Multichannel Content Playbook

Publisher’s Playbook

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Multi-Channel Content Strategies

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Publisher’s Playbook: Audience Development

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Publisher’s Playbook: Multi-Channel Content Strategies

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4Seven pillars of content management system (CMS) ROI

9Publishing staffs adjust to address mobile workflow

14Magazines and curation: A reality check

16Cross-platform content: The new imperative

245 things the Financial Times does right

285 innovative strategies to build digital revenue

33How GEO scales international content to local markets

36Editors as the new audience specialist

41Sponsor content: Why should you consider a multi-channel content strategy?

43Sponsor case study: The Christian Science Monitor

45Sponsor success story: Elle

46Sponsor success story: Car and Driver

47Sponsor success story: Clear Channel Radio

48About the sponsor

CONTENTS


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Reach a broader audience through new channels

As a Publisher, launching a media portal or transforming an existing one into a profitable

business can be challenging, especially with all the various channels to consider. From print,

Web, mobile and now the tablet, a multi-channel strategy is a key competitive advantage

for any Publisher. But there is not always a clear solution.

eZ Systems has been a trusted platform for Publishers for over a decade. eZ delivers

unsurpassed multichannel capabilities that enable Publishers to reach out and engage your

audience, accelerating your time-to-market while reducing your implementation costs.

eZ is pleased to sponsor this Publisher’s Playbook to spark new ideas that support the

power of multi-channel publishing.

SPONSOR’S MESSAGE

Gabriele ViebachCEO, eZ Systems


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Whether you have a $100,000 online business and are considering a $30,000 investment

in a new website or a $10 million business looking into a $1.5 million redesign project,

the discussion often starts with a question about the capabilities of the current content

management system (CMS). Building a case for a new CMS can be daunting, since you are

essentially trying to prove that an investment that could equal a year’s emedia profits will

lead to explosive growth down the road.

The good news is that the cost of these systems has dropped dramatically, and the

technology advances made in recent years can lead to tremendous business improvement.

As in all technology projects, you must look for cost efficiencies and revenue opportunities

to justify the costs. We’ve developed a template of a CMS request for investment

spreadsheet that lays out investment expenses and the return on investment.

Before diving into each of the business drivers that create ROI, let’s review some options

on how to use these technologies to create efficiencies. There are two ways to calculate

the return on investment with regards to staff efficiencies. The first is to look at potential

cuts that can be made based on the improved capabilities of the system. The second is to

look at opportunity costs, i.e., all of the products that could be launched and generating

revenue with the time the staff currently spends on production work. While staff cuts

will gain you more buy-in from executives because of the simplicity (and the short-term

savings), opportunity cost is a more flexible and reliable way of actually reaching your ROI

objectives. Here are some of the opportunity costs that you can build a case around:

SEVEN PILLARS OF CONTENT MANAGEMENT SYSTEM (CMS) ROI

BY PRESCOTT SHIBLES


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1. Editorial efficiencies

Legacy CMS systems often require editors to resize and upload multiple versions of the

same image, one for the thumbnail on the featured article area of homepage, a smaller

thumbnail for headlines, and a final size for placement in an article. This doesn’t seem like

a lot of work, but I know editors that spend over 10 hours a week on image resizing. A

CMS with an automated image-manipulation system can free up those hours and reallocate

those resources to new product development.

Additional time savings can be achieved by leveraging easy-to-use, what-you-see-is-what-

you-get (WYSIWYG) interface instead of formatting manually with HTML. This allows

editors to edit and post content in an environment that feels like a word processor: placing

images, formatting text, and creating sidebars and other related assets.

2. Technology staff efficiencies

Older platforms often require greater technical skills to operate, put less control in the

hands of business users, and become less stable as work-arounds and developer hacks pile

up. Moving to a new platform can reduce the time your development team spends on fire

drills and bug fixes, time better spent on new product development and deployment.

To quantify these efficiencies, use time sheets to identify the time developers spend on

projects that could be capitalized (new product development) versus time spent on bug

fixes and maintenance. If the ratio of development hours vs. maintenance hours is below

SEVEN PILLARS OF CONTENT MANAGEMENT SYSTEM (CMS) ROI cont’d

... use time sheets

to identify the time

developers spend on

projects that could be

capitalized (new product

development) versus

time spent on bug fixes

and maintenance.


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50/50, moving to a new platform could save considerable maintenance man-hours.

Identifying the number of developer maintenance hours saved can help you create a

model for the number of new products you can launch with the help of a new CMS.

3. New product launches

The lifeblood of a successful digital publisher is the ability to bring new products to

market quickly. Once you’ve identified the time savings of your editorial and technology

staff, you can make a case for reallocating those resources to new product initiatives.

To make your case stronger, create a list of ideas, their revenue potential, their complexity,

and the estimated costs. Assume that not all of the ideas will pay out as expected;

instead, apply a “confidence” percentage of this revenue potential to your ROI model.

4. Increased traffic

Content management systems can help increase site traffic in a number of ways. Just

about every CMS product has been tweaked and tuned for search engine optimization.

Semantic technologies and text mining can improve tagging and keyword optimization.

Sites such as cyberpresse.ca, monvolant.ca, and technaute.com have seen traffic increase

by 30% within a year of implementing a new CMS. Improved site search and related

content capabilities can help keep users on your site longer and make them more

engaged. This additional traffic can be monetized through Google AdSense, endemic

advertising, or promotion of paid content offerings.



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5. Better ad targeting

Imagine automatically retagging thousands of articles from your archives and being

able to charge five times as much for the ad impressions served on those pages. This is

now possible due to some of the technology advances in the past two years. In fact, Tim

Armstrong, CEO of AOL, recently said that content management systems are becoming the

new ad systems. Armstrong also told TechCrunch that AOL was making an investment in a

secret CMS project to help the company better serve relevant ads and content to readers.

