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On January 12 last year GlobalPost was launched, a new international news service focused on getting the context behind the headlines, hoping to combat diminishing foreign reporting in the US. Its number of foreign correspondents is second only to the Associated Press and they are expected to provide both text and visual reports.

A year on, and the news outlet has made considerable progress in terms of covering a wide range of international stories, establishing a significant audience, and implementing a successful business model. The Editors Weblog spoke to President, CEO and co-founder Philip Balboni about his first year at the helm of this project.

Balboni was clear that he considered GlobalPost's first year a success. "It has been an extraordinary year, it has exceeded any reasonable expectations that I could have had when I started out on this journey," he said.

"To a large degree, the stories on GlobalPost are ones that you would be unlikely to find elsewhere," said Balboni. As one of GlobalPost's aims was to fill the gaps in the reporting of traditional outlets, this must be satisfying.  The news outlet has also remained true to its original stipulations: its reporting has broad geographic diversity, and consists of a wide range of types of stories and topics.

And much of this reporting has had the potential for considerable impact. Balboni highlighted a recent story on how the Taliban have been taking a cut of funds supplied by the Indiana National Guard to local Afghan contractors for development projects in Afghanistan's Khost province. The issue of the Taliban skimming American aid in Afghanistan is one to which GlobalPost has dedicated much coverage over the past few months.

Such investigative pieces are accompanied by more entertaining reporting, such as an article from Paris about how the French are rediscovering the joy of wearing berets. Correspondents also write ample blog entries.

GlobalPost adopted a relatively unique correspondent model, hiring country-based, part-time reporters who could produce one article a week. The compensation level - a monthly salary plus shares - has proven "very successful" and working for GlobalPost seems to be a popular job: the news service now has correspondents in more than fifty countries and "we have far more people who would want to work for us than we could possibly hire."

The correspondents work with regional editors based in Boston and Balboni said that so far this system has been functioning "with a remarkable degree of smoothness."

Building an audience from scratch

Developing an audience is "really more important than anything else," said Balboni. "We could have the most spectacular content in the world but if you can't build an audience for it then you can't succeed, right?"

The news outlet's highest-traffic month this year was November, when more than 750,000 people visited the site. This exceeded Balboni's goal of 600,000, set before the launch. In addition, "we are retaining more than 50% of all the visitors," he said.

The target for 2010 is to top one million unique visitors, and Balboni mentioned the company's "very sophisticated marketing strategy" aimed at audience building.

Prize partnerships

Building a brand on the web with no support from legacy media has been a considerable challenge, and GlobalPost's partnerships with other high profile brands have been very helpful in doing this, and "particularly important in the validation of GlobalPost as a brand," Balboni said. Such partnerships have helped present the outlet's content as authoritative, and often "raising our visibility is more important than any compensation we might achieve." From the beginning, GlobalPost has sought to present itself as a complement rather than a competitor to newswires and newspapers.

The partnership formed with CBS in September, for example, is a syndication deal, with CBS paying GlobalPost for help with foreign reporting. But having a broadcast news partner was also something that Balboni and his team considered a high priority in terms of brand-boosting, and such a deal "certainly goes beyond" purely syndication. He sees the recent partnership with PBS NewsHour as a "significant achievement" and mentioned that GlobalPost has upped its video production so that it might have the chance to forge other broadcast partnership. 

Compensation is obviously an important consideration, however, and syndication is one of GlobalPost's major revenue streams, the other two being advertising and subscriptions. Currently, advertising comprises about 70% of GlobalPost's income, but Balboni hopes that over time this share will fall to around 50%, with syndication and membership rising to make up the other half.

Passport to premium services

The most unusual of these revenue streams is the subscription, or membership, scheme called Passport. For $99 a year (discounted to $50 for students, academics or seniors), readers can have access to conference calls with GlobalPost reporters, the chance to suggest stories, global and country briefs and newsletters. There is also the option to commission custom research projects, something Balboni said he was "very excited about." One client, for example, has ordered a series of ten reports for the coming year. "It takes careful shepherding but it's very interesting and I think it could scale up to be a meaningful part of our Passport financial strategy," he said.

"I am very bullish on the membership aspect," Balboni said, "I think it's the hardest one but if you want to point to one thing that could be a potential salvation for quality journalism then it's that." He always wanted to encourage a subscription or membership scheme, but explained that as a new little-known media brand it would have been foolish to put up a paywall immediately.
 
Passport does not offer pure paid online content, rather additional editorial services. "My hope and my expectation is that GlobalPost will remain free and open to all but we need to find more effective ways to get all of the people who are most engaged to help support our mission," he said, specifying that GlobalPost was likely to continue to ask for, rather than to require, reader contributions. He does think, however, that it would be "entirely fair" for a news organisation to demand payment.

So far, Passport has 450 - 500 members: "just not enough," according to Balboni. He hopes to increase this by making "a strategic shift in how we market our membership" and by using some new technology starting this spring that will help the membership base and subsequent revenue to grow. Currently, visitors to the GlobalPost site can read about Passport but there is no chance to test it out first and they have to "take a leap of faith" if they want to subscribe, Balboni said.

From a purely financial standpoint, 2009 was "a decent year," especially given the global economic recession. Balboni specified that the $1 million revenue figure that was reported in November was not accurate, but described the amount as "consequential." The company's original business plan projected profitability in 2012, and Balboni thinks this is still likely.

What's next?

GlobalPost seems to have demonstrated that there is an audience for more international news and has set up a structure to cover this that works. As Balboni explained, its challenges now are to build that audience into the millions and (like almost every other news organisation) to shift its business model so that it depends less substantially on advertising.  

The New York Times will hand over operation of its local Brooklyn blog to journalism students and their professors, the NYT Media Decoder Blog reports.

The NYT runs two community blogs, called The Local. They have reporters and editors assigned to them but source most of their content from outside contributors, including readers. One of these will remain the responsibility of Times staff, while operation of the other will rest with the City University of New York Graduate School of Journalism.

         IN A SMALL theatre space underneath basement level of the Centre Pompidou in Paris, surrounded by videos of surreal contemporary 'dance,' the contributors to 'Libé des philosophes,' the November 19th, 2009 edition of Libération in which philosophers wrote all of the newspaper's content, gathered to ostensibly discuss the theme of 'philosophy and journalism'. We all filed in solemnly, the few young people avoiding eye contact with each other, pretending to be serious; the attitude was similar to the whole 'I'm going to go read Proust in the corner café with my notebook and black coat and coffee at 23:30 on a Saturday' kind of thing.

            The French word that is often used for 'moderated' is animé, which to my mind always means someone who 'animates' the gathering, someone who breathes life into a room of socially awkward academics, old people who have nothing better to do and young idealistic Bac or first-year Fac students. Marianne Alphant, the Centre Pompidou's lady-in-charge of expositions, and Robert Maggiori, a philosophy teacher and a regular writer for Libération, did their best as animateurs, although Maggiori was clearly in command. Probably because he seemed to be the one who organized the whole thing.

            After finding a seat, scoping the sparse audience, deciding that I was out of place then turning on the recorder (download the recording), I realized I had no actual idea what the talk was to be about. I was told to come, presumably, because I have a modest philosophy degree and an intermediate command of French; neither of which were much help when one only knows the title of the talk and have never really read Libération. Luckily for you I will draw out the interesting bits from the discussion, but it's a bit like pulling gum out of your hair; you don't get much to show for your efforts and will have to cut it in the end anyway.

            Present at the table, complete with mini bottles of water and much hand wringing underneath it, was Barbara Cassin, a philologist and sophist expert (my favorite of the speakers, 'animated' and interesting); Denis Kambouchner, a Descartes and ethics expert with big white hair; Frédéric Worms (who looks a little like Clay Shirky and managed to creep me out by staring at me for half the time), a Bergson specialist with an uncomfortable laugh; and Ruwen Ogien, who was slightly bitter about not being able to write about chemical castration.

