Metamedia

While We Were Here – turning a festival into a newspaper

What.

While We Were Here is a 16-page free souvenir newspaper with a print run of 4,000. It was put together by a small team of volunteers during this year’s Greenbelt Festival. It included a 4-page black and white comic pull-out in the centre of the paper. You can download a copy of the main paper or the comic in PDF formats.

Where.

Greenbelt Festival takes place over four days at the end of August every year at Cheltenham race course. There’s no accommodation on site that’s not under canvas – so the newspaper team were camping out on the course along with about 20,000 other festival-goers. We appropriated a small box that’s normally used for watching the races and turned it into a newsroom, with two design Macs and three or four laptops at any given time. There were not enough chairs, the carpet went half-way up the walls, and we were constantly watched by pictures of small men on large horses.

Who.

In total there were ten people involved in making the main paper. We didn’t have much to do with the comic guys – they did their own thing and arrived perfectly on time with all their spreads in PDF form. Our team was brought together by Matt Patterson as hands-on managing editor and James Stewart as hands-off. I was the editor. James Weiner and Paul Abbott worked on data and infographics for the paper. Ben Weiner,  Will Quirk, Geraldine Nassieu-Maupas and Oliver Mayes made up our design and layout team, and Wilf Whitty dealt with some last-minute front-cover design issues.

The rest of the team were primarily design-minded folks and I was (as far as I know) the only one with newsroom experience. As a result partly of that and partly the fact that I’ll organise anything if it stands still near me for long enough, I took charge of content planning and making sure we had something interesting, well-written and appropriate for print on every page.

Why.

As a tangible souvenir, something to commemorate the experience of being at Greenbelt for those who were there and something to express a little of what it was like for those who weren’t. Something that’s separate from the blog or the Flickr stream or the Twitter conversations, a document that physically exists and can be handed around families, shown to children, given to grandparents, in a way that the internet still can’t.

And, in a very real way, we did it because we could.

When. How.

I was one of the last of the team to arrive on site, on Friday morning. At 2.30pm the team met for the first time and found out our general brief. Over the next four hours we hammered out a page plan for the paper, focussing on what we felt were the major themes and events from the Festival that people would recognise and want to read about. We decided who would be covering what in terms of writing content specifically for the paper. I briefedthe Festival’s photographers about what we’d need and when. We made up a flat plan and stuck it to various pictures of horses, and I wrote up a schedule working backwards from our hard deadline – 6pm on Sunday.

We made the paper in just over two days. The design team did a lot of work on Friday night and Saturday morning putting templates and grids together, while I did vox pops and got quotes from various festival punters. I started to put content together on Saturday afternoon, which is when it became clear that we couldn’t use most of the content from the two people who were blogging the festival over the weekend. One person’s writing was very long-form, personal and intellectual, while the other’s was very short-form and timely – both made for great blog posts but wouldn’t work in print. I started roping in people to write reviews and snippets of content, as did managing editor James Stewart. The infographics team finally managed to get hold of some data they could use and started drawing golf buggies in Illustrator.

By Sunday lunchtime we had about half of what we needed copy-edited and in formats ready to put on the page, and we had two neat infographics ready to place. I spent the next three or four hours writing, helping choose pictures, deciding what content needed to go in which boxes, copy-editing and being very rude to other people’s work so it would fit in print-sized boxes, while next to me the layout team collaborated to pull it all in to InDesign and make it look perfect. By about 4pm we had collected all the content we needed; the next two hours involved me pacing around the newsroom, making sure we had everything in the right place, picking different pictures when the ones we had didn’t work out, and occasionally taking a seat and making changes to the text or the design when things simply wouldn’t fit right.

Matt started uploading it at about 6.45pm. Network sloth meant it finally finished at about 8pm. The printers in Peterborough turned their presses on for about a minute and a half, and we had a print run of 4,000 copies. Four hours later thanks to some strangers who drove through the night for us, it was back on site ready for the first copies to be distributed at the last show of the evening.

Lessons learned.