6. Personalization

Sites like Supply Chain Daily and Daily Candy are using personalization to drive audience

engagement and revenues by providing readers with a tailored and unique offering based

on their content preferences. The London Telegraph has rolled out a technology where

circulation, classifieds and editorial databases are combined to create a single view of

a user’s preferences. Ed Hubbard, director of product marketing at DTI, the Telegraph’s

technology provider, said of the potential impact of personalization and robust vertical

behavioral data:, “The more intelligence a company has on their specific audience, the

more they’ll be able to do new things. It won’t just be CPM.”

7. International efforts

Automated translation tables, foreign character support (search and display), and

dynamic workflows for translations are just a few of the technologies that can help drive

international traffic and revenues while reducing production and deployment costs.


... content management

systems are becoming

the new ad systems.


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Putting it all together

Once you’ve identified your efficiencies, costs savings, and potential revenue streams, you

can create a proposal that confidently demonstrates ROI. The proposal should provide

enough detail – in the form of metrics such as total investment request, total savings, and

new revenue projects – to make a solid case without overwhelming the business decision-

makers with too much data.

In most cases, CMS projects need a payback of no more than 18 months in order to get

approved. Because technology advances so quickly, you don’t want to be committed to a

platform for too long a time. An 18-month payback gives you enough flexibility to switch

systems every three years or so in order to keep pace with new technology. That’s not

the preferred route, of course: when evaluating CMS systems, look for a platform that is

flexible enough to evolve with your changing needs.

Getting to payback within 18 months might seem difficult at first. These systems can take

up to a year just to implement fully, depending on the number of Web sites. So, you need to

phase in the cost savings and benefits. You’ll also want an annualized version of those cost

savings and revenues to demonstrate the impact of the project running at 100% for a full year.

Finally, you’re going to want to detail how resources will be reallocated in order to meet

the revenue expectations that you are laying out. The spreadsheet template that eMedia

Vitals has provided gives CEOs the right amount of broad information and detail they’ll

need to approve an investment. The hard work is in the detail behind this document, but it

provides a good structure and approach for ensuring that your CMS project has maximum

impact and as little risk as possible.


Free Download:

CMS request for investment template

http://spreadsheets.google.com/pub?key=tTyMFjbwZxFGwgRrEbTJW-g&output=html


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In many ways, it seems like the iPad was plopped down on the desks of editors and

production staff with a note that said, “Congratulations! Please factor this into what you’re

already doing.”

While support for mobile devices has added to the production plate, many publishers

have found it difficult to justify budgeting for dedicated mobile staff when the medium

remains such a small percentage of revenue. But we’re beginning to signs of more mobile-

related hiring as publishers realize that mobile is becoming a more important channel for

content delivery.

On a day-to-day basis, mobile workflow varies widely depending on the type of publication

(newspaper vs. magazine) and frequency (daily vs. weekly vs. monthly). It also matters

whether the publisher develops the app internally or externally and whether the app

includes unique or repurposed content.

For many publishers, editorial is one area that requires significant workflow modifications

to support mobile, according to Bill Tallent, CEO of Mercury Intermedia, which creates iPad

apps for newspapers such as USA Today. Mercury’s larger clients have hired full-time mobile

staffs, Tallent said at a recent conference hosted by the Reynolds Journalism Institute. (USA

Today reorganized last year, putting a bigger emphasis on mobile.)

PUBLISHING STAFFS ADJUST TO ADDRESS MOBILE WORKFLOW

BY ELLIE BEHLING


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Tallent advised publishers not to skimp on editorial attention in mobile. “It’s tough to do

this because I know that there are staff cuts constantly in the editorial department, but

when you put out an app that has typos and mistakes in the copy, customers will ding you,”

he said. “We’ve seen quite a few apps out there where the quality of the presentation, the

quality of the copy in an application doesn’t even approximate what it is in the paper itself.”

A new kind of editor for mobile

A perusal of job boards surfaced a hodgepodge of media jobs focused on mobile. Like

the Web, content and production jobs blur in the mobile space. In the last couple of

months, The New York Post advertised for a “part-time iPad news editor” and Consumer

Reports was looking to hire someone in “iPad production.” The Washington Post recently

advertised for a “mobile engagement producer.” This hire will manage content on the

mobile site and apps, Mobile Editor Anjuman Ali told Poynter.

Mobile content positions that blur editorial and digital production roles is a natural

evolution, said Kate Byrne, vice president of the technology group at Future US, Inc. The

publisher’s free Mac|Life app, launched this summer, has seen about 460,000 downloads,

and the recently launched paid version has received about 12,000 downloads.

While developing for mobile, Byrne quickly spotted a gap between editorial and

development workflow that needed to be filled. She said publishers increasingly require

editorial staffers to be more nimble with activities like coding in addition to content — a

request she likened to asking those “who are poets by nature to become quants.”

PUBLISHING STAFFS ADJUST TO ADDRESS MOBILE WORKFLOW cont’d


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Byrne’s solution, which is already budgeted into the publisher’s 2011 headcount, is to

create the role of a digital producer who resides in editorial but acts as a liaison between

development and editorial. Keeping the job editorially focused is important because the

technical side lacks an overarching understanding of all the moving parts, such as how

editorial works with the business side, she noted.

“Eventually, I think this is what the next-generation editor-in-chief will be, though we’re

not there yet,” she said.

Byrne envisions the digital producer being able to determine what content appears where,

depending on the screen size or distribution channel. It could mean bringing more people

with broadcast backgrounds into the print world, particularly because video has become a

core piece of digital and mobile, she said.

Some publishers acknowledge that they don’t know exactly how mobile workflow will

work until they start trying it out. The American Lawyer publisher ALM, which plans to

launch several apps this year, is taking a wait-and-see approach to determine any workflow

or staffing changes.

Staffing needs could depend, for example, on the type of content in the mobile app.

Currently ALM is trying not to beef up staff, using outside developers and beginning

with repurposed content, Jill Windwer, vice president of digital products and Law.com for

ALM, explained in a recent interview. Creating unique content for the app would require

additional staff, she said.

“Like anything else, if it starts to make money, I can hire whomever I want,” she added.


