JacketFlap connects you to the work of more than 200,000 authors, illustrators, publishers and other creators of books for Children and Young Adults. The site is updated daily with information about every book, author, illustrator, and publisher in the children's / young adult book industry. Members include published authors and illustrators, librarians, agents, editors, publicists, booksellers, publishers and fans. Join now (it's free).
Login or Register for free to create your own customized page of blog posts from your favorite blogs. You can also add blogs by clicking the "Add to MyJacketFlap" links next to the blog name in each post.
Viewing: Blog Posts Tagged with: FaceBook, Most Recent at Top [Help]
Results 1 - 25 of 434
How to use this Page
You are viewing the most recent posts tagged with the words: FaceBook in the JacketFlap blog reader. What is a tag? Think of a tag as a keyword or category label. Tags can both help you find posts on JacketFlap.com as well as provide an easy way for you to "remember" and classify posts for later recall. Try adding a tag yourself by clicking "Add a tag" below a post's header. Scroll down through the list of Recent Posts in the left column and click on a post title that sounds interesting. You can view all posts from a specific blog by clicking the Blog name in the right column, or you can click a 'More Posts from this Blog' link in any individual post.
We took the opportunity to republish Dery’s Morning Media Menu interview from last year, covering everything from Facebook etiquette to Christian comic creator Jack Chick.
Press play below to listen on SoundCloud. While talking about best Facebook practices, Dery also outlined a version of the Six Degrees of Kevin Bacon game that could be played with New York Times book critic Michiko Kakutani.
In the December 4, 2012 issue of Shelf Awareness, in an article on YA authors and their social media platforms, Andrea Cremer (author of Nightshade and its sequels) admits she started out with a blog, but "now finds that medium too slow and relies primarily on Facebook and Twitter."
She also says her "social media activity takes up three to four hours of her day." And that's without blogging!
Further evidence that blogging is losing its appeal: several of the authors I follow have essentially stopped blogging. The last time Maureen Johnson (Name of the Star) posted to her blog was five months ago. Yet you can find the Queen of Teen on Twitter nearly every waking hour of the day. Laurie Halse Anderson also hasn't blogged for five months. Mike Jung (Geeks, Girls, and Secret Identities) is another author with a Twitter empire. His last blog post was Feb 23, certainly recent enough. Yet the one before that was Oct 7, 2012!
What does this mean?
I think it means the future of blogging is Twitter and Facebook! The internet is changing our brains and the way we process information. People simply don't have the patience to read long blog posts anymore (Go on, admit it, you've skimmed more than one of my longer posts -- and yes, I've probably skimmed one or more of some other blogger's posts. Not yours! No!). And it's possible that LinkedIn, Google+, Tumblr and especially Pinterest also vie for a portion of your allotted social media time. When does anyone have time to write or read books?
Wait until Facebook buys out Twitter and they'll be the same thing. Then it will be one looming tower of babble.
In 2006, there appeared to be a remarkable consensus among Internet gurus, activists, bloggers, and academics about the promise of Web 2.0 that users would attain more power than they ever had in the era of mass media. Rapidly growing platforms like Facebook (2004), YouTube (2005), and Twitter (2006) facilitated users’ desire to make connections and exchange self-generated content. The belief in social media as technologies of a new “participatory” culture was echoed by habitual tools-turned-into-verbs: buttons for liking, trending, following, sharing, trending, et cetera. They articulated a feeling of connectedness and collectivity, strongly resonating the belief that social media enhanced the democratic input of individuals and communities. According to some, Web 2.0 and its ensuing range of platforms formed a unique chance to return the “public sphere” — a sphere that had come to be polluted by commercial media conglomerates — back in the hands of ordinary citizens.
Eight years after the apex of techno-utopian celebration, a number of large platforms have come to dominate a social media ecosystem vastly different from when the platforms just started to evolve. It’s time for a reality check. What did social media do for the public — users like you — and for the ideal of a more democratic public space? Do they indeed promote connectedness and participation in community-driven activities or are they rather engines of connectivity, driven by automated algorithms and invisible business models? Online socializing, as it now seems, is inimically mediated by a techno-economic logic anchored in the principles of popularity and winner-takes-all principles that enhance the pervasive logic of mass media instead of offering alternatives.
