Online publishing feeds bewildered consumers a mass of mediocre content

...but there are flecks of gold there too.

Consumer campaigning group Which? recently published the results of a survey claiming around a fifth of consumers are regularly deceived into buying supermarket imitations of major food brands, as a result of clever mimicry in own-brand packaging design.

While I might venture to say there’s not too much difference between one tube of pressed oat lumps and another, when one is made by a supermarket chain and another by a multinational biscuit empire, the distinction between imitators and the imitated becomes much more pronounced when applied to visual and written media.

Back in 2005, a production company called The Asylum, which had been happily making low-budget, direct-to-video horror movies since 1997, did something extraordinarily clever.

It released a bargain basement adaptation of HG Wells’ War of the Worlds in the same year as Spielberg’s no-holds-barred Tom Cruise adaptation of the same, and was rewarded with an immediate order of 100,000 copies by video rental chain Blockbusters.

The big win spurred a new business model for the Asylum, with the years to come seeing the release of films such as Paranormal Entity, Transmorphers, The Day the Earth Stopped, and Snakes on a Train – all bearing remarkably similar cover design to the films whose releases they shadowed.

The Asylum’s demographic was clear: tired parents in video rental stores, failing to remember the titles of big hits and picking boxes that, in a state of fatigue and unfamiliarity with pop culture, seemed identical to their recollection of movie posters.

Now of course, blockbuster has gone, and with it those late night box-browsers. But the model pioneered by The Asylum is far from obsolete: in fact, the purchasing environments fostered by online streaming services such as Lovefilm, Blinkbox and Netflix make it all the more lucrative.

Last night, my wife and I were browsing one of the above for a movie to watch, when we happened upon a movie called “Tooting Broadway”. The box design was slick, reminiscent of countless snarling Cockney stabathons, and it was only upon looking the film up on Wikipedia (where we were informed that the ending would “leave [us] in very surprisement”) that it became obvious it was a “let’s film my mates having a fight in a garage” type of affair.

Nevertheless, we only looked it up because, having ourselves lived in Tooting for years, the idea of someone using at as the titular manor for a gangster flick was faintly hilarious. But if we were living in Little Rock, Arkansas with little to no knowledge of South London geography, the film would have seemed as good a bet as Layer Cake or Snatch. And at £3.49 to buy, there would be very little reason to be discerning.

In the digital video shops we increasingly use as our sources of film entertainment, these movies are ranked alongside genuine big-budget efforts, with only a paragraph of description and a cover design (usually the most professional component of the whole project) to distinguish them from the real deal. In this sense, we have all become tired Blockbuster dads.

What’s more, book-buying has become a similar experience, through the advent of the Kindle and other e-readers.

The Kindle, to me, does to reading what electronic cigarettes attempt to do to smoking: provide a convenient technological replacement for a habit rooted in physicality. When I acquired mine, my reading habits changed dramatically, and with them the way I bought books. Rather than travelling into town and blundering round a shop or having to contest with delivery times – and thus my own attention span - online, I could simply select names from a list and have them appear in moments.

With the massive swell in self-publishing on the Kindle platform, these lists are getting very swollen indeed – and with the tiny price tags attached to the work of no-name authors, the temptation to play supermarket sweep when browsing can become irresistible.

I am an avid reader of science fiction, and I have recently developed a guilty pleasure whenever I run out of reading material: performing late-night trawls of the genre’s bestseller list on the Kindle store, and picking up six or seven extremely cheap books that seem to be being read and enjoyed by the masses, all by authors I have never heard of.

Most are mediocre – either bloated short stories that appear to have been proofread by drunks, or cliché-ridden hatchet jobs written in an attempt to jump on the rusty and creaking post-apocalyptic fiction bandwagon. But at 70p or £1.50 a pop, one can hardly feel cheated.

Besides, there are flecks of gold in there too. A case in point here is Hugh Howey’s Wool, a genuinely excellent survivors-in-a-bunker story I was reading on the way into work today, and which has gone from being a humble Kindle self-publish in 2011 to an international talking point with 20th Century Fox picking up film rights.

If the media I had access to was restricted to a pool of heavyweight titles approved by big studios and publishers, it’s very unlikely I would come across stories like this at all. And if the price of this occasional serendipity is a few pounds handed over to entrepreneurial hacks each month, then so be it. The more the merrier.

Photograph: Getty Images

By day, Fred Crawley is editor of Credit Today and Insolvency Today. By night, he reviews graphic novels for the New Statesman.

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I believe only Yvette Cooper has the breadth of support to beat Jeremy Corbyn

All the recent polling suggests Andy Burnham is losing more votes than anyone else to Jeremy Corbyn, says Diana Johnson MP.

Tom Blenkinsop MP on the New Statesman website today says he is giving his second preference to Andy Burnham as he thinks that Andy has the best chance of beating Jeremy.

This is on the basis that if Yvette goes out first all her second preferences will swing behind Andy, whereas if Andy goes out first then his second preferences, due to the broad alliance he has created behind his campaign, will all or largely switch to the other male candidate, Jeremy.

Let's take a deep breath and try and think through what will be the effect of preferential voting in the Labour leadership.

First of all, it is very difficult to know how second preferences will switch. From my telephone canvassing there is some rather interesting voting going on, but I don't accept that Tom’s analysis is correct. I have certainly picked up growing support for Yvette in recent weeks.

In fact you can argue the reverse of Tom’s analysis is true – Andy has moved further away from the centre and, as a result, his pitch to those like Tom who are supporting Liz first is now narrower. As a result, Yvette is more likely to pick up those second preferences.

Stats from the Yvette For Labour team show Yvette picking up the majority of second preferences from all candidates – from the Progress wing supporting Liz to the softer left fans of Jeremy – and Andy's supporters too. Their figures show many undecideds opting for Yvette as their first preference, as well as others choosing to switch their first preference to Yvette from one of the other candidates. It's for this reason I still believe only Yvette has the breadth of support to beat Jeremy and then to go on to win in 2020.

It's interesting that Andy has not been willing to make it clear that second preferences should go to Yvette or Liz. Yvette has been very clear that she would encourage second preferences to be for Andy or Liz.

Having watched Andy on Sky's Murnaghan show this morning, he categorically states that Labour will not get beyond first base with the electorate at a general election if we are not economically credible and that fundamentally Jeremy's economic plans do not add up. So, I am unsure why Andy is so unwilling to be clear on second preferences.

All the recent polling suggests Andy is losing more votes than anyone else to Jeremy. He trails fourth in London – where a huge proportion of our electorate is based.

So I would urge Tom to reflect more widely on who is best placed to provide the strongest opposition to the Tories, appeal to the widest group of voters and reach out to the communities we need to win back. I believe that this has to be Yvette.

The Newsnight focus group a few days ago showed that Yvette is best placed to win back those former Labour voters we will need in 2020.

Labour will pay a massive price if we ignore this.

Diana Johnson is the Labour MP for Hull North.