“Like anything else,

if it starts to make

money, I can hire

whomever I want...”


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Layered on top

Across much of the magazine world, creating digital editions for mobile devices has been

layered on top of the regular production workflow.

For instance, with Condé Nast’s highly publicized Wired app, editors and designers on the

print side worked side by side to determine additional content to enhance storytelling for

the iPad.

“It’s a concurrent workflow,” Scott Dadich, executive director of digital magazine

development at Condé Nast, said at the American Magazine Conference last fall. At the

time, Wired had not assigned additional full-time staff to app production but had hired

freelancers for additional projects, such as video work, as needed, he said.

On the other hand, Time Inc.’s Sports Illustrated decided to hire extra staff to keep up with

the weekly pace of putting out an iPad app on top of a magazine.

“We’ve had to add two people just from the sheer workload,” Chris Hercik, creative

director of Sports Illustrated Group, said at AMC. Like Wired, the staffs seamlessly move

from print and mobile.

Moving mobile in-house

These skeleton mobile staffs may begin to grow as mobile becomes more integrated into

the organization, particularly on the technology side. While relying on external technology



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vendors can lessen the load, many publishers are still finding that developing an app can be

labor-intensive for in-house staff.

Cox Media Group’s app for the Dayton Daily News was developed by Mercury, but still

required a concentrated amount of internal staff before launch. Speaking at the Reynolds

Journalism Institute conference, Ray Marcano, director of digital strategy for Cox Media

Group Ohio, said newspapers with a circulation of 150,000 to 200,000 should plan on

having about a dozen people working on an app – from marketing to circulation.

Smaller publishers are finding ways to do it for less. Greenspun Media Group launched a

location-based app for Las Vegas Weekly without relying on external vendors. Rob Curley,

the publisher’s senior editor of digital, said the editorial and technology staff work closely

to maintain the app and website.

Eventually more publishers may take their app development in-house. Despite working

for a firm that develops apps for publishers, Mercury’s Tallent believes publishers should

eventually plan on developing mobile apps internally, just as they do for their websites.

Hiring app developers, however, isn’t cheap. “It’s going to take at least three years for

supply and demand to equalize in the labor market for app developers,” he said.

So publishers face a bit of a Catch-22: They need to create successful apps with limited

resources in order to have revenue to invest back into them. Executives admit they’re going

through a learning process. Speaking at the Business Insider conference recently, Kevin

Krim, global head of web properties at Bloomberg, acknowledged that iPad development

is difficult to integrate into an organization: “Anyone who tells you it’s been easy has been

lying to you.”



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It’s easy to forget that just because we talk about a concept a lot in the media industry

– e.g., “curation” – doesn’t mean traditional publishers are doing it. That came to my

attention at a conference for consumer magazines last week when Matt Robson, SEO

specialist at Hearst Magazines, noted that print-based publishers still aren’t completely on

board with linking to content from other sources.

While many consumer media companies are supplementing original content with curation,

it’s not the focus of their strategy. But it’s time for a reality check: Publishers could be hurt

as curation grows in importance.

Here are three points about content curation that Robson brought to my attention,

speaking at the MPA Digital:Technology conference in New York. Robson joined Hearst as

part of its acquisition of Hachette Filipacchi Media.

Opportunity for aggregation in new verticals

Media outlets covering the media and technology space (like this one) are generally more

open to curation. We might forget how new it is to publishers in other niches. magazines

Publishers in verticals like politics and media/tech are leveraging curation, even focusing

their entire strategy around it (e.g., Mediagazer). But there aren’t as many aggregators for

verticals like finance or entertainment, Robson noted.

MAGAZINES AND CURATION: A REALITY CHECK

BY ELLIE BEHLING


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Resistance to linking out

Even in 2011, media companies are not entirely comfortable linking out to other sites,

although we know doing so can help get link juice to improve SEO.

Digital media companies are comfortable with linking, but Robson said there’s still

resistance from traditional media companies. GigaOm’s Matthew Ingram did a nice piece

recently about why it’s still so hard to get some media outlets to link.

The need to be a better content hub

Publishers would be better off if they did link out more often, becoming more of a service-

oriented venue for the topics they cover, Robson said. “Going into a service model of the

Web is potentially disruptive to current traditional publishers,” Robson said. But it’s also an

opportunity for media companies to revamp their strategies.

He said traditional publishers are focusing too much on original content rather than

becoming a hub consumers come back to. The reader’s mindset is: “I read your feature;

what reason do I have to return to your site tomorrow?”

MAGAZINES AND CURATION: A REALITY CHECK cont’d

...traditional publishers

are focusing too much

on original content

rather than becoming

a hub consumers

come back to.


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Media companies are being asked to get more out of their content development efforts

as they extend and enhance their publications and brands across a broader array of

distribution channels. Just as the Web did not replace print, smartphones and tablets will

not replace the Web – this is not a zero-sum content game.

As distribution platforms evolve, the

landscape is changing dramatically.

Forrester forecasts that the number of

tablet users will grow from 26 million

this year to more than 82 million by

2015. A report from Pricewaterhouse

Coopers projects that digital circulation

revenues for consumer magazines will

rise to $611 million by 2015, up from $4

million in 2010.

What’s the impact on publishers? Supporting more platforms and channels means more

content to produce. Not an easily achieved mandate when declining print revenues warrant

tighter budgets and smaller editorial staffs.

What’s the answer? Publishers need to get smarter about their content development

efforts. We must continue to explore creative ways to repackage everything we produce

CROSS-PLATFORM CONTENT: THE NEW IMPERATIVE

BY ROB O’REGAN


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across multiple platforms. When I worked at IDG, we called this approach “skinning the

pig.” Nothing from your reporting, research or data gathering efforts goes to waste, unless

it’s completely irrelevant to your audience. (In which case you should question why you’re

investing in it in the first place.)

Skinning the pig requires a rethinking of all aspects of your business, from journalism

principles to content creation to organizational structures.

