In my last blog entry I wrote about how to publish content with Bodega. This is separate from distributing that same content, and the reason for that has its roots in some rather straightforward economics which I won't go into here for fear of boring everyone to death. Perhaps on a later day if people are interested, but today we're going to look at the process of distributing content.
The easiest way to grasp how Bodega goes about things is to think in terms of audiences. Creators and publishers of digital works are on the lookout for an audience, people who want what they are making. The currently dominant method for finding an audience is similar to horse ranching, old school style.
Picture if you will: The plains are full of horses that travel in smaller or larger herds. These horses roam where they want and do what they want in their own happy, wild way. They are of no use to the rancher in this format, however, so he sends out a group of cowboys to round up these wild horses, put them in small fenced enclosures and then tame them through a method referred to as "breaking". The rancher then carefully tends his ever growing herd of broken horses within the bounds of his ranch, claiming that these horses are now his. Would-be horse owners (including other ranchers) can buy his horses or go catch and break their own wild specimens. How wonderful and romantic.
Today most distribution is based on the concept of a captive audience, which is a slightly kinder sounding phrase for describing the process of rounding up people's attention, forcing them into corrals (or as they are sometimes called "walled gardens") and then guarding the amount of attention they've managed to capture. This audience is then sold to creative types (or the people who represent them) as a way to get their stuff to people. Maybe even make a buck or two in the process if you're lucky.
If it sounds like a tough business, it is. It also has a very strange side-effect that I believe is generally unintentional: it makes it increasingly difficult for small audiences and self-representing creators to find what they are looking for. The Big Rancheros are just trying to make their business successful, what happens to the minnows is not much their concern.
Bodega tries to reimagine how the distribution process might work by adding a neutral party into the midst of all that machinery. Instead of the distributor also owning the catalog, the catalog in Bodega is managed by the warehouse team ... but the warehouse does not engage an audience. The stores, which pull content from the warehouse, do that.
Distribution in Bodega is done in an open market (though we've only scratched surface of possibilities there, to be honest) and each distributor ends up aggregating their audience with all the other audiences from the perspective of a content creator or publisher. This makes it as realistic for small audiences as big audiences to be serviced and for independent creators, even those focused on very tightly constrained themes, to find audience as well.
Audiences
The easiest way to grasp how Bodega goes about things is to think in terms of audiences. Creators and publishers of digital works are on the lookout for an audience, people who want what they are making. The currently dominant method for finding an audience is similar to horse ranching, old school style.
Picture if you will: The plains are full of horses that travel in smaller or larger herds. These horses roam where they want and do what they want in their own happy, wild way. They are of no use to the rancher in this format, however, so he sends out a group of cowboys to round up these wild horses, put them in small fenced enclosures and then tame them through a method referred to as "breaking". The rancher then carefully tends his ever growing herd of broken horses within the bounds of his ranch, claiming that these horses are now his. Would-be horse owners (including other ranchers) can buy his horses or go catch and break their own wild specimens. How wonderful and romantic.
Today most distribution is based on the concept of a captive audience, which is a slightly kinder sounding phrase for describing the process of rounding up people's attention, forcing them into corrals (or as they are sometimes called "walled gardens") and then guarding the amount of attention they've managed to capture. This audience is then sold to creative types (or the people who represent them) as a way to get their stuff to people. Maybe even make a buck or two in the process if you're lucky.
If it sounds like a tough business, it is. It also has a very strange side-effect that I believe is generally unintentional: it makes it increasingly difficult for small audiences and self-representing creators to find what they are looking for. The Big Rancheros are just trying to make their business successful, what happens to the minnows is not much their concern.
Bodega tries to reimagine how the distribution process might work by adding a neutral party into the midst of all that machinery. Instead of the distributor also owning the catalog, the catalog in Bodega is managed by the warehouse team ... but the warehouse does not engage an audience. The stores, which pull content from the warehouse, do that.
Distribution in Bodega is done in an open market (though we've only scratched surface of possibilities there, to be honest) and each distributor ends up aggregating their audience with all the other audiences from the perspective of a content creator or publisher. This makes it as realistic for small audiences as big audiences to be serviced and for independent creators, even those focused on very tightly constrained themes, to find audience as well.