Most contemporary social media giants once started out as informal platforms for networking or “friending” (Facebook), for exchanging user-generated content (YouTube), or for participating in opinionated discussions (Twitter). It was generally assumed that in the new social media space, all users were equal. However, platforms’ algorithms measured relevance and importance in terms of popularity rankings, which subsequently formed the quantifiable basis of data-driven interactivity wrapped in “social” rhetoric such as following, trending, or sharing. In this platform-mediated ecosystem, sponsored and professionally generated content soon received a lot more attention than user-generated content. Platforms like YouTube and Facebook gradually changed their interfaces to yield business models that were staked in two basic variables: attention and user data. By 2012, once informal social traffic between users had become fully formalized, automated, and commoditized by platforms owned and exploited by fast growing corporate giants. Although each of these platforms nurses its own proprietary mechanisms, they are staked in the same values or principles: popularity, hierarchical ranking, quick growth, large traffic volumes, fast turnovers, and personalized recommendations. A like is not a retweet, but most algorithms are underpinned by the norms of popularity and fast-trending topics.
The cultivation of online sociality is increasingly dominated by four major chains of platforms: Google, Apple, Facebook, and Amazon. These chains share some operational principles even if they differ on some ideological premises (open versus closed systems). Some consider social media platforms as alternatives to the old mass media, praising their potential to empower individual users who can contribute their own opinions or content to a media universe that was before pretty much closed to amateurs. Although we should not underestimate this newly acquired power of the web as a publishing medium for all, it is hard to keep up the tenet that social media are alternatives to mass media. Over the past few years, it has become increasingly obvious that the logics of mass media and social media are intimately intertwined. Not just on the level of platforms mechanics and content (tweets have become the equivalent of soundbites) but also on the level of user dynamics and business models; YouTube-Google now collaborates with many former foes from Hollywood to turn their platform into the gateway to the entertainment universe. Newspapers and television stations are inevitably integrated in the ecosystem of connective media where the mechanisms of data-driven user traffic determines who and what gets most attention, hence drawing customers and eyeballs.
This new connective media system has reshaped the power relationships between platform owners and users, not only in terms of who may steer information but also who controls the vast amount of user data that rushes through the combined platforms every day. What are the larger political and social concerns behind deceptively simple interfaces and celebrated user-convenient tools? Where in 2006 the notion of user power still seemed unproblematic, the relationship between users and owners of social media platforms is now contentious and embattled. In the wake of the growing monopolization of niches (Facebook for social networking, Google for search, Twitter for microblogging) it is important to redefine and reappraise the meaning of “social,” “public,” “community,” and “nonprofit.” The ecosystem of connective media has no separate spaces for the “public”; it is a nirvana of interoperability which major players argue for deregulation and which imposes American neoliberal conditions on a global space where boundaries are considered disruptions of user convenience. Common public values, such as independence, trust, or equal opportunities, are ready for reassessment if they need to survive in an environment that is defined by social media logic.
Does your Twitter or Facebook profile look unbalanced?
The strategic communication company Cerebra has created an infographic outlining the ideal image sizes for photos on Twitter, Facebook and YouTube. Social Times has more information:
In February 2012, Facebook updated the look of its Timeline for Pages to include cover photos and featured posts, among other changes. Twitter’s December 2011 redesign, “Let’s Fly,” included new backgrounds for profiles. YouTube has changed quite a bit in the last year. The latest channel redesign, which will bring branded banners to all users, was announced a couple weeks ago. But it’s only available to select partners right now and is not reflected in this chart. Check YouTube’s channel art guidelines for updates.
Yesterday, in response to a query from Ilie Ruby, I posted a few lines from a novel in progress and then invited all my Facebook writer friends to do the same. I wanted to shatter, for that one day at least, the loneliness that can stem from writing. I wanted to celebrate those who had published and those who will soon publish—to make it clear that we are all of the same yearning community, no barriers between us.
The response was enormous. Friends told friends told friends, and Facebook became a map of beginnings, a crest of awe, a wild fire net of encouragement and surprise.
Late in the day, my husband and I headed down to the city to take place in another act of essential community—the memorial service for Gerald M. Cope, the theatrical and compassionate leader of the architecture firm (Cope Linder Associates) where I worked as a new graduate of the University of Pennsylvania, and where I met my husband before he left (within a handful of weeks) for graduate work at Yale. We had made enduring friendships at this place. Gerry, and his son Ian (who now leads the firm) would come to our wedding. My husband would return to work at the firm for many, many years more. Yesterday, at the Union League, we saw these old friends again for the first time in a decade, more.
