It sounds like one of the speakers to hear this year was Aron Philhofer at #hhldn this week, when he levelled some zingers at mainstream media for complacency about their future.
I wasn’t there, but Richard Kendall very thoughtfully grabbed a lot of the tweets around his talk into a Storify and it makes a fascinating read (which will probably have a lot of digital journalists punching the air in agreement).
One of the interesting things to me was the subsequent discussion around immersive longform, an we at Trinity Mirror have ventured into recently, courtesy of working with Shorthand on some projects.
I love immersive storytelling; it’s important to me that a good tale gets a good telling, but the reading experience has to be a rewarding thing if an audience is going to stick with it.
One of the points Aron Pilhofer made was that the New York Times‘ Snowfall immersive story measured page views, but missed the more important metrics. He’s right: PVs and UUs don’t show the true impact. I wouldn’t say discount them entirely – collating all the metrics to get a rounded picture is important – but they are only a small element.
.@twmtalks Had the basics, but nothing that told you whether it improved the way people consumed long form journalism. PVs kind of useless.
— Aron Pilhofer (@pilhofer) September 25, 2014
Talking on Twitter with Andy Dickinson the next day:
@digidickinson imo how we measure success with those types of stories should be different: Dwell time, social shares, interaction, not PVs.
— Alison Gow (@alisongow) September 25, 2014
— Aron Pilhofer (@pilhofer) September 25, 2014
Some of the metrics that matter (imo, anyway) – the completion rate, active reading time, the device used, the recirculation rate, how the story is retaining users… And then there’s the social side of things: How someone interacts with the content; shares it on Twitter without @-ing the brand or author (ie. tweeting the link with a comment rather than retweeting); likes, comments or shares it on Facebook, pins on Pinterest or on other social book marking sites. The number of unique users for a piece of storytelling that took several days to complete might be low in comparison to those piling on to read a breaking football transfer story. If you went by PVs you might conclude it the game wasn’t worth the candle.
But PVs and UUs miss the point. It’s abut how invested people are in the piece – the time they spend reading it, the multimedia they engage with, the emotions exhibited the words they use when sharing it, and how often they return to it. This is valuable information to help inform future decisions (and commercial opportunities).
I’ve learned plenty from working with Shorthand; it has driven home the benefits of collaborating outside the mainstream media. It made me put the needs of the mobile reader above everyone else, and it also helped me think about story structures in a new way.
Every time we make an immersive story now I think we improve on previous efforts, mainly because we endeavour to learn from things that tripped us up along the way. Getting text, multimedia and various 3rd party content tools to play nicely together isn’t always easy, whether you’re thinking of doing it in your own CMS or via another platform.
Shorthand’s Rachel Bartlett spoke to Maria Breslin (Liverpool Echo), Paul Gallagher (MEN) and myself recently about our experiences and I’ll link to her piece once it’s live. My longform learnings are pretty simple:
When I edited newspapers, in common with quite a few other editors I think, I often sketched out the front page I wanted, complete with blurbs, ads and smiley or frowny stick people (depending on whether the subjects of the p1 photograph were calamity-struck or not) on A3 paper. It helped me visualise if and how the elements of the front fitted together; the fit of the overall package.
Storyboarding an immersive read is a great way of seeing if you have a flow to the narrative, or whether you’re stacking multimedia unnecessarily, overloading some sections with content, and whether it has a strong ending. The final section needs to be as rewarding a read as the opening one.
Build a draft, see how it looks on mobile, desktop and tablet. Refine the draft, check it across devices again. When we built the LFC ‘We Go Again’ story it had beautiful graphics for each player, created by the TMR Data Unit. On desktop these looked really great; on mobile they were a) too small to read and b) required the reader to scroll until March 2015 to get to the end of the graphics. In the end, graphics for key players were redone and these featured in mobile-friendly format. It’s missing a ‘Suarez’s Biting Stats’ graphic, but hindsight is a wonderful thing.
During the build of NC&J Media’s Great North Run ‘One Million Stories’ tribute, oddness was discovered. The story displayed beautifully everywhere except IE10, although every other iteration of IE was acceptable. Some checking showed that IE10 is the tenth most popular browser for their users (Chrome and mobile Safari came top.) Tenth wasn’t enough to be a deal breaker but incorporating some helpful advice about using Chrome or a similar modern browser in the promotional marketing was a smart idea.
Have an analytics plan
Twice the analytics caused problems, once due to a glitch and once simply because we didn’t know what we wanted to track; now it’s fairly obvious what the important statistics are. Social, real-time, engagement and user-data-over-time all need to be considered.
Think like a user
Shorthand advises around 20 sections is optimum for UX; the first draft of the MEN’s Blue Moon Rising was about double this. Then you try to read it as the audience would, and realise you’ve stopped reading and are just scrolling. Just think how you’d react if you were reading the piece, and then you’ll probably slash it in half. I can’t even be bothered to click through to the second page of a Storify half the time, and I suspect my attention span is pretty typical of most people’s so I try to bear that in mind when thinking about longer reads. As with many things in life, just because you can, it doesn’t mean you should.
I said yes – what an opportunity to hear industry leaders from around the world talk about things I passionately want to learn as much as I can about! – and then I entered into a state of terror at the idea of public speaking at such an event. This terror has not left me yet…
Anyway, ahead of the event WAN-IFRA’s Jessica Sparks asked me for my thoughts, as a regional journalist, on innovation, newsroom blockers and how the industry should continue to adapt and evolve.
Here’s a sample of her (very tough!) questions, and my response; her article in full is here.
You’re speaking at the upcoming Newsroom Summit on strategies to prevent newsroom cultures blocking change. What’s the biggest barrier you have personally faced working in this space?
Inertia has been a terrible thing for the news industry – for decades nothing changed, and then everything changed, including the amount of revenue flowing into our businesses, and we just weren’t equipped to deal with it on an economic, cultural or and operational basis.
[Online] was regarded at best as a luxury, and at worst as helping hasten the demise of historic news brands. I think the biggest blocker was probably the ‘them and us’ mentality that existed between digital and print teams, because it fostered the idea that the newsroom Nerd Herd ‘did digital’ while everyone else did the heavy lifting. It wasn’t uncommon to find a journalist refusing to file breaking news stories for online because they felt it would damage the newspaper.
We’ve travelled a long way in a relatively short time, but we can never stop striving to do more – otherwise we will simply end up repeating the mistakes we made in the late 20th century all over again.
The theme of the conference centres on: “See how successful editors are syncing their newsrooms to the digital world. Over one and a half days, we will hear how people and processes are being managed to ensure growth in audience, engagement and loyalty”; my contribution will be on the important role of leadership within that changing world.
Having attended many DENs over the year (we even hosted one at the Liverpool Daily Post and Echo) it’s exciting to be inviting the network at Canary Wharf, and pretty timely too as this one is #fearlessDEN – all about being bold with ideas and taking innovative leaps of faith (probably backed by some market research).
DEN is always a great place to meet like-minded people, put names to faces in your social networks, and grow ideas. Obviously the theme of innovation is close to my heart and my job title, and I’m delighted we will get to hear the genesis and progress of some inspirational ideas.
Hope to see you there!