not allowing visitors using advertisement blockers to access their website without either or turning the blockers off or allowing Salon to use the visitors’ computers to mine the cryptocurrency Monero. In other words, when a visitor with an active ad blocker arrives at the Salon website, Salon detects the ad blocker and immediately pops up a notice about its new policy, giving the visitor the options of turning off the ad blocker and continuing to the rest of the site and viewing it for free, but with ads, or, for a visitor who chooses not to turn off the ad blocker, then that visitor must grant Salon permission to use their computer to mine Monero, which replaces the revenue Salon would otherwise lose to that visitor who wants to read articles without viewing any ads. The third option for the visitor is to leave the website.

 

It remains to be seen how well visitors to the Salon website will accept the new policy and whether Salon will see a return to revenue levels they had before ad blockers became much more widely used in the past few years. It’s commendable that the owner of Salon is being open about taking this step and giving visitors options. Some websites use the computers of visitors to mine cryptocurrency without notifying them, a practice known as cryptojacking. Sometimes the website owner is not aware this is happening because their website has been hacked, and in that case it is the hacker who gets the revenue, and both the website owner and the visitor lose out. What the owner of Salon is doing is not cryptojacking, a sneaky and disreputable practice.

Garry Moore Tony the Tiger 1955
Image of television personality Garry Moore and Kellogg’s cereal character Tony the Tiger taken from a 1955 Kellogg’s advertisement. There have always been tacky ads for products of dubious worth.

There are other ways for website owners to cope with replacing revenue lost to ad blockers. The website for The Atlantic magazine stops a visitor at the door when it detects an ad blocker and advises the visitor to turn it off, or whitelist The Atlantic in the ad blocker, or leave. Simple and straightforward. Other websites, such as the one for The New York Times, give a visitor a certain number of free articles each month before the visitor reaches a paywall that requires the visitor buy a subscription to read more articles. More lenient on the front end, but with a harder line on the back end. These models work reasonably well for very popular websites that can afford to lose a small percentage of visitors who absolutely refuse either to not use an ad blocker or to pay for content on the internet. The owners of less well known websites would have a harder time adopting those models without alienating visitors they can ill afford to lose.

Joe dimaggio camel ad
Long before Joe DiMaggio plugged coffee makers, he did advertisements for cigarettes, as did many celebrities, including athletes like him.

The shame of it all is that ad blockers have increased in popularity because of the bad behavior of a few bad actors on the internet who push out ads that hide malware and trackers, or video ads that use autoplay, or ads with Flash Player code that makes them highly distracting, and because of that kind of activity internet users have quite reasonably installed ad blockers to avoid all that, and the effect has been to punish the good along with the bad. Unfortunately there are also too many internet users who think everything on the internet should be free, conveniently ignoring the obvious point that the producers of internet content have to eat and pay the rent just like anybody else.

Imagine picking up a newspaper from a kiosk, a newspaper from which someone has helpfully cut out every single advertisement, leaving only the articles. This would be a great boon to the reader, obviously, but how is the publisher supposed to pay the bills? The reader picked up the newspaper without paying for it, which is not a big deal because the selling price of a newspaper typically takes care of a small percentage of the cost of publishing it. Print newspapers, and now internet newspapers and other publications have always relied on the selling of advertising space for the greater part of their revenue. If readers can’t see the ads, why would advertisers continue to buy ad space?

In this early scene from the 1963 Stanley Kramer film It’s a Mad, Mad, Mad, Mad World, Jonathan Winters as Lennie Pike, third from the left, has some choice words for those who want something for free.

