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[MUSIC PLAYING]
Hi.
I'm Damien Vincent.
And I'm here with Kate Maxwell, editor-in-chief of
Jetsetter.com.
And she's going to tell us a little bit about copyrighting
for the internet.
Say hey, Kate.
How you doing?
Hey, very well.
Nice to see you.
Thanks for coming in.
How does traditional copyrighting differ from
copyrighting for the internet?
Well, I come from a traditional magazine print
background.
And what really interested me about coming to Jetsetter was
that it was really the intersection
of content and commerce.
And I really came on board because I wanted to expand
Jetsetter's content.
I think we've done a really good job of telling people why
to book certain hotels but a less good job at telling them
why to go to the destination in the first place.
And that's what I'm really focused on at the moment in
terms of growing content.
I'm really interested in how you say the intersection
between commerce and content.
So how do you balance that without making things seem to
gushy, or making things seem still editorial and real, but
still keeping your client happy?
Well, with our hotels, we have a very strict
verification process.
Unlike many of our competitors, our writers have
slept in a bed at every single one of the
hotels that we feature.
So they've tested the Wi-Fi.
They've tested the room service.
They've asked unreasonable questions of the concierge.
They've really tried the product out.
They haven't just gone on a tour or looked at the website.
So if a hotel is not up to scratch, it will not appear on
the Jetsetter site.
So what do you look for when testing out a copyright, or
testing out a writer?
Well, travel writers, there are hundreds of thousands of
them, probably, on the planet.
Everyone wants to be a travel writer.
It's the best job in the world.
But there are, sadly, not all that many that
are all that good.
We work with about 200.
These are travel correspondents who work for
the major travel publications as well as us.
And when a travel writer is new to us, we really read lots
of their cuttings.
And then we'll try them out on small projects.
And depending on how they do, we'll ask them to
write again for us.
How do you see the future of interactive copyrighting?
Or how has internet changed the way we read?
I think digital has changed writing.
I think, obviously, we all know that the 140 character
tweet is becoming increasingly important.
And I think that actually trains writers very well.
It trains people to write in a very, very succinct and
hopefully witty way.
But conversely, I think quality writing has always
been and always will be quality writing.
And sadly, I wish there were more people that could do it.
But writing is hard.
And obviously, there are so many more platforms available
for people to do it now.
But it doesn't make it any easier, if
you see what I mean.
Jetsetter.com would be the more traditional platform.
But then you have your offshoots of social media like
Twitter and Tumblr.
How do you keep the tone consistent yet between those
different formats?
Yeah, that's a great question.
We've been working on the voice for a while, I suppose.
I've been here for a year.
And I think the voice has become--
yeah, I hope it's become a little bit more consistent.
But yeah, we absolutely try and keep the tone a bit of
insider, a bit irreverent, and
consistent across all platforms.
Thanks so much, Kate.
Thanks, Damien.
It was great to see you again.
Good to see you too.
[INAUDIBLE].
Moo.
Moo.