Distribution is a part of the life-cycle, not another life-form
We don't much believe in dualities of convenience, and this is reflected in Bodega. When you become a participant with a Bodega warheouse, you create partnerships. It might be a partnership of just you, or it might be a partnership of you and your 10,000 best friends. The Warehouse doesn't manage this: you do. A partner may publish content into the warehouse, and that same partner may also distribute content from the warehouse.
This is common sense, really: if you write books and make them available in eBook format, you may wish to make them available for download and purchase on your website. In doing so, you are a distributor, albeit distributing your own goods. At the same time on the other side of the virtual world, another Bodega partner group with a completely different audience to yours may also be distributing your eBooks. You get the fee (if any) you put on your goods, but you no longer must build intentional relationships with others for distribution to their audience.
Distribution is therefore an equal part of the life-cycle of created goods, rather than a means of control.
Designing a store
Stores in Bodega are collections of tags. As a store owner, the first question you need to answer is: What kind of content do I want to make available here? Next: How do I want that content arranged?
For the Plasma Active Add Ons store we decided we wanted to start with the following content:
- books from Project Gutenberg
- wallpapers
- applications
- desktop widgets
So those became our top level categories, or in Bodega store-speak, "channels". Under the books channel, we created sub-channels for books organized by author, by title and by topic. Under those, the books are grouped alphabetically. (There are well over 40k of them, so such grouping is necessary). Those last channels were defined using tags, just like assets are described. So one of the channels has the following tags associated with it:
- author: project gutenberg
- type: book
- descriptive: author last name starts with 'A'
Bodega then does its magic and automatically organizes all the assets that match those tags into that channel. Yes, this means you can arrange things however you wish, have assets appear in more than one place, etc. It also means you set up your store definition and content put into the warehouse automagically shows up in your store structure. You can, of course, have as many stores as you want; virtual real estate is surprisingly cheap.
Since you control the store presentation, you can define things like content ratings to be carry or geographic focus. The warehouse stays out of those decisions as it's a final presentation question for the store owning partner.
Since you control the store presentation, you can define things like content ratings to be carry or geographic focus. The warehouse stays out of those decisions as it's a final presentation question for the store owning partner.
I can haz curation?
The curious may ask "what prevents someone from just tagging their stuff as a Project Gutenberg book?" the answer is deliciously simple: that specific tag is owned by the Project Gutenberg parter. As a result, only the get to use it to describe assets. So you can't just tag your stuff with someone else's identifying tags. Other tags, like "author last name starts with 'A'" or the content rating tags are shared (not owned) so everyone can use them.
The truly curious may then say: "So, can I own a tag that only I can put on other people's assets, and then use that for curating content?" Answer: yes. This feature is not neatly exposed in the management application yet (it will be soon), but each and every partner which engages in distribution gets a "Signed off by" tag created for them which they can use for this process.
So while people may be throwing content into the warehouse, if you really care enough to do so you can go through and do curation. Using tags. Because everything must use tags. ;)
Business models
Partners who publish things to the warehouse set a base price for those assets. Distributors define a rate to add onto that base price. That mark-up goes to the store owner as profit as an incentive (and a thank-you) for bringing that content to their audience.
It's just like the Big Rancheros, only without the fences holding the horses in so they can be broken and then treated like cattle. Run free!
Location, location, location
So where can you set up a store? That's entirely up to you. Store structures are shown to people using a Bodega client, such as the Plasma Active Add Ons store. Since the Bodega warehouse is its own independent entity, it does not actually itself render the user interface of the stores. It just provides the API for clients, or "storefronts", to do so.
This means that you can put a Bodega storefront in the middle of your cool video game in a way that blends seamlessly. You can use it to deliver add-ons to your desktop or mobile application. You can put your storefront in a webapp on a consumer device like a network router, a PVR or a weather station kit (to pick three strange things). You can use it to show a store on your website. You decide where the store goes.
We have created a C++ library and a QML based application that makes that easy for people using Qt in their products as we do. A stand-aloneweb client is in the works, and we're happy to work with anyone who'd like to render a storefront in the language, toolkit or medium of their choice.
We did it this way because as the partner with an audience, you know how to best reach your audience, and one-client-does-not-fit-all. You don't even have to let on that it's Bodega in the background. It's a level of customization that puts to shame most other stores' claims to being "brandable".









