Despite the chaos, however, Notion has real potential.
Notion needs to streamline overlapping features and invest more in usability. The app uses icons and images galore to the point that it resembles a sticker book more than a place for notes. Although Notion is ambitious in scope, it suffers from having too many options and tools that seem haphazard and don't add a lot of value. It's billed as a hybrid note-taking app and task manager, but doesn't have a well-organized structure for dealing with those two uses clearly and simply. Notion is a relatively new note-taking app and competitor to Evernote-still new enough that it hasn't quite found its footing yet.
NOTION MAGAZINE JOBS SOFTWARE
Best Hosted Endpoint Protection and Security Software.Everyone has to start somewhere, and you will find that the more experience you get, the easier it’ll be to gain confidence in yourself and for the publications to gain confidence in you. It really is as simple as reaching out to us with an idea and letting us know how much writing experience you have. This sounds really cliched, but the easiest way to get involved with us is to email us an idea. Whilst we have an in-house team of writers, we externalise certain pieces like cover features or pieces about specialist genres of music. How can young music journalists get involved with Notion? There are a lot of publishers now who only exist on social media, and I think journalism is heading in this direction. I think a lot of journalism will not only turn digital, but it’ll be social-specific. In ten years time, there will still be a place for print magazines but the opportunity will be far less, whilst the digital side will be buzzing. I think that music journalism will, unfortunately, continue to go digital. Where do you see the future of music journalism going? It does worry me that journalists may no longer be able to make special connections with artists like they did pre-covid. I would like to think that we will go back to doing detailed sit-down interviews with big artists, but I think it’s unlikely because it’s logistically easier for an artist to do lots of interviews remotely than travelling to lots of media offices. Our journalists have been doing their interviews remotely, so they have had to find new ways to connect with their interviewees, as it can be harder to connect with someone over Zoom than in person. But now, as the world has adapted, we have been able to hold live streamed events. At the start of the pandemic we were only publishing about 14 articles a week compared with our usual 50. We had to repurpose a lot of our old content, become more creative and change how frequently we published. We try to make all our content unique and exclusive to us, so it was difficult because everyone stopped making music.
With no live music events to cover, how have your journalists had to adapt during the Coronavirus pandemic?Īt the start of the pandemic, it was difficult. It’s not just reviews now, it’s full-scale features, opinion pieces and industry type pieces that are all moving to digital. So the way in which journalists can cover music and write about music has changed in that landscape. Whereas, with digital, you’re capability to publish content is unlimited. There’d only be so many pages that you would need words on. When the music industry was print-focussed, a magazine would come out once a month or once a quarter, or whatever their frequency was. For journalists specifically, it offers an exciting opportunity for more space to write. It’s gone a lot more digital and because of that, it’s more fast-paced. What do you think has changed in the music industry, and the music journalism industry, since you started at Notion in 2015?
0 kommentar(er)
