Offscreen Magazine

Working with Contributors

Fri, 17 May 2013 10:58:00 +1000

“There are so many moving parts in a magazine and keeping everything in check has proven pretty tough in the past. How do you go about planning? Do you do things on the fly or do you follow a series of strict deadlines?”

Occasionally I get emails from other publishers (or those aspiring to be) asking about my process for handling contributors. Sharing how I do things has always been important to me as I struggled to get started myself. So here’s a bit of insight into my workflow with contributors:

As with most things in life, it becomes ~~easier~~ more manageable the often you do it. The first issue seemed like an impossible challenge to master, but it felt a little less overwhelming the second time around.

Planning is important, but don’t overthink it. Doing is more important than getting it perfectly right. I tried many project management tools, but always end up back in Gmail and Google Docs because that’s where I interact with people. You’ll refine your planning process over time as you’ll notice what does and doesn’t work for you.

One document that I rely on and have pinned in my browser for months until the files are handed over to the printer is my Content Plan. It’s a birds eye view of the entire issue in form of a Google Docs spreadsheet. Each page gets a row and I keep track of contributors, content submissions, open tasks, etc. in separate columns.

Being an independent magazine with no editorial board or pressure from advertisers, my deadlines are more loose than those of other publications. Besides my (vague) publishing cycle of 3-4 months, the main deadline to keep in mind is the one I agree upon with my printer. Once I have an idea of how far away the issue is from completion, I arrange a date for the printer to start with their pre-press job and from then onwards, I have a clear deadline when all of my work has to be done.

When it comes to giving deadlines to contributors, the rule of thumb is always “the sooner, the better”. Dealing with so many different folks is still the biggest and most frustrating challenge of them all. Everyone is busy and everyone has different priorities. Even after five issues, I still find it hard to accept that there are extremely unreliable people out there. No matter how stoked they tell you they are to be in your magazine, sometimes you’ll never hear from them ever again. Even after several reminders or follow up emails. Whether it’s courteous of them or not, every publisher has to deal with “dropouts”. The sooner you don’t take it personally, the happier you’ll be.

What to do if a contributor drops out? It’s a case-to-case situation for me. If it’s an important contributor, try to have a few alternatives up your sleeve. It’s usually OK to be upfront about your situation and tell the new person that someone dropped out and you need an emergency replacement. Bigger publications often produce content for a whole second issue in advance (or at least partially) so that they have a buffer to fall back on.

When I approach potential contributors, I try to be as concise as possible with my emails. I tell them who I am, what I’m trying to do and (most importantly) what they would have to do to participate (deliverables). I also give them a rough timeframe (deadline) so that they can start scheduling things accordingly. For regular, bigger features — like our interviews — I’ve prepared a set of guidelines that I refer them to, so they know what tone and length I’m after, and understand the photographic style that we’re aiming for.

Once agreed upon, all my contributors receive a shared Google Doc with clear instructions at the top and space to actually submit their contribution below. This has worked great for me in the past, as I can comment on their content as it’s being added. It’s definitely challenging to keep tabs on 50+ active documents, but so far I haven’t seen any other tool that makes this part much easier. Maybe soon?

As I get closer to my editorial deadline, I check on all submissions on a weekly basis, reminding folks, following up content, checking facts, etc. This is one of the most stressful periods as I realise again and again how dependent of other people the success of each issue is.

Once most of the content is in, I lock the individual Google Docs and start collecting all content in one master document. This is where I start the final editing stage and collaborate with my proof-reader to iron out typos, inconsistencies, etc. I keep adding text as late submissions are coming in. It’s a very manual process.

With the final copy ready to be transferred to Indesign, the more visually creative part begins. This is the most fun part for me as I (finally) see the mag come together as a real thing.

With all of the above said, please keep in mind that Offscreen is unlike many other publications. It’s still very much a one-man-show. Working within a larger team requires a different approach that accommodates the various workflows of your teammates. Offscreen’s content consists mostly of first-person stories or interviews — they are not commissioned pieces by hired writers. This has many pros and cons. It’s usually “free content”, but the submissions vary greatly in quality and reliability.

