Guardian: game of editions

In 2013 The Guardian launched its third online iteration as 'Guardian Australia' - complementing "Guardian US' and Guardian UK'. Via these three digital editions the Guardian has expanded its global readership, which is one of its strategies to strengthen its future viability in the digital and mobile news sphere. The Guardian's journalists, while gathering news from around the world, now report in to the different news hubs. In the three main newsrooms, the journalists also create particular stories for their niche audiences in Australia, the USA and the UK. This paper examines the editorial content the Guardian has created on the back of digital disruption. Two months' worth of 'Editor's Picks' from across the three platforms are analysed to reveal how much the Guardian is promoting new, distinctive, locally created content versus how much it draws on material written by journalists from the other editions. This content is compared to data derived from interviewing those in charge of the three editions (Editor in chief Kath Viner, Guardian Australia Editor Emily Wilson and Guardian US Editor Lee Glendinning) plus interviews with other senior managers of the news organisation. In mid-2015 a fourth online edition of the Guardian began rolling out - Guardian International. This edition is not geo-specific and will instead promote and aggregate international news gathered from the other editions on its digital 'front page'. In January 2016 the Guardian announced it planned to cut annual costs by £53.6m due to rising losses: a move that will almost certainly involve staff redundancies. Later in the same month, Guardian Australia's editor, Emily Wilson, said in a public forum that the operations in Sydney and New York would be 'completely insulated' from these cuts. This paper explores the Guardian's global digital strategy during this difficult era for media that straddle the legacy and digital worlds.

Technology and management systems for digital rights and content: the editors friend

Since the late 1980s, when authors began to deliver typescripts to their publishers on disk, the process of editing and publishing books has been in an almost constant state of change. Not only has digital technology enabled a conflation of book production processes, but books themselves are increasingly available in a wider choice of delivery modes. From traditional hard cover and paperback books, to digital files formatted for printing on desktop printers, to files specifically prepared for delivery via hand-held electronic book-reading devices, to text designed to be read on screen (incorporating hyperlinks that facilitate the reader's ability to navigate around the text and between texts), the consumer now has potential myriad choices for delivery of their chosen content. And the publisher, it seems, has myriad ways to deliver content and to seek and satisfy new markets. As well as opportunities, these changes have caused disruption to the traditional supply chain.

This paper focuses on changes to the role of the editor caused by the digitisation of the publishing industry.