            At first they focused on the technical and administrative details of getting 60 philosophers together to write an entire newspaper, cover to cover, including the weather and sports sections. This is the third year Libération has put together an edition written by a certain academic class, this year's philosophers having been preceded by historians and writers. Since a good portion of every newspaper that is ever published is pre-prepared as opposed to the quickly written actual 'news' parts, this posed quite a challenge for the philosophers.

            Philosophy takes a long time. The most seemingly straightforward of questions can take days or weeks to answer to one's own satisfaction, and sometimes you find at the end that you didn't even answer it or that it ends up being irrelevant to what you're working on. This is pretty much diametrically opposite to journalistic writing, and the philosophy vs. journalism, prepared vs. news theme was definitely the most interesting subject discussed by the panel, however briefly touched upon. In a nutshell, the philosophers were all competing for the pre-prepared parts during their editorial meetings, but since a good percentage of the contributors were abroad they got first dibs.

            The journalists at Libé apparently love having the philosophers there, and it's a good mix; lively discussions take place in the hallways, the pleasantness and solicitude of the philosophers enliven the journalists and together they form a community neither philosophical nor journalistic. Maybe today's struggling newspapers could learn a lesson from this and take an injection of fresh insight from 'outsiders' helping the editorial process.

            Maggiori discussed in depth these kinds practical issues, particularly the issues of dividing duties and the massive editing cuts as all the proposed articles went over the allowed length. After this Maggiori did manage to get in some nuggets that piqued my attention; he mentioned that he once met a German journalist who was taken aback by the 'Libé des philosophes' idea, and the total editorial freedom the philosophers have.

            "In Germany, it would never be possible. No newspaper would give their editing over to philosophers to write the entire edition," the German reportedly said. Maggiori thinks Libé is the only newspaper in the world that has done so, and was able to, because of the status of philosophers in France.

            In France, he said, "we are used to public and televised debates featuring philosophers, among others." Philosophers are consulted and listened to; their opinions are sought out and valued. This, in my opinion, is one of the best things about French society and a real problem in North America where it is clearly lacking.

            According to Maggiori, having a philosopher's edition allows the newspaper to have an 'organic link' with intellectuals and to facilitate the valuable 'long, slow thinking' that philosophers do. He continued to say that newspapers need to have such a link with the 'production of thought' as a way to save themselves; Libération went in the opposite direction of 'green' reporting (with short, online articles) to promote and publish the long, reflective and analytical articles of the philosophers. This is exactly the kind of quality reporting and content that has been and must continue to be newspaper's strong points if they are to survive.

            Barbara Cassin went on to detail her experience with writing about national identity and the questionnaire that accompanied that task, which was loaded with assumptions (as most non-philosophical texts are) thus required a good deal of interpretation and analysis; not quite what the writers intended but it ended up being a good article by virtue of this. Here the opposition (a concept philosophers revel in) between philosophy and journalism was seriously treated. She said "the 'time/pace' (temps) of philosophy is completely contrary to the 'time/pace' of journalism," that "while philosophers are of the 're-taking', 're-thinking', the cogitation of national identity, here in this case we had to go 'on site', find things and make phone calls" which is not really philosophers are used to doing.

            The talk continued, mostly with everyone else described what they wrote about and the process of finding a topic and writing on it. Interestingly enough, Denis Kambouchner said he knows Placebo, the alt rock/metal group, and would have liked to do a piece on them. He went on to describe the process or 'exercise' of writing journalistically as one of writing in a language of effectuation and 'in the last degree,' an 'extremely simple process for ourselves' that regardless is interesting for both the reader and writer, and valuable for society in bringing philosophical dialogue to the mainstream.

            Throughout, Maggiori controlled the talk, saving us from awkward pauses and topic drop-offs. He personally stayed the most on topic and had some good opinions.

            He thinks that rigorous philosophical critique must be defended in order to both save newspapers, which can be its home and promoter, and philosophical discussion itself. On TV, the radio, and in many newspapers journalists and writers are told to write things quickly and simply, even just mentioning a keyword. Critiques and comments are just mindless summaries, only saying whether something is good or bad with little reflection, like looking up ratings for a hair drier on the internet.

            Maggiori was clearly upset at this kind of journalism (as he outlined it), saying it has a serious negative impact on quality, and called it a 'real menace', something that as a 'stupefied avoidance of the difficult' would be 'death for us' if it appeared in Libé.  

            The speakers finished up by affirming the importance of the union of philosophy and journalism, both critiques and reflections on news and culture. Unfortunately I could not understand everything at this point because the speakers were talking quite fast, and, getting rather excited, began using a level of vocabulary and grammar I could not easily follow. Nevertheless, they all seemed in agreement that such a marriage of philosophy and journalism was important to society, and even a part of the intellectual's responsibility to reflect upon the events that shape our world, rather than just transmit 'what happened'.

            It was too bad that the questions asked seemed to rather miss the point and focused things that could have answered themselves if the inquirers had read the articles on the subjects they were asking about.  The panel seemed rather miffed by this point and eager to leave, as was I since I didn't get to ask my question.

            Actually, if had I gotten hold - from the cold, wrinkly hands of the old lady who Bogarted it - of the microphone, I'm now not sure what I was going to ask. It was surely something along the lines of the 'opposition' in the kind of work philosophers do and what journalists do that was mentioned, and the entente that they all seemed to have when thrown together to make a newspaper. I would have imagined them getting into various kinds of (potentially amusing) disagreements making publication quite difficult, but then I remembered that this is France and philosophers are respected and respectful here. This is not to pose any kind of elitist or Francophile argument about the relations and status of intellectuals in society, but it is indeed difficult, as the German reporter said to Maggiori, to imagine such a thing happening in many other countries.

            Even so, this kind of initiative of the 'special edition' type is certainly a great way for newspapers to help save themselves. Rather than focusing on online content and its instant-access, tiny summaries and gross glossing over of issues, maybe it would be a good idea for papers to play their strengths; quality reporting, respectability and accountability, high intellectual standards and intelligent critique and reflection. However those who stick to the paper format are still running a business after all, and unfortunately quality and intellect doesn't always sell.

WMA recording of the panel

YouTube is releasing a new open-source interface called YouTube Direct that aims to make it easier for news organisations to have access to relevant clips from citizen journalists, it was widely reported. The application, to be unveiled today, will allow media outlets to integrate a video upload tool into their sites, where they can accept and screen user footage, described TechCrunch. All content uploaded will also appear on the YouTube site.

As more and more of the public are equipped to record video on cameras or mobile phones, and it becomes easier to upload, citizen contributions are being welcomed at more and more news outlets, particularly as financial difficulties are cau. So many videos are uploaded to YouTube each minute, however, that it is hard to find news-worthy content and very difficult to ascertain its reliability.

Jose Galang has reported on the current state of Philippine media entities for the Asia Media Forum, which he has described as being "in a state of flux". According to Galang, in light of rising production costs no longer covered by the now declining readership, newspapers are now looking for other ways to generate revenue.

Publications around the world have recognised the Internet's potential to attract a wider audience as well as boost profits: In February 2007, fortnightly magazine Newsbreak, specialising in in-depth, investigative reports, did away with its regular printed copy in favour of operating as an online publication (Newsbreak.com.ph). Editor-in-chief, Marites Dañguilan Vitug said of the decision: "We're reaching a wider audience now that we're on the web and we operate on less funds".

Portugal's newest daily newspaper, i, was launched in early May and has attracted a significant amount of attention due to its rising circulation figures and innovative approach. It recently won a design award from the Society of News Design. The Editors Weblog spoke to editor-in-chief Martim Avillez Figueiredo, managing editor for online Mónica Bello and art director Nick Mrozowski, to find out more about i's approach and the reasons behind its success.

