Three weeks ago I had no idea I’d have this book in my hand.
Three weeks ago I hadn’t even thought about writing this book.
Yet, here it is – my first pre-production copy hot off the press.
So now I need to read through it and check for typos.
And – all being well – it’ll be available in March.
Now I just need to get the interactive iBook version sorted.
More news on that soon.
This is what I wanted to do to my iPad. Fortunately, I showed some restraint.
Following on from my last blog post, the situation with Apple’s iBooks Author hasn’t got any better.
I’d set myself the challenge of writing and publishing a book in under a week. I succeeded in writing the book in five days. I hardly slept during the process. And spent an unfortunately high proportion of my time looking at a spinning beachball on screen. So when I completed the book, I couldn’t wait to hit the magical upload button.
But that was just the start of the problems.
This follows on from last week’s post.
I’ve decided to go with an aggregator
The first option of registering for US tax seemed too scary for me. So I went for the alternative.
I had a look at the European Apple-approved aggregators and decided not to go with either of them. One site was just in German and the other was a French site with bad spelling. Not a good sign when we’re talking about literature! So I looked at the US options and plumped for Lulu.
There were a couple of reasons for this:
- I’d used them before and had a good experience
- They would also allow me to easily create a printed version of the book.
They also said that they could convert your print-ready book design into an ePub format. That seemed like a bonus to me. I’d been flummoxed by the ePub format and anything that handled it for me would be most welcome.
Now it was down to some more work
Designing for print
Once I’d chosen the dimensions for my Lulu book, I went to Pages and created a document template. I’ve done a bit of design in my past, so that wasn’t too hard. I wanted something quite classic and easy to read, so I chose my font and set my gutters respectively.
I then had to copy the text from a PDF version of the iBook and paste it into my Pages template. This was a lot fiddlier than I had hoped. I also had to go through the text and remove any reference to interactive stuff. Then I exported it as a PDF. Arduous but pretty trouble free.
Next I had to create my cover design. I used Pixelmator (an affordable Photoshop alternative) to put that together according to the given specifications. However, when I uploaded it, Lulu knocked off a few millimeters around the edges for bleed. That’s pretty expected. But it wasn’t mentioned in the specifications and I had to guess that it was about 5mm all round. I rejigged my cover design accordingly.
Once the cover was uploaded I just had to decide on the price. One of the great things about Lulu us that it can sell your stuff on other places, like Amazon. However, if you do that, the money you make drops dramatically. So I’ll be directing all online book sales to Lulu – even although it’s not got as much literary kudos.
What about ePub?
So at this point I look for the options to add the ePub version. There are none. Hmmmm.
So I had to create a new project using the eBook wizard. And that meant I needed a different ISBN. Which, in turn, meant that I had to go back and update the book with the details, re-export it and upload it all over again.
I eventually tracked down the ePub creator. And it didn’t work for me. It works with Word docs and stuff – not Pages files or PDFs. Bugger!
I scratched my head. I spent some quality time with Google. And I eventually found that Pages has an ‘export as ePub’ option. I never realised it was right there in front of my face!
Yay! Let’s try that!
Oh balls! It doesn’t work. And it recommends I download a best practice template to base it on.
Helpful. But annoying.
So I had to create yet another Pages document, importing all of the text all over again into a new ePub-friendly template.
After a couple of hiccups I got it to export.
I email the sparkly new ePub file to my iPhone for a quick preview and … holy shit! What a mess! It looks absolutely nothing like I intended.
There began hours of tinkering, exporting, previewing, swearing, rinsing and repeating.
And still there was no way of getting my pretty front cover attached to it properly.
My potty mouth was something to behold.
I hacked a workaround by importing the file into Calibre, editing the metadata and uploading a new cover image from there.
This meant an even larger loop of work for every iteration.
I eventually got my ePub into a state where it didn’t embarrass me too much.
I uploaded it to Lulu and set the price.
And now to uploading the interactive iBook
There! As far as I was concerned, I had fulfilled the obligations. I had found an aggregator. I had given them a valid ePub file. I was now ready to upload my iBook.
But wait!
It seems that Lulu don’t do that. Or any of the other aggregators.
What the blithering heck?!
I’ve just been down Apple’s recommended alternative route to discover that it isn’t an alternative route at all?
I’ve been duped!
I’ve done all of this work and found myself no closer.
I’ve asked Lulu. And I’m still waiting for a response.
