Couples Kiss. Naturally.

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I watched with growing horror as the kissing couple story broke on Sky News last night. Another brilliant, world-straddling home goal, splashed all over the news. The message from the news report was quite clear: if you drink alcohol or kiss when you're on holiday in Dubai, the strict and fundamentalist Islamic state, you will be thrown in an Arab jail.

That should do wonders for tourism. The expensive advertising is screaming 'Come to Dubai and Live the Life! Have fun in the sun!' and the world's media are quite clearly screaming 'Not.' I can tell you who'll win the battle for hearts and minds here, and it's not the advertising.

Oddly enough, the fact that the whole incident took place in Jumeirah Beach Residence (Jaybeearr to most of us) depresses me even more. This, surely, is the very motherlode of the live the life dream in Dubai, the place where nice, clean people go for their morning runs along cobbled, nicely maintained walkways and hang out in the very large number of nice restaurants and coffee shops that crowd together under the stacked sandy towers above them. This is where people from all around the world chat, eat and drink together; where they shop together and pass each other in constant procession, walking out in society.

 I can understand the whole thing being taken seriously if the couple involved were clearly going at it like rabbits in public while beating the place up in their drunken stupor, or if the woman who filed the complaint had asked them to desist and had been attacked with a torrent of abuse. But if any of this was the case, it's certainly not coming across in the media coverage. In fact, what is quite clearly coming across from the media coverage is that this regrettable incident should never have escalated into anything other than a warning and being given a leaflet on how to behave in Dubai, if that. The defence says it was a social kiss, according to GN, making the lovely claim that the couple had "denied lip-kissing".

I believe that what is and is not acceptable in Dubai should be communicated more clearly. There needs to be a guideline that can be shared by the airlines and hotels that bring tourists in, by the real estate companies that let and sell property and by the media that tell us where to go and what to enjoy. And that guideline has never been needed so much as it is now.

Let's be clear here. I've lived here a long time and travelled extensively around the Arab World. I wouldn't be here if I didn't have some sort of affinity with the place and its culture. I totally respect the requirement for modesty in the UAE and that we should all of us show appropriate respect for its cultural values.

But I despair. I'm becoming increasingly concerned at this terrible schizophrenia; the place in which I have lived and worked for so long is suddenly alien to me. The place that openly and freely sells alcohol to all comers and which displays kissing on its television screens is the place where fines and jail cells threaten all who are brave enough to enter. The inconsistency makes a mockery of the tolerance that has been behind Dubai's success and that I had always admired so very much.

Buttons

Image by saraab™ via Flickr

Sometimes you find a story in Gulf News that goes beyond the ordinary, that is in a class all of its own. They usually originate from Ras Al Khaimah and involve herds of suicidal sheep, ghosts in caves or escaped deadly predators that some lunatic has been keeping as pets.

My treat today was the news that a shopkeeper in Ajman has been arrested for selling fake Dubai police uniform buttons. It's obviously no treat for the shopkeeper, who'll currently be in nick somewhere while they work out what to chuck at him charge-wise ("Let's do him under the 1986 official gold buttons forgery act!"), but the story itself has many touches of manic genius. It's here in all its glory.

Dubai police are not at all happy at the shop flogging copies of their buttons, as said buttons are specially made for them by a company in Italy. In fact, the danger of such buttonfoolery are pointed out to GN by a forensic expert and criminologist with Dubai police, who tells the newspaper, "These buttons could be used by suspects impersonating a police officer."

"I'm a policeman. Give me all your money."
"Show us yer buttons!"
"Here."
"Okay, you're legit. Will you take a cheque?"


The criminologist uses his keen understanding of the recidivist's mindset to conjecture that Dubai's Boys in Green might have been buying the buttons from the shop owner whose establishment is suspected, GN tells us, of being a tailor's shop, in order to repair their uniforms on the quiet. Apparently any policeman found ruining his uniform or losing his military costume accessories could face a military fine or trial.


