iContact's big blunder

I've used iContact as my mailing list manager for about 2-1/2 years. They've recently made a huge strategic error: it's their new MessageBuilder. By being better than the old layout tool in some things and worse in others, it cripples the perception of both tools, and has me looking for alternatives to iContact.

At first glance, MessageBuilder seems like a huge step forward because whereas the only real layout tool you had in their previous (2009 version) WYSIWYG editor was Tables, which are like spreadsheets. The weakness of Tables is that they can't be used to create a main content area and a sidebar, because everything on Row 2, for example, is forever tied to everything else on Row 2. If they'd let you put two tables side-by-side, that would solve the sidebar problem... but they don't.

Enter MessageBuilder, where they've added Sections (headers, columns, footers, etc.) into which you can put Blocks into which you can put text and images. It's got a really nifty interface with a look and feel much nimbler than the 2009 WYSIWYG editor. It has only two problems, but they are glaring. What's the first thing you do when laying out a document that will be seen on the web? Often, you decide how wide it will be. What next? You decide how to subdivide that width. In other words, how wide will the columns be?

MessageBuilder inexplicably doesn't let you make either of those choices. The overall message width is fixed at 600 pixels in the template I'm using. Today, that's pretty narrow on most modern displays. And the only choice you have on sidebar width is "normal," which appears to be about 1/3 of the page, and "thin," which is maybe half that wide. In short, they're jamming you into their preset designs, and you have no choice.

Tech support confirms that there's no way to change these widths. I don't know much HTML, but I know enough to change something simple like page width, so I opened the HTML edit window and changed it. But now, I can't reopen it in MessageBuilder because once you leave MessageBuilder, it "slams the door behind you." Tech support confirmed this inability as well.

So now I've wasted a day trying to create the Original Green Curator. iContact, you've shown me all the nifty new stuff in MessageBuilder that the 2009 WYSIWYG editor can't do, so you've made the 2009 editor look bad. But because MessageBuilder can't do even this basic thing that you can do in about 10 seconds with the 2009 editor, I can't use MessageBuilder. So you've soiled both of your tools, and now I'm taking a serious look at your competitors like ConstantContact to see what they can do.

What to do? Without doubt, fix MessageBuilder so it has these basic capabilities... and do it tomorrow, if not sooner! Until then, you're bleeding from the wound where you shot yourselves in the foot. The moral of this story is: don't make a new tool that's better in some things and worse in other things than the previous tool. Either make it superior on all counts, or make it the "quick & dirty" tool that can't do anything better than the full-feature version. But don't get it mixed up, like iContact has done.

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Original Green Discussion Group

Dr. Matthew Hardy of the Prince's Foundation for the Built Environment established the Original Green Discussion Group last week. Please join us for what promises to be lively and provocative discourse!

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New Media Resources

Marketing as we've known it all our lives is dying before our eyes. Spam is the culprit, because it's conditioned us to hit "delete" so quickly, and with no compunction whatsoever. Today, nobody wants to hear about your company. The era of the company is ending, just as the age of the idea is dawning... by that, I mean that people will listen intensely if you have great or useful ideas who wouldn't give you a moment of their time if you were marketing your company to them. The term "paradigm shift" gets thrown around loosely, but many of the paradigms that are now shifting have been around since the beginnings of the industrial revolution... so this is the real deal.

This requires a completely different approach, because nearly everything changes. A number of people have been thinking about what all this means for a decade or so now. There are some excellent books out there, including (alphabetically):

Free Agent Nation
Daniel H. Pink, Business Plus, 2002.
Pink lays out a new form of doing business that is overtaking the corporate model.

Linchpin
Seth Godin, Portfolio Hardcover, 2010.
Greatest rant yet on the end of the Factory Era, where you show up, take orders, and do your job.

Long Tail, The
Chris Anderson, Hyperion, 2008.
Groundbreaking book laying out the mechanics of the new niche-based markets that toppled the long-running “greatest hits” system, and is radically changing both the publishing and music industries.

For a picture of how wide-ranging this phenomenon is, here's a blog post describes the Long Tail of Housing Demand.

New Rules for the New Economy
Kevin Kelly, Penguin, 1998.
Considered obsolete by some because it was written before the dot-com bubble, it nonetheless contains a number of foundation ideas applicable to what we’re building today.

