Tag Archives: Oscar Masinyana

Content

The #textbookrevolution and tough times

1 Comment

February 2014 saw the launch of the #textbookrevolution. We donned our Paperight #textbookrevolution t-shirts and made our way to Stellenbosch University. Once there the team split up: Arthur and Dez stayed at Jetline Stellenbosch to assist in store, Oscar and Yazeed trekked around campus to put up posters, and Philippa, Nick, Marie and I spent our time handing out coasters and getting students to sign the #textbookrevolution petition. Students loved our More Money For Beer campaign slogan, and were very receptive to the idea of Paperight. Mostly though, they bemoaned the high costs of textbooks and the lack of availability of alternatives.

We had the same experience later in the month on UCT campus. Again, we handed out coasters, chatted to students and explained what drives up the price of books. While students were enthusiastic, we soon realised that there were two key gaps that we had not been able to fill. The first was a content gap. We knew that we’d have this, and we’d structured our campaign around it, but the result was that while we had a lot of queries, we were not able to leverage publishers to make this content available (the same problem we’d been experiencing for months).

Additionally, and perhaps more worryingly, we realised that service in copy shops was not what we had assumed it would be. While the majority of registered outlets were very enthusiastic about the Paperight service, and had topped up their accounts, there was often only one person in the outlet who knew how to use the site, despite multiple training sessions with other outlet employees. If this person was not around to field customer orders, or if the customer encountered an employee who did not know of, or who had forgotten about Paperight, the customer was being turned away. More and more frequently we were receiving calls from customers who were going to outlets only to be told that these did not offer the service.

At this point Arthur and I started actively looking into potential pivots. We considered merging Paperight with other companies working in the educational sector, and to this end, valuated Paperight’s assets.

We were struggling to maintain enthusiasm as a team for the #textbookrevolution, and working on publisher follow-ups, reformatting, and uploads seemed futile given an imminent pivot.

Things became very difficult here. We were struggling to maintain enthusiasm as a team for the #textbookrevolution, and working on publisher follow-ups, reformatting, and uploads seemed futile given an imminent pivot. Yet, at the same time, we hadn’t decided on a pivot, so we couldn’t realign our priorities. The result was that we started to flounder a bit. While we continued on, the morale in the office dropped.

Publisher registrations

  • Cambridge Scholars Publishing Limited (12/2/2014)
  • Methodist Church of South Africa (25/2/2014)
Content, Finance, grants and awards

Frankfurt Book Fair and CONTEC Startup Showcase win

October saw us participating in the CONTEC Startup Showcase in Frankfurt. The showcase formed part of the CONTEC Conference which was attended by industry leaders in digital publishing, and focused on the connection between content and technology. Paperight was expected to offer a 3-minute pitch, against five other innovative start-ups in digital publishing. We were selected as the winner of the showcase by a panel of judges.

As was the case after our London Book Fair win, the discussions had after the award announcement, and in the tea breaks just before, were very productive, with a lot of excitement about our project and aims. In particular, the Brazilian publishers in attendance (Brazil was to be the market-focus for the book fair that year) were very enthusiastic about the possibilities for Paperight in the Brazilian and wider South American market.

My focus for the fair was on publishers who could provide content that was in line with our current marketing focus. Namely, early childhood development materials (for children) and research (for teachers/caregivers), core textbooks and study materials for grades 10, 11 and 12 learners, core reading material for first and second year university level students, and trade fiction for young adults.

I had many productive conversations, and furthered negotiations with several big publishers (including Elsevier, Harlequin, and Bloomsbury). While I was optimistic about the possibility for Bloomsbury signing on with us, and while they were very receptive in our meetings, they later decides to hold off until after their South African distributors, Jonathan Ball, had had a chance to pilot the system.

We continually found that it was imperative to follow up on marketing material like this, be it with outlets, or schools, as often things would fall through the cracks otherwise.

While I was away, Philippa held the fort, and continued the process of uploading documents in the backlog queue, and Marie completed content tagging. Following my return from the fair, I completed the usual feedback reports, and followed up on the posters we’d distributed to schools (to make sure these had been put up and the flyers handed-out). We continually found that it was imperative to follow up on marketing material like this, be it with outlets, or schools, as often things would fall through the cracks otherwise. Dez and I also completed the Gifted Citizen Award Application on Arthur’s behalf.