I's circulation in August was over 16,000 copies, up from just under 11,000 in its first month, May. As a comparison, the country's top selling papers, Público and Diário de Notícias, sold 36,000 and 30,000 respectively that month. So for a new paper, i seems to be doing well. How, when the newspaper industry is struggling worldwide from falling income as readers move online and advertising rates fall, is a new newspaper seemingly thriving?

What i is doing differently

I is not structured like a traditional paper. The paper's team worked with media consultancy Innovation to come up with a new way to organise the product. "Our feeling was," said Figueiredo, who came on board at an early stage, moving from Diário Económico, "that people were not concerned about traditional sections any more. Traditionally, journalists have to fill a politics section even if there is nothing relevant going on in politics. We wanted to come up with something different." So the team came up with five key needs that they wanted the paper to address, with five key words.

• 1. Opinion is the first section of the paper, based on the key word think. No other Portuguese paper starts out with opinion.
• 2. Radar is the second, accompanied by the key word know. Figueiredo said the assumption was that readers will already know a lot from other sources, but Radar aims to offer a quick overview of everything that has happened in the past 24 hours. The section is eight pages long, and the longest article is half a page.
• 3. Zoom is the third section, connected to the key word understand. The 22-26 page section looks at between eight and 13 topics in depth, with articles taking up one to ten pages. "We deal with these subjects with a lot of care, and we use the best teams," Figueiredo said.
• 4. The fourth section is called More, linked to the key concept feel. This is where anything about people's private, cultural, social lives goes. Figueiredo explained that the team did not want to give the section a more specific name, or the content would be limited. More encompasses the fifth need that the paper wanted to address: sports, about 80% of which is focused on football - "this is very important in Portugal," Figueiredo said.

Design...

Nick Mrozowski, i's American art director, said that "I think the overriding concept, not just in the design but in the newspaper as a whole, is that we want to try to set out to produce a magazine every day." The 56- to 64-page paper is tabloid size and stapled, so looks as much like a magazine as a newspaper.

A huge amount of work goes into designing the paper every day. At first, Mrozowski explained, the idea was that the paper would have a template that would leave some pages fixed each time, meaning that some pages would require no design work on a daily basis and that editors would simply put their content into the pre-designed format. "But from day one that strategy fell apart," he said. "We realised that the sort of paper we were making had a lot of very specialised content and each page would have to be custom-made to the needs of a reporter or editor."

"From a design perspective it's a little intense," Mrozowski said. The design team are challenged to find magazine-quality visual solutions every day. For example, unlike most daily newspapers, i strives to include high quality portrait photography rather than just that for events, which means finding the time to sit down with sources. The paper also has a lot of illustration, something which many newspapers have been cutting back on in recent months, Mrozowski pointed out. "I think people notice this," he said. "You can't go a day reading i without coming across at least one commissioned illustration, rather than just back art."

I has a team design team of seven, two infographic artists and a group of photographers. This visual team is "like one unit," Mrozowsi stressed. "We all sit at one big arching table, so it's very easy to communicate."

Despite the strong focus on the visual side of the paper, Mrozowski stressed that this is never at the expense of the content. He was trained as a journalist as well as a designer, so "I've always worked in newspapers with a journalistic eye." And he makes sure that his design team also understand that "the design should come from the content."  He clarified, "it's not enough to design a page, you have to know what's going on it, what type of photo is going to be there and how it should best be played." The designers and editors therefore work very closely together, requiring the design team to have a journalistic understanding of each page that they work on.

Not just print...

I also has an increasingly significant web presence at www.ionline.pt: online editor-in-chief Mónica Bello said that the site recently passed 900,000 uniques per month. The paper's print and online operations are broadly integrated: journalists write for both platforms. "It's a work in progress," said Bello, "it's getting better and better all the time." Two editors are just focused on the website, and many journalists work on breaking news online for a few hours and then move on to writing for the paper.  40% of content from the paper also goes online, explained Figueiredo, with the other 60% being exclusive to the print product.

I's website is an aggregator as well as displaying original content. Figueiredo described how the paper is happy to link to competitors' content, and how aim is that people come to I as a base for their news exploration. "We want to make sure that people on Facebook and Twitter are using i as their main information source," he said, adding that i has a presence on many social networks. The paper has, in effect, six different homepages online. One is a portal of general news, one is focused on Portuguese political news, a third is economic and financial, a fourth is world news, fifth is sports and the last is the 'good life' homepage

There seems to be a general acceptance at i of the fact that online news is not profitable, at least for the moment. "You can't make any money there," said Figueiredo, "but you have to be there in order to grow your brand." Bello said that "the print edition is of course the priority, and will be at lease for the next few years." This means that the designers do not contribute so much to the website, which has a far more fixed template compared to the paper.

The advantages of youth: potential for constant innovation

Being a new newspaper, part of a new brand, gives I the freedom to experiment and it seems that this freedom has been passed on to all the staff. Mrozowski and Bello were extremely enthusiastic about their working environment and what it allows them to do. "There's this motivating feeling," Bello said. Mrozowski said that the two senior editors, Figueiredo and André Macedo, "have imparted this feeling of accomplishing the impossible at every step... There is no cap to how big these guys will dream and it presses you to do things that you wouldn't do at another newspaper."

One of Mrozowski's favourite projects at the paper so far was for the European elections: with the help of an outside illustrator, the team produced a double page spread the night of the election depicting the politicians involved as fish in the ocean, with their position in the water showing how well they had done. "It worked out beautifully, and speaks to this ambition that we have," Mrozowski commented. "It's something that I don't think another newspaper would try."

"We told them that they have the responsibility to be innovative because they don't have a set newspaper in which they have to fill the gaps, rather it is a newspaper that they have to create everyday in order to focus on the real issues," Figueiredo said.

The paper chose to hire not just experienced professional journalists, but decided to bring in some young people who did not necessarily have any experience in the field but who were technologically adept and very knowledgeable about social media.

So who is the audience?

I's specialised focus on politics and economics attracts educated, ambitious readers, Figueiredo said. 69% of readers have a university degree, 39% are top management. What is particularly exciting, he added, is that 22% of i's readers had not been regular newspaper buyers before. A key target audience, "that we are still learning to deal with," is aged between 23 and 29: they have a university degree, they have started their professional careers and have ambition, they are unmarried, they travel frequently and have a full social and cultural life, Figueiredo explained. "And they want to know what's going on. We have been dedicated to studying this new audience that nobody else has."

Why do they like it?

According to Figueiredo, "we've created a product that goes directly to the way they think and interact with news." Most of these readers are well informed via other media and already know a lot about what's going on, but they look to i to "help organise all the mixed and disparate information that they have to deal with." He believes that the in-depth articles on politics and economics, providing essential background to current issues, are one of the main reasons why people like the paper. The sports section is "very creative," unlike those in most newspapers, Figueiredo added. He does not think that the rest of the More section is a key motivation for buyers to choose i specifically, pointing out that one of the paper's competitors, Público, was very strong on culture.

Finally, he suggested that the format of the paper was particularly attractive, being small and stapled means that "people can read it anywhere," even on the beach. Lisbon is not a major commuter city, however, meaning that this audience, crucial to the success of many papers in many countries, does not exist.

What's next?

The i staff seemed excited about the paper's future. Mrozowski plans to further improve the work of his design team, to take it "to the next level." The team has mastered the basics, he feels, and is now "going to start focusing on certain areas of the paper one at a time and try to make them better so that we are at the highest level."

Bello said that one of her hopes for the website is to expand readership outside of Portugal. Currently 80-90% of traffic comes from within Portugal, the largest percentage of the remainder coming from Brazil. She would like to reach Portuguese immigrant communities around the rest of the world.

