Read Grand Guignol (Wikipedia)
Le Théâtre du Grand-Guignol (French pronunciation: ​[ɡʁɑ̃ ɡiɲɔl]: "The Theatre of the Great Puppet") – known as the Grand Guignol – was a theatre in the Pigalle district of Paris (at 20 bis, rue Chaptal [fr]). From its opening in 1897 until its closing in 1962, it specialised in naturalistic horror shows. Its name is often used as a general term for graphic, amoral horror entertainment, a genre popular from Elizabethan and Jacobean theatre (for instance Shakespeare's Titus Andronicus, and Webster's The Duchess of Malfi and The White Devil), to today's splatter films.

Audiences had strong reactions to the new disturbing themes the horror plays presented. One of the most prevalent themes staged at the Grand-Guignol was the demoralization and corruption of science. The “evil doctor” was a reoccurring trope in the horror shows performed.

Development idea: Bring back the Grand Guignol, but have evil politicians instead.
Annotated on January 20, 2020 at 04:06PM

How to follow the complete output of journalists and other writers?

In a digital era with a seemingly ever-decreasing number of larger news outlets paying journalists and other writers for their work, the number of working writers who find themselves working for one or more outlets is rapidly increasing. 

This is sure to leave journalists wondering how to better serve their own personal brand either when they leave a major publication for which they’ve long held an association (examples: Walt Mossberg leaving The New York Times or Leon Wieseltier leaving The New Republic)  or alternatively when they’re just starting out and writing for fifty publications and attempting to build a bigger personal following for their work which appears in many locations (examples include nearly everyone out there).

Increasingly I find myself doing insane things to try to follow the content of writers I love. The required gymnastics are increasingly complex to try to track writers across hundreds of different outlets and dozens of social media sites and other platforms (filtering out unwanted results is particularly irksome). One might think that in our current digital media society, it would be easy to find all the writing output of a professional writer like Ta-nehisi Coates, for example, in one centralized place.

I’m also far from the only one. In fact, I recently came across this note by Kevin:

I wish there was a way to subscribe to writers the same way you can use RSS. Obviously twitter gets you the closest, but usually a whole lot more than just the articles they’ve written. It would be awesome if every time Danny Chau or Wesley Morris published a piece I’d know.

The subsequent conversation in his comments or  on Micro.blog (a fairly digital savvy crowd) was less than heartening for further ideas.

As Kevin intimates, most writers and journalists are on Twitter because that’s where a lot of the attention is. But sadly Twitter can be a caustic and toxic place for many. It also means sifting through a lot of intermediary tweets to get to the few a week that are the actual work product articles that one wants to read. This also presumes that one’s favorite writer is on Twitter, still using Twitter, or hasn’t left because they feel it’s a time suck or because of abuse, threats, or other issues (examples: Ta-Nehisi Coates, Lindy West, Sherman Alexie). 

What does the universe of potential solutions for this problem currently look like?

Potential Solutions

Aggregators

One might think that an aggregation platform like Muck Rack which is trying to get journalists to use their service and touts itself as “The easiest, unlimited way to build your portfolio, grow your following and quantify your impact—for free” might provide journalists the ability to easily import their content via RSS feeds and then provide those same feeds back out so that their readers/fans could subscribe to them easily. How exactly are they delivering on that promise to writers to “grow your following”?!

An illustrative example I’ve found on Muck Rack is Ryan O’Hanlon, a Los Angeles-based writer, who writes for  a variety of outlets including The Guardian, The New York Times, ESPN, BuzzFeed, ESPN Deportes, Salon, ESPN Brasil, FiveThirtyEight, The Ringer, and others. As of today they’ve got 410 of his articles archived and linked there. Sadly, there’s no way for a fan of his work to follow him there. Even if the site provided an RSS feed of titles and synopses that forced one to read his work on the original outlet, that would be a big win for readers, for Ryan, and for the outlets he’s writing for–not to mention a big win for Muck Rack and their promise.

I’m sure there have to be a dozen or so other aggregation sites like Muck Rack hiding out there doing something similar, but I’ve yet to find the real tool for which I’m looking. And if that tool exists, it’s poorly distributed and unlikely to help me for 80% of the writers I’m interested in following much less 5%.

Author Controlled Websites

Possibly the best choice for everyone involved would be for writers to have their own websites where they archive their own written work and provide a centralized portfolio for their fans and readers to follow them regardless of where they go or which outlet they’re writing for. They could keep their full pieces privately on the back end, but give titles, names of outlets, photos, and synopses on their sites with links back to the original as traditional blog posts. This pushes the eyeballs towards the outlets that are paying their bills while still allowing their fans to easily follow everything they’re writing. Best of all the writer could own and control it all from soup to nuts.

If I were a journalist doing this on the cheap and didn’t want it to become a timesuck, I’d probably spin up a simple WordPress website and use the excellent and well-documented PressForward project/plugin to completely archive and aggregate my published work, but use their awesome forwarding functionality so that those visiting the URLs of the individual pieces would be automatically redirected to the original outlet. This is a great benefit for writers many of whom know the pain of having written for outlets that have gone out of business, been bought out, or even completely disappeared from the web. 