There’s plenty of blame to go around for the state of internet advertising, from publishers and ad producers who put out obnoxious ads that distract from the visitor’s experience, to visitors who seem to think that internet publishers should make their content available free, and even better as far as they are concerned would be free without any visible means of support in the form of advertisements. That’s the “Big Rock Candy Mountain” pipe dream. More reasonable would be a compromise among publishers, advertisers, and visitors that would ask advertisers and publishers to show respect to visitors by not pushing obnoxious ads on them, and visitors to acknowledge the need for publishers to eat and pay the rent like anybody else, and to satisfy those needs by showing ads to visitors. Simple really, particularly considering the alternatives of working in the mines or paying for what you get.
— Techly

 

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Now Hear This

 

This is a golden age for listening to audiobooks on portable electronic devices like smartphones and iPods, but the high price of audiobooks still holds them back from becoming as popular as electronic books or printed books. Before the inclusion of compact solid state storage on portable devices, audiobook listeners were encumbered with multiple compact discs (CDs) or cassette tapes for each book. The combination of compressed audio formats with high capacity compact storage has unlocked a perfect setting for listeners to take advantage of audiobook downloads from the internet and then enjoy a seamless listening experience any time and anywhere.

 

While the marriage of hardware technology with software format is now ideal for enjoying audiobooks, the pricing remains a stumbling block. Regular prices can start at $15 and go on up to $100. In any case, the audiobook price is always the highest of any of the formats, from hardcover or paperback print to ebook. Production costs for publishers are higher naturally because of the need for voice talent, production personnel, and recording facilities. It may be that to produce a truly professional result the costs cannot be lowered, and therefore audiobook prices will remain high. That would be a shame, since the technological moment has never been better and that has in turn increased demand. If increased demand does not drive the price down, then most likely audiobook sales will hit a wall, and new listeners will no longer be drawn to the format.

Anker Sonntagnachmittag 1861
Sunday Afternoon, an 1861 painting by Albert Anker (1831-1910).

There are some alternatives to the business model of publishers producing audiobooks themselves or licensing their books to production studios, a model resulting in high overhead costs which increase the prices of best sellers and niche books alike. One alternative encourages authors to engage voice talent and production facilities and staff more or less on their own, knocking down the overhead costs. An author could still go for high concept production, but most have not. This business model has had the effect of increasing the overall amount of titles with audiobook versions, and at better prices than the standard publishers’ audiobook versions. It seems the publishing houses have been unable to take advantage of the audiobook’s golden age on account of their lumbering dinosaur steps, and a more nimble approach was needed.

Another alternative is the free model of LibriVox, staffed by volunteer readers using their home studios. The books they read are all in the public domain, and are free to download, with no digital rights management encumbrances. LibriVox is a laudable project, and even though there are no modern best sellers available for listening, the collection of classic literature is extensive. As can be expected with volunteer readers producing their efforts themselves from probably quite modest facilities, the results are wildly uneven, sometimes within the same audiobook, since LibriVox occasionally parcels out different chapters to several readers. Listening to LibriVox audiobooks is therefore a hit or miss experience which can be useful all the same in filling in gaps for a listener, especially when it comes to the classics.

The enjoyment of listening to a great storyteller goes back to childhood individually, and to the beginning of history for the human race as a whole.
It appears the audiobook industry has settled on the monthly subscription model as its most effective way to sell to listeners. Relatively few people are interested in buying titles outright considering the high prices. Subscription rates for only one or two audiobook downloads per month are also high, but at $10 to $20 they seem easier to swallow. The public library is yet another alternative for downloading audiobooks, although because of budget cutbacks libraries are having more difficulty than ever stocking a selection of audiobooks comparable to their print book inventory. For an audiobook fan with a middle class or slimmer amount of disposable income, putting together a home audiobook collection like a roomful of long playing records or several bookcases filled with paperback books is probably not feasible. For a frequent listener, the rental plan offerings are not very filling at only one or two audiobooks per month. A little of this and a little of that might be the best strategy for an audiobook fan with shallow pockets – a monthly subscription if it can be had at a good rate, an active library card, and an electronic bookmark for the LibriVox website.
— Techly

 

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How About That Free Lunch Now

 

The great thing about the internet is that it is interactive; interactivity is also one of the bad things about the internet. When people read paper newspapers, way back when, they were exposed to advertisements paid for by commercial establishments in the news and features sections, and to classified advertisements paid for mostly by individuals or small businesses in a section of their own. Paper newspaper advertisements were interactive only in the sense that the reader could choose to ignore them. This was reasonably easy for the reader because the ads themselves did not hop up and down, yell and scream for attention, obfuscate the actual content of the newspaper for a period, or otherwise make a nuisance of themselves and detract from the peaceful enjoyment of the newspaper by the person who had paid a dime or a quarter for it.