Offscreen is by definition a “slow medium”. If your publication is purely digital, different rules and challenges apply. So you should take my advice with a grain of salt. Much has been said and debated about how to get publishing right in the digital space. Besides the content (and its contributors) you’ll have to think a lot more about your delivery method and how that, in turn, defines your content.

I should mention again that I’m still “learning by doing”. My process has lots of room for improvement and I’m eager to hear how other folks collaborate with contributors.

At Work With: Marc Edwards, Director at Bjango

Tue, 14 May 2013 09:35:38 +1000

What did you do before you came to work today?

Slept a little.

Where is work for you?

Inside a small shop in Melbourne, Australia. We’re in the process of building a house and modest Bjango HQ. All going well, I’ll be moving again soon.

What do you see when you look out the window?

There’s a tiny, tiny square window in this room, right in the back corner. That’s actually how I like it. I love working in near darkness, with no reflections on my screen, removing distractions and amplifying what you can see. I do make sure I go for a walk every day, so I do get some sunlight.

What are the first few apps you launch every day?

iTunes, Messages, Kickoff, Tweetbot, Safari, Mail, Soulver, Photoshop. And depending on what I’m doing, Skala Preview, Coda, Transmit, Hammer, GitHub, and Xcode.

What’s the most exciting thing that happened at work lately?

We announced that we’re building a new user interface and icon design tool, called Skala. We have a steep hill to climb, but we’re not stopping until this thing is amazing.

What are you looking forward to this week?

My daughter’s first birthday. I love her so much. What an exciting adventure life is.

Something on the web that made you smile today:

This colour picker is pretty damn cool.

Do you listen to anything while working?

Yep. I listen to podcasts (Debug, The Critical Path, The Talk Show and others), plus lots of music. Music, especially music without lyrics, really helps when you’re trying to get things done.

Your favourite item in the office:

The x0xb0x kit that’s sitting behind me. I’m hoping a friend and I will get time to build it soon.

Plans for the weekend?

My daughter’s first birthday on Saturday, a friend’s daughter’s first birthday on Sunday, then the Barcelona F1 GP. And probably a little work in between.

What are you going to do after answering this last question?

It’s 6:19PM, so I’m about to take a break for dinner (Pizza has been ordered).

Marc is Director at Bjango.

Finally, we have some great photos of the latest issue No5. You...

Mon, 13 May 2013 15:54:30 +1000

Finally, we have some great photos of the latest issue No5. You can download some hi-res versions through Flickr and several more through the links in our mediakit for use on your site.

Photos taken by Harald Völkl.

For issue No5, I hired the talented Adam Whitcroft to come up...

Mon, 13 May 2013 14:54:00 +1000

For issue No5, I hired the talented Adam Whitcroft to come up with 14 unique icons that would decorate and illustrate the cities we profiled in our “Web Worker’s Field Guide”. He’s done such an amazing job that we both decided to make them available under Creative Commons for everyone to use.

So please go ahead, download them from Adam’s website and incorporate them into your artwork. Happy creating!

Our “Desktop” series features 5 inspiring workspaces every...

Fri, 10 May 2013 08:48:53 +1000

Our “Desktop” series features 5 inspiring workspaces every week.

Photos via Simple Desks & Minimal Desks.

At Work With: Paul Macgregor, founder of onsite.io

Tue, 07 May 2013 14:08:03 +1000

What did you do before you came to work today?

Had a cup of tea. I’m working from home today as Mike, my business partner, has sneaked off to Sardinia for the week.

Where is work for you?

Work, when not at home, is a shared office space above a picture framing factory in Hoxton, East London. Home is a converted Warehouse in Dalston, East London. I’m a fixie bike away from all the clichés.

What do you see when you look out the window?

On one side is an electricity substation, the other an adventure playground and youth centre. It’s nicer than it sounds.

What are the first few apps you launch every day?

TweetDeck, Google Analytics and Campaign Monitor. TweetDeck for a mix of news, nonsense and keeping tabs on our competitors. Google Analytics and Campaign Monitor to check referral traffic and new signups. Which is like crack when launching your own thing.

What’s the most exciting thing that happened at work lately?