Those who spoke at the memorial service—Gerry's children, his brother, his friend, his wife—brought Gerry back to tangible life, reanimating this glorious man who was committed to engendering joy. Gerry understood, one person said, that it wasn't what you said that would be remembered, or what you did. It was how you would make others feel. Gerry Cope had a way of making us all feel charming and charmingly important. He united us, and yesterday we were again all friends once more.
Display CommentsAdd a Comment
I’ve read several books on author platform but have to confess never fully grasping the term until reading Chuck Sambuchino’s CREATE YOUR WRITER PLATFORM. At its simplest level, a platform is an author’s visibility and reach -- the framework an author has and continues to build that let’s others know of his or her work.
Sambuchino describes his book as “a guide for all the hardworking writers out there who want a say in their own destinies.” Though there is no one-size-fits-all approach to establishing a platform, Sambuchino says the need for platform cannot be ignored, even for those of us who write fiction. The book is divided into three sections: The Principles of Platform, The Mechanics of Platform, and Author Case Studies. At the end of each chapter, literary agents weigh in on the chapter’s topic, giving readers perspectives outside of the author’s. One of the most helpful aspects of the book is the Case Study section, where twelve different authors from a variety of genres (memoir to self help, fiction to reference) reflect on the choices they made in building their platforms -- what worked, what they wish they’d done differently, what they believe makes them stand out from others in their field.
Sambuchino is also quick to say “this is a resource for those who realize that selling a book is not about blatant self-promotion.” It is more about relationships, the sharing of expertise, and supporting others along the way. Though written for the aspiring author, a lot of things resonated with me, a newly published author, such as the wisdom behind an author newsletter, establishing an “events” page on my blog, and always, that kindness and generosity go a long way. Display CommentsAdd a Comment
Dogs in books are quite popular, especially to me, since I've owned one dog or another for many years. Some of you may already know about my current dog, Rascal, a pit bull, who may yet show up in one of my books.
I included a Chinese Crested dog in my romantic comedy, Her Handyman, since that strange type of breed seemed a perfect match for my quirky artist character, Zoe.
I also included a neighbor's dog in my romantic suspense, Killer Career, but not in such happy circumstances.
I almost forgot to mention, my upcoming release, Blessing or Curse, also has a police dog in it!
To give proper due to man's and woman's best friend, I started a new Facebook Group, called Dogs in Books.
If you also like to read or write about dogs in books, come on over and join us at:
Which of the many books on your to-read list will you pick up (or click on) next? If you’re as indecisive as me, it’s a struggle each time.
In 2013, I will have a mission to guide me. I’m signing up for the second annual Australian Women Writers Challenge, with a plan to read 27 books by Australian women writers, many of which have been gathering dust on my real and virtual bookshelves for years (the full list to come in a future post).
I found out about the event too late in 2012, but tracked the progress of other bloggers who joined in via Twitter and GoodReads with interest. So what exactly is this giant digital book club, how did it come to be, and how can you get involved? Founder ELIZABETH LHUEDE explains all …
1. What is the Australian Women Writers Challenge all about, and what inspired you to launch the campaign?
The Australian Women Writers Challenge is a reading and reviewing challenge organised by book bloggers. It asks people to sign up and read, or read and review, a number of books by Australian women throughout the year, and to discuss them on book blogs and social media. Through the challenge, we hope to draw attention to and overcome the problem of gender bias in the reviewing of books in Australia’s literary journals, and to support and promote books by Australian women.
Indirectly, the challenge was inspired by the VIDA count, an analysis of major book reviewing publications in North America and Europe. This count revealed that male authors were far more likely to have their books reviewed in influential international newspapers, magazines and literary journals than female authors.
An analysis of Australian literary pages by Bookseller + Publisher showed a similar bias (reprinted in Crikey in March 2012). From my own experience I know the problem isn’t just with male readers not reading books by women; it’s more entrenched than that: women, too, are guilty of gender bias in their reading. This is part of a much larger problem of devaluing work labelled as being by a woman. A 2012 study quoted recently by Tara Moss demonstrates that this bias exists independent of the actual quality and content of the work (see excerpt here).