Figueiredo intends to work on strengthening the paper's brand, to "create a fantastic dynamic around the brand." Distribution of the paper is something that Figueiredo said i was hoping to improve. "It's a nightmare in Portugal," he explained, "but we are trying to come up with some more good ideas in order to be very efficient in terms of distribution."

I's shareholders have given it five years to break even financially. In a time of falling profits, when many papers are making huge losses, this is a significant challenge for a new newspaper. However, i does seem to be off to a pretty good start. The decision to move away from the traditional structure of a newspaper and provide something different definitely makes sense, as does embracing creativity and innovative thinking in the workplace. The paper has made inroads with a young, successful demographic that would often be attracted by online news rather than print, and reaching about half of the circulation of the major daily papers in a few months is impressive. However, it remains to be seen whether i can be successful over a longer period, and if it can indeed become profitable.

If i does succeed, will others follow it down the path of innovation?

To see what i's first day was like, watch:
 

Long Island-based daily Newsday is to start charging readers for online access starting later this month, the New York Times and others reported. The paper is owned by Cablevision, and subscribers to the pay television provider will get the site free, as will subscribers to the print edition of the paper.

Newsday.com is planning to charge $5 a week, or $260 a year, which is a steep price compared, for example, to the Wall Street Journal, which costs $149 a year for an online-only subscription. And as 75% of Long Island households already are print or Cablevision subscribers, according to Newsday, so the market at which this initiative is targeted is presumably not large.

North America's largest French-language newspaper, La Presse, could close December 1 if union members do not agree to significant cost cuts, the Associated Press reported. However, Caroline Jamet, vice president of communications for the paper, stressed the likelihood of reaching an agreement before the closure deadline.

La Presse hopes to achieve 13 million Canadian dollars (US$11 million) in cuts from union concessions. Two of the biggest issues on the table are the end of the four-day workweek and the elimination of 100 jobs, out of a current total of 700 employees.

If a journalist is a master of communication, can a great communicator simply pass his or herself of as a journalist? This is question that web professional, Sandra Ordonez poses in the introduction to a rounding up piece on the project conducted by OurBook.com concerning the future of journalism.

The proliferation of social media tools such as Twitter and Facebook as circulators and generators of the news, and the popular trend of citizen journalism, which has been encouraged by mainstream publications, as well as designated start-ups, have all served to somewhat blur the definitions of a reporter and a communicator, professional or amateur. Or have they?           

How to tackle copyright infringement has recently become a hot topic in the news industry. Attributor is offering a novel solution via the Fair Syndication Consortium that aims to keep all parties happy. The Silicon Valley-based start up has developed technology capable of tracking news outlets' online content, and came together with a group of publishers to form the FSC, which plans to seek advertising revenue when their content is reused. The Editors Weblog spoke to Jim Pitkow, CEO of Attributor, about what the company can offer to newspapers in terms of increasing revenue and protecting copyrighted material.

More than 1,000 publishers have now signed up to the Fair Syndication Consortium and agreed to have their content tracked. Pitkow explained that he started to persuade some of these of the extent of the problem in January when Attributor took 250,000 articles from 25 major publishers and ran these through its system for 30 days. Attributor found that each article was reproduced fully an average of 11 times across the Internet. So the seriousness of the issue was clear, and Attributor decided that a type of ad revenue sharing scheme was the best solution.

Leave the content, take the money

Rather than ordering those who reuse content to take it down, Attributor wants "to find ways to share in that advertising revenue that's being generated."  This solution stems from the idea that the larger the audience for news, the better, and as long as the original producers of the content are able to receive revenue, it is fine for their content to be reused elsewhere. Pitkow explained that Attributor had decided to "work at the currency level" in an attempt to come up with a proposition that would mean that "everybody can still profit from the syndication of this content."

So, the Fair Syndication Consortium plans to work with advertising networks like Google's Adsense, which are used by many smaller sites to place ads, to demand a cut of the revenue generated alongside reused content for those who originally produced it. If this demand is denied, then the rights holders can order their content removed.

The sites that the FSC will target are those that "are specifically geared towards repurposing other people's content and using Adsense alongside," Pitkow clarified. As well as being more profitable for publishers, the FSC also intends to make the process of responding to misappropriation of content simple and straightforward, involving dealing with advertising networks rather than having to serve lawsuits to publishers.

For the FSC to work, it is essential to seek the cooperation of ad networks. The Consortium's first agreement has been reached, with AdBrite, and Pitkow was confident that this signals significant progress.  The company is looking to get other ad networks on board but even just one is a good start, Pitkow said. "If you have one network that participates, and the rest are going to be forced to remove their ads, it means that everybody who's syndicating content is going to move to the ad network that does."

There is a financial incentive for advertisers to take part, as well as the motivation to appear to do no evil, Pitkow emphasised. That is, if they do not participate, the rights holders might choose to remove the ads that such networks have placed.

Will the money be enough to make a difference?

PSFK, a trends research consultancy, believes that "the numbers don't add up:" smaller sites make such a small revenue per article that the effort would not generate much income for publishers, and larger sites have often noted how to stay on the right side of fair use law. Pitkow, however, pointed to comments made by Chris Ahearn, president of Reuters Media, who said that Attributor's work would make a significant financial contribution and could really help change the nature of content syndication. Ahearn told the New York Times that there was "tens of millions of dollars worth of inventory that is likely being created that we are not getting our fair share of."

As well as a means to protect copyright, Attributor's proposal could be seen as a way to more effectively syndicate content. Pitkow pointed out that licensing deal essentially consist of estimations of the value of advertising that could be generated from content, and that this is what Attributor does, but more accurately. Pitkow said that smaller sites that do not have a formal syndication team could use Attributor for this.

So will it work?

Pitkow explained that Attributor is now taking this content of 1,000 publishers have signed up to the Fair Syndication Consortium into its system and starting to monitor how widely it is being used. He anticipates that the revenue-sharing scheme could be fully operational this autumn.

The Associated Press is independently looking at ways to track its and its members online content to ensure that unauthorised use does not occur, using a microformat tagging system via what it is calling a news registry. It is not clear yet what the AP intends to do when it finds misappropriated content. Other solutions also exist, such as the WAN-IFRA backed ACAP, or Automated Content Access Protocol; however although this is a step forward in terms of a commitment to protect content, ACAP does not as yet seem to have a strategy on how it would actually make publishers more money.

And this is where the advantage of the Fair Syndication Consortium lies. Rather than simply trying to stop content being reused, it is accepting that this is inherent in the nature of the Internet and is looking at how to use this to publishers' advantage. It may well not be a solution that all publishers approve of as it does mean that their content might remain on websites that they do not support, but at least it could contribute to tackling one of the news industry's current key challenges: how to make more money from online news. 

Late last week, Mediaite hosted its first 'Mediaite Office Hours' session in order to answer to the hostility it was met with during the first week of the site's launch. Senior Editor Glynnis MacNicol and TV Editor Steve Krakauer hosted the one-hour segment. Having only been meant to appear sporadically and unannounced, editor-at-large Rachel Sklar ended up spending most of the hour with the hosts. The motivation of Office Hours is to make Mediaite staffers available to converse with those critics who disapprove of the celebrity journalism obsessed website and tackle criticism head-on.

During the first Office Hours sitting, MacNicol explained that despite all the negative publicity that ensued in the week of the website's launch, not a single critic had emailed to complain to the site. She reported with some satisfaction that the critics have fallen silent since they have complained about everything there is to complain about.

If a headline is equivalent to an appetizer, the story is the meat, then user comments can be equated to dessert. Except that not all user comments are sweet. Some comments do not deserve the privilege to be indulged after the main dish of a story when they prove irrelevant to the article at which they are directed.  

