Nimble, a Razorfish report on publishing in the digital age

<about _ this _ report>
In early 2010, the Razorfish Media &
Entertainment practice set out with
Report

<title>

</title>

Semantic Universe to chart
how media and publishing companies
are adapting to the demands of the
digital content landscape.
</about _ this _ report>
<TweetThis!>
Follow us on Twitter (@ NimbleRF)
A

to ask us questions, get
announcements, and find out about
new developments in the field.
</TweetThis!>
<author>
<name> Rachel Lovinger </name>
</author>
<about _ the _ author>
Rachel Lovinger (@ rlovinger) is a
Content Strategy Lead at Razorfish.
She uses her experience in online
content production and publishing to
help develop processes, best
practices and innovative ideas for
Fortune 500 companies looking to
use digital content in more
meaningful ways.
</about _ the _ author>
<company>
Nimble
<name> Razorfish </name>
<img> </img>
<url> http://razorfish.com / </url>
</company>
<about _ razorfish>
Razorfish creates experiences that
build businesses. As one of the

©
largest interactive marketing
and technology companies in the
world, Razorfish helps its clients
build better brands by delivering
business results through customer
experiences. Razorfish has offices

2010
in markets across the United States,
and in Australia, China, France,
Germany, Japan, Spain and the
United Kingdom.
</about _ razorfish>

02 / Nimble Report

© 2010

Nimble Report 03

nimble:
<title>

a razorfish
report on
publishing in
the digital age </title>

by Rachel Lovinger
<author>

</author>

2010 ©

04 / Introduction Nimble Report

Introduction
<title>

</title>

About This Report
In January of 2010, the Razorf ish Media and We learned how digital content thrives today, and the
Entertainment practice, along with research partner nimble approach that content producers need in order
Semantic Universe, set out to chart how media and to succeed. “Nimble,” in this case, applies both to a
publishing companies are adapting to the demands methodology and to the content itself. Here are some of
of the digital content landscape. Who is pushing the the other key things we learned:
envelope and how? What technologies can be applied in
• Simply put, digital content needs to be free – to go
new and interesting ways? What lessons can be put to
where and when people want it most. In particular,
use in your own organization?
content has to be mobile, and it has to be social.
To explore these ideas we went straight to the experts,
• As a content producer, being nimble is about quick
in over 20 interviews with people on the ground at
adaptation and preparation for future opportunities.
The New York Times, the BBC, the Wall Street Journal,
TalkingPointsMemo, CBS Interactive, and Next • “Container limitations” don’t exist with digital
Issue Media, as well as with semantic technology media in the same way that a TV program is limited
experts who have been exploring ways that linked by a timeslot, or a newspaper article is constrained by
data can change content experiences. We also the available column inches.
analyzed external studies and reports covering
everything from the breakdown of traditional
media models to the emerging trends in the media
industry, and in consumer behavior.

© 2010

Nimble Report Introduction 05

• It’s time to question your authority; what you think you • Development of content for multiple platforms is a
know about your brand, your business models, your must, and the best performers will rise to the top.
audience, and how (and where) they’re engaging with
Follow us on Twitter (@NimbleRF) to ask us
your content.
questions, get announcements, and find out about
• The more structure you put into content the freer it will new developments in the field.
become.
• In a “nimble” world, editors will become curators for
managing all of your digital content.
• It’s time to explore new revenue models. In many
cases, the value of content will lie in being able to
provide a desired product or service, not just the
content itself.
• New opportunities for advertising will arise,
including unique approaches that use the digital
content itself.

2010 ©

06 / Introduction Nimble Report

Content needs to be free
<title>

(like a bird, not like beer) </title>

Gratis vs. Libre
Let’s clarify: Content isn’t free. Not in the gratis (i.e. It must be free to be read or viewed on a wide range
‘free beer!’) sense. And it will never be free, because of portable and networked devices. It must be free to
it still costs money to create it. Whether the audience mix and mingle with services, social networks, apps,
directly purchases the content or it’s supported by and content from other sources. In a highly connected
advertising, partnerships or funding, the resources world, content that’s trapped in a silo is basically
for creating and distributing content have to come invisible. And invisible content might as well not exist.
from somewhere. Even personal blogs and other
Digital content has the potential to gain this freedom.
‘user-generated’ content require an investment of time,
It’s no longer bound to physical products or fixed
equipment, and resources on the part of the creator.
timetables. But that’s not enough. Content needs to
But libre, liberty, freedom. This is what content needs be flexible. It needs to be easy to find. It needs to be
in order to survive. It must be free to go where and enjoyable for people to use. And yes, we still need to
when people want it most. find ways to pay for its production.

© 2010

Nimble Report Introduction 07

To succeed as a digital content producer you need to be And being nimble is not just about an organization.
Nimble. Many companies will say that they’re nimble, It’s about the industry’s business models. It’s about
but very few actually are. Being nimble is about the production processes. It’s about the content itself.
ability to adapt quickly to the new challenges and Content needs to be nimble in order to be free.
opportunities in today’s media ecosystem; things
Sound easier said than done? That’s why we put
like the explosion of new media devices, the world-
together this report on how digital content can become
domination of social networks, and consumers’
nimble, and what publishers need to do to get working
growing expectation of first-class digital experiences.
on it right now. Read on.
And it’s about how prepared you are to face the
opportunities coming in 5 or 10 years, the ones that
haven’t even been predicted yet.

2010 ©

08 / Escaping The Container Nimble Report

Escaping the <title>

Container </title>

Digital media doesn’t have the same physical
<summary>

constraints as traditional media. This creates the
potential for an audience to engage with content
where and when they want to, but there’s more to be
done to create the experiences people seek. </summary>

© 2010

Nimble Report Escaping The Container 09

2010 ©

10 / Escaping the Container Nimble Report

Digital content is not just another new development in But breaking out of the old container doesn’t give
the landscape of media formats. It’s been a tectonic shift. content all the freedom it needs, at least not enough to
The changes taking place deep beneath the surface can make it truly nimble. Nimble content is more valuable
be easily missed without careful attention. Publishers because it provides an audience with unique digital
are missing what’s really going on if they’re thinking, experiences. And nimble content is more valuable to
“Instead of just publishing a magazine, we now have to a brand because it’s cheaper and easier to produce, it
publish a magazine and deal with putting its content on has a longer shelf life, and publishers can quickly take
the website.” advantage of new revenue opportunities such as
paid content models with value-based pricing and
The aspect of digital content that makes it so funda-
development of new content products and services.
mentally different, and exponentially more valuable, is
deceptively simple: it no longer needs to be packaged
into a specific container in order to reach an audience.

