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..........."We as content creators and/or content industry professionals must now put our energies into investigating and constructing web-native and deeply collaborative revenue models based on open platforms and the total embrace of the sharing economy that has already taken hold in our society. Once we move from egosystem to ecosystem, from monopolies, cartels and walled gardens to partnerships and open systems, I am confident that we will discover dozens of new generatives that will allow us, the creators, to prosper in the future. Nothing can replace that unique human power of storytelling and creation – the more technology we employ to distribute and access content, the more we need those good stories. Ditch control for compensation, leave the monopolies behind, start trusting your users, viewers, listeners and fans, and see the value of your creative work rise above and beyond. Don’t start by asking who will pay for your content, but ask who will pay attention, who will trust you, who will follow you – and then work with all involved parties to convert that attention into income......"
................"Freemium' is a word concocted by VC Fred Wilson and Jarid Lukin, and popularised by Wired magazine’s Chris Anderson. Freemium combines ‘free’ and ‘premium’ business models into new forms that basically follow the old marketing principle of giving away something for free only to up-sell many of those happy users to the next, paid levels. The Freemium approach has been very successfully used by many Web2.0 companies such as the broadband video, call and messaging service, Skype (get hooked on free calls and then buy Skype-out credits or local calling plans) and the internet’s leading photo sharing site, Flickr (spend $29.99 for a bit more storage space and the cool FlickrPro badge). The bottom line is that all digital content (including books) is moving from paid hard-copies to free, feels-like-free or freemium services and bundled access – and there is serious money in all of these options. And while we creators struggle to come to terms with the challenges of ‘free’, let’s not forget that, in those good old days of paid copies, people mostly paid for the printing or pressing costs, the shipping or delivery, and the retail storage space. Consumers did not actually pay very much for the song, for the words, or for the genius of the scriptwriter; they mostly paid for the middlemen, the studios, the publishers, distributors and retailers. Therefore, when these costs are taken out – as they are in many internet-based delivery mechanisms – it may not necessarily hurt the actual creator, but those middlemen and the industries built around them....."
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