So rather than face the consequences of their actions, they've been sneaking up to Ajman and getting black market buttons sewn on? Surely not - not policemen! There has to be some other explanation.

Won't it be wonderful if the shop owner had the presence of mind to keep a customer list? This could do for Gulf News what the parliamentary expenses scandal did for The Telegraph.

ButtonGate! We await the next installment of this one with bated breath...

Off on one

"Woss 'e up ter nar ven?"

"'e's off on one abaht ve bloody Emirates Festerval of Licherachure."

"Licherachure? Why on urf would 'e wanna blog about licherachure?"

"Dunno. But 'e as. 'E's bangin' on abaht books and writin' orl week."

"Oh, what? I 'ates it when 'e does vat. Writing vis, editing vat on and on. Iss allus better when 'e's avin' a go at ve RTA or summit, innit?"

"Yeah. Less go'n read Life in Dubai. 'e wone be all bla bla bla about ve bloody licherarchure wossit."

Which is my way of telling you that readership of this blog, as predicted, plummeted like a plummeting thing in free-fall and in fact almost halved last week when I was blethering about writing all week. And I don't care. It's my blog and if I want to get over-excited about the Emirates Lit Fest I shall. So there.

The Social Media Public Session wasn't bad at all, really, and was quite fun for audience and speakers alike (unless everyone hated it but were being nice to me for some reason). We didn't really solve the ills of the world or define the future of publishing or anything, but we had a lot of laughs. It hasn't changed my mind about this one jot, though.

GeekTalks up!

The first GeekTalks are up online, thank's to official GeekVid girl, Areeba Hanif (@MyBigDayFilms on Twitter). Areeba's done a great job putting these together - particularly as she had to face filming the talks with no space, bad access, crappy light and no sensible solution for her to get lights etc set up. She didn't crack a frown all through!

If you'd like to pop along to Vimeo, you'll find that we've set up a lovely profile for GeekFest Dubai 3.14 and will be posting GeekTalks there in future. You'll find it here or you can see the vids from GeekFest Dubai 3.14 on the Facebook fan page here.

We've used Vimeo because, for a small sum, we can host big video files and manage them effectively - and you can embed them anywhere you want. So do feel free to share!

Armaggedon!

Image via Wikipedia

I have made the point before that the publishing industry is following a business model dependent on its inherent inefficiency. The original post is linked here, but basically my contention is that the whole industry is built on the cost of distributing a product, squid and dead trees squeezed through rollers, that is about to be overtaken by a much more efficient means of distribution - the Internet.

Of course this is a very simplistic view - there are many other aspects to the industry such as editing and marketing, but I believe these would simply move to an online model where publishers would 'worldsource' such activities. In this model, publishing houses would be significantly smaller organisations surviving on significantly smaller margins and carrying much larger lists. They would be online-centric.

Print runs would be cut back to a minimum required for retail presence in a significantly smaller number of retail outlets - online buys would be serviced by POD suppliers. The music industry gives us a clear way ahead as far as the retail/online adoption model goes. Paper books won't disappear, but they will become less important to consumers - as, for instance, CDs have today. Hardbacks will be like today's vinyl records - a quirky indulgence for connoisseurs of the medium.

The inevitable atomisation of the industry will create a wide number of individual authors going direct to reader as well as a number of 'wannabe' imprints. We'll see an increase in pay to publish scamsters as well, no doubt.

In that scenario, online marketing will be crucial to publishers - particularly community development, where a publisher would build a wide circle of relationships that are built on the respect, trust and recognition for quality that will be pretty much the core of what the imprint will offer authors - because the core of publishing today is distribution and that's, as we've just said, moved online.