“Limitations
<quote>

are more
directed
by business
models than
by capabilities.” </quote>

- Jim Stanley, VP of Products, CBS Interactive, Technology and News

© 2010

Nimble Report Escaping the Container 11

Constraints are dead!
<title>

Long live constraints! </title>

Nimble content is content freed of traditional media
constraints, but crafted in such a way that it still
delights, informs, educates, and entertains. When
<TweetThis!>
it breaks out of those constraints, it allows people
Your digital content should be strongly associated
to consume it in new places, without losing the context with your brand, wherever it happens to appear.
that makes it meaningful. Wherever the content (via @ NimbleRF)
</TweetThis!>
appears, it should be able to retain a strong association
with the publisher’s brand. It should uphold the
valuable data and service partnerships created to
augment it. In short, it should offer – or at least hint
at – as rich and engaging an experience as the creator
intended.
With traditional media, containers define content
borders. The length of a magazine article is defined by <sidebar>
the amount of available space on a page and the number <factoid>
of pages in the magazine. The duration of a TV program It’s a policy objective of the current
Administration to “ensure that all
is defined by its timeslot. CDs, movies, and newspapers Americans have affordable access to
are also limited to the boundaries of their containers. broadband Internet services.” As of
At the same time, if the containers aren’t filled, people October 2009, we were nearly
two-thirds of the way there.
will feel cheated. </factoid>
</sidebar>
People don’t have the same limitations or expectations
when it comes to digital media. They could
happily stream a 3-hour radio program or watch a
3-minute video. They could read a 140-character tweet
<footnote>
or download a 620-page PDF. With nearly ubiquitous <title>
broadband access, the difference in transmission time Digital Nation: 21st Century America’s
Progress Toward Universal Broadband
(and cost) is negligible.
Internet Access
</title>
Constraints still need to exist in order to create the
best audience experiences, but they should not be <source> NTIA </source>
based on limitations set by the size or duration of
<pub _ date> February 2010 </pub _ date>
traditional containers. Content that’s free allows content
producers to easily explore new formats for telling <url>
stories and sharing information online that wouldn’t http://www.ntia.doc.gov/
reports/2010/NTIA _internet_use_
necessarily make sense in traditional media – short
report_Feb2010.pdf
form video, microposts, limited series podcasts, etc. </url>
More importantly, content that’s free doesn’t live in </footnote>
isolation. It can participate in the vast ecosystem of media
experiences, enhanced by an active community keen to
keep great content moving through this system. But to
run free, content has to be nimble.

2010 ©

12 / Question your authority Nimble Report

Question Your <title>

Authority </title>

Before nimble content can be created, publishers
<summary>

attempting to navigate the digital media ecosystem
should pause to answer the following questions:

• What is the unique business value of the brand?
• What role will the editor play?
• How valuable is the content?
• Where does content reside and how does it get there?
• Where does a brand find its audience?

These questions may already be keeping some publishers up
at night. Others may think they already have the answers.
We challenge them to think again. </summary>

© 2010

Nimble Report Question your authority 13

2010 ©


“Technologies
<quote>

always come
along and
challenge who
and what we
think we are,
and the value
of what ‘experts’
do for us.” </quote>

– Tony Ageh, Controller of Archive Development, BBC

© 2010


What is the unique business value
of the brand?
<sidebar>
A publisher’s business is not a newspaper, a magazine,
<warning>
or a TV network. It’s not tied to a particular format
You’re missing out on important opportunities if you don’t
or flavor of media. The business is a brand, and it has properly understand your business value.
an audience. The brand has a voice, a reputation, and a </warning>

set of values that its audience relates to. In order for </sidebar>
that business to grow and evolve, it’s imperative to
understand what the brand means to people and how
to extend that relationship in meaningful ways without
leaving the core audience behind. This is not a situation
that’s unique to the onset of digital media, but it could
very well be the reason why digital efforts flounder.
The ability to understand the true value of a brand, as
well as the desires and expectations of its audience, will
dictate how effectively opportunities can be seized.

What role will the editor play?
Editors and producers have always had the responsibility
of guiding a story (whether it be print, audio, or video)
and making sure all the pieces are there to fully and
properly communicate a message. With traditional
media the content had to be perfect at deadline because
once the work was sent to print or broadcast over the
airwaves, it was finished. Editors couldn’t go back and
revise it. For better or worse, it was out there in the
world. It was the editor’s job to ensure nothing was
released without being thoroughly checked and double
checked for embarrassing errors or omissions.
With digital content, if an article is published with
typos or errors, it can easily be fixed. If an app is
released with bugs, an update can be issued. If a photo
needs to be replaced, a forgotten credit added, or a
new version of a video or podcast released, it’s easily
corrected. No one wants to release flawed material,
especially because the incomplete or erroneous <TweetThis!>
version may still be out there, but the opportunity to put a Editors mind content PLUS: partnerships, comments,
better version out there is readily available. dynamic services, user contributions, formats,
platforms & channels! (via @ NimbleRF)
</TweetThis!>
At the same time, there are a lot more things an
editor has to mind and wrangle: partnerships, user
comments, dynamic content, integrated services, and
even user contributions. How does a smaller editorial
staff effectively monitor all these inputs while creating
more content, in more versions, often with a smaller
staff ?

2010 ©


How valuable is the content? To whom? <footnote>

Does all content have the same value? <author> David Card </author>

<title>
Clearly digital content continues to challenge the What The Media Meltdown Means For Marketing
traditional media model, which has primarily been </title>
supported by direct sale of products or by advertising <source> Forrester Research, Inc </source>
revenue. It gets even more complicated when people <pub _ date> July 21, 2009 </pub _ date>
have come to expect content online to be free and balk </footnote>
at the idea of paying for it. Advertisers have told us
that, because the audience is so fragmented, they can
no longer reach their audience through traditional 200
media, no matter how much they’re willing to spend. Internet spend
<billions/>
So, they’re increasingly allocating budgets to online total ad spend
paid, owned, and earned media, but not yet at the same <billions/>
150
rates that they’re cutting spend in traditional media.
It’s a question of value for the advertiser and the
consumer. How valuable is the content, and how does
a publisher provide a content experience worth paying 100

for? Is it all or nothing? And are there entirely new
markets that need to be explored?
Where does content reside and how 50

does it get there?
Digital content will still require some kind of
container to reside in, or more likely, an untold 0
06 07 08 09 10 11 12
number of containers. Editors may pay a lot of
year
attention to how the pages on their own site are speculated 2010-2012

designed, but not necessarily how content will be <caption>
Internet spend compared with U.S. marketing spend.
experienced in a variety of other places online. Dollars in billions.
This includes social networking services, content </caption>
portals, RSS readers, syndication partners, and content <source> ZenithOptimedia.com </source>

aggregators of all kinds. A good portion of the
audience is seeing content outside the original context
it was designed in.
Managing the brand experience across these rapidly
proliferating devices – tablets, personal media devices,
and networked or portable game consoles – is incredibly
inefficient. Each content element (content type, length,
your
format, brand logo placement, etc.) has to be manually site
negotiated and agreed to, and yet there’s little guarantee
that someone’s experience with the content across
devices is as it was intended.
How can content be nimble if it’s embedded with design
elements that make it beautiful in one location and
sub-par for all other channels and platforms? How do
<caption>
you make sure that it retains the information that will In 2000 a digital publisher’s content ecosystem included
make it meaningful and useful in each place it appears, a website, an RSS feed, and maybe an email newsletter.
such as branding, usage rights, shelf life, relative In 2010 there are many more content channels to attend to.
</caption>
importance, contextual instructions, etc.?

© 2010


Where does a brand find its audience?
Once content appears in all those places, and on all
<TweetThis!>
Nimble content needs to be free of embedded, those devices, it’s still a challenge to get it in front
platform-specific design code! (via @ NimbleRF) of as many eyes and ears as possible and keep them
</TweetThis!>
coming back for more. This is getting increasingly
difficult. It’s not just a question of standing out in
a crowd. There’s so much noise that it’s difficult for
content to be found in the first place.
As the consumer tries to navigate the vast landscape
of content, she will employ a variety of means to
pinpoint the content that’s most interesting to her.
She relies on trusted editorial sources, editorial
aggregators, community aggregators, personal filters,
and social recommendations. She struggles to keep up
with all of the information streams and still worries
that she may be missing something.
What can content producers do to help the audience
find content in all this mess? How does a brand connect
with its ideal audience? And once they engage,
how does the brand form an enduring relationship with
the audience?