Journalism

Twitter is a news platform. Think about that. Whether it’s a former White House staffer

posting the first tweet about Osama bin Laden’s death or New York Times reporter Brian

Stelter’s Twitter-based reporting on the Joplin tornadoes, Twitter has become a legitimate

platform for breaking news.

This is one aspect of what The Economist’s GL Austin calls “journalistic nuclear physics”–

the concept of “blasting the atomic unit of journalism, the article, into its constituent

quarks, and reassembling them as something else.” Austin posits that when none of the

constraints of traditional media – format, deadlines, etc. – applies, everything can be

different, including how stories are packaged and distributed to an audience.

The Knight Digital Media Center offers another phrase to describe the trend toward

content disaggregation: a Lego approach to storytelling. The concept, put forth by blogger

Amy Gahran, involves creating discrete story “modules” that work in different ways across

different formats. Mobile users, for example, might want smaller chunks of content to

consume quickly on a smaller screen. On the Web, “each story module would include

CROSS-PLATFORM CONTENT: THE NEW IMPERATIVE cont’d

...when none of

the constraints of

traditional media...

applies, everything

can be different...


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navigation and context indicating that it’s part of a bigger story or theme. This would make

it easy and inviting to explore the wider story,” Gahran wrote.

Content

Social media and mobile are significant driving forces behind concepts such as the Lego

approach. Mobile in particular presents new opportunities to repackage and redeploy

content in useful and innovative ways for consumers. Publishers continue to explore ways

to expand beyond digital replicas of print magazines, as they learn more about the content

consumption habits of smartphone and tablet users.

Utility apps are one option that’s gaining momentum. These are what Hearst Magazines’

EVP John Loughlin calls “standalone consumer experiences” – apps that help a user

accomplish a task, be it shopping, cooking, traveling, working out or virtually any other

daily activity. Martha Stewart this week released a handful of purpose-built recipe apps

around cookies and smoothies and cocktails.

Special issues are another option for repackaging content for smartphone or tablet users.

Theme-based collections of content are a no-brainer for publishers with deep archives or

those that already produce buyers’ guides of products or services in their market.

PaidContent this week noted that 28 of Conde Nast’s 37 apps to date are utility or special

edition apps.

A third way to repackage content in an app format is through RSS feeds. Publishers such

as The Atlantic are pulling RSS feeds from their website into a packaged app that delivers

breaking news, videos, or blog content to mobile users.



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A fourth example is the “single,” which is emerging as a way to preserve the concept of

narrative, long-form journalism with fresh packaging. ProPublica has published a series of

articles as Kindle Singles, and the early returns are positive.

These are all examples of what some on the industry are calling “content extensions.”

In March, Hearst hired David Kang is its first creative director of content extensions. “By

reimagining the magazines as brands, the content can extend across multiple platforms to

create new print books, ebooks, digital tools, mobile apps ... that work to build and extend

Hearst’s content franchises,” Kang told Mediapost.

Workflows

As content types and formats evolve, so do the workflows for creating the content. More

magazines and newspapers are adopting a Web-first approach to publishing – even

long-running print brands such as The Atlantic, the Christian Science Monitor and Vance

Publishing.

• The Atlantic attributed its first profit in decades (last year’s fourth quarter) in large part

to a 70 percent increase in digital revenues, the result of a digital-first strategy.

• The Christian Science Monitor took the “web-first” mantra to an extreme – abandoning

its daily print edition for daily news on the web. It changed the entire culture of its

newsroom with a four-pronged strategy that included increasing the frequency of Web

posts, emphasizing SEO, and monitoring Google trends for hot topics.



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• Vance, a trade publisher of agriculture titles such as Pork magazine, two years ago

deployed a web-first strategy that effectively reversed its editorial workflow: instead of

researching and writing a lengthy print article, then repurposing it for the Web, writers

now will post a first take of breaking news at 200 words, following with an update at 400

words, then producing a longer second-day story that is subsequently repurposed for the

print publication.

As the culture changes, so must the systems needed to support it. At the crux of this

shift lies the content management system. Poynter’s Matt Thompson had a great post

this week about how content management systems are evolving. His key point: “There’s

now a genuine expectation that a CMS will play nicely with videos stored on YouTube,

or comments managed by Disqus, or live chats embedded from CoverItLive. Other

environments such as Facebook, Twitter and Tumblr come with their own suites of tools.

And increasingly, what we call a ‘content management system’ is actually a combo of

multiple tightly-integrated systems.”

Gehren from the Knight Digital Media Center also chimed in on the evolving CMS:

We need tools that automate cross-linking between story modules, as well as much of the

navigation and design that visually ties together collections of modules into a story. Simply

generating an index page from a tag or category is not sufficiently engaging or usable.

Such a tool would turn your collection of story modules into an obvious mosaic, not

scattered scraps or a dry list. It would present your content in a way that allows people

entering a collection at any point, via any module (no matter how small), on any device,

to easily find and explore other parts of that collection—and to see how they’re related.



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Org structures

The cross-platform imperative also requires changes to the organization structure itself.

Forbes has been remaking its newsroom to suit the vision of Chief Product Officer

Lewis D’Vorkin. At the core of this “new newsroom” is audience-centric data, which is

shared across the organization. “The data forms a powerful feedback loop that informs

departments in every corner of our company — and the new breed of entrepreneurial

journalist that is key to powering our content engine,” D’Vorkin writes.

The New Newsroom, he adds, “is about collaboration — between editorial, product, design,

production — and, yes, the advertising sales and marketing departments, too.”

One organizational concept that was unheard of just a few years ago is the inclusion of

external contributors – including the community you’re serving. Connecticut’s Register

Citizen, owned by the Journal Register Company, last year opened a community newsroom

– housed within its editorial offices – that includes workstations (and coffee) for local

bloggers and citizen journalists.

Public Radio International’s Michael Skoler, writing for Nieman Reports, says community

is “the most powerful emerging business driver in the new economy.” He adds: “News

organizations need to think of themselves first as gathering, supporting and empowering

people to be active in a community with shared values, and not primarily as creators of

news that people will consume.”