Apple don’t even let you ask them. They direct you to a forum. So I asked the question there and got a lovely, helpful response. It seems that I’m not the only one with this issue. Take a look at this forum thread, if you dare:
https://discussions.apple.com/thread/3689758
Bob almighty!
If I want to sell the interactive iBook I’ve worked so %#$@ing hard on, I have no choice but to register for a US Tax ID. And that may mean that I have to do US Tax Returns as well as British ones. And the process could take weeks or months before I can get the book into the iBooks store.
So for now
The book will be available very soon.
Just not as an interactive iBook.
It will be available as an eBook in the iBook store – and lots of other stores – and also as a glorious printed version.
I may also release an audiobook of it next month.
But the one piece of brilliance that I wanted to give to the world will be mouldering on my hard-drive for a little while longer.
Possibly for ever.
And my love/hate relationship with Apple grows a little more sour by the minute.
Last Tuesday I set myself a challenge.
I decided that I was going to write and publish a book in a week.
It’s all thanks to iBooks Author being so lovely and simple to use. All I had to do was knock out a few thousand words of inspired genius – and then upload it to the Apple Bookstore.
So on Sunday night I achieved the first part. I finished all the words. I’d even had a bit of a spanner thrown in the works when I was talking to Al and Jules at St Lukes about the book and they pointed out another section that should go in.
There was also the problem that iBooks Author got more turgid the more I wrote. My book isn’t long – only about 80 pages – but it’s crammed with interactive stuff. It got so slow that I couldn’t have any other apps open and I still spent three quarters of my time looking at the spinning beachball of eternal frustration. The finishing touches to the book were done through gritted teeth and potty-mouthed outbursts.
Regardless, I finished writing my masterpiece in 5 days. That gave me 48 hours to proofread it and upload it to the bookstore. That sounds achievable, right?
Wrong.
The Apple experience stops here
I made a big mistake. I assumed that the Apple experience would continue all the way through the process. I assumed that there would be a nice simple process where you upload the book, you add a description, you set the price and you enter your bank details to get your cut of the cash.
It’s nothing like that.
And I was slightly sickened when I slammed head-on into some massive obstacles.
And for those of you thinking about doing your own iBook, here’s a wee bit of insight.
As soon as you hit ‘publish’
There’s a lovely happy arrow in the menu bar of iBooks Author. It was the one button I was so looking forward to clicking on. That meant that I’d finished my book. This was a big moment for me. It opened up my browser and give me a screen with two nice simple options.
I knew which category I fitted into. This was going to be alright.
I clicked on ‘Create a Paid Books Account’.
Here we go!
Skreeeeeeeeeeeeeeech…Slam!
This is where Apple wave you a cheery goodbye and leave you to fend for yourself.
I found myself thrown smack into the firing line of some pretty nasty bullet points.
I’m dyslexic – which may be unusual for a writer - so this kind of thing scares the living crap out of me. It’s just a nasty grey block of official text to me. It takes real effort to get into this stuff.
I took a deep breath and tackled the first bit: the system requirements.
I’m OK. I’ve got a pretty new Mac.
I pass with flying colours.
Next bit: the content requirements.
At this point I find out that I need ISBNs for all the titles I intend to distribute. Blithering arse! I know nothing about this. I’ll come to this later.
I also need to be delivering the book in ePub format. What’s that? Does iBooks Author do that for me automatically? More confusion. Let’s return to this.
Now onto the Financial Requirements.
Holy blinkin’ mother of Bob! I need a U.S. Tax ID? What? Really?! I have enough issues with the British taxman – and now I have to compound that with entering a contract with Uncle Sam’s penny pincher?
This all seems like a freakin’ nightmare to me.
Time for some research.
What the hell is an ISBN and how do I get one?
I at least understood what an ISBN number was. It’s the unique ID for published books. But I didn’t have a clue how to get one.
Hello Google, how you doin’?
It seems that there’s only one UK company licensed to hand out ISBNs. It’s Nielsen:
As you can see, their site is so bad that it doesn’t format properly on my Mac! The menu in the top left goes over their logo. And the headlines in the right hand boxes go over the lines.
Not only is it a design-travesty, but it is a mass of text with no clear way forward. And a table at the bottom informs me that I’m going to have to buy a batch of ISBNs – the minimum batch being 10 of the things for £118.68. OK. I think I may be able to stretch to that.
I bookmark the page and decide to move on to the next point.
What is an ePub format and how to do I get the book into one?