Rise of the Creative Class, The
Richard Florida, Basic Books, 2002.
Florida’s classic work has been trashed a bit recently because places restructuring according to his principles took a beating in the Meltdown. So did everyone else, of course. The core ideas are still sound.

Twitter Power
Joel Comm, Wiley, 2009.
This is the best Web 2.0 how-to manual I have seen. Clear & concise style, exhaustive content.

Unleashing the Ideavirus
Seth Godin, Hyperion, 2001.
Godin’s classic lays out the operations of ideas that spread.

Web 2.0: A Stragegy Guide
Amy Shuen, O’Reilly, 2008.
This wide-ranging overview of the interactive web covers the bases that existed when it was written.

What No One Ever Tells You About Blogging and Podcasting
Ted Demopoulos, Kaplan Publishing, 2007.
It’s 3 years old, which is a long time in Internet time, but it’s still got lots of highly useful stuff.

Whole New Mind, A
Daniel Pink, Riverhead Books, 2005.
Pink proposes that the era of left-brained dominance is giving way to an age when the scales tip to the right-brained creatives.

Wisdom of Crowds, The
James Surowiecki, Anchor, 2005.
Great description of the new collaborative environment that is flourishing outside the walls of “Fort Business.”

And then the book that nobody you know has ever read, but which appears to have been the touchstone text for nearly all these authors. I highly recommend it as essential reading for anyone who wants to really understand what's going on right now:

Cluetrain Manifesto, The
Christopher Locke, Rick Levine, Doc Searls, David Weinberger, Perseus Books, 2000.
The 95 theses in this book underlie much of the Web 2.0 thinking that has followed.

The following are some of my posts dealing with these issues:

Top 10 Characteristics of New Media People: sounds a lot like some New Urbanists, doesn't it?

First Ten Things for Web 2.0: how to get started.

The Importance of Blogging

What Should Students Do Now? (actually applies to most of the rest of us as well)

Social Media and Living Traditions (slightly off-topic, but could be of interest)

Email Signatures

Becoming the Competition

NU Web 2.0 Done Right: Klinkenberg & Hendrickson

Thoughts on Social Media

Idea Cards (encapsulates these ideas maybe as well as I'm capable of doing in one post)

Twitter Observations

Breakless Time (seems off-topic as it's a graduation note to my son, but it applies in general)

Losing Earthlink catalogues several way moving to the new web will save

Gulps and Nibble

Website Paradigm (from a couple years ago; Mouzon & Guild sites have now been converted)

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The Wellness Lenses of the Original Green

The places and the buildings that we build can affect our wellness in a number of ways, including wellness of the body, wellness of the mind, and even wellness of the spirit. This post looks at several ways we either make ourselves more well... or not... by the ways we build.

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Top 10 Characteristics of New Media People

Here are the top 10 characteristics of people well-suited for the New Media:

10. They are not frightened by the new, but rather have their ear constantly to the ground in order to detect the next great thing.

9. They aren't afraid to solicit a large array of disparate interests for feedback.

8. They aren't afraid to try alternative approaches when the feedback they've solicited isn't what they expected.

7. They love to create networks of likeminded people in the interest of high-level discourse.

6. They sharpen their polemical tools in broad circles, and on a regular basis.

5. They like working in a collaborative fashion with colleagues and other interests as well.

4. Ideas are the coin of their realm.

3. They value causes over companies. They view companies as good and necessary platforms for doing business, but not their reason for doing what they're doing. Rather, the things that drive them are the causes they believe in.

2. They are generous to a fault with their intellectual property in the interest of supporting their causes.

1. They turn their causes into movements by engaging much larger circles of colleagues outside the company walls.

Anyone can develop these characteristics over time, but those who possess them already are unusually well-suited for the New Media. How much time does it cost? Surprisingly little. You may already be generating much of the material... words and images... that you would use. What's the biggest impediment? Most firms won't be able to make the leap simply because they don't see the necessity of it until too late, or they mistake the New Media for a new type of advertising. We throw the term "paradigm shift" around loosely; this may be one of the biggest true paradigm shifts we've seen in the past two centuries, and paradigm shifts leave countless people behind. Don't be one of them.