One of the latest products to appear on the market for newspaper publishers looking to improve their revenue is Circulate, from new start-up CircLabs. The Editors Weblog spoke to co-founder and executive vice president Martin Langeveld, former newspaper editor and executive who now also writes for Nieman Journalism Lab, about the project.

The CircLabs team decided to look for a user-centric solution to monetise online content through improving the user news experience, as opposed to what Langeveld sees as publisher-centric solutions that focus on how to charge users for content. Charging users for content could indeed be incorporated into Circulate, but he does not see it as the main source of revenue. Rather, what Circulate hopes to do is essentially make it easier for people to find the news they are interested in, hence encouraging them to read more and therefore increasing traffic to and engagement time on newspaper websites, offering greater advertising opportunities.

The Circulate concept evolved out of research carried out by Bill Densmore at the Reynolds Institute of the University of Missouri into a project he called the Information Valet. This, Langeveld explained, is a more "comprehensive and very complex system" and Circulate hopes to be a starting point for something similar. The founding CircLabs team consists of four: Langeveld and Densmore plus Jeff Vander Clute and Joe Bergeron. The University of Missouri offered initial funding and Langeveld is confident that the company will soon announce its first round of seed funding, which would include investment from the industry and private investors as well as from the university.

What Circulate actually is

As the consumer will see it, Circulate will consist of a narrow strip that will appear within the user's browser window that will be branded and recommend journalistic content throughout the user's time online. The bar will be along the top of the window and generally narrow enough to include one line of type, though would have the ability to expand when necessary. A small programme must be downloaded to install the strip, but a user can log in to their account on any computer that has the programme. There will also be a destination URL that users can access on computers on which they cannot download the software, and the team plans to develop applications for smartphones, and offer email alerts.

When the user installs it, it will ask them some questions about them and about their interests and preferences. The user is not obliged to enter any information, but the more that they do, "the better Circulate can bring content to you," Langeveld explained. He added that his team understands how important privacy is to consumers and stressed that Circulate will be very clear with regards to the amount of information it stores about its users and will give them an easy option to access or delete this.  "It won't just be buried in one of those user agreements that everybody just clicks through," Langeveld clarified.

The programme will also track your movements online and make recommendations for content based on these and the information you provide. Article suggestions will appear as links in the Circulate strip, and it might expand to offer the user three or so recommendations on a specific topic, or to ask or answer a user's question. As the technology develops, it will be able to gather new applications, so additional icons might appear on the bar that could offer a user access to their Twitter feed, for example.

A home base for users

Users will sign up for and download Circulate via a 'home base' which is likely to be their local newspaper. The Circulate strip will be branded according to the home base, so this newspaper brand will 'travel' with the user throughout their online experience. The user would be free to change their home base at will. Eventually the local newspaper, as a Circulate partner, would be able to sell advertising and do other kinds of marketing and promotion through the strip.

How it can make money for publishers

Although Langeveld does not believe that revenue from charging users will be "more than the smallest fraction of the total potential of Circulate," it will be possible to do that within the Circulate framework. If newspapers decide that they do have premium content which is unique and valuable enough that people are willing to pay for it, Circulate will facilitate this through a universal subscription to all multiple papers' premium content, or on a per item basis.

However, as stated above, Circulate's main aim is to increase traffic to newspaper websites. Langeveld pointed out that his team's research shows that in the US, web users spend only about 1.2% of their time online on newspaper websites, and traffic to newspaper sites accounts for only 1% of page views. "That really is the challenge for newspapers, to increase that percentage," said Langeveld. And Circulate hopes to do this by "constantly recommending journalistic content from newspapers and other news outlets the other 99% of that time."

The possibility for the papers acting as homebases to brand the strip also "has value" for local papers, according to Langeveld, as it means that their brand travels round the web with the user whenever they are online, thus constantly reminding them of their relationship with the paper. Circulate also intends eventually to include advertising on the bar itself, although the format has not yet been developed. Langeveld believes that there are opportunities for both national and local advertising. There would be the possibility to target users and therefore create more value, and participating papers could sell space to local businesses. He sees this as a good selling opportunity: "now you can reach our readers all the time when they're online rather than just the one or two percent that they're on our site."

Will it work?

Software development has already started and the Associated Press has agreed to allow Circulate access to its content. Langeveld confirmed that the company is planning a beta rollout with a group of newspapers and users in autumn. Could it be the solution that newspapers have been waiting for?

Many publishers seem to be concretely moving towards charging online, and others seem to be contemplating it as a solution to their financial difficulties and in an attempt to restore value to news and prevent it from becoming a commodity. The fact that Circulate would be able to incorporate this is thus a point in its favour. When asked if it could be compatible with Journalism Online, a start-up aiming to facilitate charging for content that has reportedly been in talks with many publishers, Langeveld said that it is something that his team has not explored, but that it was "certainly possible."

Increasing engagement time does indeed seem to make sense, although in terms of monetising it means that newspapers are still dependent on the advertising market. It is clearly something that newspapers should be working on themselves or through companies like Apture that try to keep readers on news sites through multimedia enhancements, but it does seem that Circulate can help in actually getting readers onto a site. Persuading readers to sign up could be tough, most likely requiring an aggressive marketing strategy, and the CircLabs team is wise to anticipate privacy concerns. Assuming that users do sign up, it is hard to say how many people will click through links and how often, but it seems as if it could well contribute to an increase in traffic. 

Nieman Journalism Lab's Zachery M. Seward interviewed Spot.Us founder David Cohn about the project's plans for expansion. Spot.Us is an 'experiment' in locally funded journalism, which calls for readers to suggest and fund story ideas about the San Francisco area. Since November, the site has funded and published 20 stories written by freelancers, supported by donations from readers.

Cohn explained to Seward that one of his three-month goals is to replicate the Spot.Us model in other communities, such as Los Angeles or Seattle, or maybe Boston, Philadelphia or New York. To do this would call for "a more careful analysis of what's really required from the organisation," he said. He is currently a volunteer and would probably have to stay that way for some time, the site does not bring in anywhere near enough money to fund a full-time employee.

Citizen photojournalism agency Citizenside has partnered with French free daily 20minutes to launch a citizen journalism portal on the paper's website 20minutes.fr. In the area "la une des lecteurs" (the readers front page) there is a new section called "vos images" (your images) where readers can upload their photos and see them sorted and published.

Hélène Fromen, new media editor at 20Minutes said in a press release that "putting this contributative platform in place "confirms 20minutes.fr's capacity for innovation." She added that "with this service, we are deploying a true participative ecosystem around 20minutes.fr that treats our Internet readers as a potential new source of verified information and gives value to their contributions."

True/Slant is a recent arrival on the online-only news scene, aiming to offer a voice not only to its 100 or so contributors, but to the reader and the advertiser also. It is not a typical news site offering breaking news, but rather features commentary, opinion and some original reporting. Based in New York, the start-up has just six full-time staff, led by founder and CEO Lewis Dvorkin who has a total of 35 years of media experience, the last 12 of which has been in online news. The other employees have a similar mix of traditional and new media backgrounds, he said. T/S is a privately held company funded by Forbes Media and Velocity Interactive Group. The Editors Weblog spoke to Dvorkin to find out more.

The five differences

Dvorkin stressed the five ways in which T/S is "very different from any other news site." Firstly, because of the tools that it gives its journalists to create their own original content in real time. Second, because of its approach to copyright: contributors are encouraged to offer their perspective "around a piece of content that might have been produced elsewhere." Third, the relationship between the contributor and the audience is different because the contributors are contractually obliged to interact with their community. The last two differences are that the journalists have a variety of salary options and that the site has adopted an unusual approach to advertising.