Many publishers are currently pushing the responsibility of maintaining online relationships to authors. The standard industry advice to writers would appear to be 'get a blog, a Fanpage and on Twitter. Move it!' right now, which is a tad unfair as it's increasingly going to be the case that a widespread, solid presence on these very properties (as well as some others) that will be the only thing an imprint really has to offer an author.Some of the larger publishers, such as Hodder & Stoughton (tentatively) and Random House (much further down that line, with Authorsplace), are aggregating author 'social' content and even beginning to look a little like communities - is this the way forward?

Or am I just blowing hot air? Are the tectonic shifts that are devastating the music industry and music retail going to pass publishing by?

Have a read of this - I read it after I wrote the above post (it was a Zemanta suggestion. I'll tell you all about Zemanta another time. It's cool.). It's from author Max Barry and it's yet more food for thought on the winds of change.

Authors and readers alike will be talking about stuff like this at the rather wonderful Emirates Airline Literary Festival, at the Social Media Public Session, wot is being moderated by me (hence all the fuss about this stuff this week). The permalink to the information page on the session is linked here. And you can follow the Festival's rather sound Twitter feed at @EmiratesLitFest.

Social Media - The View From Rome

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Author Caroline Lawrence is best known for The Roman Mysteries series of historical novels for children. The series spans seventeen highly popular books although Caroline has now written twenty books in total.

She's coming to Dubai to attend the Emirates Airline Festival of Literature - and she's also coming along to the EAFL public session on social media on Friday at 8.00pm to join in the discussion about social media, writers and readers. If you'd like to join us there, you're more than welcome - there's a Twitvite here and Facebook event here.

 Caroline's a pretty online person (@carolinelawrenc on Twitter, for a start!), so who better to ask a few 'establishing questions' before we get down to the nitty gritty of writerly socialism on Friday?

Do you have a ‘social media strategy’?
My strategy is once I've set up my profile on Facebook & Twitter to keep active, but not flood people with tweets or other messages.

How much time do you spend socialising online every day?
 At least an hour.

Do you find social media time consuming/a distraction from writing?
Absolutely! That's why I installed FREEDOM software which stops you surfing for a specified amount of time.

What elements do you use?
Facebook (two accounts - one personal, one fanpage), Twitter (two accounts - one for my Roman Mysteries hat, one for my Western Mysteries hat) and two Blogs (Roman Mysteries & Western Mysteries). I also touch base with YouTube to see what's popular. Oh and my website, which I update myself!

Do you tend to shun social media, use it socially only, use it warily or try and make the most of it?
I try to make the most of it!

Do you feel you ‘get’ it or are you flailing about a bit? Is there one element you relate to most strongly as a writer?
I pretty much get it.

Would you ‘go E’ if you thought you wouldn’t drown in obscurity?
Yes, I would totally go E if it mean royalties of 70%! Or even if not. (In face, I think I already am E as well as in print! Here...)

What is the one thing you think publishers have to offer to a writer with, say, 10,000 social media connections already?
If you've got that many followers etc you're probably on the telly and don't need any help from publishers who are probably behind the times anyway!

Where do you see this going in less than 25 words?
Social media? It's going to explode. http://bit.ly/RTzPe

What’s the ONE question about social media you’d like to have answered.
Does Social Media really help raise our profile or is it just another way of procrastinating?

How Social Media Taught Me How To Write

 (Photo credit: Wikipedia)

I picked up a parcel from Sharjah post office yesterday containing a jar of homemade chutney. We had some with a slice of cheese on toast last night. It was delicious.

It had been sent to me by Australian author HélèneYoung after I came in as a runner up in a frivolous competition held in a guest post on on Hélène's blog by writer pal Phillipa Fioretti. (Did I mention that Phillipa's first book, 'The Book of Love' publishes on the 1st April? Yes? Oh, okay then) I confess I had not seriously expected to ever see a jar of home-made chutney arriving from 'down under', let alone one sent by a Bombardier pilot and novelist, but then that's the power of social media for you - the power to globalise chutney.