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First Ten Things for Web 2.0

Here they are, in chronological order, rather than the normal Letterman 10-1 style of increasing importance:

1. Join existing discussions. You really should know the character(s) of web 2.0 discussions before venturing out on your own. Find your colleagues that blog, visit their blogs, and comment on things that mean something to you. That's actually what people value now: those who speak about things they're passionate about. Let the discussions branch out from there... you'll find other commenters on their blogs that you don't know, but that sound interesting to you. Most people who comment on blogs leave their blog or website link embedded in their names, so that if you click on their names, you'll go there. Comment on their blog posts as well. Build relationships with the bloggers. Later, when you have your own blog, they're more likely join your discussion.

2. Decide what to blog about. You might ask yourself "what subject matter am I expert upon?" Or with more audacity, you might ask "what movement was I born to lead?" If you're not expert upon something, then maybe you shouldn't be blogging. "Me, too" blogs add little to the discussion and won't be followed very often. But chances are, there's something in life about which you have more to offer than the average person on the street. That's likely what you should blog about.

3. Start a blog. Where? I once recommended iWeb because it's the best combination of inexpensive and adaptable. But at its last opportunity, Apple didn't upgrade iWeb, and I now have serious concerns about its long-term survival. At this moment, I'd suggest that you start a posterous blog. It's the easiest possible way to blog, in that you only need to send an email to post@posterous.com to do a new post. If you know email, you know posterous. Today, I have over a thousand readers of most of my posterous posts that have been out there for more than a couple weeks, so you'll definitely get a bigger audience there.

4. Join Twitter. Some people join with funky usernames, but because transparency is highly valued today, I'd highly suggest joining with something that closely resembles your name. I'm @stevemouzon, FWIW. The @ in front of your username simply says that "this is a person." One problem with Twitter is the fact that it only allows limited info in your bio. For example, you can only have one actual hyperlink to your website or blog. So you need to create a background image for your Twitter account that has the other information as part of the image. I haven't updated mine yet for the new Twitter page design; today, you can't see all my info on the one side and the vertical originalgreen.org on the other side at the same time. But I'll fix that.

5. Decide what you're going to Tweet about. I generally Tweet about three things: 1. Links to other pages with my commentary, which may either be my own material or something else I've found interesting. 2. Ideas I'm floating. Don't be ashamed to float funky ideas. People may trash you for it, but they'll forget about it before long, in most cases, and you'll get an unbiased sense of the viability of the idea. 3. Conversation with other people. Why put this third? Because while it's important, if you're holding a conversation, others not a party to that conversation won't have any idea what you're talking about. You have a responsibility to your Twitter followers to put out interesting ideas, and if someone is out of the loop, you've failed at that. So have the conversations, but don't let that dominate your dialogue.

6. Find appropriate "best of" lists and follow them on Twitter. I keep a "best Tweeters" list on the Original Green website, under Resources. Planetizen has a good one. There are others as well. Follow a few dozen people whose ideas you admire or appreciate. Next, look into the lists of the people they follow and follow some of them whom you consider to be of particular value.

7. Develop your following strategy. By now, people will be following you. Here's my strategy, FWIW: when anyone follows me, I look at the first page of their tweets. If I find something particularly useful to me, I follow them. If not, I don't. Occasionally, I'll make an exception for someone just getting started when I (1) know them, and (2) know that they'll be offering something of value in the future, even if they have very few tweets now. But there are a ton of dubious marketers out there who will follow everyone they can find, hoping those people will follow them out of courtesy and they'll develop a following that way to whom they can sell whatever it is they sell. They are a complete waste of time. Concentrate on people whose ideas are useful to you.

8. Set up your support accounts, if you don't have them already. Mine include facebook, Google, delicious, technorati, LinkedIn, StumbleUpon, gravee, and my image account, which is at zenfolio. You'll promote each blog post to each of your support accounts. You have no idea when someone else will see it there and spread what you've said. The idea is to inhabit a number of support networks, any of which could provide a huge exposure break at an unexpected moment. Each network will be different, with different people connected to you. I'm now set up where I can promote each blog post in about 10 minutes to all of my support accounts, although when you first get started, it'll take more like a half-hour or more until you get in a rhythm. The support accounts are useful for other stuff as well. For example, delicious generates the tag cloud of keywords that I use on the Original Green blog.