• Planning is vital, much more so for print than for online journalism. If a blog post doesn’t go up or goes up late, few people will notice. If there’s a hole in your print paper, they definitely will. Thematic planning for something like this is crucial too – content should fit together, images should complement each other, pages should balance. That’s impossible to do with slapdash content delivered at the last minute.
• Briefing, therefore, is another crucial element. You can’t simply say “Write me 450 words about the music scene.” You need to make deadlines clear and make sure you’ve agreed which bits of the music scene are necessary. You need to talk about tone, audience, readability, style, voice. You need to make clear what’s needed, even when you’re both up against deadline, so that the content you get back is useful and takes the minimum of editing or rewriting.
• Build in redundancy. One of the reasons the paper worked well despite some of the content-related setbacks we had is that we did our best to get hold of more content than we needed – about half as much again. If I was doing it again I’d be shooting for twice as much, if not more. If it’s not used in the paper, it could go online; if it’s something that works better online, we wouldn’t have to force it into a print style. And if it doesn’t turn up, it doesn’t matter.
• Get data well in advance. Infographics are awesome but they can’t be created without data. If you have a tight deadline and you’re including data-driven charts or graphics, that’s the bit you should sort out first. We didn’t, and that’s why we only have two in the paper.
• Basic newspaper design skills are invaluable, even if you’re not a designer. If you’re planning content for pages, you need to understand how boxes fit together on a page, how headline size and positioning alters layout, what a baseline grid is, the difference between a 3-col and 4-col layout for a page, and a dozen other little things that don’t bother you while you’re writing but that become vital as soon as you’re laying out. You need to know the rules, what they are, how they can be bent and when they can be broken. Otherwise you end up coming in and asking questions like “Are we really wedded to a serif font?” and “Do we really need to lock to grid?” half an hour before final deadline. (Yes, this happened. No, it wasn’t me.)
• If you’re distributing content across multiple channels, a convergent newsroom is potentially a huge timesaver. This would have prevented completely the problems we had with last-minute content and having to repurpose pieces that were not right for print in their original forms – but it takes a lot of advance planning. Having a pool of writers – not necessarily bloggers or writers for print, just writers – who could be briefed individually by the blog editor and the newspaper editor, and whose work could be pulled to be used in one or both formats, would have been very valuable. Doing the same with images and video could mean a converged team in three parts: content creators at one end, putting their work into a big pool; editors in the middle, picking out the best of the bunch or the most appropriate for their medium; and distributors at the other end, feeding that work into the newspaper, the blog, Twitter, Flickr, Vimeo, the various other channels including feeding out to the magazine shows and round-up events on site – and making it easy for the press office to pass out the best of what’s on offer too. I think this is the biggest thing I’ve taken from the experience – I grok convergence much better now I’ve seen it from the editor’s point of view.

Exciting new projects

I’m stopping mid-travel on the way to spend a long weekend making a newspaper in a field, because an exciting new thing happened today.

I’m going to be teaming up with some of the guys at Neon Tribe – a local web dev firm who make awesomely exciting shiny Internet things with open data – to learn more data skills. I’m hoping to collaborate to bring a few of my long-brewing ideas to fruition, make a few shiny things together, and ultimately learn and improve the skills I need to make shiny things all by myself.

It’s not clear yet how much time I’ll get to spend doing this – most if not all will have to be outside my standard working hours as there are heavy constraints on resources in the newsroom right now – but even if it’s just an hour a week being a hack in a roomful of hackers, absorbing, learning and imparting with a few projects to focus on, it’s going to be a very exciting and – I hope – productive time.

Greenbelt and Home Sweet Home – storytelling in tiny towns

I’m off to Greenbelt Festival at the weekend, and this year I’m on the team creating a print newspaper for the festival.

I blogged last year (when I was just starting out here) about the newspaper they gave out at the festival – a 16-page freesheet called While We Were Here, made possible only at the last minute with sponsorship from Hewlett Packard. It used content that was already online, sourcing images from Flickr and text from blog posts, in a neat reversal of the print-first view you (still, sadly) often see in traditional newsrooms, and it was available for download for free online as well as handed out on-site. It was – is – a wonderful souvenir of the festival, as well as being an excellent way to convey the intangible experiences of the festival. Because it was created by people right in the thick of things, writing from-the-heart blog posts/I-pieces and not carefully detached articles of traditional journalism, it does a much better job of conveying the atmosphere of the weekend than any events listing or simple description could.

Since reading and enjoying While We Were Here last year, I’ve had some experience creating newspapers from scratch on my own. I made a miniature four-page newspaper as part of a performance/installation/community experiment called Home Sweet Home by theatre company Subject to Change, consisting of a tiny cardboard suburb where people from Norwich built their own mini houses, flats and businesses, using the community billboard, radio station and postman to create stories. I built a tiny Evening News newspaper office complete with tiny clay journalists and mini bundles of newspapers, and I ran a breaking news service (on a billboard made of card and matchsticks) for three days.