To help solve this problem, the Australian Women Writers Challenge calls on readers to examine their reading habits and, if a bias against female authors exists, work to change it by reading – and reviewing – more books by Australian women. The quality of the work is there: it’s up to us to discover and celebrate it.
2. Is it just a coincidence that the challenge arrived on the scene around the same time as the Stella Prize for Australian women’s writing?
The challenge owes a lot to the people who created the Stella Prize. Kirsten Tranter, one of the Stella panelists, wrote about the VIDA statistics in early 2011, as did many others in the early part of that year (see a list here). Without the Stella Prize, the challenge wouldn’t have been the success it is.
3. How highly would you rate the influence of Miles Franklin on all of this, and why do you think she has become such a symbol for women writers in this country?
The Stella panelists chose Miles Franklin as a symbol, I believe, because no women were shortlisted for the Miles Franklin Award in 2009 and 2011, despite the prize having been established at the bequest of a woman – one who, incidentally, chose to publish under a male pseudonym.
I can see the strategic reasons for adopting Franklin as a symbol, but I also think it’s a symptom of the problem. There are far more talented Australian female authors. There are also other literary prizes that have been going for years that don’t get anywhere near the publicity of the Miles Franklin Award, such as the Barbara Jefferis Award and The Kibble and Dobbie prizes. To be honest, I hadn’t even heard of these awards before I started researching books to read for the challenge. Why is that, unless it has something to do with the fact that they, in varied ways, celebrate women?
4. A year on, do you feel the campaign has been a success?
5. How important has social media been to its reach?
Twitter especially has a major force in getting word out about the challenge, and has helped publicise the many reviews now linked to the blog (well over 1300). Recommendations via book bloggers and, to a lesser extent, Facebook have also been important. The real spikes in terms of hits on the blog, however, have come after mentions in traditional media.
6. You’ve done some survey research into AWW’s impact. Have you seen the results of that research yet?
A brief look at the results has revealed that the majority of respondents didn’t sign up for the challenge, but had heard about it; a majority of these also happened to read more books by Australian women this year. There are many other factors beside the challenge which have raised the profile of books by Australian women in 2012, so the challenge can’t take credit for this result, but it is a very encouraging trend.
Of the people who did sign up for the challenge, a majority read more books by Australian women than in previous years, and most reviewed more and read more broadly. A majority of respondents credited the challenge for their having a greater awareness of authors’ names, book titles and a sense of the breadth and diversity of genres being written by Australian women.
7. Do you have anything different planned for AWW in 2013?
In 2013, the challenge will remain basically the same, with the aim to read and review more books by Australian women. One change is that there will now be a ‘read only’ option for people who are reluctant (or too time poor) to review. This is a gamble – as it could easily diffuse the challenge’s goal. But it is my hope that people who sign up for this option will actively participate in the challenge.
How can they do that? By discussing books they’re reading on social media, using #aww2013 on Twitter, posting comments on the AWW Facebook page, discussing the books in the AWW GoodReads group, and – especially – by commenting on book bloggers’ reviews. Book bloggers have made a huge effort to read and review these books and I’m sure they appreciate people commenting.
8. Are the goals for the campaign the same, or have they grown with the movement?
The goal for the challenge remains to help overcome gender bias in reviewing, and also more generally to support and promote books by Australian women.
9. How can readers, authors, publishers, booksellers, the media and bloggers get involved?
The best way to get involved is to sign up to the challenge, to pledge to read and review books by Australian women in 2013, and to encourage others – friends, co-workers, family members, book group members, local librarians, school teachers and bookshop owners – to join as well. You can sign up here.
10. Can men participate (of course I know they can, but you never know, some might be too shy unless you extend them a really warm invitation!)?
Men are very welcome to participate – as they were in 2012. One male participant in the 2012 challenge was David Golding who recently wrote a wrap-up post on his participation which included a call for more men to sign up.
Another participant from 2012 is Sean Wright from Adventures of a Bookonaut blog. Sean has joined the AWW team and will be looking for ways to help get more male readers engaged in the challenge. (If you have any ideas, let him know!)