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How to succeed: 6 tips

Here are six tips on how to create a successful cross-platform business:

1. Test and learn. Publishers can’t afford to pursue big, bet-the-company initiatives that

offer no clear payoff. Start small, testing different content types, revenue models and price

points (for paid content). This is not just an R&D mandate: Give all your employees the

freedom and courage to experiment.

2. Let the data guide you. Track your experiments religiously. Find the combination of

metrics that best indicate progress toward your objectives. Allocate more resources toward

the projects that are working and either kill the underperformers or, if they’re strategically

important, find ways to improve them.

3. Break down the silos. Cross-platform content requires cross-functional collaboration.

Developers need a better understanding of editorial and the audience so they can build

better products. Marketers need better insight into editorial products so they can promote

them. Editors need to understand corporate objectives and the financial feasibility of new

projects and products. This doesn’t require a dismantling of the church/state divide, but it

does require a more open approach to content development.

4. Be consistent with your brand across platforms. The structure and tone of a tweet is

much different than a long-form magazine article, but editors’ behavior on social media

must not stray too far from the overall message of your publication. For initiatives that

stray far from the core, consider launching under a different brand.



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5. Differentiate with quality. The pendulum is swinging back from search-optimized dreck

toward quality content. Invest accordingly in quality as you extend your content into new

channels. As Journal Register CEO John Paton recently noted, “Lousy journalism on multiple

platforms is just lousy journalism in multiple ways.”

6. Monetize everything. At the end of the day, it’s all about driving revenue. No projects

should be allowed to go forward without a clear business benefit. During the industry’s

transition from print to digital, creating a real business case for new content development

is simply a matter of survival.



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Many publishers are following the FT brand despite the fact that readers are cut off

after 10 articles per month. I, for one, hit my 10-article limit within the first few weeks of

any month. At the risk of stating the obvious: FT pays for itself by providing actionable

financial information with a nice mix of news, reporting, blogging and video.

Felix Salmon rightly notes on Reuters that despite all the digital kudos, all is not wine

and roses on the print side. “Daily print circulation was 485,000 at the end of 2000, and

dropped at a rate of about 5,000 a year to 440,000 at the end of 2008,” writes Salmon.

“The rate of decline has accelerated sharply since then: print circulation is now 390,000,

which means the paper has been losing around 25,000 print subscribers per year over the

past couple of years.”

That having been said, FT has 206,892 paying digital subscribers, up 71% year on year,

according to a January blog post. “For us to have over 200,000 digital subscribers, which

is where we now are, means that we are halfway to replicating the scale of our paying

print business -- and that’s a big deal,” noted Robert Grimshaw, managing director of

FT.com, in an interview with Beet.TV.

Here are five things the FT does right:

5 THINGS THE FINANCIAL TIMES DOES RIGHT

BY RON MWANGAGUHUNGA


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1. The FT is advertiser-friendly

Customer data truly matters. If it didn’t, there would be no friction in the relationship

between publishers and Apple. But there is because advertisers want to know more

about their audience. John Ridding, FT’s chief executive, recently said, “we’ve moved

almost from the dark ages to an age of enlightenment in terms of understanding our

readers.” To that end, the FT is great at mining and collecting consumer data.

“When a reader signs up for an online subscription, the FT can track every click,” writes

Eric Pfaner in The Times. “That makes it easier to tailor content and new services to

their interests. When customers let their subscriptions lapse, The FT can pursue them via

e-mail and other means in an effort to get them to reconsider.”

Advertisers have noticed: In 2010 advertising on FT increased at double digit rates from

the year previous.

2. The FT is not afraid to experiment

The FT is involving readers more and more, fostering community. Early this year, FT

launched FT Tilt, its seventh professional-niche spin-off and an innovative departure

from the conventional news story format. FT Tilt goes more deeply into emerging

markets -- a hot financial topic nowadays -- with a comments section that is “subject to

status,” allowing members who have demonstrated their professional interest in the

emerging world to publish their own stories alongside sector analysts. Interesting. That’s

just the sort of innovative thinking that all publishers should be doing.

5 THINGS THE FINANCIAL TIMES DOES RIGHT cont’d

In 2010 advertising

on FT increased

at double digit

rates from the

year previous.


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The FT is also pushing social media. At social media week last month, MB Christie, the

head of product management for FT.com, said that as of December social media traffic

at the site was up 83 percent over the last year and contributed to 130 percent more site

registrations than the year before.

3. The FT is loosening up on emerging markets

The aforementioned FT Tilt is more than just a digital-editorial experiment, it is also a

naked grab for mindshare in emerging markets, an area of great potential growth for

publishers. “Western business media such as the FT has tended to cover the emerging

world with a colonial mindset, focusing on New York and London,” wrote my colleague

Ellie Behling, covering Social Media Week last month. FT editor in chief Paul Murphy said

of FT Tilt, “the organization needed to be tilted.”

Further, the FT ArcelorMittal Boldness in Business Awards will have an award category in

Emerging Business. Are you maximizing youfr growth potential in emerging markets?

4. The FT gets mobile

About 45% of FT readers access content through mobile devices. The FT iPad app is also

quite popular.

Further, FT is well-positioned to take advantage of mobile advertising. “The big thing

for us over the past 12 months or so has been seeing the evolution of mobile as a

commercial platform, as a place to do business,” Grimshaw told Beet.TV. “We found a



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lot more interest from advertisers so -- now we’re seeing about a third of advertisers in

the digital space asking for mobile elements when they give us advertising briefs. You go

back a year, those briefs would have been relatively rare.”

5. The FT fiercely guards its content

FT.com’s Terms and Conditions page is forbidding, perhaps excessively so. Anyone

who has ever tried to copy even the briefest excerpt of text from the FT site has been

subjected to that stern warning. Salmon calls it “user hostile.” That having been said,

overall I find that this fierce guarding of content justifies the Financial Times as a

premium-subscription based product. Publishers, of course, don’t have to go quite as far

as FT. But the idea is pretty sound.