For entrepreneurial journalists

True/slant offers "entrepreneurial" journalists their own homepage on the web, or as Dvorkin put it, "we enable them to create their own brand of one." They must be "experienced" in a specific field such as finance, politics or health but do not have to be a journalist from a traditional background: bloggers, authors or academics are also welcome. True/Slant is not a typical news publication with an editorial line, rather the work of a collection of individuals. "We don't have any ideology here, we have 100 different contributors, 100 different voices and 100 different perspectives," Dvorkin said.

Interaction with the audience is compulsory. Apart from that, it is up to each contributor to decide what they write and when. Much of what they write is opinion and commentary, but some also do original reporting. It is easy for them to comment on other news, by simply highlighting a section of an article they find on the web and clicking a button, the highlighted text will be placed on their post with a link to the contributing site. They are able to publish photos, audio and video as well as text and can self publish in real time. Their content can be automatically posted to Twitter and Facebook at the time of publishing. There is no traditional editing process in place, Dvorkin explained. Contributors are welcome to discuss their article ideas with a member of the T/S team, but they are not edited before publishing.

Different payment options are available, depending on the amount of risk that an individual contributor wants to take: journalists can choose to receive a monthly stipend, to participate in revenue sharing or they can actually have stock in T/S. Contributing to T/S is more likely to be one of several projects that a writer is working on, rather than their main source of revenue.

Promoting journalist-reader dialogue

Readers who want to interact with journalists must register and then they can 'follow' their chosen contributors and comment on articles, being drawn into a dialogue. Contributors highlight the user comments that they feel "further the conversation." A selection of these highlighted comments are then be integrated on the home page, amongst contributors' content. Dvorkin believes that this is very important to today's news reader, who enjoys "engaging with and being part of the news life of a professional media person." He believes that the True/Slant environment can be a "powerful experience" in the way that it encourages dialogue between contributors and users, as well as between fellow users.

A voice for advertisers

True/Slant is currently relying on advertising as its sole source of revenue. As well as display advertising, the company is incorporating "a very unique feature" called T/S Ad Slant for corporate marketers. They too can have a voice on True/Slant: they can pay for their own page and have access to the same tools that a contributor has to interact with a community. "It's a more direct and engaging approach," Dvorkin commented. He explained that such pages are integrated into the larger network in a "contextually relevant way," but stressed that the pages are clearly labelled as from marketers. Will this prove more lucrative than traditional advertising?

What's next?

Dvorkin said that the site has plans to grow, hoping to add more contributors and enhance its features. He believes that True/Slant is offering consumers a different way to experience news, one that is "more in line with how they want to access and interpret information today." Breaking news can be found in abundance throughout the web. What readers do need, is experienced, knowledgeable journalists to analyse and explain the news that they find, and this is where True/Slant steps in. It is indeed likely that many readers will appreciate the chance to be part of a conversation and form a relationship with their favourite writers. And from a writer's perspective, considering the growing number of out of work journalists today as traditional media outlets are forced to make cutbacks, a site that provides them with the tools for successful freelancing could be very welcome.

Guardian editor Alan Rusbridger and Labour MP Tom Watson go head-to-head on Twitter, as Watson and the Daily Mail accuse the centre-left paper of going too far. Last week, the newspaper went ahead with a front-page editorial urging the British PM Gordon Brown to resign.

Daily Mail obsessed with idea of Guardian 'putsch' (in collusion with BBC?). A question of media ethics, apparently. http://tiny.cc/7Wp3M"

And so went the tweet that started it all, with Rusbridger linking to the Daily Mail article, in which Stephen Glover asks "Was it [the Guardian] trying to orchestrate events so as to secure the resignation which it had called for in its editorial?"

Speaking at the Google I/O Developer Conference that took place in San Francisco between May 27-28, Google has unveiled Google Wave, a new online communication service.

Described as a "personal communication and collaboration tool," Google Wave allows users to chat and share documents including audio files, videos and photos in real-time.

Will people voluntarily pay to read news that they could easily read for free? Cynthia Typaldos, founder of Kachingle is convinced that they will. Kachingle proposes a novel solution to the news industry's revenue problems: encourage people to donate money to their favourite sites, whether these are major news outlets or small-time blogs. The Editors Weblog spoke to Typaldos to find out more about the scheme, which is due to launch in late July or early August.

How it works

Kachingle users, who the company are calling Kachinglers, need to sign up once to set up their subscription, which, via PayPal, will charge them $5 a month. When they go to a news site that is participating in the venture, it will display a Kachingle 'medallion', which the user can click on to indicate their support for that site. The reader can choose to highlight as many or as few news sites as it wishes, and Kachingle will track the number of times that they visit that site in a month. At the end of a month their $5 will be divided and distributed proportionally between the sites which they have flagged, according to the amount of times visited (with a 15% cut going to Kachingle and 5% to PayPal.) "The algorithm is meant to be a proxy for value received the consumer," Typaldos explained.

Why will people pay?

The main reason Typaldos thinks people will be prepared to offer this $5 is not because they have a strong desire to help save newspapers but because of the social advantages of using Kachingle. Contributors create a profile that shows which sites they are supporting, which they can post to their Facebook profiles or send on Twitter, Typaldos suggested. There will even be a Facebook application. "It becomes a very real view of the things I value, part of my online persona," she explained: something which she believes is "very important" to people as their online existence becomes more and more complex. Essentially, "there's a very powerful peer pressure recognition element to Kachingle" which is what she thinks will drive people to become involved, she feels that users will be "getting something back" in the form of social recognition. The more altruistic wish to help support news would come second to this, she believes.

Another reason Typaldos gave for why Kachingle will work is simply how easy it is: a crucial factor for such a venture. Registering involves providing just basic details, and thereafter, a Kachingler's job is straightforward, marking the sites, without having to consider how much they would like to contribute to it. "There just can't be any mental transaction costs," as Typaldos put it. And the system still allows people to move freely around different publications without encountering pay walls, which Typaldos is firmly against. "Pay walls are just the kiss of death for newspapers," she claims, "we just think it's the wrong economic approach." Those who are trying to implement them "are trying to take the old business model and stick it on the Internet," which she believes is a doomed approach.

To start with, anyone who registers as a Kachingler will make a $5 a month payment. It is fixed thus because Typaldos did not want the decision of how much to contribute to be a barrier for users. The company plans, however, to allow people to give larger amounts in the future, and to encourage them to do so by suggesting amounts based on how many sites they have chosen to support. Typaldos hopes that the typical amount given will rise to about $20 a month. Unsurprisingly, content providers would like people to contribute more money, she said.

The start-up has been in contact with many major news publishers, Typaldos clarified, and these have been by no means only US based: publishers in Germany, the UK, France, Italy, Brazil, Hungary and across Scandinavia, for example, have been in touch. "We are not country specific," she confirmed. For news organisations, the benefits are clear, and the medallion button is extremely easy to install: a simple Java script widget which "you can put on your site in three minutes."

Will it work?

So how much could Kachingle actually raise for newspapers? Could it make a difference? "I think that we will bring enough revenue to sites that are very high quality with original content," Typaldos asserted. She is not under any illusions that such an effort could save a major newspaper that has "debt, so many overheads, print, a huge staff," but she is confident that Kachingle could have a highly significant impact on smaller publications such as MinnPost, which has low overheads but respected journalists. "We will be very powerful for them," she added.

The idea is a good one in the sense that it manages to combine the notion that people should and can pay for news, without putting up paywalls that would block off sections of newspapers and seem incompatible with the idea that news readers should be able to jump around as they please online. It is also compatible with an advertising model. Typaldos described it as "not like tipping, not like micropayments, but we have taken the best elements of both." The fact that readers can choose what they think its worth paying for is likely to appeal to many, and the cost is sufficiently low to not be a deterrent. It does seem that quite a substantial marketing campaign will have to be carried out to spread the word and persuade people that it is worth making the effort to sign up: social pressure alone might not be enough. Once they do so, however, they will probably appreciate the service.