11. Who is/are your favourite Australian woman writer/s?
This is a tough question. I can honestly say my knowledge of books by Australian women is still too limited for me to have a favourite or favourites. This year I have discovered a wealth of genuine talent – world-class authors I didn’t know existed this time last year – and I’m convinced there are many more to discover. My favourite genre is crime, particularly psychological suspense, and in those genres I’ve enjoyed the work of Wendy James, Rebecca James, Sylvia Johnson, Sara Foster, Caroline Overington, Angela Savage, Sulari Gentill, Nicole Watson, PM Newton and my friend Jaye Ford. But one of my goals this year was to read widely, which means I’ve read a lot of single books (46 so far) by different authors. The only authors I’ve repeated have been Gail Jones, Charlotte Wood and Margo Lanagan (two each). It’s not enough to go on to develop a favourite.
12. What were your top three reads by Australian women writers this year?
Only three? Eva Hornung’s Dog Boy, Margo Lanagan’s Sea Hearts tie for first, and a shared tie second includes Emily Maguire’s Fishing for Tigers and PM Newton’s The Old School, while Kate Morton’s The Secret Keeper comes in third. These are all very different books but, in my view, compelling reading. (Sorry, that’s five, isn’t it?)
13. What are you planning to read next?
I’ve just finished Tender Morsels by Margo Lanagan, an emotionally devastating and imaginative speculative fiction novel, and before that was Annabel Smith’s Whisky Charlie Foxtrot, a very readable literary book about sibling rivalry. I have a huge stack books by Australian women to read, both recent releases and older titles, but I’m also keen to get back to my own writing which I’ve neglected this year while working on the challenge. Creating the new websites has required fulltime work for the past few months, and I need to get back to my own writing.
13. Could you tell us a little about your own writing? Has your work on the challenge pushed your own literary career along?
I started writing novels after I finished my PhD (in 1995) and I’ve had success in competitions with several romantic suspense novels and a fantasy title, but so far no acceptances from publishers. My latest story is a page-turning psychological suspense novel which draws on some hair-raising encounters I had working as an intern counsellor at a private hospital, as well my experience growing up with a schizophrenic father.
Earlier this year I attracted the attention of literary agent, author and former editor, Virginia Lloyd, who loved the story and agreed to represent me. With a great team now supporting the AWW challenge, I hope to get on with writing my second psychological suspense novel in 2013.
Have I been inspired by what I’ve read? Without a doubt. It has also been intimidating to see the depth, breadth and quality of the work that is out there – work that clearly doesn’t get the attention it deserves. It’s scary, in a way, to go back to my own writing now with this new ‘anxiety of influence’. I would love to write with the richly textured imaginative flair of Margo Lanagan, or the terrible emotion of Eva Hornung, or the compassionate humanity of Charlotte Wood. I would love to write crime with the sense of history and stylistic precision of PM Newton, or have the exquisite appreciation of nature and human heartbreak of Favel Parrett, or the contemporary feel and nuanced characters of Emily Maguire. I’d love to write suspense, mystery and history with the scope and readability of Kate Morton – and to have my books be half as popular with readers. I doubt I can do any of those things and I feel grief about that. I know the next step in such thinking would be “Why even try?” But what I can do is what I’ve always – sometimes hesitantly – tried to do: to write as skilfully and honestly as I’m able, informed by who I am and my unique experience of the world. If one day I get published and find readers who enjoy reading the stories I’ve created, great: that will be a dream come true. If not, at least I can be an active and appreciative reader of those writers who have a great deal more talent than me.
Above, you can see Facebook’s infographic about the top books of 2012. Below, we’ve listed the top five books on that list…
1. The Hunger Games by Suzanne Collins
2. Catching Fire by Suzanne Collins
3. Mockingjay by Suzanne Collins
4. Fifty Shades of Grey by E.L. James
5. Harry Potter and the Sorcerer’s Stone by J.K. Rowling
Canberra writer and entrepreneur Ellen Harvey has launched a new global platform for writers who can cope with word limits. The drabbl.es website, which is live but in alpha testing, invites visitors to create 100 word stories in one of dozens of subject areas, from journalism to crime and chick lit to biography. It’s an addictive format, and one that will appeal to writers of all genres and experience levels. Ellen took time out from her busy schedule to answer some questions about drabbling and literary start-up life for Boomerang Books.
How and when did you come up with the idea for drabbl.es?