I met Phillipa on Harper Collins' authonomy, where I had put a lump of my first book with the hope of finding someone who'd want to publish it. One of the fascinating side effects of authonomy was to drive a huge focus on editing work, with writers encouraged to critique each others' work and sharing views, information and approaches to writing on the site's lively forums.
I started writing books because I had reasoned I could write well. I had written millions of words in a 22-year career in media and communications, from articles, news stories, interviews and reviews through to market research reports, speeches and white papers - I'd churned out all sorts of things for all sorts of people, from CEOs to Kings. Why not write a book?

I quickly learned that Space, my first book, was as funny as I thought it was. It was popular on authonomy and hit 'The Editor's Desk', voted there by the community of writers that made authonomy snap, crackle and pop. I also learned that it was very, very badly written - although I didn't know it at the time. I remember Jason Pettus of the Chigaco Centre for Literature and Photography being particularly horrified at the way Space was put together. It broke most of the 'rules' of bookish writing - to the point where I have now retired it as uneditable.

I had a second book up my sleeves, a serious book about Jordan called Olives, that I also put on authonomy - although this time around I was just after 'crits' for the work. The frenetic effort it took to get the first book to the top of the slush pile was exhausting - and the proffered 'crit' from a Harper Collins editor was hardly value that returned the effort. 

The crits on Olives started to make me think more deeply about how it was written and I started to make some big changes and a series of wide-ranging edits to the book. Phillipa worked with me on a big edit and made me go and buy some books on editing and writing (I had hitherto vehemently resisted doing that but Pip bullied me), and Heather Jacobs, another of the little band of writers I've stayed in almost daily touch with since authonomy, did a painstaking line edit of the book. Heather taught me I use 'that' too much, the latest in a series of lessons that has completely transformed the way I approach writing.

I haven't met a single person since I started all this. It's all been online. I have canvassed agents in the UK, had feedback on my work from hundreds of people from around the world and profited enormously from having broken my pre-authonomy 'I'm not telling anyone I write these things' approach and have made friends online with a number of smart, talented writers whose daily doses of input, support and general silliness have been invaluable. There are writers everywhere in my online life now - on Twitter, on Facebook and the blog, too. It's nice to have them there, because I know they understand.

If it hadn't been for authonomy, I'd have learned nothing. I probably would have given up and gone back to the day job. Now I'm on book number three and 'shopping' Olives in the meantime.
>
I wouldn't have got a jar of Australian chutney, either...

Sorry, folks, this week's mostly going to be about books (Which usually sends readership plummeting, but hey ho!) - you can blame the Emirates Airline International Literary  Festival - in particular, don't forget the social media and publishing session on Friday! There's a Twitvite and FaceBook event page, BTW.

A Very Literary Fellow

 

Well, I've been asked if I'd moderate the Social Media Session at the Emirates Festival of Literature next week and I obviously frowned, said I'd think it over and then screamed 'Yes!' one second later, clamped to their right arm like a strychnine-poisoned pitbull wired to the mains.

It's a public session and is open with no registration or ticket requirement and I think it's going to generate not only a great deal of interest but also a lively and interesting debate.

The permalink to the information page on the session is linked here. And you can follow the Festival's rather sound Twitter feed at @EmiratesLitFest.

Why so interested? Well, there is my genuine interest in the topic from a professional point of view for a start, I do, after all, work for an agency that's very wired up with all this social media stuff. But this one's personal, too. As many of you know I have a nasty book writing habit and I will gladly use and abuse any route that could get me near any of the very lovely and charming gatekeepers I can hornswoggle into giving some of my work their consideration. Added to that, having stayed in touch with a number of writer friends since the whole Harper Collins' authonomy thing (using, in many cases, social media!), this whole area has been one where we have enjoyed extensive debate - and which offers a future of opportunity and fear in seemingly equal measures.

I have been fascinated by the role of the Internet in authorship and publishing ever since that involvement with Authonomy. I believe that social media is inextricably tied in to the future of publishing and that innovations such as the iPad are game-changers that are inextricably tied into social media.