The paper itself was a four-hour job in InDesign using the Evening News print templates and masthead to create something faithful to the design of the paper I was representing. The stories were a more complicated proposition. Some folks volunteered bizarre tales and information themselves in letters; others created things I found fascinating, so I wrote letters asking for more information. Many stories came from the community noticeboard, which became an outlet for frustrations and campaigns as well as plenty of advertising. It was important to create a souvenir, something tangible people could take away, and to give people who hadn’t been there a flavour of the absurdity of the event – and part of that was treating very silly stories with the seriousness I would if they were real. The skills you need to gather stories in tiny cardboard towns are, it seems, the same as you need in big concrete cities – sharp eyes, a willingness and ability to engage and converse, the ability to go where people are talking and listen to what they say.

That experiment taught me a great deal about what’s important in newsgathering. I hope the weekend’s antics will teach me something new about storytelling. Greenbelt is an entirely different proposition to Home Sweet Home – many thousands more people and much less clear avenues for newsgathering, for a start, plus the fact that the newspaper is likely to be focussed once again on individual and collective experience rather than hard news. (Though if Peter Tatchell’s talk gets really controversial, that could conceivably change.) Although I haven’t yet had a detailed brief from project leader James Stewart – and I’m not expecting one till I get there – I suspect the paper this year will once again function primarily as a record of the experience of being there – and that means a different set of challenges to what I do every day. I’m looking forward to helping to make it happen.

Hacks & Hackers London – a few thoughts

Last night I headed to London for the first Hacks and Hackers meetup in the country. It sprouted out of the Ruby in the Pub meetings and has been organised by Joanna Geary and colleagues at the Times as a meetup for journalists interested in coding and geeks interested in journalism.

It was very well attended – more than 50 people by my count – and full of interesting conversations to be had about what people are currently doing and what they want to move into. I hope it continues and develops into a more structured, regular meet – and that I don’t have to get up at 5.30am to do an early shift every time I want to get there.

A few things I took away:

• It’s obvious, but it bears repeating: ideas are easy, execution is hard. We need skills as well as inspiration to build what we want to build.
• The corollary: collaboration is key. We don’t all need to know how to do everything – what’s important is building working relationships with people who can make up for our own shortcomings.
• Regional data journalism is a massively different prospect from hyperlocal or national. This is something I need to parse out, probably in its own post, but an important realisation – regional data and its implications and interpretations have their own joys and challenges.
• There are not many regional data journalists, especially in print-first organisations. To my knowledge I was the only person there who works on a regional news organisation, never mind a newspaper. I suspect there are plenty of reasons for this – time, inclination and understanding being just the most obvious ones. If we want to include interested regional print people in these conversations, we might have to take the mountain to Mohammed.
• Practical beats theoretical. If you want to persuade someone that data journalism is important or relevant, creating something is far more persuasive than explaining it. Don’t preach it, do it.
• Start simple. Everyone I spoke to who’s played a part as a tech/social media/digital evangelist in their organisation has said the same sorts of things – start with what’s possible right now, and work upwards from there.
• Not everyone with something to say is on Twitter or participating on blogs. Sometimes if you have a wide circle of social contacts it’s easy to miss voices from outside that circle – and often those voices have something tremendously valuable to contribute.
• People are amazing. Everyone who was at the meetup last night had some incredible ideas and projects on the go. Everyone had something to offer, something to teach and something to learn. At the risk of sounding completely hokey, it gives me hope.

And here are just a few of the ideas that I heard kicked around for what the group could do in the future.

• Hour-long lessons in all sorts of subjects – Ruby and other languages, Freedom of Information requests, story construction, search engine optimisation, data cleansing, social media, and so on.
• Talks or discussions led by people with practical experience covering topics that hit the industry at the moment – monetising online, social media policy (or lack of it), the fallout from the Wikileaks disclosures, for instance.
• A swap shop for people looking for help with projects or for learning mentors – almost a lonely hearts system for hacks seeking hackers and vice versa.
• Practical demonstrations and talks from people with proven experience.

Whatever direction it goes in, I’m glad to have been involved and excited to see what happens next.

The NCE News Practice exam: resources

I discovered on Wednesday that I’ve passed my NCE exams – and did particularly well on the News Practice exam, winning the Ted Bottomley award. (I love the name. Love it. Probably too much.)

