GRTTWaK11

This morning, I announced Grownups Read Things They Wrote as Kids 11.

It’s almost sold out. Avoid heartache and [get your tickets now](http://www.brownpapertickets.com/event/193072).

Sorry. I warned you.

Subscriptionization, eBook-style

This week’s CBC tech column is about Amazon’s rumoured book rental service. A copy is up at cbc.ca/tech, and below, for posterity.

The podcast version, posted below, includes a full interview with bookfuturist and Wired.com staff writer Tim Carmody.

Subscriptionization, eBook-style by misener

(download mp3)

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Details are slim, but on Monday the Wall Street Journal reported that Amazon.com is in talks with book publishers “about launching a Netflix Inc.-like service for digital books, in which customers would pay an annual fee to access a library of content.” The Amazon service could offer an all-you-can-read model, or a rate-limited model that includes a certain number of books per month.

If it’s true, and if such a service comes to be, it’ll be the latest in a growing trend towards what Ron J. Williams calls the “access economy“, which emphasizes access to products and services over ownership.

The idea of paying a flat fee for all-you-can-eat media is nothing new. Just look at the rapid growth of Netflix, which gained almost one million subscribers during its first 10 months in Canada. Or look at the growing geographic footprint and popularity of subscription-based music services like Spotify and Rdio. Given our increasing appetite for e-books (which outsold both paperbacks and hardcovers for the first time this past February), the written word is a logical next step in the march towards a subscription-based post-scarcity media landscape.

If Amazon does launch a digital book rental service, it won’t be the first.Booksfree.com has been around for more than a decade, and ships physical books to subscribers through the mail. Or there’s 24symbols, which sells premium e-book subscriptions that can be read online or via a mobile application. In the education space, five of the largest academic publishers in North America have teamed up to create an e-textbook rental service called CourseSmart.

But according to Wired.com staff writer and book-futurist Tim Carmody, Amazon is uniquely positioned in this space: “They’ve got the credit card accounts. They’ve got the customers. They’ve got the devices. If anyone is in a position to do it, and to do it well, Amazon would be the one to do it.”

A big factor here is Amazon’s existing business selling its Kindle e-reader. In fact, reports of a possible Amazon book subscription service dovetail nicely with rumours about the next-generation Kindle, whichTechCrunch’s MG Siegler reports will be a $250 7-inch touchscreen tablet running a highly customized version of Google’s Android operating system. The device is also reported to have tight integration with Amazon’s existing App Store and video and music streaming services.

It’s worth noting that with its video streaming service, Amazon has already dipped its toe into the world of content subscriptions. Earlier this year, it launched Amazon Instant Video, a U.S.-only Netflix competitor that streams movies and TV shows.

Buy or borrow

It’s also worth noting that there’s another very prominent all-you-can-read book and e-book service out there, and I’m already a member (you probably are, too). It’s called “the library.”

Many Canadian libraries offer e-books, and though they may self-destruct, they cost nothing to borrow. Over at The Guardian’sBooks Blog, Sarah Crown wonders what Amazon’s possible e-book rental service could mean for libraries: “If you can ‘borrow’ the ebook instantly from your living room, why would you bother schlepping into town to pick it up in person? It’s a super-smart move on the part of [Amazon], but the real-world fallout could be extensive.”

I’m not so sure about that. Libraries are much more than publicly-funded e-book repositories. But even if that’s all they were, your local public library could have a better selection of e-book titles than an Amazon service at launch, which would likely focus on older, back-catalogue titles.

It’ll all depend on the deals Amazon can (or can’t) make with publishers.

According to the Wall Street Journal’s report, “Amazon would offer book publishers a substantial fee for participating in the program.” Indeed, Amazon’s existing relationships with publishers could work to its advantage when setting up this kind of service.

But publishers can be resistant to change, and a mass-market subscription model would represent a very big change in the way books get to consumers. Tim Carmody says publishers are skeptical: “They have no idea how to price access to a service like this. And also because Amazon already exerts so much power over the publishing industry, between print books and e-books, that all of the publishers are really wary of making themselves even more entangled than they already are with Amazon.”

For me, the most interesting part of such a book service is the effect it could have on the way we read.

In my own personal experience, flat-fee digital subscription options tend to lubricate the wheels of media consumption. As a paid subscriber to Rdio, I listen to way more new music than I would if I had to pay per song or album. After my parents and in-laws signed up for Netflix, both households reported watching more movies than with the a-la-carte options of the video store or their cable companies’ video-on-demand services.

Part of me wonders if an all-you-can-read book rental subscription would encourage me to read more, or try out new kinds of books I mightn’t otherwise.

http://www.cbc.ca/news/technology/story/2011/09/13/f-vp-misener-amazon-ebooks.html

“how does one get a job producing public radio?”