Of course, from a website, it’s relatively easy to automatically cross-post your work to any number of other social platforms to notify the masses if necessary, but at least there is one canonical and centralized place to find a writer’s proverbial “meat and potatoes”. If you’re not doing something like this at a minimum, you’re just making it hard for your fans and failing at the very basics of building your own brand, which in part is to get even more readers. (Hint, the more readers and fans you’ve got, the more eyeballs you bring to the outlets you’re writing for, and in a market economy built on clicks, more eyeballs means more traffic, which means more money in the writer’s pocket. Since a portion of the web traffic would be going through an author’s website, they’ll have at least a proportional idea of how many eyeballs they’re pushing.)

I can’t help but point out that even some who have set up their own websites aren’t quite doing any of this right or even well. We can look back at Ryan O’Hanlon above with a website at https://www.ryanwohanlon.com/. Sadly he’s obviously let the domain registration lapse, and it has been taken over by a company selling shoes. We can compare this with the slight step up that Mssr. Coates has made by not only owning his own domain and having an informative website featuring his books, but alas there’s not even a link to his work for The Atlantic or any other writing anywhere else. Devastatingly his RSS feed isn’t linked, but if you manage to find it on his website, you’ll be less-than-enthralled by three posts of Lorem ipsum from 2017. Ugh! What has the world devolved to? (I can only suspect that his website is run by his publisher who cares about the book revenue and can’t be bothered to update his homepage with events that are now long past.)

Examples of some journalists/writers who are doing some interesting work, experimentation, or making an effort in this area include: Richard MacManus,  Marina Gerner, Dan Gillmor, Jay RosenBill Bennett, Jeff JarvisAram Zucker-Scharff, and Tim Harford

One of my favorite examples is John Naughton who writes a regular column for the Guardian. He has his own site where he posts links, quotes, what he’s reading, his commentary, and quotes of his long form writing elsewhere along with links to full pieces on those sites. I have no problem following some or all of his output there since his (WordPress-based) site has individual feeds for either small portions or all of it. (I’ve also written a short case study on Ms. Gerner’s site in the past as well.)

Newsletters

Before anyone says, “What about their newsletters?” I’ll admit that both O’Hanlon and Coates both have newsletters, but what’s to guarantee that they’re doing a better job of pushing all of their content though those outlets? Most of my experience with newsletters would indicate that’s definitely not the case with most writers, and again, not all writers are going to have newsletters, which seem to be the flavor-of-the month in terms of media distribution. What are we to do when newsletters are passé in 6 months? (If you don’t believe me, just recall the parable of all the magazines and writers that moved from their own websites or Tumblr to Medium.com.)

Tangential projects

I’m aware of some one-off tools that come close to the sort of notifications of writers’ work that might be leveraged or modified into a bigger tool or stand alone platform. Still, most of these are simple uni-taskers and only fix small portions of the overall problem.

Extra Extra

Savemy.News

Ben Walsh of the Los Angeles Times Data Desk has created a simple web interface at www.SaveMy.News that journalists can use to quickly archive their stories to the Internet Archive and WebCite. One can log into the service via Twitter and later download a .csv file with a running list of all their works with links to the archived copies. Adding on some functionality to add feeds and make them discoverable to a tool like this could be a boon.

Granary

Ryan Barrett has a fantastic open source tool called Granary that “Fetches and converts data between social networks, HTML and JSON with microformats2, ActivityStreams 1 and 2, AtomRSSJSON Feed, and more.” This could be a solid piece of a bigger process that pulls from multiple sources, converts them into a common format, and outputs them in a single subscribe-able location.

Splash page image and social logos from Granary.io

SubToMe

A big problem that has pushed us away from RSS and other formatted feed readers is providing an easy method of subscribing to content. Want to follow someone on Twitter? Just click a button and go. Wishing it were similar for a variety of feed types, Julien Genestoux‘s SubToMe has created a universal follow button that allows a one-click subscription option (with lots of flexibility and even bookmarklets) for following content feeds on the open web.

Splash image on SubToMe's home page

Others?

Have you seen any other writers/technologists who have solved this problem? Are there aggregation platforms that solve the problem in reverse? Small pieces that could be loosely joined into a better solution? What else am I missing?

How can we encourage more writers to take this work into their own hands to provide a cleaner solution for their audiences? Isn’t it in their own best interest to help their readers find their work?

I’ve curated portions of a journalism page on  IndieWeb wiki to include some useful examples, pointers, and resources that may help in solving portions of this problem. Other ideas and solutions are most welcome!

Read Two States. Eight Textbooks. Two American Stories. (nytimes.com)
We analyzed some of the most popular social studies textbooks used in California and Texas. Here’s how political divides shape what students learn about the nation’s history.

📑 Highlights and Annotations

Conservatives have fought for schools to promote patriotism, highlight the influence of Christianity and celebrate the founding fathers. In a September speech, President Trump warned against a “radical left” that wants to “erase American history, crush religious liberty, indoctrinate our students with left-wing ideology.”