The examiner [pdf] was very, very nice about my paper, saying:

A textbook example of how to tackle the Newspaper Practice paper. A comprehensive law
answer citing relevant cases and law, followed by practice answers that clearly demonstrate
the candidate’s imagination and ability. It is clear from this paper that this candidate is
already putting into practice the skills that the Newspaper Practice paper looks for. One of
the highest Newspaper Practice scores in recent years. A very impressive performance.

I’ve been trying to find the paper I wrote so I could work out what on earth I did right, but so far haven’t managed to unearth it. I’m pretty sure I arrived home and thrust it as far out of sight as possible along with the other papers.

But from what I remember, a staggering amount of what I wrote for the second half of the paper was about the internet. Specific, useful, relevant ideas about how to use it to move stories on, to facilitate comments and let the community take control of the conversation. I talked about topic pages, context as an integral part of news reporting, data journalism in many forms, visualisations, mashups, maps, timelines, social media, FOIs, online reportage in all sorts of guises and the importance of the hyperlink.

Anyone revising for News Practice exams – my best advice is read the links, think about how you can apply the theory to the practical, and good luck. Oh, and know your McNae’s. Nothing can beat that.

It’s oh, so quiet…

It’s a little quiet round these parts at the moment, thanks to a couple of work projects, a couple of extracurricular projects and these pesky impending exams.

So here’s a quick look at a few things I’m working on. A more regular blogging schedule will resume after Friday’s NCEs.

While I’m at work:

City of Culture
Since March, I’ve been planning, organising and running the Evening News campaign to make Norwich the first UK city of culture in 2013. (Do you know how much cumulative time, energy and repetitive copy it would save if I could hyperlink like that on my paper’s website? Anyway.) I’ve written or at least planned a page lead at minimum most days since the campaign began, jumping to more than 2,000 words a day during the Norfolk and Norwich Festival. Now we’re in the final push – the decision’s expected sometime in early to mid July, but we don’t know when. My job at the moment is to make sure we’re ready, whatever the decision, whenever it comes. Including if it comes on exam day.

Lord Mayor’s Celebrations
Every year since 1976 Norwich city council has held a celebratory weekend with a procession of floats. (The history of the parade goes back to the middle ages or further.) This year, the Evening News is printing 10,000 souvenir issues for the parade on July 10, with an 8-page supplement wraparound, as well as a lead a day in the week before the parade and the now-traditional 8-page picture-led supplement for the following Monday’s paper. I’m planning and writing most of the coverage for both, as well as shooting video and, bizarrely for me, sitting on the float judging panel.

Both of these are on top of the day-to-day general reporting life, tackling calls, early and late shifts, magistrates and crown courts, council committees and meetings, and other diary and patch jobs.

Oh, and revision. I forgot about the revision.

Extracurricular activities:

Six Months In Scents
I’ve just begun a blogging project I’ve planned for a while, challenging myself to write reflectively every day. I’m using my weirdly large perfume collection as a lens for a daily blog on scent, memory and the evocative links between them. Or I’m just writing an extended essay about the experience of community and collectivity around perfume that wouldn’t be possible without the Internet. Or I’m wearing a different scent every day for six months and waffling about how it makes me feel. It’s an experiment.

Live-action Pokemon Red game crossed with pub crawl
This needs no explanation. Well, actually, it needs a lot of explanation, and I’ll blog about it properly once we’ve considered the results from Saturday’s playtest.

Serious Business
My partner and I are going through the tricky business of writing up a business plan to turn Zombie from a not-for-profit hobby into a potentially profitable business. At times it’s mindtwistingly complicated but slowly it’s taking shape as a project that might turn a profit in a couple of years’ time.

On this blog:

I’m about 2/3 of the way through writing an enormous thinkypost about the aesthetics and grammar of hyperlinking in the wake of the Nick Carr affair. There are posts in the pipeline about Kingdom of Loathing‘s community, economy and monetisation, personalising journalism rather than customising experience, and a few other ideas that have caught my imagination.

But for now I think it’s fair to say it’ll be a little quiet around here till I’m the other side of the exams – even if it’s not so quiet anywhere else.

NCE refresher training

I’m on my second day of NCE training today in Wrexham. Tomorrow we’ll be doing a mock NCE day, taking mock News Report, Newspaper Practice and News Interview exams. This is in the lead up to taking my NCE exams – senior exams for working journalists, basically.

I’ve already had my portfolio scrutinised, and – thankfully – there’s not too much more work to do on it before the exams in July. Most of the work I have left is presentation – there’s a 10% presentation mark attached to the portfolio, which is easily the difference between a pass and a fail if you pick up most of the marks. Over the last 18 months I’ve written hundreds of stories, but for the portfolio we have to pull together 36 in total, 2 each in 18 different categories, and present them as they went into the paper along with our original copy. Under the mark scheme the presentation within the portfolio is worth the same as four of those stories.