Given the difficulties in getting content timeously, specifically as a result of the long lead time when signing publishers, we revisited the discussions (recurring over the last year) of creating our own content. It was around this time that we had been talking to Pearson about making their backlist (some of which included important African literature titles) on Paperight, only to find that this would not be possible due to the fact that font-licensing issues meant that these would have to be re-typeset, and the cost of this was just not a viable option. In our in house discussions about increasing the pool of books published/available in African languages, we began to envision a translation project for popular international YA titles into isiZulu and isiXhosa. This lead to my applying for rights to translate Harry Potter, Twilight and The Hunger Games (a project that is still on going). Another of our projects for content creation revolved around matric exams, and the fact that the changes in curriculum meant that past exam papers would no longer be as relevant for students. We contacted Siyavula about a collaborative project to develop a bank of open CAPS-aligned maths questions for grades 11 and 12, but while supportive of the endeavour, their current commitments precluded any involvement on their part. Instead, we looked into hiring an intern to assist us in the creation of a question bank.

We’d increasingly been concerned that we were not close enough to reaching sustainability, and we’d ultimately need to shrink the team in order to extend the funding runway.

October was also the month in which we decided to plan for and prioritise a university marketing campaign as a “Blaze of Glory”, last ditch effort to see if we could gain enough traction in the university market to avoid having to make a serious pivot within the next six months. We’d increasingly been concerned that we were not close enough to reaching sustainability, and we’d ultimately need to shrink the team in order to extend the funding runway. As a team we started brainstorming the #textbookrevolution. Part of this planning lead to us focussing our attention on university prescriptions. I set up a database of prescriptions, and worked with Oscar to flesh this out.

Publisher Registrations

  • Short Story Day Africa (25/10/2013)
  • Jacana Media (30/10/2013)
  • A Poet’s Tree (30/10/2013)
Content, Finance, grants and awards

All’s fair in books and war, I mean, competitions

April’s main preoccupation was preparing for the Digital Minds conference startup innovation contest. It was the first time that anyone other than Arthur had presented Paperight to a large audience, and Oscar and I were planning on being a well-oiled machine by the time we got on stage. We wrote and re-wrote our respective speeches, and practiced until we were reciting the speech in our sleep.

In amongst that, we spent time chatting with Pearson Future Technologies about a meeting in London; Yazeed and I met with UWC library about incorporating Paperight into their library services; I met with Macmillan again; and we had a debriefing meeting with TWP to talk about the progress of Now What?

While I was at the Book Fair, and once it was over, the team was focused on processing of Mindset Learn materials, and sourcing missing content and cover images. Diann was working on ABC titles, Philippa and I on Mindset and College Campus titles, and updating of Matric Exam Packs (including uploading new PDFs and updating metadata), and New Africa Books. Oscar was in the process of mapping curated categories to Amazon categories, general curation duties, and updating of page extents and descriptions on content master, and content tagging.

On Sunday the 14th of April, Oscar and I arrived in London, only to find that they would only allow one of us to present on stage. We reworked the speech, and I delivered it solo at the Digital Minds Innovation Showcase – though Oscar’s presence still very much came through in his story, and it was good to see his reassuring face in the audience!. The showcase formed part of the Digital Minds Conference, annually held before the London Book Fair, and attended by industry leaders in digital publishing. Paperight was expected to offer a 4-minute pitch, against seven other innovative start-ups in digital publishing. We were selected as the winner of the showcase by popular vote.

After our win, everything else seemed easy! Oscar and I attended the fair from the 15th to the 17th April. Our aim was to build on existing publisher relationships and approach new publishers. Additionally, we were to pitch Paperight as part of the Digital Minds Innovation Showcase at the Digital Minds Conference the day before the fair.

Oscar’s trip was funded by the Department of Trade and Industry, as organised by the Publisher’s Association of South Africa. As part of the sponsorship, Paperight was given a table on the South African National Pavilion at the fair. This allowed us a place to meet with publishers, and a space within which to display Paperight-branded materials (our roller-banner for example).

The overall response to Paperight was very positive, and we signed our contract with O’Reilly Media at the fair: a fact that was reported in the show-news for the day.

Post Fair, I focused on follow ups and Base Admin, as well as completing a feedback report for the team, the Shuttleworth Foundation, and the DTI.

Publisher registrations

  • New Africa Books (2/1/2013)
  • Health and Medical Publishing Group (15/4/2013)
  • Do Sustainability (17/4/2013)
  • Cambridge University Press (17/4/2013)
  • HiSpeed Ltd (18/4/2013)
  • Eduskills Rainbow (18/4/2013)
  • Ses’fikile Press (19/4/2013)
  • Wide Margin (23/4/2013)
  • Granny’s Books Publishing (23/4/2013)
  • O’Reilly Media (24/4/2013)
  • On Target Publishing (25/4/2013)
  • By Light Unseen Media (25/4/2013)
  • Agang SA (26/4/2013)
  • MWS Media (27/4/2013)
  • CinnamonTeal Publishing (29/4/2013)
  • Ingrid Andersen (29/4/2013)
  • The Peacock Book Publishing (30/4/2013)
  • Ampelon (30/4/2013)
Content

Two anthologies start to take shape

March brought the first flood of anthology submissions. I triaged these from team email to Oscar, who then catalogued the entries. Once we’d received the influx, we set about organising an Anthology hack day to wade through submissions, read, and complete the first round of judging. While we’d have many sessions like this, I was only involved in the first few before I went to London, and then on leave.