<caption>
People struggle to manage increasingly complex
and overwhelming information streams.
</caption>

2010 ©

18 / Structure Sets Content Free Nimble Report

Structure Sets
<title>

Content Free </title>

© 2010

Nimble Report Structure Sets Content Free 19

Ironically, it’s more structure that makes content <summary>

nimble and sets it free. Not the kind of blind structure
that defines the layout of a web page, but tags that
express the meaning and function of each individual
element in a content item. This section describes the
types of structure that can help. </summary>

2010 ©


“You can’t afford to <quote>

[create] a piece of
content for any one
platform. Instead of
crafting a website, you
have to put more
effort into crafting
the description of an
asset and the different
bits of an asset, so they
can be reused more
effectively, so they can
deliver more value.” </quote>

– Nic Newman, Future Media & Technology Controller,
Journalism and Digital Distribution, BBC

© 2010


Structure and definition allow content to be atomized. They allow the elements to be <sidebar>

isolated and identified so that the content item can be broken down and recombined <note>
The design of this report
in countless variations that are free to fly to all corners of the web, across any number
uses a non-standard
of devices, without losing its ability to entertain, inform, or educate. Structure structure to illustrate this
allows content to be reliably interpreted by automated systems, as well as people, so concept. You’ve seen
tagged information on
that dynamic relationships can be established with little or no effort from developers
nearly every page,
and content producers. One item of content can have many lives, can remain relevant augmenting the main
in different forms and different lengths, can be tied to other content to create richer content. Just like
this. It’s very meta.
connections, and can have the appropriate value ascribed to it – free for a tweet, one
</note>
value for a chart, another for the entire piece, and yet another for the video.
</sidebar>
Structured Data
When elements of content and data are well defined in a content management
system, they can be marked up with tags that provide more meaning than HTML.
Instead of “dumb” tags like <h2>, that just define the way the information should <TweetThis!>
be displayed, these tags give meaning and importance to the information contained HTML tags are “dumb”
– they don’t say
within. It may indicate an address, a time, or a person’s name. It could be more
anything about the
valuable content such as a film, restaurant, or book review. It might even deconstruct meaning of
a long-form political scandal into segments for different services – the tweet tease, the content they
contain.
the short form for mobile phones, the slide show for a tablet device, and so on.
(via @ NimbleRF)
</TweetThis!>

2010 ©


Structure removes the guess work for the receiving <footnote>

systems and helps them interpret not only what he <description>
See “Additional Reading” in the
information is and what it means but also gives clues
Appendix for more information
about how it should be used in different environments. on Dublin Core and FOAF.
Some structured data is expressed online using ad </description>

hoc markup (e.g. microformats). In these cases, other </footnote>
systems can only understand the information if they’re
told in advance what that markup means. But new <person>
standards are being established, such as Dublin Core <name> Chevy Chase </name>
and FOAF (Friend of a Friend), that have pre-defined <img> </img>
tags that anyone can use and interpret the same way.
Unique IDs </person>

In order to avoid ambiguity, each person, place, thing, or
concept a publication discusses should have a unique <place>
way to be identified. Unique identifiers help systems <name> Chevy Chase </name>
distinguish content about Chevy Chase, the actor, from <img> </img>
content about Chevy Chase, the town in Maryland.
Unique IDs can also be helpful for determining that Bill </place>
Clinton and William Jefferson Clinton are two names
for the same person. It’s the Internet’s version of an
<company>
ISBN number for every single thing or concept. Pub-
<name> AllMusic </name>
lishers can create their own IDs or use third party IDs,
<img> </img>
like the data that AllMusic licenses to its partners. With
unique IDs in place, search results are more accurate, <url> http://allmusic.com / </url>

and it’s easier to create related links to external content </company>

sources that can increase the value of the content.
One Page per Concept
A website can be made into a powerful tool and reference
point if an individual page is created for every unique
and important concept, using the unique URL as the
ID for each concept. These pages don’t necessarily
have to be part of the featured content of the site,
but they could be. Many sites have already started
incorporating “topic pages” for their high SEO value,
and to gather all the content a person may be looking
for in one place. In addition to site content, these
pages should also contain related, structured data
that is readable by automated systems. This helps to
unambiguously identify the concept that each page is
about. If possible, include IDs for that same concept
<caption> A BBC artist page </caption>
from other openly available datasets. For example,
the IMDb database is a good point of reference for
<company>
information about movies, actors, directors, and other
people involved in the creation of movies. If a system <name> IMDb </name>

accesses a BBC artist page for Stephen Fry but doesn’t <img> </img>

know the BBC ID for the actor/comedian, it may <url> http://www.imdb.com / </url>

recognize his IMDb ID, which is also included on the </company>
page.

© 2010


Linked Data
In fact, that last point represents the philosophy
behind the Linked Data movement, whose goal is to
create a web of connections between equivalent
concepts by making useful data available on the web.
As a result, it’s not necessary to know everyone’s IDs
for something. If, for example, a system understands
the IDs in the GeoNames data set, then that can be
used to understand the location IDs contained in U.S.
Census Data. The known IDs become a tool for
translating any set of IDs that aren’t already known.
Public data sets can be used as points of reference, or
data from a variety of third-parties can be used as the
starting point.
<caption>
Beyond Layout The Linked Data Cloud, as of July 2009
</caption>
Currently, digital content is tagged with information
<author> Richard Cyganiak and Anja Jentzsch </author>
about how it should be displayed (HTML) and what
<url> http://richard.cyganiak.de/2007/10/lod / </url>
it’s about (metadata). Some well-established markup
approaches allow content to be separated from display
and used in different ways (XML, RSS), but these don’t go <footnote>

far enough. We need additional tagging systems to allow <description>

us to fully express things like usage, trust, versioning, See “Additional Reading” in the Appendix for more
information on Linked Data.
entitlements, and value. For greatest efficiency, we should </description>
be able to take a single collected piece of content and </footnote>
easily mark which parts go on the website, which
get fed to the mobile app, what part gets extracted
<product>
as a tweet, which bits are sent to a Facebook
<name> GeoNames </name>
page, and any other uses that are identified. We
<product _ type> Open Database </product _ type>
should also be able to designate the value of
<img> </img>
content in different scenarios: which parts are free
for everyone, which parts are premium, which are <url> http://www.geonames.org / </url>

available only to mobile subscribers, and definition </product>

around access for different content partners.
APIs for content, data, and function
Once the content is structured and well-tagged,
<TweetThis!>
it makes it easier to create and use APIs. An API We need ability to tag the value of elements within content:
(Application Programming Interface) is a data feed or what’s free, what’s premium, what’s for mobile

other software that allows software to easily interact subscribers? (via @ NimbleRF)
</TweetThis!>
with partner content, data, and services. Publishers can
create feeds of their own data or content, or they can use
partner APIs to bring in useful services – for example,
embedding a service that allows users to make a
reservation directly on restaurant reviews. The
content should contain meaningful metadata in order
to automatically create rich, immersive experiences.
Using industry standards for that metadata will help
make sure that content is more easily understood by
partners and therefore more useful to the audience.

2010 ©

24 / I m a g i n e a N i m b l e Wo r l d Nimble Report

© 2010

Nimble Report I m a g i n e a N i m b l e Wo r l d 25

Imagine a
<title>

Nimble World </title>

<summary>

Tools and standards are needed to add structure,
meaning, and detailed usage instructions to
content; to link it to rich data; and to create APIs
that enable sharing with partners and audiences.
Many of these kinds of tools already exist.
Unfortunately, they’re often missed because they’re
grouped under the broad and seemingly intimidating
heading “semantic technologies.” Let’s lift the curtain
of mystery, take another look at those gnawing
questions from earlier, consider what should be
done to address each one, and discuss the kinds of
tools that are available to help. </summary>

2010 ©

26 / The editor becomes a curator Nimble Report

The editor becomes a curator
<title>

</title>

Sure, the web is always open, and nothing is ever “final.” The 24/7 news cycle <sidebar>
<reminder>
isn’t going away, so embrace it and make it part of an iterative production The question was: What
process. Editors and producers will become story managers. They’ll oversee role will the editor play?
the care of a living, growing set of nimble content and data. They must watch </reminder>
</sidebar>
for new developments, decide what should and shouldn’t be included as an
update, and perhaps choose sources from partner content feeds and community
responses.