"The media has a duty to wrongfully accused", wrote Eamonn O'Neil on the Guardian's website yesterday.  Sadly though,  journalists and editors, apparently fearful of the professional and legal implications of fact-finding missions, are increasingly shying away from performing this duty.  Whether this is due to a lack of journalistic confidence, the constant threat of legal procedures or a response to a lack in public demand, this avoidance has deprived not only the journalistic practice of the satisfaction of fulfilling one of its great original purposes, but social justice of what was once a highly effective tool.  

O'Neil's call to arms forms part of the Guardian's recently launched 'Justice on Trial' campaign, which "aims to highlight cases where there are major concerns of a miscarriage of justice."  The project is a result of the realisation that journalism is at risk of forsaking an arguable raison d'etre; its opening statement recalls the profession's past successes in contributing to the correction of infamous miscarriage of justice cases, such as those of the Birmingham Six and the Guildford Four.   O'Neil, moreover reflects upon his own involvement in rough and ready evidence digging investigations, such as that of the Christmas Island nuclear test victims, while working at Scottish TV in the late eighties.

The future of printed media has become a major political issue in countries like the United States or France, even being debated in ad-hoc committees set up by the legislative or the executive powers. Discussions along the Potomac or the Seine rivers have been focusing on the impact of Internet and new technologies, or on the need for state subsidies.

Meanwhile, on the Vltava in Prague, a group of editors and reporters working for PPF Media, the recently created division of insurance and consumer banking group PPF, is already opening new ways of covering a whole country in what may be a newsroom of the future. With other journalists for the moment based in four provincial towns from the Czech Republic, they are launching the so-called "hyperlocal weekly" Nase adresa ("our address"), which combines print and online journalism with particular efforts to sustain high professional standards and get closer to the readers.

"It can only work with well prepared journalists who will be trained in the Futuroom, our central newsroom," explains Roman Gallo, 44, director for PPF's media strategies and conceiver of the project. "We are also opening newscafés in our local bureaus, which will facilitate the contact between Nase adresa's journalists and the public, to enrich the content of our newspaper and of its webpages," adds Matej Husek, 33, director of news operations.
 
The newspoints, combining local newsrooms and Internet cafés in often small, rural towns, may be the most visible originality of this new undertaking. A few weeks before Nase adresa's launch, for instance, PPF Media's already hired staff had the chance to taste two products, the first print prototype of the weekly, and a cake likely to be served in the cafés. "The project represents a special challenge in terms of logistics, of room for storage, as we will be managing dozens of bistrot-Starbucks-like coffee shops in local newsrooms," comments Tomas Chejn, 41, the manager of PPF Media's branded cafés, a food specialist hired for his long time experience in quality catering. Petr Vitasek, 38, the director and chief editor for the Moravia region, based in the eastern Czech city of Olomouc, thinks this effort is worth the investment, because these "well located newspoints will be critical in getting Nase adresa's journalists to work closer to their readers."
 

 
But the whole project is innovative at other, multiple levels. To start with, for the first time a newspaper's birth is tightly associated to the creation of a multi-media training center - with several international partners including Google, Atex and the World Association of Newspapers/ World Editors Forum. The Futuroom will be a newsroom in charge of assisting and training in-house editors, some having no previous reporting experience, as much as a real life teaching field for future journalists. These will include a group of students within another partnership with Brno's Masaryk University, in the second largest Czech town.

Nase adresa's approach could also become a school case due to the organization of the newsroom. "I like how the Futuroom is shaped. Journalists are not confined to one theme, like health or education, but to a way of reporting, and I enjoy changing topics," says Vendula Krizova, reporter in the "Human approach team" and young (25) like many of her new colleagues. Adds Radim Klekner, 50, who joined the "Institutional team" - after working for 10 different newsrooms - to do researches on European Union institutions in particular: "Vertical structures dominate in traditional newspapers, while in Nase adresa it is more horizontal. In my case, for instance, I will be covering many European issues based on the Czech reality."


Klekner had some doubts initially, however, because he has been covering foreign news in the past 15 years.  Why would he join a hyperlocal news project as an international editor, then? "There is a need for benchmarking with other European countries in all aspects of the Czech society, and with Nase adresa I will be able to give a EU presence in the remotest Czech villages", he believes. "Our role is to assess general issues like the lack of general practitioners in the country, compared to others, and connect them to specific cases brought up by the local newsrooms."
 

 
Local journalists with long intensive experience covering their community are also convinced they are working for an innovative project. Vitasek, in Olomouc, even tried a hyperlocal news concept on his own five years ago, called Olomoucky Tydenik. "It was a weekly published on Mondays and strong on local sports, like Nase adresa. We had to stop it after one year, but this time I have with me a 10-people team supported by PPF and by the Futuroom managers and trainers. Our office, in a central strategic area of Olomouc, will be a space for constant direct contact with readers and potential contributors."

Based on her 30 year experience in local journalism, Hana Vojtova, 52, the chief editor of the Teplice newspoint, in the north Bohemian city near the border with east Germany, also believes Nase adresa is a new improvement for community journalism: "We will get nearer to the people from the region, who are tired of politics and want to be informed on human interest stories," explains Vojtova, whose district is dramatically affected by problems like crime and unemployment. "We are going to cover better our readers's activities and their dreams!"
 

 
The project has attracted several other seasoned editors from all backgrounds, including Jiri Zavozda, 50, Nase adresa's head of the copy editing team. He just finished a seven year experience in major private television "Prima", as news editor-in-chief, after working more than a decade for national newspapers. "The TV experience was good because it teaches you how to write short, but I prefer print because it is less superficial," says Zavozda. There are other reasons why he joined the Futuroom. "I see my in-laws, who live in a little village in Moravia and who have only access to media not specifically targeted to them, national daily Mlada Fronta, newsweekly Tyden and the television. Only Nase adresa will inform them well on the Sunday afternoon firemen team's competitions, which are particularly popular in the Czech republic. We will get spectacular photos of fires being extinguished!"

Adds Peter Sabata, 48, the editor-in-chief responsible for the local newsroom: "I strongly believe in the hyperlocal level of information, with the combination of newspoints, and print, online journalism. The weekly will be a bridge from now to the near future, when everybody in the regions will be connected." Sabata just moved back to the Czech republic after eight years at the head of national Slovak paper Pravda's newsroom.

 
Other Nase adresa team members are particularly enthusiastic because of the new challenges specific to a project combining teaching and praxis, online and print journalism, so far never achieved at such a level. Ondrej Besperat, 31, who manages the photo-video team in a duo with veteran photojournalist Jan Silpoch, is well aware of the differences between shooting for a newspaper or for a website. Before joining the Futuroom, he was a photographer for national daily Hospodarske Noviny and then worked for Aktualne.cz, the successful, Internet-only Czech media outlet. "In printed media, you have to do one or two pictures a day, and you invest all your energy in the best one, while in Internet, you try more different perspectives as you know that several pictures are likely to be released for each story."

Besperat anticipates he is likely to spend two third of his time training reporters from the local newsrooms, at the beginning at least. "One of the main challenges will be to shoot sport with our standard high-end amateur cameras," he says. "The idea is not to have journalists who do everything all the time, but reporters who are multifunctional, able to provide good texts and images."

 
Nase adresa will also represent new challenges beyond the expertise usually expected from  journalists, especially for the local chief editors who will have to look after a coffee shop part of their time. "Ten years ago I had a short experience working for Coca Cola, but this will be new because I am not at all a food and beverage specialist," laughs Vitasek, in Moravia. Krizova, who is glad to cover very diverse topics, is also ready for another type of special assignment as a young reporter. She will be asked to take care of children visiting the Futuroom - turned into a "Junioroom" or "media camp" - to learn how to write an article or produce a video footage.


PPF Media's project will be preparing new generations of journalists and not just showing new forms of getting and providing the news.
 

