4. Don’t RT sensational/extreme tweets. Rumors don’t help.5. For spokesppl, don’t rule 2 much in/out. Wait till you know.— Ari Fleischer (@AriFleischer)
Read my latest article for NBC News (shared byline), in which I use the word “kvetching”!
UPDATE: Oops, “kvetching” didn’t make the cut. But now Terrell Owens is in the article. (For real.)
“Social media is a way of life. Rape doesn’t have to be.”
Social Media Week: Longform in a Shortform World
Clay Shirky, Here Comes Everybody
This is gonna be another one of those “things this book made me think about” reviews, and more rambly than usual…
“Everyone is a media outlet.” (Act accordingly.)
Quite simply, you no longer have to have a lot of money or ask permission to put your work into the world. Publishing is making something public, and that’s now a button. The tools of production, reproduction, and distribution are now cheap with a global reach. Amateurs now have the same access to tools as the professionals. What that means though is that “private” utterances when posted online become public (“Online… the default mode for many forms of communication is instant, global, and nearly permanent.”) and “there is no obvious point where a blog (or indeed any user-created material) stops functioning like a diary for friends and starts functioning like a media outlet.”
Best to have an “appetite for repeated public failure.”
“Many good ideas (or good photos or good music) are simply inaccessible in an institutional framework, because most of the time most institutions have to choose “steady performer” over “brilliant but erratic.”” The amateur online is free to make mistakes because the costs of those mistakes are fairly low (I’m talking about mediocre or subpar work more than say, posting a picture of your dick online). The “publish then filter” or “ready, fire, aim” model means, to extend a Brian Eno metaphor, you can fire your arrows, see where they land, see if anybody picks them up and sticks them somewhere else, and then draw your own targets around them…
You don’t find your audience, they find you.
So the advice then is to be findable. “Anyone in the developed world can publish anything anytime, and the instant it is published, it is globally available and readily findable.”
Fame turns conversational media models back into broadcast models.
“Fame is simply an imbalance between inbound and outbound attention…no matter who you are, you can only read so many weblogs, can trade e-mail with only so many people, and so on.” The downside of fame is not being able to reciprocate.
Once writers start getting more attention than they can return, they are forced into a width-versus-depth tradeoff. They can spend less time talking to everyone. (It’s no accident we call these interactions shallow and say that people who have them are stretched thin.) Alternatively, they can limit themselves to deeper interactions with a few people (in which case we call them cliquish or standoffish).