© 2010

Nimble Report The editor becomes a curator 27

The editors of TalkingPointsMemo, for example, have a very interactive
publishing process. They start a story with a small seed of information.
As the story develops, and as they receive insights and updates from an
audience of citizen journalists, they add to it. This allows news to get out
faster, since they don’t have to wait until all the details of a story have come
to light before starting to report it. As soon as they recognize that a topic or
event is newsworthy, they begin coverage.

2010 ©

28 / The editor becomes a curator Nimble Report

“At the end of
<quote>

the day, I don’t
think the user
really cares
about where this
content lives. They
want useful
information.” </quote>

- Jim Stanley, VP of Products, CBS Interactive, Technology and News

© 2010

Nimble Report The editor becomes a curator 29

Google Labs recently did an experiment called
Living Stories where, in partnership with The New
York Times and the Washington Post, it tried to show
how ongoing news stories could be presented online,
giving them more context and better representing
the development of an issue over time. The Living
Stories experiment is closed for now, but there are
indications that the Labs may make these tools
available for other content publishers sometime in
the near future.
Curation like this also potentially extends the
life and value of older content, because it brings
relevant content into a new context and makes it
available to a new set of people. For example, right
before Apple revealed the details of the iPad, there <caption>
was renewed interest in a 16-year-old article from Washington Post Living Story on Health Care Reform
</caption>
The New York Times Archive. It turned out that a
tech blog called Gizmodo had pointed to a review <footnote>
of the Apple Newton from 1993. Blogs have long <author> Tom Hormby</author>
understood the value of pulling older content (and <title> The Story Behind Apple’s Newton </title>
<source> Gizmodo </source>
other people’s content) into a new context to shed <pub _ date> Jan 19, 2010 </pub _ date>
new light on a current situation. Content producers <url>
with a deep archive should be learning to do this http://gizmodo.com /5452193/the-story-behind-
apples-newton
with their own content as well. </url>
</footnote>
<capabilities that can help>
Related Content Services. These services identify the <sidebar>
key concepts on a page and help an editor or producer <helpful _ tip>
quickly find additional assets to augment the content. At the end of this report, in the Appendix, you’ll find a
summary of the capabilities described in this section, plus
Videos, images, user-generated reviews, tweets, Wiki- a list of related tools and services.
pedia entries, or other related content can be added to </helpful _ tip>
create rich pages without manually searching for each </sidebar>
item.
Advanced Media Monitoring. Track Twitter, social
networks, blogs, and discussion boards, as well as other
content sites, to see what people are saying about a
topic of interest. Perhaps most familiar to marketing
departments, these tools can be used by content
producers to track ongoing stories and audience
reaction to them.

2010 ©

30 / Develop a portfolio of revenue models Nimble Report

Develop a portfolio of
<title>

revenue models </title>

Companies are reevaluating existing approaches <sidebar>
<reminder>
to monetization and figuring out how to diversify The question was: How valuable is the content? To whom?
instead of putting all their expectations on one revenue Does all content have the same value?
stream. What are the unique opportunities available </reminder>
</sidebar>
for digital content? Let’s start with the big ones, Paid
Content and Advertising.
Paid Content: Content as a Service
Not surprisingly, there’s a strong revival of industry
interest in exploring paid content models for digital
content. In the past, this approach has met with <footnote>
<author>
varying levels of success. As of the end of February,
Martyn Williams, IDG News Service
Apple’s iTunes has sold 10 billion songs, but getting </author>
people to pay for text-based content on the web has <title>
Apple’s iTunes Store Serves up 10 Billionth Song
been a tougher sell. The perception is that it’s because
</title>
there’s so much information available online for free that <source> PCWorld </source>
people will just move on to the next source rather than <pub _ date> Feb 24, 2010 </pub _ date>
<url>
pay for it.
http://www.pcworld.com /businesscenter/
But there are exceptions. Take a look at the companies article/190187/apples_itunes_store_serves_up_10_
billionth_song.html
that are doing it right and understand why it’s working </url>
for them. At a basic level, it’s because those brands </footnote>
provide a unique combination of valuable content and
valuable experience – something that the customer
wants and can’t get anywhere else.

© 2010

Nimble Report Develop a portfolio of revenue models 31

2010 ©


This unique value could come primarily from the
specialized nature and high quality of the content,
<company>
<name> Wall Street Journal </name>
as with the Wall Street Journal, whose customers are
<img> </img> willing to pay to subscribe to the Journal’s website
<url> http://online.wsj.com </url> content, newsletters, and other digital products, even
</company> if they already subscribe to a print edition. But let’s
be honest – few companies are going to be able to
reproduce the value proposition of the Wall Street
Journal. Even if some of them had the ability to do so,
the market would quickly become saturated.
More likely, an organization can provide value by creating
a unique service, like Netflix. The DVD rental site
charges a flat rate, provides a vast selection not available
to many people in local video stores, keeps track of
the movies a customer would like to watch in the
future, lets her share ratings and recommendations
with friends, and in addition to delivering DVD rentals
right to her door, allows her to stream many selections
immediately to her laptop or TV.
One could argue that even with traditional sales-based
media, people are not paying for the content itself,
but rather for the distribution. They pay to have the
newspaper or magazine delivered, they pay for a seat at
the movie theater, or for the cable signal that pipes TV
<caption>
Netflix allows subscribers to play movies
programming into their living rooms. Is it any
instantly on their computers wonder, then, that they’re hesitant to pay for digital
</caption> content that can be losslessly reproduced and
instantaneously delivered on a computer?
<company> Content producers must use content to develop new
<name> Netflix </name>
<img> </img>
products and services that provide unique, valuable
<url> http://www.netflix.com </url> user experiences. Those who do will also find new
</company> audiences for paid content, even if they continue to
provide a core product for free.

© 2010


For example, Major League Baseball has a free app
which provides scores, news, and schedules. But it also
has an app available for annual purchase which allows
access to live streaming audio, video clips, and Gameday
(pitch-by-pitch coverage). When combined with a
subscription to MLB.TV, the app allows fans to stream
live video of games (and even Spring Training) to the
phone.
Next Issue Media, a coalition of magazine publishers,
is taking it a step further and developing its own plat- <company>
<name> Next Issue Media </name>
form for distributing digital magazine content. Instead
<img> </img>
of allowing platforms like iTunes and Amazon.com to <url> http://nextissuemedia.com </url>
control the means of distribution (and the resulting </company>
revenue), the creators of the content are gathering
to set their own standards for the market. In order to
foment this level of coordination, they need to push the
boundaries of current content publishing systems and
formats.
Semantic Publishing Tools. Content management
tools that incorporate a wide range of structure and
metadata capabilities will allow producers to create
content that is more flexible, and encoded with
meaningful metadata and semantic markup, without
needing to understand all the underlying code. Content
with “baked-in” semantic markup makes it faster, easier,
and cheaper to bring new content products to market.

2010 ©


Advertising: Rich, Relevant, Targeted
An advertiser’s willingness to pay premium rates is
based on the knowledge that its ads will get in front of a
certain number of eyeballs, preferably belonging to the
demographic segments that would be most interested
in its products. As audiences’ attention becomes more
fractured, advertisers are less willing to pay the same
premiums.
In the world of digital content, we can tell a lot more <TweetThis!>
Media companies and advertisers should collaborate
about how ads are performing – not just how many to create ads that are more engaging, relevant
page views, but also how many clicks, and, increasingly, and effective (via @ NimbleRF)
details about the people who are clicking. This is both a </TweetThis!>

benefit and a drawback. Advertisers can get a lot more
feedback about the effectiveness of their display ads,
but they also need to justify media spend.