The idea for drabbl.es came about as I was thinking of a way to write, collect, share and get others to do the same with 100 word stories. My writing group at the time loved the idea and I would give them ‘homework’ tasks to write 100 words around a certain theme. I wanted to read their drabbles, and they wanted to read other people’s drabbles too. Drabbles have been around for a while, the term originating from Monty Python, and are quite popular on online blogging platforms such as Livejournal. At the end of 2011, my husband, Lachlan Blackhall, and I were having a conversation about how to make this 100-word story-sharing website a reality. It was then that drabbl.es really started to take form, including many features and improvements that we can’t wait to implement on the website in future versions.
How long have you yourself been writing drabbles?
I have been writing drabbles since I was 14 and sharing them with friends via email and online blogging.
What’s your day job?
My day job is split into three segments really: I’m a writer working on my first manuscript. I also started a company with my sister this year called BnE Media (www.bnemedia.com) where we create animated storybook apps for children. And of course, I work on drabbl.es.
And your dream job?
This is pretty much the dream. I am able to travel while working, I am able to write full-time, and I am able to work on interesting projects.
How many of you are involved in the project and what are the key roles?
As mentioned earlier, my husband is a key member of this project. He works with many start-up companies and is the ideal partner to have for this website. Plus, it’s great fun to be working on something with Lachlan. David Elliot and his team at Agile Digital are amazing–they worked tirelessly to make sure we had demos for workshops and a working version to begin this first trial in October.
How long has it taken to get the site up and running?
The idea was developed into a working website early in the year, and we were able to secure our developers (Agile Digital) in April. In six months, we have been able to start our first trial.
Now that drabbl.es is live, how much work is involved in running and promoting the site?
It’s actually a lot more work than I thought. Running a website, especially one in the early stages, means that I read 95% of all the drabbles. Drabbles are then randomly picked to be ‘promoted’ on social media, as well as advertising our challenges on social media so users know there are new ones. Running a trial, in particular, means I sort through feedback results and am constantly updating the development strategy for the next version. It definitely keeps me busy – but I love it all the same. It’s a new experience that I wouldn’t get anywhere else.
When do you anticipate leaving alpha stage and launching proper?
We plan to have the alpha trial running until the end of January (although we may continue into February). The site will still be live after that, but behind the scenes we’ll start working on the beta version. We’ll then release the next version and collect feedback. I love the idea of an evolving website that is exactly what its users want. After the beta trial and redevelopment, I think we’ll launch the proper version.
Will there be iOS and Android apps for drabbl.es?
I certainly hope so! To me, drabbling is definitely something that can be done on the run. You can be at a concert and write about the song you just heard; you can be watching the New Year’s Eve fireworks and describe the atmosphere; you can take a picture and explain what it means to you right then and there while still being in the moment.
Why should people post to drabbl.es rather than Facebook or Twitter or their own Tumblr/blog?
Drabbl.es allows people to tell stories. That is our aim. We want to read about a moment in someone’s life and feel as if we experienced it with them. Drabbl.es is about connections. Facebook and Twitter statuses have developed to the point where they are often used to talk about a very specific moment, but once the moment is over, the update or tweet is often no longer relevant. We want drabbles to have longevity and to mean something a week, a month, a year, a decade after it’s published. Tumblrs and blogs allow users to write as much as they want–we want to encourage creativity by having the word restriction.
Might we see drabbl.es anthologies in ebook form in the future?
It is definitely something that we’ve thought about. Possibly as a way to deliver drabbles daily, weekly or monthly to users interested in particular genres or users. Almost like a newsletter, but hopefully delivered straight to your eReader. That being said, we’ve also thought about users able to export their drabbles straight to ePub/mobi and upload to the various stores themselves. It’s something we’ve thought about, but still a little while off from implementing.
How will you deal with copyright issues ie does the writer retain copyright and what if you were to publish a book, would you have to ask for permission?
Writers always retain copyright. As a writer myself, this is something I feel very strongly about. When they post on the website, the work is always theirs. If we were to publish a book, we would ask the users for permission.
What about moderating the drabbles to ensure nothing defamatory or racist etc is posted, is that a big job?
Currently, our users are wonderful and don’t make it a very big job. I imagine it may turn into one, though. Our website is only as good as the users on it, so I hope that our users will alert us to anything they think we should check out, in addition to our own moderation.
What’s the end goal and how will you make money/pay for the site?