I look at the export options for iBooks Author. Nope. I can export as a PDF. I can export as text. And I can export in iBooks format. No ePub.
So I click on the Help menu and select iBooks Author Help. There’s got to be something there. I type ‘epub’ and get no results.
WTF?!
I’m forced to do more research. And after half an hour I work out a kind of workaround.
I can export the book as a PDF and then use an app called Calibre to convert it.
Great! And Calibre is free. Woohoo!
The problem is Apple adds all sorts of crap to the PDF. Like “ iBooks Author” on every page.
And my two column text layout confuses the order of the text. All the words are there. They’re just in the wrong order.
Close. But no banana.
More research.
And then I find an app called Sigil that allows you to edit your ePub file.
I’ve started to tinker with that. It looks pretty good. But it’ll take a lot of work.
I may be better rebuilding the book in Pages as a linear text document with added images – and then using Calibre.
Still trying to work that one out.
Am I now going to be chased by the US taxman?
I then look to see how easy it will be to get a Tax ID from the IRS. And try to find out my tax obligations if I do that.
I find this:
Another slab of official grey text. This stuff terrifies me!
I do, however, notice that it’s free. But it’s not immediate.
Gaaaah! Is there an alternative?
Let’s go back to Apple’s hail of bullets. Somewhere at the bottom it offers you an alternative if you don’t want to go through this system.
Great. Because I don’t want to have to address any of this nightmare crap.
There’s the option to go through an Apple-approved Aggregator. Sounds intriguing.
I click on it and get this:
Here’s a list of companies who can handle much of this ugliness for me.
I look at the European options.
The first is called Bookwire. It’s all in German. And it’s just a form.
I use the Google translate feature and it tells me next to nothing about what they do, what the deal is and how long it will take.
Next!
I try the second option - Immatériel. Clearly not a British one again. It gives me this:
I may be dyslexic but I still shudder at the spelling of ‘plateform’. Surely, if you wanted to attract business from the UK, you’d want to check the spelling of the headlines. My confidence is shaken. But at least it’s a better option than the German one.
I may go with this.
But I’m still not sure.
Or I may see if some of the American options will accept me.
It’s all part of the journey I’m on right now.
So is there a conclusion to this?
I feel that Apple have really let me down here. And probably more so because I’ve gone to so much effort to write a book!
What exacerbates the situation is that the process is topped and tailed by the characteristic Apple awesomeness. I started off using iBooks Author which (although it had my Mac on it’s knees) is very lovely and intuitive. It then finishes in the lovely Apple Bookstore.
These idyllic environments make the bit in the middle - where Apple leave you in a hostile wilderness with no tools or help or advice – all the more horrendous.
I know I’ve been naïve with this. If I was a ‘proper’ writer, I’d have just gone through a publisher. But the wonderful thing about the internet is that you don’t need the middle-men any more. I publish my own podcast. I publish my own thoughts here. It’s easy to publish your own music and films. That’s the way forward!
I’ve looked online and not found any decent help with the situation. So I’m sharing it with the group. And when (not ‘if’) I find a way around this, I’ll share it again.
Well, that’s kind of taken the wind out of my sails about my book announcement!
At least my second book will be easier!
Don’t try to change what people think.
Try to change what they do.
Photo courtesy of Julian Hanford
Sir John Hegarty must be sick of me. I met up with him last week to interview him for the podcast (and a forthcoming book I’ll give you more details about soon!) And then last night we did an event together at the BBH office. As you can tell from the little halo above my head in the photo, I was on my best behaviour.
The evening was the first of a number of discussions organised by the School of Communication Arts focussed on the future of the advertising industry. Which, as you may know, is something I’m pretty interested in.
We were also lucky enough to be joined by the always-entertaining Robin Wight, founder of The Ideas Foundation and president of The Engine Group. And the room was filled with lots of other great advertising people, a representative from the Sector Skills Council and a number of star students from the school.
I wanted a record of the night, so I popped my digital recorder on the table for the duration of the event. So if you’ve got an hour and a half to spare, you can have a listen to what was discussed right here:
UPDATE: You can also see a film of it on the School of Communication Arts site right here
As well as running Additive, doing the Future of Advertising podcast, writing books, working on TV programmes and lots of other crap – I occasionally keep my hand in as a creative. Because I can’t think of anything worse than being the guy who teaches but doesn’t do. Ugh!