On a semi-regular basis, I get email messages and telephone calls from people who want to ask me about my job. Usually, it’s someone considering pursuing a career in radio who wants to pick my brain. And I’m happy to oblige.

Often, the questions are the same: Is it worth going to school? Are there actually any jobs? How do I get an internship?

I don’t have good answers to most of these questions, so I usually just end up telling people my story — how I came to work at the CBC — in the hopes that it might help.

Last week, I received another of these semi-regular emails asking about how to become a public radio producer. I started to type a reply, but then realized that it might be helpful to write a more public response. This blog post is that. So then, here are a few rambly thoughts on how I ended up in my current job.

Caveat #1: there really isn’t a clearly defined career path to becoming a CBC Radio employee. I took one route. You may (and probably should) take another route.

Caveat #2: I am a bit of an anomaly. By the end of high school, I had my sights pretty firmly set on working for CBC, and spent the next five years trying *really* hard to make that happen. A little more than a decade after deciding to pursue a career in public radio, I now have that job. I’m a producer on Spark, CBC’s national tech/culture show, and I serve as a technology columnist on most CBC Radio local afternoon shows.

OK. Let’s begin.

Journalism school?

I am not a good person to ask about journalism school, because I never went. Sure, I went to two great universities (King’s ’03, Ryerson ’05), both of which have decent journalism programs, but I didn’t study journalism at either. Why? At the time, both journalism programs seemed strongly focused on print, and my interest was very specific: I wanted to make radio.

So, coming out of high school, I took a 3-year BA at King’s, studying English and Contemporary Studies and the History of Science and Technology (and a bunch of other small-liberal-arts-college-type subjects), and volunteered at the small but mighty CKDU. Then, in my last year at King’s, I applied to Ryerson’s Radio and Television Arts program. At the time, RTA had an “advanced standing” option for university graduates, which gave me a second degree in exchange for two years of my life. The advanced standing option no longer exists.

While at Ryerson, I developed some production chops, and learned a bunch of technical stuff that’s now largely obsolete. I co-hosted a campus radio show, sold a bunch of my school assignments to CBC Radio and made a half-hour radio pilot, which was a gigantic TAL wannabe rip-off.

And while Ryerson was great, I’ll be frank: career-wise, the single most valuable thing I got from RTA was the license to call people up and say, “Hi, my name is Dan, and I’m an RTA student. Can I buy you a coffee and ask you about your job?” Holding a Ryerson student card gave me a non-threatening way to approach people with jobs that I wanted. “Hi, I’m a student and I’m interested in your job,” is a way better introduction than, “Hi, I’m some guy who wants your job. Can you tell me how to take it from you when you retire?” Generally speaking, I’ve found that if asked politely (and on a good day), most people are willing to sit down and talk about themselves. The nicer ones might even take pity on a starving student and pay for your coffee.

The lesson: if you decide to study broadcasting/journalism/media/whatever, one of the single most valuable resources at your disposal are professors with professional connections. Find them, then work the hell out of them. The connections, I mean. Which brings me to…

Networking

I hate this word. And I’m not naturally a “network-y” kind of guy. But when people ask me how I got a job at CBC, I usually tell them, “By pestering people.”

I asked my professors who they knew at CBC. I called those people up, name-checked said professors, and got coffee meetings, job shadows, and ride-alongs. After meeting someone, I’d tell them how much I wanted to work at the CBC, and the kind of radio I wanted to make. Then I’d ask, “Who else should I talk to? Can I use your name?”

Lather, rinse, repeat.

Especially when you’re starting out, who you know is how you eat. The best way to get a job is to meet people who are in a position to give you one.

That said, it’s easy to be annoying. I’m sure I was annoying. It’s like Goldilocks and the three bears: there’s too eager (annoying), not eager enough (forgettable), and then there’s just right. I remember asking people if I was too pushy. The straight shooters told me when I was.

Internships

The CBC has a proper internship program. However, I had a hell of a time getting one. Here’s the story, adapted slightly from a report I had to write about it for school:

One day in the summer of 2004, I was having lunch with Alex Mason, a producer for CBC Radio’s Sounds Like Canada. We were talking about internships, and he told me about his at CBH in Halifax. When I asked him for advice, he suggested that my best bet was not to approach a large network show like his, but rather a regional or local show. I asked him why, and he gave me a few reasons:

• On a local/regional show, I’d be more likely to get my hands dirty with real work. On a network show, they might simply have me labeling CDs or doing more traditional “intern” type work.
• On a local show, I’d have a better opportunity to try a wider variety of things.
• Because I’d be doing real work, Iíd have a better opportunity to prove that I could do real work. This might translate into work after graduation.