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Media companies are experimenting with strategies to make money beyond traditional

advertising and paid content, either to supplement existing business models or find new ones

entirely. Here are five innovative ways publishers are digging for new digital revenue streams.

1. Single-copy sales

Selling content a la carte rather than packaged into a full publication — the iTunes

model applied to journalism — is emerging as a new way to sell magazine and news

content. Nieman Journalism Lab calls the “singles model” a way to “circumvent traditional

constraints on publishing.”

ProPublica is one media company that’s experimenting with how publishers can successfully

break out of the bundle. The news organization recently published an article as a Kindle

Single, which is generally narrative writing longer than most magazine articles but shorter

than a book. The platform to sell content is another sign of the renaissance for narrative,

long-form journalism.

The first ProPublica Kindle Single (a 13,000-word expose about Pakistan) sold 1,900 sales for 99

cents a piece (the publisher keeps 70 percent) and has been a regular in the top 10 of Kindle

Singles bestsellers, according to Nieman Lab. ProPublica’s General Manager Richard Tofel said

the Single is an experiment in building new audiences. While the modest revenue won’t float

ProPublica’s business boat, it does represent a previously untapped revenue stream.

5 INNOVATIVE STRATEGIES TO BUILD DIGITAL REVENUE

BY ELLIE BEHLING


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2. E-commerce

Selling merchandise is gaining favor among some media companies, either as a way to add

incremental revenue or as a core part of the business. In the latter category, enthusiast

publishers such as F+W and Interweave use editorial to drive product sales. F+W has

dramatically shifted its business to focus on commerce.

The Knot is another example of successfully implementing a commerce strategy. The

publisher diversified its revenue, with e-commerce making up a substantial chunk, according

to 2009 numbers. The Knot has become a full-blown retailer, fulfilling orders for wedding

supplies such as engraved invitations. Additionally, the company teams up with other

retailers for a bridal registry product, where the publisher takes a cut of all transactions.

Teaming up with other vendors is one way to dip into commerce for publishers not ready

to launch a full-blown operation themselves. TechMediaNetwork developed affiliate

relationships with vendors and receives a share when a consumer purchases a product after

reading a review. Digital coupons are another growing way for publishers to incorporate

commerce and take a cut of the sales.

But the blurring of content and commerce isn’t always smooth. A New York Times executive

said at a conference last fall that it was tricky to try to sell movie tickets in movie reviews.

Publishers are still looking for the balance of commerce in their business model, but it’s

clear incorporation of commerce will be a vital part of the business model going foward.

5 INNOVATIVE STRATEGIES TO BUILD DIGITAL REVENUE cont’d


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3. Marketing services

The new era of custom publishing is another example of the changing roles of media

companies, beyond being strictly editorially driven.

In the last few years, UBM TechWeb remodeled its business to make B2B marketing services

a central part of its business. While the company still offers traditional marketing services

such as advertising, it has also created ongoing relationships with customers to manage

branded websites and communities.

In some cases advertisers are beginning to request custom content that is editorially driven

– which might sound kind of contradictory. Here’s the idea: A single advertiser will back

content about a specific topic for a specific audience but still want content maintaining

editorial independence and therefore consumer trust. Studio One Networks, a content

syndication company, uses this model by producing editorially independent content in a

specific niche requested by the sponsor.

Like commerce, publishers are still experimenting with how to lasso the opportunity to

create content for brands that is either strictly marketing or a new kind of editorial product.

4. Value in archives

Publishers that have been around for a while have an opportunity to turn their dusty

archives into memorabilia, and many are doing just that. The Chicago Sun-Times sold its

entire archive of photos last year to an enthusiast. That’s not a good example of creating



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more incremental revenue through a digital storefront, but it shows the willingness for

people to pay for “old” content.

A service called Image Fortress works with publishers like The Chicago Tribune, powering

archiving and monetization services to preserve and sell photo archives. It’s a step in the

right direction for publishers to start profiting off of their legacy, rather than letting it

weigh them down.

Archives are still an untapped opportunity for publishers to create revenue streams. Beyond

selling archives — a very tangible example of archival value — publishers could repackage

and attract new readers of old content. Early examples include The New York Times’ topic

pages, which aggregates information around a topic by leveraging semantic technology,

and valuable databases like New York Magazine’s Restaurant Guide.

The New York Times’ Michael Zimbalist said at paidContent Mobile last year that archives

have “information shadows” publishers could be compensated for. “It is entirely possible

that there will be new sources of value unlocked from content archives, which will

be become part of the business model that will sustain content businesses in mobile

channels,” he said.

5. New ad formats

It might be ironic to talk about advertising as an innovative digital revenue strategy, but

there’s still life in the online ad model. Creative advertising formats offer new opportunities

for publishers to sell advertising in new places.


Archives are still an

untapped opportunity

for publishers to create

revenue streams.


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For instance, companies such as Solve Media and NuCaptcha offer ads in the CAPTCHA

security tests many publishers use to authenticate users.

Social media is another new venue where publishers are finding new advertising

opportunities. Minnpost.com’s Real Time Ads pull in messages from an advertiser’s social

media accounts into a widget. As of November, the publisher had approximately $15,000 in

annual contracts using real-time ads, according to Mashable.

These are only a few of the new tactics (some of which are a spin on the old tactics)

publishers are using to try to build additional revenue, even if it’s just a little bit here

and there. What other strategies work for publishers? Please share your thoughts in the

comments below.



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GEO magazine’s digital strategy could be a model for other publishers: Take one strong

international brand, add a centralized technology platform, and scale it to local markets.

GEO is published in 21 countries by Gruner + Jahr of Hamburg, Germany. The monthly

magazine focuses on in-depth journalism and photography (akin to National Geographic). Last

year GEO’s website rolled out localized versions to nine countries, including Spain, Finland,

Russia and six Eastern European countries.

GEO licenses its brand (print and/or online) to local publishers for a fee. International content is

centrally produced and provided to the local partners, who tailor the edition and add their own

content. As André Möllersmann, head of international brands and licenses at G + J, said last

year: “The result is a local magazine in local language with outstanding editorial quality and a

local touch.”