So here’s something I was involved in a few months ago with The Viral Factory. It’s a new charity I came up with for a VH1 show. It’s called ‘Give A Shit’ and it simply asks you to spend your time thinking about something worthwhile when you drop the kids off at the pool/rake out your cage/crimp a length/chop a log/lay some cable.
The video – starring some foxy bint from Twilight – tells you more. Or see the website here.
A couple of weeks back I sent an email I didn’t expect to get a response to. It was to the legendary Art Director, George Lois. And much to my surprise he responded and invited me around to his New York apartment to interview him for the podcast.
Wow! What a scoop!
George was right there at the creative revolution, working alongside Bill Bernbach. He is the hero of many of my heros. And his influence has been so great it’s spread well outside of the advertising industry.
There are so many things I want to ask him. But I don’t want to keep it all to myself.
What questions do you have for the great man?
Next up on my forthcoming interviews we have Sir John Hegarty.
Few people have had such an impact on British advertising as this man. And I’m over the moon that I’ve managed to grab some of his time.
I’ll be talking to him about his book. And asking him about the future of the industry.
But what would you like to ask him?
Fire away in the comments area.
I’ve got a bunch of incredible interviews coming up in the next few weeks. Truly incredible. I’m prodding some of my heros in the face with a microphone. And I want to make sure that I ask them the questions my listeners want answered.
So I’m asking for your help.
Please, use the comments section to tell me what you’d like to ask these advertising heros.
First off – Mr Steve Henry.
He’s responsible for so many campaigns I wish I had in my portfolio. And he’s one of the very loveliest people I know.
So what do you want to ask him? How he judges creative work? His opinions on the role of research? Who he thinks is producing the most amazing work at the moment?
Just add your questions below.
And stay tuned.
I was chatting to Steve on the phone the other night, telling him all about the exciting stuff I’m doing.
And I neglected to ask him what exciting stuff he was doing.
How rude of me!
The next morning he was up bright and early to be interviewed by Evan Davis on Radio4.
His life is clearly far more exciting than mine!
I’m not sure how long Radio4 keep their programmes online – so I cheekily snaffled it and put it here for your listening pleasure.
Enjoy!
Yesterday Marc Lewis and I received some stats on the online viewing figures for our 140 Characters pilot show.
It was considerably higher than we were expecting.
By a couple of thousand!
For all those who missed the show – and would like to see it again – we’re hoping to get it back up on 140characters.tv some time this week.
For those who tuned in on the night – thank you. We’re blown away by your support.
On Tuesday I announced that the podcast was now being sponsored by the School of Communication Arts. I may have mentioned that I’m really excited about it. If not, please understand that I am REALLY exited about it. And to celebrate the new tie-up, the students split into two teams and hit the streets with the guys from buymyface.com to drum up a few more listeners.
And here’s what happened.
Team 1 took Soho (accompanied by the amazing photographer Julian Hanford)
And team 2 took Shoreditch.
As you can see, they blagged their way into agencies. And this is how many each team succeeded in gaining access to:
Each team also tried a bit of tweeting. This is a record of their activity:
Both teams also tried a bit of underhand bullshitting. This is how I think they fared at that game:
And, from tracking the hits on the addresses I gave them, this is how many downloads each team succeeded in getting:
Can you tell who won?
We’ll, in this visual team 1 is ever so slightly ahead with 170 hits to 167.
But then I remembered that I had to adjust the figures. We had tested the URLs before the day to make sure they worked. And I needed to subtract the test hits to get the true figures. And that changed things ever so slightly to:
Team 1 >>> 161 hits
Team 2 >>> 162 hits
Yup! It couldn’t have been closer. There’s just one hit difference.
The most impressive thing is that their work has contributed to a whopping 804 podcast downloads in a day and a half. Which is considerably higher than the usual level.
Well done to all the students who took part. In particular I’d like to think the winning team of Sophie, Charlie, Elen, Thirza, Helen and Rasmus. Especially because they also succeeded in getting the podcast featured on It’s Nice That too.
There’s more podcast fun coming from the SCA2 students soon. They’ve also come up with a bunch of amazing ideas to promote the podcast to the industry. I’ll be telling you more about that stuff very soon.
This morning I launched Episode 8 of the Future of Advertising Podcast. And to celebrate the fact that it’s now sponsored by the School of Communication Arts, the students went out on the streets of London to drum up more listeners – accompanied by the guys from BuyMyFace.com
They split into two teams – with a unique web address and QR code each – and went in search of unsuspecting advertising people.