When newspapers and writers of other content moved to the internet, they still needed to make a living, of course, and naturally they turned to advertisers to help fund their efforts. Since there was no pay model for the internet, such as had been the case in the days of paper newspapers when readers either subscribed for home delivery or paid directly at street corner kiosks, publishers relied even more heavily on advertisers for income. For some reason, people had gotten the notion that internet content should be free, and rightly or wrongly that’s the way things developed. Here is where the interactive part kicked in and started an internet arms race.

Bob Dylan performs his song “Mr. Tambourine Man” at the 1964 Newport Folk Festival. Dylan’s guitar and harmonica rig is much like the getup buskers used then and today to make a few dollars for their efforts. All that’s missing here is the hat or guitar case for collecting money tossed in by passers by. Many small websites, like this one, have to either pass the hat by posting a “Donate” button, or hope for the best from advertising revenue, or both.

Advertisers realized that since the internet was interactive and didn’t just lie there waiting to wrap fish after it was published like the old paper newspapers did, they could do things to jazz up their ads and, they thought, readers would pay closer attention and the advertisers would see higher returns. Great! Not all advertisers, just the ones who lacked any restraint, got their ads to hop up and down, to yell and scream for attention, to obfuscate for a period the content the reader was actually there to see, and to otherwise make a nuisance of themselves in order to draw attention. It turns out people did not like that, particularly the ones with slow internet connections or limited bandwidth, which the sparkly new advertisements ate into, much to the hapless reader’s dismay. Enter software engineers with a retaliatory response.

The software engineers had some experience in combating opponents in the advertising field after having worked to swat away the pop up army of advertisements that plagued internet users in the early days. One thing many advertisers have never been known for is restraint. Now here they were again, but instead of pop ups they were employing twitchy, sparkly, pushy advertisements. The software engineers working on behalf of browser makers and internet users came up with ad blockers. Now all ads were blocked. Hah hah! Internet users had the option of whitelisting – or permitting – ads on a website in the options menu of their ad blocker, but who would ever bother to do that? Publishers noticed, however, that their internet ad revenue plummeted.

An emotionally fraught rendition of “Silver Springs” in a 1997 concert by Fleetwood Mac, which demonstrates why they continued to draw large crowds well after their heyday. The song, written and sung by Stevie Nicks, who as a songwriter ranks in the top echelon of 1970s and 1980s pop and soft rock, is a deeply personal revelation. Fleetwood Mac had by 1997 long passed their peak of popularity for album sales, but concert ticket prices for such an established group with an extensive catalog of hits remained high, from $20 to $50 for the cheap seats, to over $100 for the best seats. The internet works similarly, with an enormous underclass of websites barely making it, and several well established websites with large followings dominating the market.

Enter Google in the spring of 2017 with the Funding Choices program and their own ad blocker built into their Chrome browser, which in the past year has overtaken Microsoft’s Internet Explorer as the world’s most popular browser. But since Google makes the lion’s share of its revenue selling ads and marketing user information, why would Google then be against ads? Because the obnoxious ads that prompted the development of ad blockers have poisoned the well for everybody, and Google, with its dominant market position, can dictate which ads will fly and which ones won’t.

The Funding Choices program is geared toward internet users, telling them they can pay to subscribe to a publisher’s content and go ad free, or view the content free on condition they allow ads, which Google assures them they have vetted for good behavior. Google’s ad blocker built into its Chrome browser is geared toward advertisers, telling them essentially that unless they allow Google to vet their ads for good behavior, they will not see the light of day on the world’s most popular browser. All of this would seem a boon to both internet users and publishers. But that depends on how much they trust “Don’t Be Evil” Google. Rather than turn over yet more power to Google, a company which has already surpassed Microsoft in ways not only financial but morally suspect, perhaps the time has come for internet users to seek alternatives not only for search but for the multitude of other applications which Google has used to ingratiate itself as the public’s servant, the servant whose ear is always at the door. This website, for one, will seek alternatives to displaying Google ads. Oh, you weren’t even aware there were Google ads on this website?
― Techly

 

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