As different models for localization emerge, GEO’s strategy serves as an interesting example

of how centralized technology enables a publisher to scale by providing locally filtered and

community-driven international content. In a phone interview, Möllersmann talked about GEO’s

digital strategy.

Centralized technology

Local content publishing is difficult to make profitable, so G + J decided to focus on centralizing

it, he said. From Hamburg, the company develops and hosts all of the sites for partners in other

HOW GEO SCALES INTERNATIONAL CONTENT TO LOCAL MARKETS

BY ELLIE BEHLING


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countries. (Two countries also host on their own.) The company uses the open-source eZ Publish

for content management.

Individual countries are in charge of their own editorial operations and advertising sales. The

business model is mostly advertising-driven, in addition to some merchandise sales.

Local content

Each country has full responsibility for its editorial content, Möllersmann explained. Editors

of the main brand select internationally relevant content to deliver to local editors. Translated

international content usually makes up about 80% of the content and local content comprises

about 20%.

“On the content side we’re offering a package but the responsibility editorially lies with

country,” he said.

User-generated content is also a part of the mix, easily integrated thanks to the photo-driven

nature of GEO. Most of the markets feature a photo community where photographers, whether

hobbyist or professional, can share photos.

Continuing scale

GEO centralized platform model has been applied to other G + J brands – most recently the

lifestyle magazine GALA. The International Parenting Network, sprung from the parenting

magazine ELTERN, has rolled out in nine countries on the centralized platform. The parenting

HOW GEO SCALES INTERNATIONAL CONTENT TO LOCAL MARKETS cont’d

Individual countries are

in charge of their own

editorial operations and

advertising sales.


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content has especially proved successful in this model, Möllersmann said: In France, G + J’s

website Enfant.com had a traffic increase in 2009 of 254%.

G + J has also started dipping into mobile. The magazine currently offers one iPad app rather

than different ones for each local site. The company’s GEO Selection began as an English-

language app but is now also available in German and soon Spanish. The company opted for an

English-language version first to help expand its U.S. presence and because English-language

apps have the largest reach, Möllersmann said.

HOW GEO SCALES INTERNATIONAL CONTENT TO LOCAL MARKETS cont’d


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I recently met an audience development manager at a major B2B media company, who

explained his job to this effect: “We’re the ones who get the audience for those of you in

editorial to write about.”

When you put it that way, it intrigued me. I responded something along the lines of: “Well,

that’s actually part of my job as well.” Not only are journalists interacting more with our

audience, but increasingly we are, directly or indirectly, charged with creating content aimed to

maintain and attract an audience — a.k.a. audience development, right?

Media companies and audience development managers should be leveraging this approach to

their advantage. Meanwhile, journalists should be honing their skills to be individual brands

and audience specialists.

The trend is part of the greater move and necessity of editors to understand the business side of

media. In a previous post, I spoke more broadly about how the role of the editor is changing to

incorporate more marketing, audience development and business development. Here are three

specific ways editors are taking on larger audience development roles.

Editors as audience specialists

Search

SEO has been one of the biggest drivers to get journalists and media companies thinking about

their audience. Content strategy continues to evolve like the search landscape. Beyond just

EDITORS AS THE NEW AUDIENCE SPECIALIST

BY ELLIE BEHLING


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optimizing for Google, the thought of “giving users what they want” has dramatically shifted

some of the thinking behind how content is conceptualized and delivered.

I recently had an email conversation with Robert Keenan, vice president of Online Media for

B2B publisher at Edgell Communications, about the emerging role of journalists as audience

developers. He offered a helpful insight:

Here’s what I tell editors. In the old days, editors relied on an audience development

department to build lists and it was their job to maintain the relationship. And, one of the

great ways to judge that was through the annual re-up rate for the publication. But, those

days are long behind us now. Just look at the impact Google has had on our business. Today

we not only need to write stories that engage users, we also have to write in a way that

allows Google to effectively rank and index our content. Therefore, as an editor writes a piece

of content, it has to be done in a way that it generates audience through the search engines.

Social media

Social media has obviously given editors the unprecedented opportunity to interact with our

audiences and create engaging content catered to them. Editors are crucial to building and

running communities and growing relationships with readers, just like we’ve always been.

Now the results are simply more measurable in our number of retweets or the length of time a

reader stays on the page.

In the last couple of years, most media companies have transferred the reins of social media to

editorial rather than marketing, though it’s different in many organizations — and an example

of an area where marketing and editorial collide. It’s common at a small media organization

to find an editor running most of the social content and managing and encouraging Twitter

EDITORS AS THE NEW AUDIENCE SPECIALIST cont’d


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followers and Facebook fans (either for their own following or that of their organization).

Editors, essentially, are filling the role of “social circulation managers.”

Being their own brands

We’ve all certainly heard this observation enough: Journalists are their own brands, whether

they work at The Washington Post or are Perez Hilton. Google is now even highlighting

individual content creators in search results.

These days, finding editors with solid brands is the same thing as finding solid editors, period.

Steve Buttry, director of community engagement and social media at the Journal Register Co.,

wrote an insightful post this week about how part of having a good brand is being a good

journalist. “Branding” is not undermining the traditional editorial skills. “Branding is never as

important as being able to deliver the goods,” he said.

Rather than fighting it, publishers can make use of these journalists as individual assets and

audience ambassadors. Think of every journalist as a club with its own newsletter, representing

another channel of communication to benefit the larger media organization. When you “buy”

a journalist, you’re getting his or her list.

New audience development roles

The expanded roles editors are taking on don’t make the audience development department

irrelevant (no, we don’t want your business job). But it’s important to recognize how the two are

overlapping. To go back to the opening example in this post, let’s just say an audience development

manager shouldn’t feel the need to explain what they do to a journalist – and vice versa.


...finding editors with

solid brands is the

same thing as finding

solid editors, period.


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If editors are charged with creating content with the audience in mind, audience development

managers are charged with turning that audience into revenue.

