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付費內(nèi)容的問題的癥結(jié)在于你

付費內(nèi)容的問題的癥結(jié)在于你

Adam Lashinsky 2014-01-02
不肯花錢閱讀高質(zhì)量內(nèi)容,最后的輸家不是媒體,而是讀者。如果一個人每天只有時間讀讀郵件里頭的工作材料,沒有精力也不遠掏錢去看看不同的人寫的高質(zhì)量內(nèi)容,這樣的人終將被社會淘汰。

????任何人只要在Twitter、商務(wù)社交網(wǎng)站LinkedIn或 Facebook關(guān)注我,就會多少對我的閱讀習(xí)慣有所了解。盡管我自認(rèn)為在同齡人中對社交媒體還是比較了解和熟識的——可以看杰西漢佩爾和我就手機軟件Snapchat撰寫的專稿——我的新聞消費觀比較老套。我訂了三份報紙,以及幾本雜志。

????下面,我想對這幾家“老牌媒體”出版物以及我的閱讀習(xí)慣說上兩句。

????首先,我是付費訂閱的。第二,我經(jīng)常使用這些媒體的網(wǎng)絡(luò)、手機和平板版式內(nèi)容,一天內(nèi)在不同的媒體形式間來回切換,根據(jù)不同的因素和需要來定,例如身處何方(在家、在辦公室或在出租車上)以及當(dāng)時所做的事情(餐桌前、躺在被窩里、或開會時打發(fā)時間)。

????我閱讀各類內(nèi)容,包括電郵簡報、博客、以及其他社交媒體上的內(nèi)容(主要是Twitter、LinkedIn和Facebook)但是,絕大多數(shù)真正有實際價值的文章還是來自我付費訂閱的老牌媒體。我在社交媒體上有一定的知名度,我也經(jīng)常與關(guān)注好友分享所讀到的內(nèi)容。最近在個人空間中貼出來的東西正好說明了上述情況。一個周末,我轉(zhuǎn)發(fā)了《紐約時報》( the New York Times)上有關(guān)紐約流浪女孩的悲慘遭遇,《華爾街時報》(the Wall Street Journal)上有關(guān)美國二戰(zhàn)老兵曾經(jīng)接受的前腦葉白質(zhì)切除術(shù)的恐怖報道,以及我在《財富》(Fortune)的同事彼得?艾爾金德有關(guān)離職紐約市長布隆伯格將重返其一手創(chuàng)辦的彭博社(Bloomberg LP)的全面深度報道。

????意料之中的是,上述這些能得新聞大獎的報道也都出現(xiàn)在了相關(guān)的付費出版物上。這些報道耗費了新聞機構(gòu)數(shù)目不小的經(jīng)費。每一份報道都凝結(jié)著記者多年的經(jīng)驗和新聞機構(gòu)的可信度。

????現(xiàn)在,對內(nèi)容的收費方法各不相同?!稌r代》周刊(Times)采用的是計時器方法,非付費用戶可以免費閱讀所有熱門的系列內(nèi)容?!度A爾街日報》有一套自己的想法,特立獨行地將部分新聞報道貼在網(wǎng)上,供免費閱讀?!敦敻弧冯s志則將紙質(zhì)雜志上的所有內(nèi)容設(shè)為付費內(nèi)容,但網(wǎng)站上的文稿,包括這篇文章,都是免費的。傳統(tǒng)媒體在內(nèi)容收費問題上的做法各不相同?!睹麍觥冯s志(Vanity Fair)將貝薩尼?邁克林有關(guān)瑪麗莎?梅耶爾的報道免費放在網(wǎng)站上。我猜想《名利場》一定借此賺取足夠的網(wǎng)絡(luò)廣告效應(yīng),以便能帶來更多的訂閱。這就是出版業(yè)的特性。

????Anyone who follows me on Twitter, LinkedIn, or Facebook knows a little something about my reading habits. Although I like to think I'm as proficient at and knowledgeable about social media as anyone my age -- see the feature Jessi Hempel and I recently wrote about the buzzy mobile application Snapchat -- my journalism consumption is fairly old school. I get three newspapers delivered to my doorstep, and I also subscribe to numerous magazines.

????A few comments on these "old-media" publications and how I use them.

????First, I pay for them. Second, I avidly use their web, phone, and tablet versions too, switching back and forth among media over the course of the day, depending on a wide variety of factors, including where I am (at home, in the office, in a taxi) and what I'm doing (sitting at the kitchen table, lying in bed, battling boredom at a meeting).

????I read all sorts of things, including e-mail newsletters, blogs, and other things I find on social media -- primarily Twitter, LinkedIn, and Facebook -- but the overwhelming majority of the articles from which I get true value are the old-media publications for which I pay. As a journalist with a public profile and a social media presence of my own, I also share what I read with people who follow me. A recent spate of items I shared perfectly illustrates my point. Over the course of one weekend I shared the outstanding series the New York Times wrote about the plight of a homeless girl in New York, the shocking reporting by the Wall Street Journal about lobotomies performed on World War II veterans in the U.S., and my own colleague Peter Elkind's exhaustive and penetrating examination in Fortune of Bloomberg LP at the precise moment its founder, departing New York mayor Michael Bloomberg, is about to return to his company.

????It's no coincidence that each of these likely prize-winning reports appeared in publications that require readers to pay. Each cost the organizations involved serious money to produce. Each built on the experience of the journalists involved and the credibility of institutions that backed them.

????Now, there is no one right way to charge for content. The Times uses a metering method, meaning that a casual, non-paying reader could view all of the Dasani series without paying. The Journal arbitrarily makes some of its journalism available for free, according to its own mysterious methodology. Fortune puts nearly all of the journalism that appears in the printed magazine behind a paywall, while it makes all its web-specific articles, including this essay, available for free. (Go figure.) Nor is there unanimity among traditional media regarding charging at all. The magazine Vanity Fair made Bethany McLean's outstanding profile of Marissa Mayer available online for free. I assume that Vanity Fair believes it can generate enough digital advertising and, more importantly, drive subscriptions to its magazine that way. It is the publication's prerogative.

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