We put live the teaser site for onsite.io a few weeks back, which was exciting as only a few people had known what we were up to. The reaction was extremely positive, which was nice. Looking forward now to showcasing the full product.

What are you looking forward to this week?

This week should see the completion of all design work for OnSite. The desktop and tablet versions have been finished for some time, but getting all of that information into a mobile version has proven tricky.

Something on the web that made you smile today:

My friend Brendan sent me this.

Do you listen to anything while working?

Radio 4 when working from home, if I’m at the office nothing. I’m not a fan of the headphones on, head down mentality some people have. We have probably spent as much time discussing (and occasional arguing about) our product as we have building it, which can only be a good thing.

Your favourite item in the office:

There really isn’t much in our office. We are bootstrapped so money to spend on nice things is currently non existent. But, I’m a big fan of Fidel an incredibly angry Jack Russel owned by one of our fellow co-workers.

Plans for the weekend?

Spring has finally sprung in London, so will probably try and spend at least some of it outside. I also have the incredibly exciting task of moving all of my personal websites to a new server.

What are you going to do after answering this last question?

Getting dressed and making another cup of tea.

Paul is founder of onsite.io and freelance UX/UI designer.

Our “Desktop” series features 5 inspiring workspaces every...

Wed, 01 May 2013 19:23:17 +1000

Our “Desktop” series features 5 inspiring workspaces every week.

Photos via Simple Desks & Minimal Desks.

Indie Magazines and Distributors

Mon, 29 Apr 2013 10:15:00 +1000

I’ve long been thinking about working with distributors to get Offscreen in more brick and mortar stores. With issue No5, I’ve finally made a decision; here are my combined thoughts on the topic of distribution for indie mags.

In the publishing world, distributors work as middlemen between publishers and retail shops by purchasing publications in large numbers and then supplying them to the shops in their network. The benefits for the shops are that they can choose from a large catalogue of publications and have them all shipped to them by one point of contact. For the publisher the advantages are that distributors usually order a bulk quantity, promote the magazines to shops and organise the shipping to those shops. Distributors take a cut of the cover price (usually 15-30%) that comes out of the publisher’s end. So if a magazine sells for $20, the shop will usually keep $8 (40%), the distributor gets $4 (20%) and the remaining $8 go to the publisher.

Frankly, I have a very “vigilant” attitude towards distributors. Most of the large distribution houses have a complicated, overly bureaucratic process that involves a lot of paperwork and gives little or no oversight to publishers where and how their products are sold.

I understand that managing a lot of products and stores can get complicated, but most of them seem to still live in a different century. One distributor’s contract (an attached 7 MB Word document) made clear that it may take 365 days for final payments to come through — mailed in form of a cheque. How are publishers supposed to budget with this? Reading through these conditions, you wouldn’t think distributors actually depend on us publishers to make money.

Wastage is another huge issue for me. Distributors usually hope to stock as many shops as they possibly can, because, well, they get kickbacks from every copy sold. The problem is that they may supply many different shops with, say, 500 copies in total, but due to poor research or market conditions only end up selling 300 of them. The remaining 200 copies will be destroyed since it’s almost always too expensive to return them to the publisher. This model is not just unsustainable, I simply hate the idea of copies of Offscreen being shredded in stores while it sells out online.

Like so many other aspects of the publishing world, coming from the web industry a lot of their processes seem strangely outdated. I don’t like pointing fingers, but do I need to say more than refer you to this distributor’s website?

With all of this in mind I was very hesitant to partner up with a distributor. After much discussion with other publishers, I was referred to two new-ish distributors that stood out: Antenne in the UK and New Distribution House in the US/Canada. Whether they really understand the indie publishing world and try to break with antiquated traditions that treat publishers as if they were at the bottom of the food chain remains to be seen, but so far I’ve had really constructive conversations with both of them.

And so, with the launch of issue No5, for the first time in Offscreen’s short history, I will be working with two distributors in order to get the mag into more local book shops across the UK, Europe, the US and Canada. As much as this move is about selling more copies and expanding our readership, my highest priorities will continue to be being in control and making it sustainable.