9. Explore Twitter hashtags and users, and engage people outside your normal circle. The Rule of 10 says that if you follow someone on Twitter who has more than 10x your followers, chances fade that they'll follow you and (more importantly) engage with you later. I focus on interesting people with less than 10x my number of followers, but who have engaging ideas. If they value my ideas as well, then they spread them to a much wider audience than my own. A classic example is @urbanverse, or Cindy Frewen Wuellner. She's an architect from Kansas City; I first found her because she wrote a hugely inspiring post on what architects can do now that they're unemployed, to which I responded (joining the discussion, item 1.) It turned out that we have many (but not all) common interests. The benefits of engaging with her have been numerous: (1) she has exposed me to numerous networks I didn't previously know about, such as #letsblogoff and #aiachat, (2) she has great ideas that I would not have addressed had I not engaged her, (3) when she values something I say, she promotes it to thousands of people I'd never reach otherwise. We don't agree on everything, but if we did, that'd be boring.

10. Promote your Twitter stream and your blog posts to your contacts regularly, and also to people you've just met. PlaceMakers does an outstanding job of the former, sending out regular emails to thousands of people that follow them. I'm working on a strategy for the latter; for years, I wanted to do a re-introductory letter with all sorts of cool graphics, but what I've settled on is a format where everything in the email to new contacts is text-only with links. It has a far more human voice that way, rather than appearing to be "corporate-speak." In any case, this means that you need to be building your contact list. But don't just count on people that you know. Instead, every website you have should have a page where people can self-select to sign up for your list. You'll get countless people that you'd never have known otherwise. Your circle should include all the people that know you, not just the people that you know.

Final thoughts: Don't get discouraged in the early days. Your first followers will likely be just a trickle. And your blog posts will be read and commented upon by very few people. But you must persevere, because building a web 2.0 presence is an act of endurance instead of a big initial flash. Regard your posts and your tweets to be tools of development of your own ideas. That way, any benefit that others get is a bonus; you need to be blogging and tweeting in any case for your own purposes. One other thing: don't even think about making your web 2.0 presence the slightest bit commercial. People sniff that out in a moment. And because spam has conditioned us to hitting the Delete key in nano-time, there's no chance that most people want to hear about your business anymore. But they DO want to hear about your ideas. Have an "Idea Card" rather than a business card. Ideas are the new coin of the realm. Develop them and use them wisely.

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Chicago O'Hare Port of Entry???

I've just returned to the US through Chicago O'Hare, and it's been without doubt my worst re-entry experience ever. Usually, I'm coming back in through Miami, where re-entry is a piece of cake. Coming back from Cuba this spring, for example, I walked right up to the gate and when the officer asked where I'd been and I told him, he simply said "Welcome home!" 10 minutes after arriving at immigration from Havana, I was out of the airport. O'Hare was a completely different story.

I've just blown one of my system-wide upgrades on American Airlines to fly back from London, but was there a priority immigrations lane like in Heathrow? No. I stood in line for at least twenty minutes before an immigrations officer who was a dead ringer for the Chicago cop who almost pulled the trigger on Harrison Ford in the US Marshals movie pulled a bunch of us out of line just as we were getting to the front. After walking what seemed like a football field, we arrived at another immigration station where... wait for it... we were put at the back of the line again. Another 20 minutes or so to the desk.

After finally emerging from the grilling (no bathroom yet in sight) we were unceremoniously dumped back outside of security. Apparently there's no way of getting to domestic flights in Chicago without going through security again. Fine. But where to go? There were no signs. No idea where to get to American Airlines flights. Finally, I found some really old grumpy guy in a green jacket and an employee badge who told me, as if I were a complete idiot, that all AA flights went out of Terminal 3. OK, so I get on the train to Terminal 3 (no bathroom yet in sight.)

Emerging at Terminal 3, there was a sign to gates F, G, H, and K, or something like that, but of course, my boarding pass from Heathrow didn't indicate the gate, being printed that long ago. I had to go halfway down the terminal, it seemed, before I could find someone to tell me where to go to find the information. Fine. I then found the priority access line (remember, I'd burned one of those prize system-wide upgrades)... and proceeded to wait for another 20 minutes or more. I finally spotted a bathroom, but it was far too late to get to it, as I'd have had to leave the security line.