There are a number of opinions about the way that publishing is evolving. Some of the more aggressive proponents (Dan Holloway's views, linked here, are always fascinating) of social media see it as a platform that has the potential to disintermediate publishing houses and put control back into the hands of authors.

Publishing houses are trying to find ways to use social media and the Internet that compliment their more traditional marketing machines, one reason why we had authonomy at all, but they are becoming fearful (and rightly so) about where the control is going to reside in the new distribution models that are starting to look not only possible but likely.

Meanwhile, authors are finding that they are gaining more control from their use of social media - more connection to their audiences, more direct relationship with readers and a marketing powerhouse that's in their hands and not at the whim of the publisher's disinterested publicist. Golly, people are even using social media to open bookshops these days!

All of this and more is going to get poured into that session and I think we're going to have a real roller-coaster ride with it. Always so much more fun than a sedate stroll around the park, no?

ArabNet: Dot Com Boom Anyone?

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ArabNet is taking place in Beirut on the 25th March. A two day conference, ArabNet aims to provide a regional platform for Web startups that will foster innovation and entrepeneurialism in the Arab world and consists of a load of 'how to' conference sessions featuring high profile international speakers as well as a range of pitching and demoing opportunities such as the Ideathon, which awards cash prizes for the development of the best 3 ideas pitched at the event.

With the strap line 'Trends and Opportunities in Arab Web Business', the event is one of a number of symptoms of a resurgent regional technology sector - Jordan's ICT Forum looks set to take place once again this year after a couple of years off - that's being driven by the web and, yes, the social web.

A series of workshops has been taking place around the region prior to the event in Beirut, aimed at helping young entrepeneurs hone the business cases they're taking along to ArabNet.

Where I find ArabNet interesting is its potential to be more than just a talking shop - with venture capital and investors, the backing of existing regional big names such as Zawya, Maktoob and Aramex as well as important web media properties such as ArabCrunch, the event has every chance of developing as an important part of fostering the fast growth of Web-enabled businesses in the region. We never really had a dot com boom in the region. It'd be interesting to see us having one now - better late than never!

The New Media Law

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This is a depressing column from Abdullah Rasheed, Gulf News' Abu Dhabi editor, today, written on the occasion of the much-delayed debate by the Federal National Council regarding the new Media Law for the UAE. I sincerely believe that Rasheed's words are required reading for anyone living here.

In it, he argues that media freedom has decreased in the UAE and calls for an end to the culture of censorship and silence in response to media that has become so common recently. "journalists battle to get even the simplest information due to non-co-operation of most official bodies" he says.

He points out that the number of UAE National journalists has dropped. And he points to a wide range of other major issues that are contributing to producing a national media that is uncompetitive. That international news sources and the Internet are sought as alternatives by those who feel un-served by the media. "Journalists are no longer doing their duty, meaning that the press is no longer monitoring the peformance of government."

The one point he doesn't make is that media struggling with all these issues are not challenging organisations in the UAE to respond as harshly as they could (and should) be - and the result of that is there is no culture of debate, argument or managing investigative media. You could well argue that a great deal of the negative international coverage has come about because of the inept way in which UAE organisations manage their relationships with international media - precisely because, of course, the counter-critical culture of the UAE is not mirrored elsewhere. To their surprise, UAE 'press officers', and the people they report to, discover all too late that journalists working for international media who are fobbed off or simply told 'there is nothing here' won't stand for it and will not only report, but do so with considerable vigour, too. Worse, they're being aided and abetted by social media. A leaky shark tank is not a minor problem with a malfunctioning valve when consumer-generated footage of an entire mall underwater is out there in the wild, for instance.


Decent spokespeople, sound media policies and sensible media relations can't develop in the absence of an empowered media. Those skills are critical, IMHO, to the future of the UAE as a player on the world stage - and so is a media that is allowed to get on with the job of reporting the facts in service of its readers, listeners and viewers.