With around 90% of Offscreen’s readers buying their copy online, there’s also the question of whether brick and mortar stores remain relevant for the success of a print magazine. The answer — at least in Offscreen’s case — is probably “no”. However, there are few things I find more inspiring and enjoyable than browsing through a high-quality, well-stocked book store, and of course, it’s exciting and humbling to see Offscreen on shelves around the world. For me that’s incentive enough to partner up with distributors and support these local shop owners.

If you want Offscreen to be stocked in a high quality book/design shop near you, please send your suggestions to Antenne (UK/Europe) and New Distribution House (US/Canada).

I’m excited to announce the launch of pre-orders for...

Wed, 24 Apr 2013 12:24:51 +1000

I’m excited to announce the launch of pre-orders for Offscreen Magazine Issue No5 (starts shipping next week Friday, May 3rd).

If you are a subscriber, please make sure to check your order status to see whether this issue is still included in your current subscription. If not, you can purchase another three-issue-subscription here. In case you’ve moved houses in the last few months, please email us your new shipping address ASAP. If you’re not a subscriber, make sure you put your order in before Wednesday the 1st of May to be included in our first major shipment.

Once again, many thanks to our amazing sponsors that made this issue possible.

Enjoy your read and, as usual, please send me your feedback via email, Twitter or Facebook!

Kai Brach
Publisher, Editor, Art Director

Our “Desktop” series features 5 inspiring workspaces every...

Mon, 22 Apr 2013 14:21:39 +1000

Our “Desktop” series features 5 inspiring workspaces every week.

Photos via Simple Desks & Minimal Desks.

Failure is the new success

Wed, 17 Apr 2013 20:12:00 +1000

Hardly a day goes by without me stumbling across a blog post or quote that embraces a “failures are important” attitude. Sometimes I hear people talk about their professional failures as if they are talking about a list of achievements. Of course, being constructive and supportive are values I highly appreciate about the web community. However, there are a few things that I can’t stop thinking about whenever I read yet another “fail often” post.

Back in the day — before easy venture capital and 4-hour work days — real failure often had a much more disastrous meaning. For instance, my uncle tells me about how he “wasted” eight years of his life trying to make a self-funded business idea work that eventually left his family relying on social welfare payments. During that time, more often than he wants to admit he went to bed hungry or had to deny his kids even the most basic wish. I’d love to know what he would say about us putting up posters that proclaim “Fail often. Fail early.”

When your app doesn’t make Apple’s Editor’s Choice; when your side project never sees the light of day because you are too busy working at a well-paying job; when your startup blows through five million dollars of venture capital within a mere three months, have you really failed or did you just get carried away enviously measuring yourself with rich entrepreneurs featured on Techcrunch?

Instead of talking about how to deal with failure, why aren’t we talking more about how to recognise success? How can we measure success in an industry with billion-dollar exits and overnight celebrity status?

I’m often congratulated on the success I’m having with Offscreen. The surprising thing about this is that it took me a pretty long time to agree and realise that I am, in fact, successful.

It wasn’t a feature article in the New York Times (although that would be nice), it wasn’t venture capital firms that came knocking (why would they?) and it most certainly wasn’t enormous profits flooding my bank account (welcome to publishing!). It was the acknowledgment that success is not a final destination, but the journey itself.

Are you doing something you truly enjoy? Do you have friends and colleagues telling you that you’re doing great work? Are you being compensated in a fair way that allows for a healthy and fulfilling lifestyle? Yes? Congratulations, you’re being successful! Now, who said failure?

This post was first published on the Pastry Box Project.

Our “Desktop” series features 5 inspiring workspaces every...

Thu, 11 Apr 2013 01:30:07 +1000

Our “Desktop” series features 5 inspiring workspaces every week.

Photos via Simple Desks & Minimal Desks.

A sneak peek at an interview in the upcoming Issue No5....