Let me repeat that. Printing colour PDFs, making sure you put the right piece of paper in the right wallet and sign everything right, and sticking your stories on to black card is weighted equally with writing 4 of those stories. I’m not sure this is sensible.

Along with the portfolio grilling, we’ve done mock exams, including a Newspaper Practice paper that tests your ability to apply media law – that’s actually pretty useful – and then gives you examples of story ideas or beginnings and asks you to lay out how you’d cover them. I find these mildly depressing. Of course you say you’d set up video, live web chats, polls online, forum debates, interactive projects, complex data/FOI-driven follow-up stories – but the reality of my newsroom is that we’d rarely actually do this for anything but the biggest of big stories. There just aren’t enough people, there just isn’t enough time. But it’s good to get a chance to be aspirational, to talk about the ideal world and what you’d do had you the opportunity and kit necessary.

Then there’s the News Report and News Interviews exams. Honestly, bits of them are bizarre. We get a paper brief full of facts and figures, which is fine; someone reads a mock speech, designed to test our shorthand speeds and accuracy, which is fine, or we go and do a 20min mock interview, which is artificial but fine; we then have to write a story. Ostensibly it’s for the web but we’re told to use the same style we would use for print, and the word count is frankly brutal. Either 300 or 400 words, with only a 25-word margin on either side before we start getting penalised.

Even if we were writing for print, we’d have more margin than that. There’s flexibility in headlines and picture sizes – not loads, but more than 25 words. But that sort of brutal length limit for the web is mind-boggling when you can literally write as much or as little as you think you need.

I know, it’s an exam, it’s not meant to be real, it’s just testing skills we’re meant to be able to use in real-life situations. It still feels incredibly counter-intuitive to limit word counts so harshly. I’m not sure it’s actually testing anything useful any more. Each of the stories in these mock exams has been worth more space than we’ve been given, so I find myself pruning single words, rewording sentences over and over again to shave the last few clauses out, and – occasionally – omitting perfectly good, useful, interesting, humanising details. Essentially, making my stories worse in order to fit painfully artificial limits.

I’d love to know what the rationale is for such draconian strictness when it comes to word count. Anyone have any suggestions?

Dummy demolition

Alison Gow recently wrote an excellent post suggesting that newsrooms should get rid of the dummy – the page plan that tells print new teams what space we need to fill in the paper and where.

She said:

Everywhere I’ve worked it’s been called something different – The Book, The Plan, The Dummy, the Flatplan – but recently I’ve started wondering if it should be called The Box, because we think inside it.

… the HOW of filling a newspaper can become more absorbing and demanding than the WHAT …

…I would love to hear the phrase ‘How many words do you want?’ replaced with ‘How do you want this told?’ Is that happening on any editorial floors in the UK’s regional press yet? I’d love to know – because that really would be a converged newsroom.

I’d love to know too. As a general print journalist without an official specialism – and as a trainee, too – I’m not yet at the stage where the demands of the dummy consume my day as much as they do the content editors who have to fill its hungry boxes.

But the demands are becoming more apparent. We’re in the process of switching from a Microsoft Word-based CMS to Atex, built around InCopy and InDesign – and designed to allow reporters to write directly onto the page.

In effect, that means many stories have to be written to an exact length. Things weren’t particularly flexible for us before – we were writing to imaginary boxes 30cm or 8cm or sometimes 450 words long – but we could tweak our stories if we discovered they were “worth less” than we thought. That’s still going to be possible, but not as easy. Instead of writing the story to whatever length reporters felt was best and letting subs pick the right story lengths to fill the page, we’re now starting to see a situation where we have to work out how long our story will be before we begin to write it and set pen to paper.

It’s a different way of working and it may well suit some journalists better than it does me. But for me, the psychological impact of writing a story into a box is that I find myself stretching stories to fit, squeezing an extra quote or two in or lopping off a few facts.

And I have to change that. If stories are too long or too short then they’re in the wrong box, and I have to move them to fit. But that process has illuminated for me the problems of writing for boxes in the first place, especially for the web. If we write the boxed-in print version first, the web version will never flow the way it could given the unlimited space we have there to play in.