In the spirit of writing competitions, we also met with Rachel Zadok to discuss Short Story Day Africa. Given that many of our team members are published or aspiring writers themselves, it was a project we were keen to be a part of. Paperight took on the sponsorship of the design and typesetting of the anthology, with the requirement that it be made available on Paperight after publication.

Our ongoing work with publishers included meetings with Cambridge University Press, Harlequin, Modjaji,  and Do Sustainability. I finalised my London Book Fair meetings. And we tried approaching publishers on ADvTech’s list of prescribed books (though we received no response).

We also worked on A Life, for New Africa Books. I finalised the epub and mobi versions.  Diann came in to do some freelance work.  I correspondence with Caitlin about her freelance work on the College Campus prep, oversaw Philippa’s CSV creation, and sourced missing information where necessary.

Publisher registration

  • Chris van Rensburg (7/3/2013)
  • Calm In Storm (18/7/2013)
Content

Updates to Content Master and Helpsite (and launch of Now What?)

now-what_together-we-pass-paperight_cover_low-res_20130228Once we’d received student feedback on Now What?, Nick began the process of editing and typesetting the book. We paid Paul Carter for his writing work, and made some last minute updates of our own. By the end of the month, we’d finalised the design of the book, uploaded it to Paperight, and launched it on the Together We Pass network.

Throughout this process we continued to work with Mampoer to get high-res covers for their titles, as well as with publishers, like PUO, P-Ridge Press, College Campus, and Hesperian, following their registration. I created a mock-up for Future Managers to show them what their books would look like in Paperight’s format. We met with Dylan Wray of Shikaya about finding a way to work together (we greatly admire the work that they’re doing, but couldn’t find a shared purpose in our current contexts) with Nelleke of NB Publishers to catch her up on progress with Paperight, and signed a contract with New Africa Books.

Plans for London Book Fair were well under way. We continued to work alongside PASA to get sponsorship for Oscar to join me at the fair, and I began researching attendees and sending out meeting requests.

We had previously been working with offline spreadsheets, but found the updating and version control to have become difficult to manage with a growing team. A Google Spreadsheet provided more piece of mind that the sheet was current, and there was less opportunity for confusion.

Philippa began working on the first draft of the new helpsite pages, and then we later went on to edit, upload and add screenshots to these posts. In the meantime, I revised the Content Master spreadsheet (metadata repository), and loaded this as a shared resource on Google Docs. We had previously been working with offline spreadsheets, but found the updating and version control to have become difficult to manage with a growing team. A Google Spreadsheet provided more piece of mind that the sheet was current, and there was less opportunity for confusion.

Publisher registrations

  • Hesperian (12/2/2013)
  • Bright Girl Books (19/2/2013)
  • AOTA Press (20/2/2013)
Content

Printing challenges and the state of content come December 2012

The high cost of colour printing was a constant challenge for us, especially when it came to children’s books, which were the primary priority for an organisation like The Shine Centre. Additionally, The Shine Centre needed us to get the price of each book under R35.00, which was easy when it came to monochrome printing, but very difficult in the case of colour.

Throughout December I continued communication with OUP about the potential for making their African literature list available on Paperight (a project that Oscar spearheaded), as well as following up with other publishers. We also sent printed product samples to The Shine Centre, a literacy organisation which we really like, and wanted to find a way to work with. The high cost of colour printing was a constant challenge for us, especially when it came to children’s books, which were the primary priority for an organisation like The Shine Centre. Additionally, The Shine Centre needed us to get the price of each book under R35.00, which was easy when it came to monochrome printing, but very difficult in the case of colour. We’re still working on this in 2014, and are hopeful that machines like the RISO ComColour will make a difference in this space.

many outlets don’t put posters up even when you’ve sent them the marketing materials, and need to be constantly reminded and chased

I facilitated the first Random House Struik file transfer and upload, and we experimented with a targeted RHS marketing campaign in select outlets. We learnt from the latter that many outlets don’t put posters up even when you’ve sent them the marketing materials, and need to be constantly reminded and chased. Once they had all put up the posters in stores (which took several weeks), we did not see great sales numbers. What we found was that the most productive way to generate sales early on is through organised bulk sales and school sponsorship deals, and not necessarily via more passive advertising.

now-what_together-we-pass-paperight_cover_low-res_20130228Another of our proposed content creation projects was Now What?, a guide for students who were studying through UNISA. We teamed up with Together We Pass to produce the booklet, with the understanding that we would manage the project management and costs, and in turn they would advertise the booklet and help to distribute it to their affiliated UNISA students. For us, the project was about showing UNISA that Paperight could be a useful mechanism for UNISA students. We began by having a general hacking session to decide on the outline and general structure, and then I drew all of this together into a detailed brief and content outline.