They sent me to the x-ray machine, but I'd rather not get cancer, so they sent me to the grope line. After waiting nearly 5 minutes, an agent showed up to grope me. That's the one part that didn't work out so badly... he was actually decent about it, which I appreciated. Finally, I collected my stuff that had been getting banged around on the conveyor the whole time and headed off... over two hours after landing at O'Hare. The exception to the rule here is that AA's Flagship Lounge is excellent... and yes, that's where I finally found a bathroom.

Bottom line... if you have a choice of where to re-enter the US, don't do it at O'Hare! But if you're at O'Hare and can get to the Flagship Lounge, by all means, do so. They're really good.

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Note Refinement and the Worthy Notebook

I wrote last year about how napkin notes allow multiple trains of thought... on paper... at once. Not bad, for those of us that are multi-tasking-challenged. Later, I elaborated on how they work for me. But napkin notes, by themselves, have problems. They're really fragile, for example, and it's all too easy for someone to use one to wipe up a spill because... that's what you do with a napkin. They crumple up and literally disintegrate if you carry a wad of them around in your pocket for a few days. And they're easy to lose.

Recently, I've been doing something else: a couple days after working on the napkins, once the ideas have had time to percolate, I've begun taking another pass at them, and moving all the ideas to a notebook worthy of ideas. Inevitably, the original ideas are really scattered, as ideas almost always are at birth. But restating them refines them, and also expands them.

I believe this effect is magnified by the "worthy notebook." Here's why: when a notebook is good enough that you might keep it for a lifetime, then you're likely to give a little more effort to refining the idea as you translate it from the napkin notes. I just bought my first moleskine today at Heathrow, and it clearly has the "worthy notebook" effect. It's very important that moleskines aren't too pretty, however. Just a simple black leather cover, and plain near-white pages. Notebooks more elaborate might be an impediment to use, because you don't want anything within them not to be perfect. A moleskine, IMO, invites invention and creativity, but it's worthy enough to endure. Mixing living and lasting. Right on target, if you ask me.

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Windows for SketchUp - or - Solving Complexity One Bit at a Time

I'm building a library of windows, doors, and other building parts for Sketchup models for the New Urban Guild Collection of house plans. For every plan in the collection, we'll have a SketchUp model as well. And because we'd like to make those models available to New Urbanist planners for use in their town plans, they need to be consistent enough that they look good together on the same street. Hence the library of building parts that any Guild member can use.

Some things are simple... there are only so many possible ways of doing a chamfered post, for example. But doors and windows are a problem. Let's look at the variables:

Windows:

Frame Walls: 2x4 & 2x6
Masonry Walls: 8", 10", 12", each with casing setbacks of 2", 4" & 6" for 9 possibilities, for a total of 11 possibilities for walls.

Window Type & Size: I'll start out with the New Urban Guild Proportional System, which matches proportions and lite patterns to the Classical/Vernacular Spectrum in order to radically reduce the number of combinations to just the ones that make sense and are well-proportioned. This system is tuned to warmer climate zones where window proportions need to be taller in order to get better ventilation by having a greater distance from the top of the window, where warm air leaves, and the bottom of the window, where cooler air enters in the early evening when you open up the house to ventilate. Some of these aren't standard sizes... yet... but we're working on getting a good manufacturer to make this series of sizes as the New Urban Guild Proportional System Collection.

Double-Hung: Vernacular (2/2 lite pattern): (1:1 sash proportion) 32x64, 24x48, 20x40, 16x32 (5:4 sash proportion) 32x80, 24x60, 20x50, 16x40. Median (4/4, 4/1 square & side-by-side & 3/1 lite patterns): (5:4 sash proportion) 30x75, 24x60, 20x50, 16x40 (4:3 sash proportion) 30x80, 24x64, 20x54, 16x42. Classical (6/6, 6/1, 9/9, 9/1, 12/12, 12/1 lite patterns): (4:3 sash proportion) 30x80, 24x64, 20x54 (3:2 sash proportion) 30x90, 24x72, 20x60.
That's 76 different double-hung windows, if I count correctly.