I won’t know how they’ve fared until my stats update at the witching hour. So, come the stroke of midnight, I’ll be checking to see which team won.
I’ll let you know on Thursday when I go into the school to announce the winners.
In the meantime, if you want to boost the stats for one of the teams, click on one of these two links to visit the download page:
getadditive.com/team1
getadditive.com/team2
It’s taken forever.
But I can now announce our new sponsor for the podcast:
The School of Communication Arts
I hope you’re running around whooping and hollering and high-fiving complete strangers – because that’s exactly what I want to do. It’s a perfect match. This podcast is all about the Future of Advertising and the school is educating the talented individuals who *are* the future of advertising. If you want to find out more about it, there’s some blurb right here.
So here’s what we’ve got in store for you this episode:
An interview with Marc Lewis, Dean of the School of Communication Arts
I just love hanging out with Marc. He’s one of those people that inspires and energises me. So I was delighted to interview him. He talks about:
- Why he started up the school in the first place
- The first batch of graduates from the school
- The learnings and mistakes from the first batch of students
- The breadth of expertise that the mentors bring
- Who the best mentor is (guess!)
- How the school is funded
- The difference between heroes and legends
- Why you should sponsor the school
- Why you should become a mentor
- The unusual sponsorship deal we’ve come to
An interview with Paul Brazier, ECD of AMV BBDO
Paul looks after more creatives than anyone else in the UK. And manages to motivate them to win a startling amount of awards. His office is packed with them. I was tempted to pinch a couple of pencils or lions on my way out – he’d never have noticed.
Paul talks about:
- His 20 year anniversary at AMV
- His involvement in the School of Communication Arts
- What they get out of it
- How he got into the industry
- How AMV has evolved over the years
- That digital isn’t about digital
- The stuff that still gives him a thrill
- His time as president of D&AD
- His tips for creatives
And then we throw it over to you to get your employer involved.
We need you to convince your company to sponsor the School of Communication Arts. It doesn’t cost much. It’s tax deductible. It’s massively rewarding. And you’re investing in the future of our industry.
And if none of you do it, this may be the last podcast for a while.
And if any of you do, you’ll get a podcast dedicated to you.
And a rosy glow inside.
It’s in your hands.
A wee story for you here.
Nearly 20 years ago I started in the ad industry in Scotland. And – because Campaign talked about nothing but London – we had our very own advertising magazine – The Drum.
That was where you’d find all of Scotland’s advertising news. As you can imagine, there wasn’t loads of it. So you’d think it might be quite easy to get written about.
I was a junior. I wasn’t very good. And The Drum wasn’t very interested in writing about me.
So you could imagine I’d be delighted if I ever got a mention.
I wasn’t.
They could never spell my name.
In one article I was disappointed to be credit as ‘David Briss’.
In another I was underwhelmed to be mentioned as ‘David Birse’.
And – most peculiarly – the one time they got the ‘Birss’ bit right, they spelled my first name ‘Davis’.
How the f%^& did that happen?!
So today I see an article that mentions me in The Drum.
And my name is in the headline.
And – for the first time ever – it’s spelled correctly.
This is a big moment for me people.
Please go and read their article about what the SCA students are doing for me tomorrow:
School of Communication Arts looks for sponsor with Dave Birss
I always like to say yes to things that scare the living crap out of me. And this latest venture is no exception to that rule.
This coming Monday I’m going to be hosting a digital comedy night as part of Internet Week Europe. And you can watch it live, wherever you are in the world.
The main draw of the night is the filming of a pilot for a TV show, starring Neil Mullarkey, Niall Ashdown and Andy Smart.
The show is an improv comedy extravaganza where the action on stage is dictated by the viewers on the web. And the lucky 140 people who manage to get tickets to the event.
I’ve been arranging it alongside the wonderful Marc Lewis, Dean of the School of Communication Arts. And we’ve hed the incredibly generous support of Nice Agency who are programming the system, Edelman who are providing the venue, Kinura who are doing the streaming and Ravensbourne who are doing the filming.
We’re also supported by Twitter – which is the platform we’re using to get the audience suggestions.
If you fancy getting tickets, you can find them here - http://140chars.eventbrite.co.uk/
And, if you can’t be there, you can join us live on the web at - http://140characters.tv/
And I also need you to get involved before we start. It would be great if you could send me:
- an audio file of you yelling, coughing, farting, sneezing, growling – or any other fun noises we can include in our buzzer sounds.