Tue, 09 Apr 2013 18:14:00 +1000

A sneak peek at an interview in the upcoming Issue No5. We’ll be sending our files to the printer at the end of the week with the ink hitting paper starting next week. Issue No5 will go on presale very soon! Stay tuned. :)

Results of our first fundraiser: life-changing health treatments for four patients

Fri, 05 Apr 2013 19:56:00 +1100

I want to sincerely thank everyone who helped make a difference in our March fundraiser. To those who ordered a copy, told their friends about it or (re)tweeted a link to the fundraiser page: we all achieved this together. I hope that looking into the faces of the patients below will remind you that your efforts affect real people in a profound way.

To be honest, I was a little worried that we wouldn’t get enough money together to fund any major treatments. The last issue of Offscreen was released in mid January and from experience 1-2 months after a new release isn’t a very busy time over here and sales numbers are very modest. However, we ended up selling enough copies and future subscriptions that after basic expenses I was left with around $3940.

It was a real pleasure working with Grace from Watsi who helped me locate four patients with treatment costs that are within our budget of around $2000. So, please let me introduce you to…

Abezash is an eight-month-old girl who comes from a family of subsistence farmers in Ethiopia. She was born with rare birth defect that left her without a hole for passing stool. Her parents have four other children, and can’t afford the $800 surgery she needs to live a normal life.

Ngaikiinyi comes from a cattle farming family in Tanzania. He likes helping his father with the farm, but has trouble keeping up because of a condition that causes his knees to angle in and touch each other when straightened. He needs surgery to enable him to walk normally. With full mobility, he’ll be able to participate in his family’s income generation. He’ll also have a wider set of options for the future, including potentially finishing school. Ngaikiinyi’s treatment costs $500.

Ruth is a bright girl who has to painfully walk on the outer parts of her feet because she was born with severe bilateral clubfoot, a condition that causes the feet to grow inward and downward, rather than straight and flat. Clubfoot is completely treatable with surgery which costs $500.

Ponleu is a student. He studies English and Finance at a school in his home province near the Vietnamese border, but he’s constantly straining his eyes because of strabismus, a condition that can cause permanent vision problems and fatigue if left untreated. He needs a $250 surgery to treat his strabismus and realign his eyes so he can continue with school.

With your help, Offscreen paid for their treatments in full this morning. We wish Abezash, Ngaikiinyi, Ruth and Ponleu all the best for their upcoming surgeries and a speedy recovery. Of course, I will continue to post updates about their treatments on this blog as they come in, courtesy of Watsi.

Once again, thank you all from me here at Offscreen and all the folks from Watsi, who have been excited about this partnership with our humble little magazine. We all see you next year for our 2014 fundraiser!

Kai Brach
Editor/Publisher

"The truth about the difference between introverts and extroverts lies in how personal energy is used..."

Fri, 05 Apr 2013 08:52:00 +1100

“The truth about the difference between introverts and extroverts lies in how personal energy is used and gained. Introverts need a lot of recharging time to gain energy. Being out-and-about, especially in social situations, is draining. Alone time is the only way to get that energy back. For me, it’s a lot of alone time. Not sitting in a dark cave staring at the wall, but somewhere comfortable where I can do other activities I enjoy. Laying on a hotel bed catching up on the internet totally counts. At home cooking dinner totally counts. Even reading a book at a coffee shop counts.”

- Yesterday’s pastry box entry by Chris Coyier mentions and links to an article that had a really big impact on me when I first read it a few years back. Jonathan Rauch’s “Caring for Your Introvert” made me come to the realisation that I too am an introvert. It explains why social events and chatty people make me feel so exhausted. It makes clear that introverted does not equal “weird” or “socially awkward”. Just like Chris I felt relief when I discovered that there is nothing wrong with enjoying the company of fewer people, or getting joy out of being alone.

If this sounds like you too, I wholeheartedly recommend reading Jonathan’s article. There is a good chance it will make you feel less anxious about your social skills when hiding behind your screen while others tell you how awesome their night out was.

Our “Desktop” series features 5 inspiring workspaces every...

Thu, 28 Mar 2013 22:40:52 +1100

Our “Desktop” series features 5 inspiring workspaces every week.

Photos via Simple Desks & Minimal Desks.

"As a newbie publisher and art director for Offscreen, one of the biggest inspirations before..."