We need innovative approaches to advertising that are
tailored specifically to the opportunities offered by
digital content. The media industry needs to show
advertisers how they can collaborate to create ads
that are more engaging, relevant, and ultimately
more effective. Partnerships between publishers and
advertisers will yield greater benefits for both parties,
as well as for the audience.
Take, for example, a recent Mad Men campaign that
appeared on NYTimes.com. The rich media ad, paid for
by AMC, contained content about the show (trailers,
character profiles, etc.) and included articles from The
New York Times Archive. The Times previously covered
the show from a wide variety of perspectives, from the <caption>
Culture desk to the Business desk to the Styles section. Mad Men advertisement, containing content
from The New York Times Archive
Utilizing its trove of original content, The Times was </caption>
able to partner with AMC to create a more engaging
advertisement that would appeal to precisely the target <company>
<name> AMC </name>
audience for the campaign.
<img> </img>

<capabilities that can help> <url> http://www.amctv.com / </url>
</company>
Semantic Ad Targeting. Create highly desirable
ad inventory by analyzing each page, identifying its
message, context, or mood, and inserting relevant
ads. Advertisements are closely aligned with users’
demographics and intentions, creating more relevant
matches than previous approaches to contextual ad
serving, which alleviates the privacy concerns associated
with behavioral ad targeting. Semantics are also used
to protect brands from unfortunate placement of ads
based only on matched terms.
In addition, any of the tools that help make content
more flexible and give it rich metadata will make
content nimble, making it easier to collaborate on
content-rich advertising opportunities.

© 2010


Other Revenue: Develop a Portfolio
<footnote>
Neither of the previous approaches is likely to
<description>
*Adopted from Scott Brinker’s Business models for completely replace the revenue losses from traditional
linked data and web 3.0 media. But there are a variety of other opportunities
</description>
that arise from the digital media landscape, and content
<author> Scott Brinker </author>
<title> publishers need to start taking advantage of some of
Business models for linked data and web 3.0 these opportunities. Here are some additional sources
</title>
of revenue publishers should consider.
<source> Chief Marketing Technologist </source>
<pub _ date> Mar 6, 2010 </pub _ date> Partnering on Product Development. In the Paid
<url>
http://www.chiefmartec.com /2010/03/business-models-
Content section we mentioned selling content products
for-linked-data-and-web-30.html and services, instead of just selling the digital
</url> content itself. If products can’t be developed in house,
</footnote>
partner with developers who need a regular stream of
high quality content to make their products useful and
keep them up to date. There are two potential revenue
models for this kind of partnership: Licensing and
Marketplace.
Licensing Model. Provide branded or custom
content to portals, non-content companies, or other
partners who use the content in their own products,
in exchange for a fee.
Marketplace Model. Make content or data
available to developers. In return, receive a portion
of the revenue from products they develop.
Affiliate Partnership. Incorporate affiliate links to
related services with the content. Partners can pay
up front for the placement of these links or share the
revenue they receive from traffic sent from the site.
Value-Add Approach. Offer free content that drives
sales of paid services, products, or devices by making
them more useful and appealing to an audience.
Some of these models have been around for a while but
deserve a second look. The key is being able to quickly
and easily adapt content if you suddenly find a partner
interested in one of these options. If your organization
produces excellent travel articles, a developer may
approach you with an offer to license those articles for
a new tourism app. If the articles are too deeply tied
<caption>
to the layouts of the site, or don’t contain the proper
App developers in need of quality content may want to
partner with content producers location metadata to be accurately matched up with the
</caption> app, the developer has two choices: they can wait for
the content to be updated, or move on to the next pro-
vider. If you decide not to do it because the time and
expense is greater than the revenue, it means you still
won’t be ready when another travel service approaches
you with an offer to incorporate affiliate links into your
articles.
Rich Data Services. APIs or widgets provide
access to linked data and shared vocabularies.
Linking to databases that are used or understood
by partners makes it faster, easier, and cheaper to
integrate their services with content, or vice versa.

2010 ©


<quote>

“What [linked data] will let you
do on the back end is pretty
revolutionary. It lets you answer
questions, not that you couldn’t
answer before, but [for which] it would
have been way too hard to collect,
sanitize and curate the data.” </quote>

– Evan Sandhaus, Semantic Technologist, R&D Lab, The New York Times

Reduce Costs: Do More with Less
Cutting costs by eliminating staff is a short-term
solution. Companies will only be able to grow if their
production processes become more efficient. If the
staff is gathering and prepping the same assets for
online, mobile, and print, time and money is being
wasted. Whenever there are resources used in multiple
places, follow the principle “produce once, use multiple
times.” Do as much of the research and asset-gathering
as possible with a consolidated team of producers. This
will not only make the work process more efficient,
it will also help ensure content has a consistent voice
and quality from one format to another. In addition,
tools that help automate parts of the process – such as
systems which automatically suggest keywords – can
reduce a lot of time spent on repetitive tasks. Tools
that help make production processes more efficient
<caption> will become invaluable as media production companies
A New York Times linked data experiment: find themselves producing more content, in more
Alumni in the News
</caption>
formats, with a smaller staff. And some content features
that would take large numbers of people a substantial
amount of time to accomplish can be accomplished in a
matter of seconds by machines using rich metadata.
<footnote>

<description>
For example, having recently begun tagging the
Everyone who has a NY Times Identifier in the Linked historic New York Times Index in semantic form, the
Open Data Index, that is. This is an in-progress prototype. R&D team put together a demo called “Alumni in the
But once people are added to the index and mapped to the
appropriate external resource, their college affiliation will
News.” Enter the name of a school and it pulls up the
be known, and they will immediately show up in this tool. latest articles from The Times about everyone who went
</description> to that school, regardless of whether that information
</footnote> is mentioned in the article.

© 2010


It’s possible to achieve the same effect by having a
team of researchers look up all the famous people
who went to Harvard, and then search The Times <TweetThis!>
for each of their names. But that could take hours, Publishers: Cut costs by making production more efficient.
Increase content quality at the same time! (via @ NimbleRF)
and the demo is able to do it in moments. </TweetThis!>

Machine-Assisted Tagging. Manually tagging
large amounts of existing content is arduous and
time-consuming. Luckily, some semantic tools are able
to streamline the process by extracting concepts on a
page and assigning a set of consistent tags to each piece
of content. The tags can be used to find and manipulate
content based on topic and other attributes, allowing
editors and producers to more easily become curators.
Plus, many of the others already mentioned will allow
publishers to do more with less, more efficiently:
Related Content Services. Related content can be
added to create rich pages without manually searching
for each item.
Rich Data Services. Linking to sets of data that make
it faster, easier, and cheaper to integrate services with
content.
Semantic Publishing Tools. Combine many other
capabilities to further streamline the publishing
process.

2010 ©

38 / Become a content distributor Nimble Report

Become a content distributor
<title>

</title>

This doesn’t necessarily mean that all publishers are Serving content to different devices is another matter.
going to create distribution platforms, like iTunes or While the technical issues of reformatting content
perhaps Next Issue Media. But as a single brand, or for each platform may be relatively easy to solve, the
even as a single title, a publisher has to be prepared for workflow issues can quickly add a lot of overhead
all the places where content may appear. This includes to content production processes and expenses. Plus,
all the online channels and all the devices where people devices vary widely in amount of screen space and
are consuming content. modes of interaction. People can’t perform the same
Most online channels are fairly compatible, but it’s actions with a remote control as they would with a
still necessary to look at them and make sure that the keyboard or a game controller.
content is lining up correctly. Not just to make sure Appropriate content products must be developed
that the headline fits in the allotted space, but to make for each platform. Consider the unique modes of
sure that valuable metadata has been carried through. interaction and the optimal types of experiences
This will be instrumental for giving content proper for each one. For the past few years companies
context when it appears offsite. have been scrambling to reformat websites and
develop content and apps for the iPhone. Many
stragglers still aren’t there yet.