- a link to a YouTube video that we can create a voiceover to
- photos we can use to feed the onstage mayhem.
This is your chance to be part of TV history!
I hope you’ll join us.
I often find myself talking to agencies and clients about making sure they’re solving the right problem.
And this is a perfect example of what can happen when you take a step back and work out what the problem really is.
For years the printer industry thought the public wanted more features and faster printing.
But what actually needs addressed is not what the printer does – but how the printer does it.
This is beautiful. I really, really want one.
This is the image that greeted me this morning when I visited the School of Communication Arts. I’d never seen it before. So I wanted to know where it came from.
Apparently it was done for the ICAD Annual last year by an illustrator called Steve Doogan. There’s some lovely stuff on his site, if you fancy a gander.
Nice. Thanks Steve!
Over the last couple of months I’ve had quite a few enquiries from people interested in workshops and talks through Additive. That’s great news! I’m always delighted to hear from companies who are interested in education and training. I’m pretty passionate about it, you see.
But many of these enquiries had one thing in common. The enquirers were expecting us to provide our services for free. And that’s not a price I’m very fond of.
So here’s a letter to those tight-arsed companies:
Dear Freeloader,
Thank you for your interest in using Additive to provide training for your organisation. Like you, we believe that education is absolutely vital if our industry is to remain relevant and effective in the world of business. However, it seems that we disagree over the actual value of it.
You see, the training we provide is designed to make an impact across your entire business. It gives you the skills to do more relevant work that will benefit your clients. It gives you the opportunity to pick up briefs beyond your current skillset. It helps you retain clients who are starting to look elsewhere for fresh approaches. It helps you hold on to restless but talented employees. So the idea of doing it for ‘free’ is not something we’re entirely comfortable with.
“It’s only a couple of hours of your time”, I hear you say. “We’ll even provide free coffee and biscuits for you while you’re here.”
Nope.
“Well then, let us try you out first and we’ll pay you for any other sessions we book you for.”
Uh-uh.
“How about a few of us pop along to a talk you’re doing elsewhere?”
I’m sorry, but if you don’t put any value in training up front, the training won’t have any value. Education isn’t a dip-your-toe-in-the-water kinda thing. You either go for it or you don’t. Us teaching you stuff is just half the game – you acting on it is the other half. And if you lack this much commitment right now, I don’t see you having the commitment to put anything into practice.
May I suggest you start your own education with ‘Management for Dummies’.
Many thanks,
Dave
I brought out this podcast a couple of days ago – and I’m only just getting around to mentioning it on the blog. This is the last of the ‘independent’ series. As from the next episode, they’ll be sponsored by one of my favourite organisations in the whole blinkin’ world.
So here’s what have in store for you in this episode:
An interview with Spencer Osborn, one of Ogilvy’s Global MDs:
He quickly makes it clear that he’s not THE MD of Ogilvy, he’s AN MD of Ogilvy. And he had lots of clever and insightful stuff to say.
As a taster, he covers:
- how he became a global MD of Ogilvy
- why he doesn’t think of himself as being in the advertising business
- why he finds just doing TV and posters a bit dull
- the importance of creating dialogues with people rather than just telling and selling
- why targeting has always been the most important thing
- what he means by ‘pervasive creativity’
- why he’s stunned at how slow some agencies have been to adopt digital
- some potential problems with crowd-sourcing
- the big changes between the UK and US advertising industries
- about Ogilvy’s ‘Big IdeaL’
- his thoughts on the big agency model of buying-in skills in comparison to the smaller agency model of outsourcing everything
- how true it is that an idea can come from anywhere
My daughter’s regular advertising review
We look at:
- McDonald’s Time to Spy interactive YouTube video.
- Allstate’s Racoon TV ad
- A YouTube banner experimental thing from Lean Mean Fighting Machine.
It looked a bit like this:
What comes next
You’ll already be sick of me talking about the sponsorship. But it’ll all be unveiled in the next episode. I’ve got everything I need to put together the announcement episode (which is what I’ll be working on this weekend).
Then we need to get you involved. Yes, YOU. But more about that shortly.
In the meantime, send me a blinkin’ email would you? You didn’t do it last time I asked. Click here to just say hello and tell me who you’d like me to interview.
—
If you’ve not subscribed yet, find us on iTunes here.
Or if you’ve got commitment issues, download the episode directly here.