Wed, 27 Mar 2013 19:49:00 +1100

“As a newbie publisher and art director for Offscreen, one of the biggest inspirations before launching our inaugural issue was the Singaporean “Underscore”. I’ve always been a big fan of compact, book-like magazines and when I came across Underscore at a book store in Melbourne, it just felt instantly “right”. The subtle colour palette printed on high-quality Munken Print Cream paper gives the stories an almost dreamy atmosphere that is solidified through the consistent use of custom-made typography. I have to admit, the beauty of this publication often distracts me from properly engaging with its content. It might be my designer eye, but hey, there are no rules for how to enjoy a magazine. Call me superficial on this one — I’m in love nevertheless.”

- For a small contribution in the next issue of What’s Next Magazine I was just asked “Which printed publication of the past year has made a bigger impression on you than any other? And how or why did it do so?” My answer is a bit of a fanboy-ish love affair with Underscore.

"The work of the stonemasons who built the palace is still visible after more than 8 centuries. How..."

Mon, 25 Mar 2013 07:29:00 +1100

“The work of the stonemasons who built the palace is still visible after more than 8 centuries. How long after you stop programming is any of your work going to last? (…) It is slightly depressing how short the timescale is for software. It lives fast, but it also dies fast. Our work is more like that of an ice sculptor than that of a stonemason.”

- A quick read on ephemerality of software that very much resembles my editor’s note in issue no1 and the thinking behind Offscreen overall.

Our “Desktop” series features 5 inspiring workspaces every...

Fri, 22 Mar 2013 18:20:33 +1100

Our “Desktop” series features 5 inspiring workspaces every week.

Photos via Simple Desks & Minimal Desks.

The (nerve-wracking) choice of paper

Wed, 20 Mar 2013 22:12:00 +1100

As someone that frets big decisions, being in the publishing business can be a real pain sometimes. I was reminded of that in the last few weeks and days as I needed to make a final call on ordering several tons of paper for the next three issues.

After running into a few minor consistency and quality problems with the last issue, I felt a bit let down by our paper supplier. IGEPA’s Circleoffset, the stock we had used up to that point, was my all-time favourite choice of paper. For being based on 100% recycling material and therefore as environmentally friendly as a paper can get, it boasted a superior quality with an unusually smooth finish. Unfortunately, it lost that high-quality haptic when the manufacturer changed paper mills.

Since launching issue No4 I’ve been discussing alternatives with our printer. Again, the environmental impact was the first and biggest filter. I only considered 100% recycling papers with no whitening bleach used. After a few test prints on two different stock options, I decided to go with EnviroTop from Papier Union.

The next step turned out to be more nerve-wracking. When selecting a paper type, you need to consider not just what it looks like and how ink behaves on it, its grammage will determine how heavy your magazine turns out to be — and in turn, how much you’ll end up spending on shipping. This is measured in grams per square meter (or short “gsm”). A standard office paper usually has something between 70gsm and 90gsm.

However, the weight itself doesn’t determine its perceived thickness. That’s where the paper volume comes in. A paper with a volume of 1.3 contains 30% more air and is therefore less compressed. Higher volume means thicker paper, but not necessarily heavier paper.

Both variables define how thick and heavy a paper feels. The challenge is to find the best fit for your specific publication. Thicker, high-volume papers often convey quality, but depending on your product, this paper — when perfectly bound — may make it difficult to keep the magazine open (my German printer calls this Klammerwirkung, the “peg effect”).

It eventually came down to making a decision between EnviroTop 100gsm and the next heavier option, 120gsm — both with a volume of 1.3. After much thinking, I opted for the heavier version which will make Offscreen about 2.5mm thicker and around 50gm heavier. I’m aware that it will add to the Klammerwirkung, something I’m a little concerned about, to be honest, but the 100gsm version just didn’t have the same superior feel to it.

And that is what’s so nerve-wracking about choosing good stock. There are many variables that need consideration. Due to our small magazine format, we print on larger sheets to be most efficient with paper and ink and avoid wastage. These larger sheets are custom-made by the paper mill and therefore need to be ordered several weeks in advance and in large amounts covering the next three issues of Offscreen.

At moments like this, I really miss the transient nature of making things for web.