Ideally, and it’s a big dream, I’d love drabbl.es to be on the Twitter, Pinterest, Facebook stage–something people do for fun, but is totally addictive. Regarding making money, we believe the site can make money in two ways. Firstly, sponsored challenges are a logical step. The challenges are already part of drabbl.es functionality and with our view that drabbl.es can be written about events and experiences, then having drabbl.es host challenges for other companies seems reasonable and something the drabbl.es community would do because they are already using the challenges section of the website. The second way is by creating levels of paid users. There will always be a user type that is free and without advertising, but if they want more functionality, such as linking drabbles together or adding more than one picture to a drabble for example, they would need to pay for their account.
How did you come up with the extensive list of drabbl.es subjects? Can contributors suggest more?
I searched for writing genres on Google and came up with a multitude of sites that declared they had the best list of writing genres. I ended up just picking the one I like the best and started with that. The list is a work in progress and I would love for users to suggest more.
What other online forums exist for posting drabbles ie what’s your competition?
A wave of citizen journalism sites have cropped up in the last year and I feel that this is probably our major competition. They all allow their users to add pictures, follow other users, get email updates, comment and socialise on the websites. What’s more, they all promote that their site is about storytelling. Despite this, I know that our concept and website is strong because our 100 word restriction on the stories is a challenge (and an addictive one at that) which only enhances and promotes creativity.
HarperCollins Canada created a special video to celebrate the 100,000 fans who have “liked” them on Facebook.
We’ve embedded the full video above–what do you think? Using the text from the jackets of their books, the publisher had this message for its readers:
Dear Facebook Fans, Thank you for helping create the greatest community of readers online. One hundred thousand strong and growing every day; made up of awesome, incredible book lovers just like you. We hope you’ll continue to share inspiration, share imagination and share reading.
When we go online, we enter an environment that promotes cursory reading, hurried and distracted thinking, and superficial learning...
- pg 116
The Net...also turns us into lab rats constantly pressing levers to get tiny pellets of social or intellectual nourishment.
- pg 117
The Net seizes our attention only to scatter it... [it] presents us with an incredibly seductive blur.
- pg 118
The more we use the web, the more we train our brains to be distracted -- to process information very quickly and very efficiently but without sustained attention.
- pg 194
Of all the sacrifices we make when we devote ourselves to the Internet as our universal medium, the greatest is likely to be the wealth of connections within our own minds.
- pg 195
We shouldn't allow the glories of technology to blind our inner watch dog to the possibility that we've numbed an essential part of ourself.
- pg 212
As I said earlier this week, I don't believe the Internet is bad. This book has pushed me to intentionally think about the time I spend online, what I want to get from it and how it often pulls me from the work and living I want to do.
My blogging will remain firmly in place: here I am able to process things I'm learning, talk about books I love, promote literacy in the classroom, and connect with readers and writers alike. The rest of my online time -- aimlessly searching, social media -- will take a backseat. I'm also considering signing off Goodreads next year. A piece of me is craving privacy, and my reading life feels like a wonderful place to start.
What are your impressions of the quotes above? How do you feel about the choices you make about your time online?
On October 18, Mediabistro brings you Social Media Marketing Boot Camp, an interactive online event and workshop. The event includes keynote speakers, practical how-to sessions, and strategic assignments to provide a dynamic training on social media. By the end of eight weeks, you will create an integrated strategic plan, using various social media platforms, to build an engaged audience and convert traffic into sales.
Early bird rates are available today. Save $100 when you sign up before they end tomorrow, September 20.
Our speakers include:
Michael Bepko, Global Online Community Manager, Whole Foods
Brian Carter, Author, LinkedIn For Business
Keidra Chaney, Digital Content Strategist, The Web Farm
Jennifer Dubrow, Global Social Business Transformation Leader, Inside Sales, IBM
Frank Eliason, Senior Vice President of Social Media, Citibank
Jim Hopkinson, Digital Marketing Strategist + Blogger, The Hopkinson Report
Barbara Pantuso, Director of Product Strategy, Huge
Dr. Jay Parkinson, Pediatrician and Social Entreprenuer
Andrew Patterson, Director of New Media, MLB Advanced Media
Dave Pickett, Social Media Editor, University of Chicago
Amy Porterfield, Author, Facebook Marketing All-In-One for Dummies
Brian Ries, Senior Editor, Social Media, Newsweek & The Daily Beast
Jennifer Rubio, Social Media Marketing Manager, Warby Parker
Steven Tristan Young, Director, Acquisition Marketing and Brand Awareness, Seamless.com
This year, we have developed industry tracks designed to focus on specific needs of three industries: restaurants, higher education, and entertainment + social TV. Led by an expert, each break-out group allows your to pose specific questions, connect with others, and engage in productive conversation.