© 2010

Nimble Report Become a content distributor 39

2010 ©

40 / Become a content distributor Nimble Report

Soon the vanguards will be developing content products
for the iPad and networked TV. The companies that
are first to release products with a fantastic user
experience will seize the market and set the bar for
others. And next year? Maybe we’ll all be rushing to
create content for gestural/spatial operating envi-
ronments like Project Natal, or g-speak, created by <caption>
Oblong Industries. And maybe in 2016 we’ll be 2010: iPad, 2011: gestural interface,
developing new content modules for personal home 2016: personal holodeck
</caption>
holodecks.
And sooner or later, these devices will be designed
to communicate with each other, as well as be
seamlessly integrated with social tools. Imagine
<product>
this scenario: a consumer buys a movie on her
<name> Project Natal </name>
laptop. She sends it over to her TV, where it
<product _ type> Game interface </product _ type>
triggers relevant interactions on her social
network. <img> </img>

<url> http://www.xbox.com /en-US/live/projectnatal/ </url>
Then she switches to her tablet so she can continue
</product>
watching the movie on the go. Not only does the
content need to work on each of these systems, but
some of them will require metadata indicating what
the content is and what it’s about.
Ideally, when transitioning from one device to
another, each device should know where she left
<company>
off, who she was talking to about it, and any other
<name> Oblong Industries </name>
ways she was interacting with the content on the
<img>v logo </img>
previous device. Not only will the devices need to
<url> http://oblong.com </url>
speak a common language, but the content will need
to include rich metadata that they can understand. </company>

How do publishers prepare for that? How do they
reduce development time for current and next gen-
eration devices? How do they anticipate the needs
of platforms that don’t even exist yet? How do they
make everything seamlessly work together?

© 2010

Nimble Report Become a content distributor 41

Once again, content needs to be nimble. Push as
much of the production work upstream as possible.
Even when creating separate content in text, audio, <TweetThis!>
and video formats, the responsibility for research, Publishers: Start thinking about content products for
devices that don’t even exist yet! (via @ NimbleRF)
tagging, and other “input” tasks should be consoli- </TweetThis!>
dated upfront, while the specialized output for each
type of content is handled by different people or
tools.
Content should be created and stored independent
of design elements so that the presentation can
<TweetThis!>
vary as needed from one platform to the next. At Store content separate from design elements for flexible
the same time, the content must contain markup presentation on different platforms. (via @ NimbleRF)
that will guide each device or channel on how it </TweetThis!>

should be used. As the variety of delivery platforms
expands, the pain of not using this approach will
grow dramatically. If production costs are a drain
now, they’re only going to get worse when the staff
is cropping and optimizing the same set of images
over and over for delivery on 14 different devices.
Semantic Publishing Tools. Once again, the process
efficiencies created by using these tools will be
invaluable. And the structure and meaning they
add to the content will make creating content
variations, and developing new products, faster,
easier, and cheaper.
Rich Data Services. These will also be very
useful for facilitating compatibility and communi-
cation between different platforms and devices. As
standard vocabularies emerge they will be captured
and shared in these data services. By plugging in
to these translation services, the burden of making
sure that the data adheres to a common language
shifts from the content creators to the developers
of each new platform.

2010 ©

42 / Find your audience where they are Nimble Report

Find your audience where
<title>

they are </title>

In order for people to connect with content it needs to
be discoverable and compatible with as many channels
as possible. More and more, people are experiencing
content outside the environment it was designed for.
Here are some of the ways the audience will connect
with content, filtered through search, other platforms,
and the community.
SEO Goes into Overdrive
If you get the feeling that web search doesn’t work as
well as it used to, it’s because of all the noise: link farms,
keyword stuffing, and other questionable practices
designed to game the system. Sites that are not
employing SEO best practices are already falling
<caption>
behind the gamers. Search engines are continuously
Useful data, right on the search results page trying to improve the accuracy of results, but like speed
</caption> traps and radar detectors, search algorithms and search
spammers will keep trying to outsmart each other.
Give content an edge by making better use of the
existing data and structure. Yahoo, Google, and Bing
have all begun using rich metadata embedded in pages
<company>
to apply formatting for specific kinds of content and
<name> Yahoo! </name> display useful information right in the results. For
<img> </img> example, results for a restaurant may include user
<url> http://www.yahoo.com </url>
</company>
ratings, price information, address, and phone number
from Yelp.com.
<company>
<name> Google </name> Too few content publishers are participating in these
<img> </img> efforts. Major content providers should be partnering
<url> http://www.google.com </url>
</company>
with developers at these search companies to help find
ways to make sure that audiences are getting the most
<product> relevant results possible.
<name> Bing </name>
<product _ type> Search engine </product _ type> <capabilities that can help>
<img> </img>
<url> http://www.bing.com </url> Semantic SEO. While many of the other capabilities
</product> will naturally aid with SEO, semantic SEO tools specif-
ically let producers add markup to content, which helps
search engines read and understand each page. This
can boost search rankings, make pages more accessible
for visually impaired users, and display additional
business data, content, or product information directly
in search results.

© 2010

44 / Find your audience where they are Nimble Report

“The old portal model has given way
<quote>

to a social model, and you have to have
your content threaded into that.” </quote>

– Martin Nisenholtz, SVP, Digital Operations, The New York Times

Structured Serendipity: Me + Friends +
Community + Editors
Most people who use the web regularly are starting to
feel overwhelmed by its vast amount of information.
They want control over the content that comes across
<TweetThis!> their screens, but they also don’t want to miss out on
We need smarter content filtering systems! my preferences interesting finds.
+ editor recommendations + social = content nirvana
(via @ NimbleRF) What consumers need is a smarter filtering system.
</TweetThis!> They need to be able to indicate the sources and topics
they care about, while taking in content recommended
by friends, like-minded communities, and trusted
editors or content curators. We have tools that account
for one or two of these factors, but none that use all of
them to create a robust filtering system that still allows
for discovery of content.
And though people may wish the filters were more
accurate, most of them will not take the time to manu-
ally change settings within a profile. Especially not
if they have to do it for each content provider they
frequent. And yet tools that automatically detect
people’s interests from their online behavior raise
some very uncomfortable privacy issues. The ones that
succeed will make suggestions based on activity, but let
people validate settings in the course of their regular
content consumption, as a seamless part of the experi-
ence. They will also allow users to adjust the filters to
be focused or fuzzy, for those times when they want to
broaden their chances of discovering something new.
For publishers, this means that content has to be
discoverable and understandable by these automated
systems. Is it enough to clearly identify what topics a
piece of content covers? What if people want to filter
by positive or negative sentiment, by political leanings,
by local interest, or by reputation of the author? What
are all the factors that might guide filtering decisions?
If content can’t be identified in this arena, it will not be
found by the intended audience.