I can’t help but think here about a recent “On The Media” episode A Civilization As Great As Ours which highlighted changes in how history is taught in India. This issue obviously isn’t just relegated to populist India.
Annotated on January 12, 2020 at 11:22AM

Pearson, the publisher whose Texas textbook raises questions about the quality of Harlem Renaissance literature, said such language “adds more depth and nuance.”

If they wanted to add more “depth and nuance” wouldn’t they actually go into greater depth on the topic by adding pages instead of subtly painting it such a discouraging light?

But Texas students will read that some critics “dismissed the quality of literature produced.”

Annotated on January 12, 2020 at 11:27AM

Publishers are eager to please state policymakers of both parties, during a challenging time for the business. Schools are transitioning to digital materials. And with the ease of internet research, many teachers say they prefer to curate their own primary-source materials online.

Here’s where OER textbooks might help to make some change. If free materials with less input from politicians and more input from educators were available. But then this pushes the onus down to a different level with different political aspirations. I have to think that taking the politicization of these decisions at a state level would have to help.
Annotated on January 12, 2020 at 11:30AM

How Textbooks are Produced

  1. Authors, often academics, write a national version of each text.
  2. Publishers customize the books for states and large districts to meet local standards, often without input from the original authors.
  3. State or district textbook reviewers go over each book and ask publishers for further changes.
  4. Publishers revise their books and sell them to districts and schools.

This is an abominable process for history textbooks to be produced, particularly at mass scale. I get the need for broad standards, but for textbook companies to revise their books without the original authors is atrocious. Here again, individual teachers and schools should be able to pick their own texts if they’re not going to–ideally–allow their students to pick their own books.
Annotated on January 12, 2020 at 11:33AM

“The textbook companies are not gearing their textbooks toward teachers; they’re gearing their textbooks toward states,” she said.

And even at this they should be gearing them honestly and truthfully toward the students.
Annotated on January 12, 2020 at 11:39AM

Listened to The Weinstein Trial Begins from On the Media | WNYC Studios

As Harvey Weinstein faces trial, we discuss the essential role of gossip and whisper networks in protecting the vulnerable and spreading news that threaten the powerful.

In New York this week, jury selection began in the trial of former Hollywood titan Harvey Weinstein. News of his alleged sexual predations launched the movement in October 2017, through investigative reporting from both The New York Times and The New Yorker. Even as he prepares to stand trial in New York, sexual assault charges were filed against him in Los Angeles. To date, over eighty women in the film industry have accused him of rape and sexual assault and abuse. Weinstein claims they were all consensual acts. 

The reporting has been groundbreaking in its detail, laying out the allegations for the public. But in Hollywood, Weinstein’s abuses already were an open secret. In 2017, Brooke spoke with Buzzfeed senior culture writer Anne Helen Petersen about the essential role of gossip and whisper networks in protecting the vulnerable and spreading news that threatens the powerful.

Listened to The Daily: The Harvey Weinstein Case, Part 1 from New York Times

More than 80 women have come forward with allegations of sexual misconduct against Harvey Weinstein, but as he goes on trial in New York, the criminal charges center on just two. The story of Lucia Evans helps explain why.

Read Spotify will use everything it knows about you to target podcast ads (The Verge)
New ad technology for Spotify-exclusive podcasts is coming
This is exactly the sort of silo-ization of our data and attention we’ve come to expect from big tech. My friend Kim Hansen, in particular, saw this coming several years ago and was very worried about it.

Dawn Ostroff, Spotify chief content officer

Former President of the UPN and the CW and under Les Moonves at Viacom/CBS.
Annotated on January 08, 2020 at 12:35PM

Read SSRN 2019 Year-End Review (ssrnblog.com)

A lot of things have changed over the years at SSRN. We joined Elsevier and have a lot more resources to do a lot more things; but your paper’s journey through SSRN remains the same. We remain steadfast to support you the researcher to share your research faster and allow everyone in the world to find your research more easily.

Growth. SSRN now has over 900,000 papers from over 442,000 authors and the number of downloads grows daily.

I was searching for a non-fiction science title and randomly ran across what is a new (to me at least) genre of romance fiction: it looks like Harlequin Romance + Amish Culture = Amiquin Romance? None of these have come out yet and are all written by different authors.

Five book covers that have a bodice ripper feel, but are really clean and wholesome Amish themed romance
Covers of Amish Generations, The Farm Stand, An Amish Picnic, A Beautiful Arrangement, A Long Bridge Home
Bookmarked Pedro Pascal (IMDb)
Pedro Pascal, Actor: Game of Thrones. Pedro Pascal is a Chilean-born American actor. He is best known for portraying the roles of Oberyn Martell in the fourth season of the HBO series Game of Thrones and Javier Peña in the Netflix series Narcos. In 2016 he starred in the American-Chinese film The Great Wall alongside Matt Damon.
Took a minute, but I realized it’s because I know Pedro with multiple different names. Good to see he’s doing so well.