“On the audience development front, this also means there needs to be a change in the way

users are engaged,” Keenan said. “Specifically, audience development managers and executives

have to now learn how to mine the data they receive from content developed by editors in

order to increase conversions to newsletters, websites, lead gen products, and print vehicles.”

Audience development managers can also help interpret the audience for journalists to better

serve them. It’s a throwback to the binder of audience research editors have always been provided

by audience development departments. Now we have high-powered analytics at our fingertips.

The new newsroom

It’s important for media companies of all types to recognize and encourage the growing role

of journalists as audience developers, arming them with the right training and tools. Enthusiast

publisher Interweave, for example, made a significant

investment to train its employees in skills like SEO, social media

optimization (SMO) and content marketing.

Forbes’ recent newsroom restructuring is the perfect example

of how the roles are changing. Lewis Dvorkin’s new newsroom

houses an audience development team within the editorial

department and puts audience data at the center of all

initiatives (as shown in in the diagram). “The New Newsroom is



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about collaboration – between editorial, product, design, production – and, yes, the advertising

sales and marketing departments, too,” he wrote in a recent post.

In addition to reconsidering the structure and training of the newsroom, publishers should be

recruiting editors who “get” how to engage and produce for their audience. An editor-in-chief

of an organization (particularly in B2B) has often been recruited for their brand and respect,

and that attitude is trickling down to all editorial staff. If journalists are going to be pivotal

in bringing in the right audience, it’s still as crucial as it’s always been for media companies to

bring in the right journalists.



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Keeping content fresh on any digital channel is not an easy task. Whether you are a

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provides a rich tool set that makes authoring and editing content simple and engaging.

Editors can publish any content regardless of the channel in a quick and easy manner.

Drive more advertising revenue

Understand your visitors and allow advertisers to better target their audience. Fresh and

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Device users, and

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Increase traffic and site stickiness

Build engaging Web experiences to target users with relevant content. Keep them coming back

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Reach a broader audience through new channels

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eZ delivers unsurpassed multichannel capabilities that enable customers to reach out and engage

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28% to 26% of tablet

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The daily newspaper, The Christian Science Monitor, re-examined their business model

and came up with radical changes to the way they run their newspaper. A key part of

this process was to make Web the centerpiece of the content production and find the

right solution to handle the content production and flow with traffic spikes of millions of

page-views served per day.

Going Web First

After a decline in revenue from the traditional channels, the strategy was to go “Web

first” which included going from a daily printed newspaper to a bi-weekly news-

magazine and changing the editorial workflow to treat the Web as the first channel. This

shift included continuous deadlines for content produced for the Web.

Web first meant producing the content via the Web and feeding the different channels

like Web, Print, Syndication services, mobile and tablet devices. Since The Monitor is still

doing a weekly print magazine, some content is produced but does not appear on the

Web until after the story has been printed in the weekly magazine which required a

sophisticated content scheduling process that would be easy for editors to manage.

Today, the editorial team is dependent on having control over the continuous production

of content. The advanced content dashboard tracks and manages the state of the

different stories that are written. This enables the editorial team to be more agile in the

content process while still keeping the much-needed control over the production.

SPONSOR CASE STUDY:THE CHRISTIAN SCIENCE MONITOR


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The eZ Way

The Christian Science Monitor turned to eZ to handle their publishing and editorial process.

Now journalists and editors from various locations around the world can seamlessly produce

stories and keep the new site growing. Today, about 80 journalists and editors produce 50-

100 new stories per day using eZ Publish.

Realizing Results

The Monitor has converted 93% of their current subscribers of daily print to the weekly

newspaper. In addition the number of subscribers to the weekly magazine has grown with

an additional 63%.

Web Traffic has grown from about 9 million page views the month prior to the launch of

the new site to just over 19 million page views, an increase of 50% in the first 12 months of

operation.

SPONSOR CASE STUDY:THE CHRISTIAN SCIENCE MONITOR cont’d

Advertising is a key

component of any

publisher’s online strategy

and this significant

increase in traffic and

better handle of content

has proven to have direct

impact on increased

revenues.


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ELLE.com is the insider’s style guide with a global outlook, delivering fashion, beauty,

style, service and shopping in an accessible and attainable format. When faced with the

decision of choosing a new Web content management system ELLE decided on eZ Publish

as their chosen open source Web CMS. The eZ Publish enterprise platform was chosen

because of its true multichannel and multimedia capabilities that would allow ELLE to

manage and deliver content across a variety of channels such as mobile, newsletters,

video, audio, e-commerce and of course Web.

Through eZ Publish’s flexible and highly customizable content engine, ELLE was able to

create a rich media portal that generates high traffic and builds on the brands global

presence. In addition, it also gave ELLE a platform that allowed them to manage and

deliver content how, when and where they wanted.

While maintaining ELLE’s unique sophisticated tone, ELLE.com presents a behind-the-

scenes, how-to world. ELLE.com attracts 1,832,758 Unique Visitors per Month, 1.5 Average

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CarandDriver.com is the premiere Website for car reviews, car news, road tests, and auto

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eZ Publish’s capability to handle complex content architectures as well as any kind of rich

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2,805,022/1,104,000 unique visitors per month, 1.27/1.32 Average Visits/Unique Visitors &

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Clear Channel Radio is a leading radio company focused on serving local communities

across the U.S. with an audience of more than 110 million listeners choosing Clear

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iheartradio mobile application on iPods and smart phones, and used via navigation

systems from TomTom, Garmin and others.

Clearchannel Radio wanted to have a multichannel strategy to reuse information and

publish it to multiple outlets including mobile. The main idea was to consolidate on one

platform in order to be able to redistribute content across more than 750 Radio channels.

eZ Publish is the core element of this platform integrating with different rendering

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SPONSOR SUCCESS STORY: CLEAR CHANNEL RADIO


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Founded in 1999, eZ Systems is the creator of eZ Publish, the award winning Open Source

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Multichannel Content Playbook

Technology

Transcript of Multichannel Content Playbook