Allen Ginsberg once said – though I can’t find a cite online for it, I’m informed by a university tutor – that the length of a line of poetry can be constrained by the paper you write on. (Another beat poet, LeRoi Jones/Amiri Baraka, wrote him a letter on a length of toilet paper afterwards.) His argument was that the words should fit the breath instead.

Boxes constrain and limit us, and force unnatural shapes onto the writing process. No matter how many journalists, editors and newsrooms begin to break away from the dummy and start asking how we can tell stories instead of what shape they should be, if the technology we use keeps dragging us back there, journalists will still be writing 30cm page leads first and thinking about everything else – including innovating for the web – as secondary.

JEEcamp thoughts on data journalism

I spent some time talking to Martin Belam (@currybet) about data journalism and the importance (or otherwise) of journalists learning to code.

He said, as he’s said before, that it’s more important for journalists to know whether something is or isn’t possible than for us to necessarily be able to do it ourselves.

And for working journalists whose day to day job doesn’t carry a coding requirement already – and particularly those of us who are lucky enough to be in a workplace where there are developers or programmers who can take our ideas and make them flesh (ie. not me), he’s almost certainly right.

Those skills are becoming more and more important. With the birth of data.gov.uk and the increasingly open approach to information that the new coalition government is likely to take, sifting and analysing data to find the stories is going to be a vital skill for a lot of journalists.

We need to know our way around a spreadsheet. We need to be able to spot patterns in data and understand not only what they mean but also how we can use them to reveal stories that are not only relevant but useful.

We need to know where our skills can get us. We need to know our capabilities and our limits – and, crucially, we must be aware of what we don’t know. That’s not just knowing that there are holes in our knowledge, but knowing the shape of those holes so that we can try to get our problems a little closer to a solution.

Journalism is about asking the right questions. We research stories before we interview subjects so that we can ask pertinent questions whose answers will illuminate the subject. We need to be able to do the same thing with our data – we need to know what questions to ask and how, so that even if we can’t make the tools ourselves we can hand over the task to someone else without asking the impossible or wasting their time.

But most of the time, certainly for journalists on regional papers and I would wager for many in other areas, those people who know how to make the tools just don’t exist. I have friends who code, but I can’t ask them for a favour every time I want to create a news app, or diff two versions of a stack of documents, or visualise a complex dataset, or tell the story of 100 people’s losses from an investment fund going bust in a way that conveys both the scale and the humanity of the problem.

Regional journalists work on hundreds of stories that could be made vastly easier or more beautiful or more accessible through a touch of computer work (spreadsheets, maps, things that aren’t quite coding but sort of almost are and look like it to the untrained eye). A few of us can create those additions; the rest just write the story, and our papers and websites are poorer for it.

We work on a few stories – and the number is increasing – that are perfect for news apps, web coding, multimedia packages or other more complex solutions that very, very few of us can create. But no one else will do it for us.

On top of that many of us struggle with inflexible content management systems that penalise or make it literally impossible to display data-driven work online. Faced with that problem, some budding computer-assisted-reporters give up before they’ve even started.

So I’m not going to stop learning Python. It’s not a complete solution to the problem – for that we need real, systemic change so that the businesses we work for all value data work, understand its increasing relevance, reflect on current practice and support training journalists to do an evolving job.

But for me, it means that in the future I might be able to create better stories, automate processes within series or campaigns or multiple follow-up stories, make my job easier and make a better experience for the reader all at the same time.

At least, until we all have newsroom developers.

Foursquare vs Gowalla – the battle begins

This week has been all about trying new things – www.instapaper.com, www.audioboo.fm, www.posterous.com and www.formspring.me, among others. I've also signed up for www.gowalla.com today.

I've been using www.foursquare.com for a few weeks now. I love the idea, but I've had problems with the iPhone app – it's been intermittently slow, buggy or failed to pick up on connections at all. Hopefully the new update will fix that, but I'm also giving Gowalla a try.

I'm particularly liking the look of the items feature at the moment, though admittedly I haven't tried it out properly yet. Basically, it's a primitive virtual geocaching system. Every time you check in somewhere you have a percentage chance to receive an item. You can swap items for the ability to do certain things – mostly to do with creating new locations, as far as I can see. And people visiting those locations later on have a chance of picking up those items and passing them on.

I don't imagine I'll be using both Foursquare and Gowalla in the long term unless I can find a way to link the services so I only need to check in once. One check-in is worthwhile; two is probably more effort than I'll spend. But I'll be trying them both out for a little while – will report back when a clear favourite emerges.

(Incidentally, this is also another Posterous test post, to see how linking and tagging work…)

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