© 2010

Nimble Report Find your audience where they are 45

Machine-Assisted Tagging. Having a content
management system that suggests appropriate topical
tags is a great start. If it can also apply sentiment analysis
and information about the expertise and experience of
the writing staff, that creates even more of an advantage. <footnote>

Some things may still need to be determined by a <title>
Led by Facebook, Twitter, Global Time Spent on Social Media
human editor, but most systems will learn over time
Sites up 82% Year over Year
and become more and more accurate. </title>

Rich Data Services. These can also be applied to <source> Nielsen Wire </source>

integrate content better with the other services the <pub _ date> Jan 12, 2010 </pub _ date>

audience is using, which may provide helpful cues about <url>
http://blog.nielsen.com /nielsenwire/global/led-by-facebook-
“relatedness.”
twitter-global-time-spent-on-social-media-sites-up-82-year-

Social Influence: Audience as over-year/
</url>
Ambassadors
</footnote>
Social networks already play a huge part in how people
discover both online and offline content. Search engines
are more suited for targeted search than for discovery
and browsing. At the same time, people are spending
increasing amounts of time on social sites – up by 82%
from December 2008 to December 2009, according to
Nielsen. That’s a lot of time spent looking at content
recommended by friends, family, colleagues, extended
community members, and industry thought leaders.
If content is not easily sharable and identifiable via
social networking tools, it will likely miss a large portion
of its potential audience. It’s not sufficient to just put
“share” buttons on articles. Pages should be properly
structured, marked up, and tagged so that when that
link shows up on Facebook it includes meaningful copy
and imagery instead of just a vague headline, a generic
description, and a logo. The reader did her part by
sharing the link; it’s up to publishers to make their
content enticing enough to draw people in.
<caption>

<capabilities that can help> Why would anyone click on a link if they don’t know
where it goes?
Semantic Publishing Tools. Tools that combine many </caption>
of the previously listed capabilities will allow producers
to easily add the necessary markup and metadata to
make sharing and social integration easy and useful.
2010 ©

46 / Conclusion Nimble Report

Conclusion
<title>

</title>

This is a moment of great challenge and great opportunity for digital content
publishers. The key to successfully evolving in this new content ecosystem is to
<TweetThis!>
recognize that no one is tied to the containers of traditional media products. Rather,
Just finished reading
successful publishers are brands that know how to understand and harness the Nimble, @ Razorfish’s
relationship with their audience and develop new, engaging products for them. report on digital
content. A must-read
Increasingly, this requires giving the audience access to content in a wide range
for all publishers!
of formats, platforms, and experiences that suit them. Instead of trying to (@ NimbleRF)
micro-control each mode of distribution, content publishers need to focus on </TweetThis!>
creating nimble content.
Powerful tools to do this are starting to emerge. They’re underutilized and often not
well understood, but they have the potential to solve some of these problems. The
challenge for publishers is to make sure that they’re investing in the ones that best
align with their business strategies. Our challenge is to weave them together in a
way that can benefit the entire industry.

© 2010

50 / Appendix Nimble Report

Capabilities
<title>

</title>

These tools and services can reduce the cost of creating Semantic Publishing Tools. Content management
content while increasing its value. By adding structure tools that incorporate a wide range of structure and
and meaning to the content, it becomes nimble. This metadata capabilities will allow producers to cre-
flexibility makes it easier, faster, and cheaper to develop ate content that is more flexible and encoded with
new applications, new partnerships, new formats, meaningful metadata and semantic markup , without
and new content products as the ideas arise. The key needing to understand all the underlying code. Creat-
capabilities described throughout this report are: ing content with “baked-in” semantic markup allows
for further streamlining of the publishing process and
Concept Extraction. Natural language processing is
makes it faster, easier, and cheaper to bring new content
applied to structured and unstructured text in order to
products to market.
recognize any people, places, and concepts mentioned.
Once they’re isolated, these concepts can be used to Semantic Ad Targeting. Semantic ad targeting
drive many other semantic services, including the involves analyzing each page, identifying its message,
capabilities listed below. context, or mood, and inserting relevant ads. This
creates highly desirable ad inventory, since advertisers
Related Content Services. Enhance existing pages by
can ensure that their offers are closely aligned with users’
identifying their key concepts and placing additional
demographics and intentions. Semantic ad targeting
assets and information on the page or linking to
creates more relevant matches than previous approaches
relevant offsite content. Automatically inserting or
to contextual ad serving. It can be coupled with
suggesting video, images, user-generated reviews,
behavioral ad targeting or serve as a replacement for it
tweets, and Wikipedia entries allows producers to
when people opt out due to privacy concerns. Seman-
create rich pages without spending a lot of time
tics are also used to protect brands from unfortunate
manually searching for related assets.
placement of ads based only on matched terms.
Advanced Media Monitoring. Track Twitter,
Rich Data Services. Producers can enhance their
social networks, blogs, and discussion boards, as well
own content by using APIs or widgets that provide
as other content sites, to discover what people are
access to linked data and shared vocabularies. Linking to
saying about a given brand, industry, domain, or topic of
databases allows producers to import additional
interest. With semantic capabilities, these tools can more
information, assets, services, and user-generated
accurately interpret relevance and even perform
content into their own pages, improve SEO, and
sentiment analysis on the things that people are saying.
obtain additional data and content for application
Perhaps most familiar to marketing departments,
development. With the growing Linked Open Data
these tools can be used by content producers to track
cloud, producers can use links to one data set to easily
ongoing stories and audience reaction to them.
map to other data sets in the network.

© 2010

Nimble Report Appendix 51

Machine-Assisted Tagging. Manually tagging large Additional Reading
amounts of existing content is arduous and time-
consuming. Luckily, some semantic tools are able to The original article about the Semantic Web:
streamline the process by extracting concepts on a
• Tim Berners-Lee, James Hendler and Ora Lassila,
page and assigning a set of consistent tags to each
The Semantic Web, Scientific American, May 2001,
piece of content. The tags can be used to generate and
http://www.scientificamerican.com/article.
populate topic pages, provide recommendations to
cfm?id=the-semantic-web
users, and make relevant information easier to find.
Semantic SEO. While many facets of semantic technol- An interesting discussion of Unique IDs by
ogy can aid with SEO, semantic SEO tools specifically Tom Coates, who worked on the BBC Programme
let producers add semantic markup to their content, Information Pages project:
which helps search engines read and understand each • The Age of Point-at-Things...,
page. Some tools can help validate this markup, while Plasticbag.org, April 26, 2005,
others can automatically generate marked-up versions http://www.plasticbag.org/archives/2005/04/
of a page and submit it to search engines, with no need the_age_of_pointatthings/
for extra coding on the publisher’s part. Semantic SEO
Linked Data
markup can boost search rankings, make pages more
accessible for visually impaired users, and display • http://linkeddata.org/
additional business data, content, or product Dublin Core – an initiative to develop
information directly in search results. interoperable metadata standards:
• http://www.dublincore.org/

FOAF (Friend of a Friend) – a metadata standard
for describing people and the rich relationships
between them:
• http://www.foaf-project.org/

2010 ©

52 / Ta b l e o f S e m a n t i c To o l s Nimble Report

Table of Semantic Tools
<title>

</title>

Here is a sample of currently available tools that have
these capabilities. Razorfish does not have partnerships
with these companies, and has not evaluated all of their
tools.

Related Content Services

Apture Provides additional contextual information in multi-
media pop-ups drawn from places such as Wikipedia,
YouTube, and Flickr.

Evri Allows readers to browse articles, images, and videos
related to the topic of an article or content element and
provides widgets for sidebars, posts, and popovers.

Headup Provides contextually relevant material from social
networks and web services.

NewsCred Augments content with related stories from 6000 top
news sources, as well as topic pages and license-free
photos.

Zemanta Suggests related content and pictures that editors can
embed in articles or blog posts.

Advanced Media Monitoring

Imooty Tracks keywords and mentions of a brand using a
simple dashboard or by creating alerts, widgets, or RSS
feeds.

Inbenta Follow the topics that people in your business are
following.