Our industry track leaders include:
Natan Edelsburg, VP of Sawhorse Media; Writer at LostRemote.com
Comics legend Stan Lee is hosting a caption-writing contest on Facebook.
Write a snappy caption for this artistic rendition of Stan Lee as a ”Mission Commander” (pictured) and post it as a comment at this link. Lee will personally pick the winning submission. No official reward has been revealed, but a “special prize or two” could possibly be given out.
This contest promotes a new project developed by mobile entertainment publisher Moonshark and Stan Lee called “Verticus.” This superhero action-adventure game is available on iOS-supported devices (i.e. iPads). Follow this link to learn about the full details of this contest.
By happy accident, I discovered the way to travel interstate, overseas, inter-culturally and explore the ambience of remote towns, cities, country lanes and outback outposts. Air tickets - well that's the ideal, but no, I used Google Earth.
It started with trying to locate a lovely country home in West Hougham, Kent, England by using aerial satellite and 'street view'. It was featured in Country Life for September 7th, 2000, and was the
Inspiration for "The Dolls' House in the Forest"
inspiration for my story "The Dolls' House in the Forest".
West Hougham, Kent, country road, travelled via Google Maps street view.
I didn't find the house, but I had the most wonderfully inspiring time wandering down country lanes that were little more than wagon tracks, great boughs canopying overhead and wildflowers dotted in the fields...
Now, if I need to capture something of the 'feel' of an area. I seek out an address. Then in I go.
Exploring the Realtor advertisements in the research area gives insight into the lifestyle and inhabitants of the town. Many homes give a slideshow or even a video tour online.
Other ways to 'get in the setting' for free include YouTube clips. This is even a Youtube video clip on West Hougham, Kent. Sadly, it doesn't feature that house...
Other ways to 'get in the setting' for free include Flickr, photographic collections held in State Libraries and on places like Pinterest. For historical setting, try online Heritage listings and databases for Australia and UK.
An example of other useful research sites for historic buildings in Australia -
Over at The Facebook there are now many different options for authors who wish to have a presence there.
Should you have a public Facebook profile? Should you create a dedicated author page? Should you create a dedicated page for your books too? Should you throw up your hands until Mark Zuckerberg gives you some personal guidance?
First, some definitions. A profile is a personal profile, e.g. what your friends became Facebook friends with, uh, on Facebook. It's the thing you had all along.
If you are going to use a profile to promote your book stuff, you should turn on subscriptions, which allow people to subscribe to your public posts. This way you don't have to accept friend requests from people you don't know -- they can just subscribe to your updates.
Your profile can be almost completely private or almost completely public depending on how you post. Just be sure and be careful about whether you're posting publicly, just to friends, or to a smaller group.
A page is a public page that people can Like. You can create a page as a public figure, and you can create pages for your individual books. When people like your page they receive updates from that page in their News Feed.
So. You're an author. What should you do? Profile with subscriptions or page? Well, it depends.
Here are the pros of having a profile with subscriptions turned on:
You only have to maintain one presence on Facebook rather than both a profile and a page
If you befriended thousands of people you didn't know before Facebook had pages, you can unfriend these people and they stay subscribed to your updates.
Also, if someone sends you a friend request and you don't accept it, they also stay subscribed to your updates.
Thus, utilizing a public profile can help you take back a crowded Facebook profile and manage it a bit more carefully.
Here are the pros of having a public author page:
It allows you to maintain separate presences. If you want to avoid spamming your friends with all your book stuff or your blog, it can be helpful to have a place that's just book stuff and save your other personal posts for your personal profile.
Like buttons are easier to stick on your website than Subscribe buttons.
Pages have access to analytics that profiles don't.
If your Facebook presence is going to be maintained by more than one person, pages are way easier to manage that.
Whatever you decide, I highly recommend creating Facebook pages for your books. These will show up in people's profiles when they like them. Just make sure they're categorized properly.
I have a profile with subscriptions turned on, and if you'd like to subscribe to receive my blog updates and other posts in your news feeds, just click this button!
(Note: You probably can't see it via e-mail or an RSS reader. Click through!)