This sounded good to me, so I tool Alex’s advice, and emailed all the local/regional CBC shows produced in Toronto. On July 21, 2004, I heard back from Metro Morning and Here and Now. Both shows referred me to a woman named Joan Melanson, Executive Producer of Current Affairs for CBL. I got in touch with Joan by email. She wrote back, explaining that “the exact policy around CBC and interns is up in the air. As it stands right now, we are required to pay interns for any work they do. So, as a result, in Toronto anyway, we are not bringing in interns to work as volunteers.”

I came to Ryerson hoping to pursue a career in public radio. Executive producers around the country were telling me a CBC internship was something I needed in order to be considered for any kind of work. Joan’s news didnít bode well for my chances. But at the end of her email, Joan did invite me to give her a call once I returned to Toronto and she returned from holidays. So I did. I called and left several messages on her voicemail. I sent her more email messages.

And then one day in early September, Joan called me back. We talked about school, and radio, and why I wanted to intern at CBL. We found out that we both have Nova Scotian roots. She explained again that the CBC was unclear about its policy on interns, but promised me that sheíd look into it for me. At the end of our first phone call, Joan promised that if there was any way she could make a CBL internship happen for me, she would try. I apologized for bugging her so much. She said it was no problem. Ever since, Iíve not worried about bugging her with my persistence.

And for the next few months, I was persistent. I probably emailed her or called once a week, just to check in. For a long time, there was nothing for her to report. The CBC was still confused about interns. On one hand, they recognized the importance of interns, but on the other hand, there were union issues. Plus, because I was an Advanced Standing student, RTA’s official internship course wasnít available to me, so I couldnít do an internship for credit.

Over the next couple of months, I visited the Broadcast Centre several times. I asked everyone I could about internships. None of them could tell me anything concrete about the CBCís official stance on internships. One day in November, job-shadowing reporter Geoff Ellwand, I met Joan Melanson in person for the first time. We shook hands, sat down for a few minutes, and with little new to report, Joan told me that weíd make an internship happen. Near Christmas-time, a CBC exec who was working on the CBC’s official internship policy told me that without school credit, there was no way I could get an internship. So I concentrated on getting official school credit for any internship that might happen.

After very little success with Ryerson admin, I approached my Case Studies professor Charles Davis early in the winter term. I explained my situation, and asked if he could offer me official credit in his course for an internship. He agreed, and I had what I needed. I contacted Joan, letting her know that I had official school credit. Again, interning was a “maybe.” It continued to be “maybe” until one day, Joan got the final word from those in charge. The word was “no.” I was disheartened.

But Joan pleaded my case. Eventually, someone had a change of heart, and on January 28, 2005, Joan emailed me, saying “I have some good news ñ the approval for your internship at CBL has gone ahead. They are making a bit of an exception since technically, RTA is not part of the agreement CBC has with various schools about bringing in interns. But you can now officially intern with us at CBL.”

I will stop here and try to explain what a wonderful feeling it is to have someone believe in you. Joan didnít know me that well, other than as a Ryerson student who kept leaving messages on her voicemail. Still, she took time out of her day to deal with the CBC bureaucracy, trying to find internship answers for me. And when neither of us liked the answers that she found, she cared enough to champion my cause, convincing the higher-ups to let me into the building. I am very grateful for what Joan has done for me.

So when she emailed, I was delighted with the news. I jumped around my apartment for a bit. I called my mom in Halifax. The moral of the story, I suppose, is that the squeaky wheel gets the grease. On February 11, 2005 I started my internship at CBL.

I wrote that in 2005. Reading it back, I’m still flabbergasted by the bureaucracy, and delighted by the Joan. I spent several months with CBL, assigned to Metro Morning. Sure, I did some pretty “interny” things, but I got a chance to participate in story meetings, pitch ideas, and chase guests.

When CBC internship ended, I already had a job offer for a short-term (2-3 month) contract in Windsor, Ontario. The local morning and afternoon shows needed an associate producer/technician, and somehow, my name ended up on a list somewhere. I took the job, and have been working at CBC on a reasonably steady basis since then (with a 2005 lockout and a few months of freelancing thrown in for good measure).

Freelancing

People sometimes ask me how long I’ve worked at the CBC. “Depends on when you start counting,” I reply.

You could start counting when I sold my first freelance piece to Radio Syndication in 2004 (I sold a bunch of my Ryerson radio productions to CBC as short documentaries). Or you could count my first contract job in Windsor in 2005. Or, you could count the six months I spent freelancing full-time.

In late summer 2005, CBC management locked out CMG employees (like me). Rather than stay in Windsor, I packed up and moved back to Toronto. Personally and professionally, it was maybe the best decision I’ve ever made. In Toronto, I spent hour after hour on the picket line with people I would *never* have otherwise had access to. Executive producers and hosts of the shows I wanted to work for. As we circled the Toronto Broadcasting Centre, I talked about the freelance radio pitches I could sell them once we were back inside. When we eventually got back to work, I had the names and numbers of a bunch of people who were willing to buy pieces from me. Most notably, I started a four-year freelance stint with the Saturday morning show GO!