BACKGROUND
The Czech Republic is a country of 10 million people living in 14 regions subdivided in 75 districts in total. Until 20 years ago, only the government and Communist Party related entities could publish newspapers. This was also the case for the regional dailies, and for more local publications at district or town levels. German group Verlagsgruppe Passau took over most of them in 1990 and after, under its Czech branch Vltava-Labe-Press which currently controls over 10 weeklies and over 70 dailies called Denik ("daily", followed by the name of the concerned locality). Nase adresa will have no direct competitors except in a few cases, because its editions will typically cover areas of 20-30,000 people while Denik and its affiliates are designed for larger groups, of over 100,000 inhabitants on average.

Talk about how to report the "Swine Flu" continues as disease hype propagates. Many journalists and doctors continue to say the news needs to bring it down a notch and make sure readers are not being scared unnecessarily. Others say it may not be such a terrible thing; hype gets the worlds attention to a situation that may need people to be informed and prepared.

New start-up company Journalism Online LLC has caused a significant stir in the media industry, and probably more behind the scenes. Founders Steven Brill, Gordon Crovitz and Leo Hindery have put together a proposal including promises to facilitate payment for online news, making it simple for publications to offer joint subscriptions as well as articles on a single basis using micropayment. They are also offering to negotiate on behalf of its members for licensing fees from search engines and other websites, and to provide member publishers with information on what tactics are working best in terms of building circulation and revenue.

In conversation with the start-up's consultant Merrill Brown, what stands out is that despite its distinguished founders, this company really is a new start-up, and although its members are in discussion with many big publishers and technology firms, details about how the business will actually operate are not yet clear. Brown stressed that Journalism Online is talking to publishers about "precisely what they want to see in this system, so that we get the specs right first:" it wants, sensibly, to have a good idea of the direction in which it is heading before proceeding. Details of which publishers the company has talked to have not yet been released, but Brown said "there's nobody on the list that you would be surprised at." It is clear that they are aiming high: "we all believe that getting some globally significant, influential publications or TV outlets or anybody who's in web publishing to come on board and embrace new strategy initiatives is going to be very important to our long term success."

Paid online content: all you can read

The decision to push paid online content is arguably the most ground-breaking element of the company's proposals. Journalism Online will create a system whereby consumers will be able to purchase "annual or monthly subscriptions, day passes, and single articles from multiple publishers" all through one website. Brill told PaidContent that the site will have "a fair amount of complexity, including, for example, publishers who want to make sure their print subscribers get a discount or don't pay for the online subscription."

"We argue that very few high quality products have ever been delivered for free, and neither should news" 

Pushing joint subscriptions would seem to be more effective than single paper offers, which have not had much success in the past for general interest papers such as the New York Times. Brill in fact proposed that the New York Times single handedly start charging for content in a memo to the paper written in October 2008, leaked to the press early this year, but it seems that the Times did not take this advice on board. Brown said he believes that it was a "natural evolution of Brill's thinking to try to create a larger solution involving more people." In fact, "we argue that very few high quality products have ever been delivered for free, and neither should this," Brown explained. And even if the income brought in from charging consumers is not vast, he added that "we think that over time, page circulation will bump up CPM and make advertising more valuable so that people will be a position to win on both sides of the coin." It is not just a US-based plan, Brown confirmed that they would like to have English language publishers from outside the US relatively early.

Publishers decide pricing

Pricing would be decided by the publishers, Brown explained. Steve Brill has suggested a figure of $15 a month for an all-you-can-read subscription, but Brown was clear that this was just something that Brill was "throwing out there." In reality, he continued, such a price would have to be decided on by the consortium of publishers. Equally, it will be up to the different publishers to decide exactly what content they want to charge for or not. They could, Brown suggested, create "web premium products," or "some may choose to have certain vertical categories such as sports behind a wall." In fact, he commented, "that's not really up to us." Others have suggested that it is far easier to charge for new content than that which is already free. And a part free, part paid model has been widely advocated, for example, maybe unsurprisingly, by Wall Street Journal Online executive editor Alan Murray.

Investigating what works and what doesn't

A crucial part of the project that has been given less attention is the company's plan to aggregate knowledge and gather data about "what works and what doesn't" with the aim of providing consulting services to struggling publishers. With this in mind, Brown said that "we are trying to encourage our partners to try lots of different things in an effort to build data." He hopes that within a year, Journalism Online will have "the collective experience of many different publishers which offer many different kinds of products." He expressed surprise at the current lack of this kind of data: "not much has been done."

Negotiating with search engines

The company will also be pursuing a copyright initiative to "negotiate wholesale licensing and royalty fees with intermediaries such as search engines and other websites that currently base much of their business models on referrals of readers to the original content on newspaper, magazine and online news websites." Brown was clear that set decisions of what this will entail have not yet been made, but explained that the goal was to "bring the industry together under appropriate pricing schemes and distribution schemes. We think there is strength in numbers in negotiations with search engines aggregators and others." Incidentally, another organisation planning to offer a similar service based on sharing ad revenue, the Fair Syndication Consortium, has just come into existence and the Associated Press recently announced plans to track its content more thoroughly and address offences more aggressively.

"We think there is strength in numbers in negotiations with search engines aggregators and others"

The project should be off the ground in the autumn, with "some partners in place," specified Brown. "The magnitude of the experiment that we will put in place is not entirely mapped out," he added, but "we will be running a piece of our programme." Seed funding is being provided by one of the founders, Leo Hindery, and his private equity firm InterMedia Advisors. A call for a first round of funding will be a natural progression, commented Brown, "this will look like a real company before too long!" He also added that once the company has more funding, it plans to do "a lot of marketing on behalf of the publisher participants."

Inspired by iTunes?

Steve Brill suggested in the interview with PaidContent that he was inspired by the iTunes model, and indeed the parallels between the initiatives are striking: both involving the intervention of an unrelated third party into an industry struggling to make consumers pay for their work. Brown explained that "we are taking broad strategic solace" from the iTunes model and learning what they can: "there are a lot of things about it that are encouraging and instructive." One of the main ways in which iTunes is instructive, he pointed out, is for "ease of use, which is something we always have to keep our eye on." And indeed with this kind of venture, making it as easy as possible for the consumer is crucial, as many people have little patience with complex payment procedures. Another encouraging point is that iTunes managed to bring together many different contributing producers of music and entertainment: just as Journalism Online hopes to do with publishers.

Steve Jobs succeeded, overwhelmingly. Will Brill and co?

The project sounds like quite an undertaking, and media coverage has been mixed over its chances of success. It will involve an unprecedented amount of collaboration between publishers to decide on rates and other aspects of such a system, which will be a considerable challenge. Previous micropayment schemes, including one started by Brill himself in 2000, have failed, but Brown believes that the time is right, due to the "predicament" in which publishers find themselves today: "I think that there's a very clear consensus that projects like this are extremely timely right now." And indeed, many different ideas about whether to and how to charge for content have been proposed in recent months, although this has been coupled with significant opposition from those who continue to favour an ad-based model and much reticence to put content behind a pay wall.

"I think the publishing industry gets how important this is. We're really inspired by the enthusiasm"

However, the response from publishers has been positive, according to Brown. "I think the publishing industry gets how important this is. We're really inspired by the enthusiasm from lots of important publishers across different sectors who have welcomed this." One major factor in Journalism Online's favour is its founders' experience and reputation. To embark on this sort of venture with any hope of succeeding requires good contacts and much influence, as well as in-depth knowledge of the industry: all of which these men have. It seems essential that a third party should step in to organise and implement this kind of scheme, hopefully uniting publishers, and this effort has as good a chance as any. It is impossible to say whether such a project could save newspapers, but without doubt, any additional income would be more than welcome, and establishing a firm precedent for paying for news could be highly beneficial in the future.