French Casement (double sash): Vernacular (3:2 pane proportion; all casement dimensions assume 1 3/4" stile and top rail, 2 3/4" bottom rail and 7/8" muntin): (2 lite sashes) 36x49, 30x40, 24x31 (3 lite sashes) 36x72, 30x58, 24x45. Median (4:3 pane proportions): (3 lite sashes) 36x64, 30x52, 24x40 (4 lite sashes) 36x85, 30x69, 24x53. Classical (1:1 pane proportions): (5 lite sashes) 36x81, 30x66, 24x51 (4 lite sashes) 36x66, 30x54, 24x42.
That's 18 French casement windows.

Single-Sash Casement (all two panes wide): Vernacular (3:2 pane proportion): (2 lite sashes) 32x47, 28x41, 24x35 (3 lite sashes) 32x69, 28x60, 24x51. Median (4:3 pane proportion): (3 lite sashes) 32x61, 28x53, 24x45 (4 lite sashes) 32x81, 28x70, 24x60. Classical (1:1 pane proportions): (4 lite sashes) 32x63, 28x55, 24x47 (5 lite sashes) 32x78, 28x68, 24x58.
That's 18 single-sash casements.

Awning: (4 lite sashes) 32x33, 28x29, 24x25.

All told, the total of the type/size combinations is 115.

Exterior Casings:
Jamb: 4" butt, 6" butt, 2" miter, 4" miter, 6" miter, for a total of 5 basic jamb conditions.
Head: 6" butt, 8" butt, 2" miter, 4" miter, 6" miter, for a total of 5 basic head conditions.
Combined, there are 7 rational combinations thereof.

Head Casing Detail:
There are countless options here, but 10 come to mind without any real thought.

Sill Detail:
There are 3 obvious options here, although there are many that could be added.

The total combinations of exterior casings are therefore 7 x 10 x 3 = 210. Do the head/jamb connection as one combination at 70 and the sills at 3.

Interior Casing:
Same story here. Call it 70 plus 3.

Bottom line is this: 11 walls x 115 types/sizes x 70 exterior head/jambs x 3 exterior sills x 70 interior head/jambs x 3 interior sills = over 55 million possible combinations. Doors are a similar story. There's no way I'm drawing that many windows or doors. So what to do?

I believe what I'll do is to draw the components noted above: 11 wall cuts, 115 type/size combinations, 70 exterior head/jambs, 3 exterior sills, 70 interior head/jambs, and 3 interior sills. That's still 272 drawings, but that's far fewer than 55 million or so. The architects can then choose what works best for their job and assemble their job-specific windows from the kit of parts.

Does this make sense to you?

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Painting Question

Painting question: my parents had a couple paintings (prints, actually) hanging in our home when I was growing up, both by the same painter. One was a guy working at the door to a barn; the other was a blacksmith working at the door of his shop. Both were characterized by the verdant green of an enormous tree spreading overhead, and the striking red of the barn and the shop. I've seen prints of the paintings many times, especially in homes of people who grew up during the Depression. Any idea who the painter might be?

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The Tourist Test

I posted this comment on Kaid Benfield's blog several months ago:

I've long promoted something I call the "Tourist Test," which is this: "Is your neighborhood so good that people from other places would give up their vacation days to spend time there?"
Most of the time, we don't aspire to creating places this good. Getting a first-home community developer to think in these terms is very tough in most cases. But Charleston, Paris, Rome, London, New York, and Washington all had residents first and tourists second. In other words, they were first-home communities that became good enough to want to visit.

The Seaside phenomenon is fairly recent by comparison: build a resort that some people later inhabit as their first-home community. In other words, Tourists first, residents later.

Either way, people wanting to vacation there is an indicator of a great place. Bottom line... getting people to say "I want to live there" is the lowest bar to clear. Much higher is the bar of getting people to say "I want to vacation there." The highest bar is getting people to say both... some say "it's good enough to live there," and ALSO others say "it's good enough to vacation there."

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the death of facebook?

Facebook has just come up with a new way of reporting application violations that may just be the death of facebook. Basically, they're saying that "we need to protect our apps," therefore we're going to make spamming harder to report.

Remember what happened to AOL? It wasn't that AOL suddenly became impossible to navigate. Rather, it simply wasn't worth it. Facebook may be on the cusp of such an event. Get caught up in all the hype, and convinced of the billions that you think you're worth, and you just might lose it all.

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