Freelancing is a hustle. It keeps you hungry. Luckily, I only spent about 6 months freelancing full-time, before getting a “job job.” But it was long enough to learn how to survive on a sporadic public radio income. In my (short) experience, here’s how to make a go of freelance radio at CBC:

1. Find out who has money to hire you. Not everyone does.
2. Find out how those people prefer to receive pitches
3. Be awesome. Deliver great stuff.

For me, freelancing was a stepping stone to a more stable job. If that’s your goal, I have one additional piece of advice: do your freelance work AT the CBC. Even if you have better equipment at home, still do it at the CBC offices. It sounds obvious, but if you’re not there, you’re not top of mind. And you want to be top of mind when the fill-in jobs become available.

Getting a “job job”

Getting a “job job” at the CBC was the goal from day one. Here’s how it happened for me: I interned, then got a 3-month contract, then freelanced, then got a series of 1-week-at-a-time jobs, which turned into a short-term contract job, which turned into a slightly-longer-term contract job, which turned into year-long contract job, which eventually turned into a permanent staff job.

It doesn’t happen that way for everyone, but that’s how it happened for me, and a bunch of other people I know. Little jobs turn into bigger jobs, if you’re good at what you do, and reasonably easy to work with.

Right now, I am staff at CBC. I work on a show that I really like, alongside people I really like. I have a ton of creative license and latitude to explore things that interest me. It’s my job to call up smart, interesting people and talk to them. I’ve been lucky enough to do a bunch of different things, and I got almost all of the most interesting assignments because I knew someone, and had built up a body of work.

People sometimes ask me if it makes sense to pursue a career in public radio, given today’s job market. I won’t lie: I would *not* want to be looking for a job in public radio right now. I know a bunch of smart, talented people who have pursued work in this field, and been left nothing but unemployed and frustrated. But I also know a bunch of smart, talented people who are doing great work, and love their jobs.

So on the “do I or don’t I” question, I’m afraid I don’t have a strong suggestion.

It’s nice work… if you can get it.

Buying travel medical insurance

As part of our ongoing plans to move to France, Jenna and I need to get some health insurance for the year we’ll be away. According to the 2E Working Holiday visa application, we need:

An additional medical insurance certificate that will provide full coverage (for health risks, medical bills, medication, hospitalisation, repatriation, etc.) during the entirety of the stay is compulsory because the provincial medical plan is insufficient (original + copy).

I’ve spent the past little while researching what’s often called “travel emergency medical insurance,” and here’s what I’ve learned: Holy smokes, it pays to shop around! There seems to be no rhyme or reason to the wild variance in prices I’ve seen.

Jenna and I are both thirty-ish and healthy. We’re planning to be in France for ~365 days. Based on those factors, here’s a rough sample of what several providers would charge to cover both of us. I looked at CAA, Manulife, Ontario Blue Cross, and TravelCuts (RBC), plus my existing CBC insurance:

[1. A note: the CBC/Great West Life option isn’t in the same category as the rest. It’s my regular health plan through work, which I have the option of continuing while I’m on deferred leave. It’s not travel medical insurance, but it would cover us while in France.]

Right now, TravelCuts seems to be the best deal (thanks for the tip, Jess Whyte!).

I’d love some advice from seasoned travellers here. Am I missing any companies I should look into? Are there massive differences between various providers and their plans? Really, I’m looking to satisfy a visa application requirement here, and also, keep from losing an arm and a leg if I (heaven forbid) actually lose an arm and a leg.

Home Recording 101 Redux

A few months ago, with the help of Tony and David, I led a workshop called “A beginner’s guide to multitrack audio recording.” The goal was to help singer-songwriters develop the skills necessary to make basic home recordings of their songs.

It went really well. Not to toot my own horn or anything (toot toot!), but here’s what some people said about the workshop:

Dan did a great job and gave us enough to enable us to try it on our own. What more could one ask for from a 101?

Well organized material; clearly presented, interesting, knowledgeable instructor with great basics logically through to more complex tasks made the information non-threatening.

The course provided exactly what you claimed it would, but I was surprised that I got even more out of it than I expected. I thought I’d get enough info to “know about” the subject, but I went home feeling confident that I could actually DO it – and keen to get started experimenting.

An enormous thumbs up to Dan for presenting a meaningful and enormously worthwhile course on digital recording.

It was so much fun, we thought we’d do it again. So we’re putting on the exact same workshop for people who missed the first time around.

It takes place on Saturday, September 17, and you can reserve your spot today.