Lexalytics Scans what’s being said in blogs, tweets, and social
media to provide sentiment analysis about companies,
topics, and current events.

Tattler Mines news, websites, blogs, multimedia sites, and
social media to find mentions of topics or issues of
interest to you.

Semantic Publishing Tools

OpenPublish A version of Drupal with OpenCalais machine-assisted
tagging and RDFa formatting built in.
Jiglu Insight Finds hidden relationships to other content you’ve
published and automatically creates links.

© 2010

Nimble Report Ta b l e o f S e m a n t i c To o l s 53

Semantic Ad Targeting

ad pepper Provides ad placement, lead generation, and brand
protection through semantic analysis of page content
and user behavior.

Peer39 Understands the meaning and sentiment of web
pages so that ads can be targeted to appropriate
audiences, and also protects advertisers from having
their campaigns placed on negative or objectionable
content. Identifies hot topics on the fly, and quickly
adapts to create new “premium” inventory.
Proximic Performs real-time content analysis to accurately
target ads, builds user profiles for better audience
targeting, and includes brand protection measures.

Rich Data Services
Factual An open data platform providing tools to enable anyone
to contribute and use sources of structured data.
Freebase An open, semantically enhanced database of
information, similar to Wikipedia, but with structured
data on millions of topics in dozens of domains.
iGlue A community editable database containing images,
video, individuals, institutions, and geographic
locations.

Machine- Assisted Tagging

OpenCalais Automatically tags people, places, companies, facts, and
events found in the content.

TextWise Generates weighted, relevant metadata based on key
concepts found in the text of a document or web page.

Semantic SEO

Google Rich Snippets Testing Tool Tests webpage markup to ensure that Google’s Rich
Snippets feature can interpret it correctly.

Inbenta Assists in the creation of content using the
terminology of popular search queries.

Semantify Provides automated semantic enhancement of a site
(by Dapper) without changing its pages. Search engines see the site
with RDFa tagging embedded in the page.

2010 ©

56 / Acknowledgements Nimble Report

This report would not exist without the help of all Semtantic Technology Experts
those who took time out of their very busy work lives
to speak with us, including the supportive group of Ra- Dean Allemang, Chief Scientist,
zorfish media and publishing aficionados. Many thanks TopQuadrant, Inc., @WorkingOntology
to all who contributed.
Scott Brinker, President and CTO,
Journalism and Publishing ion interactive, @chiefmartec
Industry Experts Christine Connors, Principal,
Tony Ageh, Controller of Archive Development, TriviumRLG LLC, @cjmconnors
BBC, @TonyAgeh Robert Cook, Founder,
Robert Larson, VP, Search Products, Freebase and Metaweb, @robert_a_cook
The New York Times Mills Davis, Founder and Managing Director,
Josh Marshall, Editor and Publisher, Project10X @millsdavis
TalkingPointsMemo.com, @joshtpm Bob DuCharme, semantic web guy,
Gordon McLeod, President, The Wall Street Journal TopQuadrant, Inc., @bobdc
Digital Network, @GordonMcLeod Paul Miller, Consultant,
Simon Nelson, Controller, Cloud of Data, @PaulMiller
Multiplatform and Portfolio, BBC Alan Morrison, Sr. Research Fellow,
Nic Newman, Future Media & Technology PriceWaterhouseCoopers, @AlanMorrison
Controller, Journalism & Digital Distribution, BBC Evan Sandhaus, Semantic Technologist, R&D Lab,
@nicnewman The New York Times Company, @kansandhaus
Martin Nisenholtz, SVP, Digital Operations, Brian Sletten, Senior Platform Engineer,
The New York Times Company, @martinn123 Riot Games, @bsletten
Jim Stanley, VP of Products, CBS Interactive, Nova Spivack, Founder and CEO,
Technology and News, @iamjimstanley Radar Networks, @novaspivack
John Squires, Managing Director, Next Issue Media, David Weinberger, Consultant and Author,
@NextIssueMedia Everything is Miscellaneous, @dweinberger
Michael Zimbalist, VP, R&D Operations, The New
York Times Company, @zimbalist
© 2010

Nimble Report Acknowledgements 57

Razorfish Acknowledgments Special Thanks to our Research Partner

Author Tony Shaw, Publisher/Editor,
Semantic Universe @SemUni
Rachel Lovinger, Content Strategy Lead, @rlovinger

Research and Editorial Team Illustrations by
Christine Costello, Associate Research Director
Rachel Lovinger, Content Strategy Lead Fogelson-Lubliner
Melissa Sepe, User Experience Associate http://fogelson-lubliner.com
Advisory Board
Eric Moore, SVP, Media and Entertainment Group
Elliott Trice, VP, Experience, @elliotttrice
Ray Velez, CTO, @rvelez
Domenic Venuto, Global Managing Director,
Media Solutions, @dvenuto

Art Director
Lian Chang, Associate Creative Director

Designed by
Chelsea Andrews, Associate Designer

Colleagues who gave valuable
feedback and assistance
Bryan Hamilton, Experience Director
Michael Harper, Senior Proposal Writer
Nick Heasman, Information Architect
Ruth Kaufman, Enterprise Solutions Lead
Rupa Naipaul, Communications Specialist
Paul Tavernise, Experience Lead

2010 ©

58 / About Razorfish Nimble Report

About Razorfish
<title>

</title>

Razorfish creates experiences that build businesses. For additional information:
As one of the largest interactive marketing and Eric Moore
technology companies in the world, Razorfish helps its SVP, Media and Entertainment Group
clients build better brands by delivering business results +1 (212) 798-7942
through customer experiences. Razorfish combines eric.moore@razorfish.com
the best thought leadership of the consulting world
with the leading capabilities of the marketing services Media Inquiries:
industry to support our clients’ business needs, such as Katie Lamkin
launching new products, repositioning a brand or partic- Public Relations
ipating in the social world. With a demonstrated commit- +1 312.696.5241
ment to innovation, Razorfish continues to cultivate our katie.lamkin@razorfish.com
expertise in Social Influence Marketing, emerging @ktlamkin
media, creative design, analytics, technology and user
experience. Razorfish has offices in markets across the Thought Leadership:
United States, and in Australia, China, France, Germany, Lauren Nguyen
Japan, Spain and the United Kingdom. Clients include Marketing Communications
Carnival Cruise Lines, MillerCoors, Levi Strauss & Co., +1 415.369.6454
McDonald’s and Starwood Hotels. Razorfish is part of lauren.nguyen@razorfish.com
the Publicis Groupe (Euronext Paris: FR0000130577) @ ltnguyen
VivaKi organization. Visit razorfish.com for more
information. Follow Razorfish on Twitter at @razorfish.

© 2010

Nimble Report About Razorfish 59

United States Wysiwig.net
@razorfish Madrid +34 91 308 11 30
Atlanta +1 678.538.6000 duke-interactive.com
Austin +1 512.532.2000 @dukerazorfish
Chicago +1 312.696.5000 Paris +33 (0) 1 53 44 19 00
Los Angeles +1 310.846.5400
New York +1 212.798.6600 Asia/Pacific
Philadelphia +1 267.295.7100 Hong Kong +852 3102 4512
Portland +1 503.423.2900 Shanghai +86 21 5237 8811
San Francisco +1 415.369.6300
amnesia.com.au
Seattle +1 206.816.8800
@amnesiafish
Europe Sydney +61 2 9380 9317
neue-digitale.com dentsu-razorfish.com
@neuedigitale Tokyo +81 3 5551 9885
Berlin +49 (0) 30 2936388 0 Osaka +81 6 6360 1461
Frankfurt +40 (0) 69 704030
London +44 020 7907 4545
@razorfishlondon

2010 ©

<for _ more _ information>
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