At the end of 2012, given the launch of Paperight 1.0 and that the content catalogue had to be rebuilt almost from scratch, I did an analysis of the listed content that we had put on Paperight since May. This had also shifted from primarily Creative Commons licensed and public domain works (on Paperight 0.5), to include titles from a total of 36 publishers who had since registered. We continued to have a large base of CC-licensed and public domain material, but this has been supplemented by contemporary African and South African fiction, academic work, study-guides, and teachers resources.

The graph below roughly illustrates, based on year of publication, the composition of the Paperight catalogue in comparison to that of the database in February 2012. It illustrates that we grew our proportion of contemporary, licensed titles. The drop in public domain titles here, is a result of the fact that some of our earlier public domain texts have not yet been processed for upload on Paperight 1.0.

Since February we had nearly doubled our acquired content, and had increased the amount of documents that have been processed for automatic download tenfold. As of December 20th, there were 1146 processed documents listed on the site, with 771 documents awaiting processing.

As of December 20th, there were 1146 processed documents listed on the site, with 771 documents awaiting processing.

The following data visualisations provide an overview of the percentage of books per genre. The second and third charts show the composition of sub-genres within two of the primary genres of ‘fiction’ and ‘non-fiction’.

These titles encompass a wide range of themes in the social sciences, both of an academic and general nature. These include books on politics (political parties and parliamentary politics), history, civil society and  mass media. There is a also a strong collection of African biographies and memoirs, African poetry and plays, African literary criticism and a broad collection of books on conservation and environmental issues. There is also an incredible collection of books on higher education, especially in Africa. Some of the books in our collection (especially books on African philosophy, the biographies and seminal works by past and contemporary African intellectuals) are not as easily available anywhere else in South Africa as they are on Paperight.  There are also books on cellphone culture in Africa,  African popular culture, books on gender and a wide-range of popular and literary fiction.

Publisher registrations

  • Parktown Publishers (10/12/2012)

HR, Marketing, Sales

We’re on TV!

In October I had my first opportunity to train a staff member at Paperight, when Abdul-Malik requested training from me. This was as much a learning experience for me as it was for him. It also allowed me to practice and improve my training ability.

October was also the month when we made our first television appearance since I had joined. I accompanied nick along to HecticNine9 studios and watched him from behind the scenes as he introduced the Paperight concept to South Africa. We watched the number of visitors to our website spike to a then highest number of visitors to our site.

The television appearance and other publicity we received led to a sharp increase in private individuals registering for the Paperight service. We made a decision to screen those who register as outlets even more deliberately and to be more specific in our messaging, getting the B2B point across.

It was at this time that I suggested that we add a sub-accounts capability to the Paperight website. This would make it easier for an owner of an outlet to monitor the activity of his staff and for a franchisor to monitor the activity of franchisees. This feature was later added to our website.

Content, Tech

Removing ad space on Paperight documents

Our latest website update now allows the option for watermarking documents with ads or without ads. This was our crucial first step towards product improvement. We found over this first year that outlet owners and managers were not inclined to subsidize the cost of paper by selling advertising on their documents.  As a result, we decided to remove the ad space we’d left at the bottom of every page.

Because many of our PDFs have been laid up to account for the ad space, this meant that the watermarking functionality had to account for documents either with or without ad space.  It also meant that the 900+ documents that were on Paperight would eventually need to be reformatted to remove ad space. We’d have to lay up the documents from scratch, with the text now able to take up more of the page, which improved readability. 

By the end of September a total of 1081 titles were listed on Paperight, officially surpassing the amount of titles we had on Paperight 0.5.

We began by reformatting matric exams, our most popular set of products.  We uploaded more Paperight Editions, including Shakespeare titles, now using the new format. By the end of September a  total of 1081 titles were listed on Paperight, officially surpassing the amount of titles we had on Paperight 0.5.

We did our first round of Rightsholder statements for sales on the new site. These had to be created manually, and emailed to each publisher.

I also conducted the first real set of enmasse follow ups to publishers that I’d contacted and not heard back from. And the team was joined by Oscar, who started his internship at Paperight with metadata related tasks. His main focus is on reviewing existing metadata, and improving it where possible.

The Shuttleworth foundation approved a project pitch to send me to the Frankfurt Book Fair, so I began preparations. This included setting up of meetings, research, and pitching preparation.

Publisher registrations

  • T&P Books (1/9/2012)
  • Disruptive Publishing (5/9/2012)
  • GetSmarter (11/9/2012)
  • A.R.B (12/9/2012)