Last autumn’s release of Pro Drupal Development was a significant moment in the history of the popular CMS, providing for the first time a relatively comprehensive guide for those wanting to do more than simply manage and skin a drupal site. A number of books have followed it but few have delved as deeply or been such a definitive guide.

Like most of the more recent books, Learning Drupal 6 Module Development focusses on a quite specific area of drupal development, but its a key one for any serious developer and touches every other area of the system. Experienced PHP developers may find that this book (in conjunction with some time for experimentation) will serve as a solid introduction to how they might build applications on top of drupal.

The book focusses on a single project—a website providing biographies of philosophers—and builds the modules it needs, introducing the various available tools and techniques along the way. Much of the time is devoted to generating custom content types, but there’s very solid coverage of the hooks, filters, and actions that let modules really take integrate with the rest of the framework. Theming your output, using AJAX, and working with web services all get some time and illustrate how your app can be part of the wider web and keep up with its prevailing trends. A number of times I found myself reaching for code I’d written over the past few months to make amendments based on examples in the book.

I’ve been quite critical of books from packt lately and some of my criticisms apply here—he book itself feels flimsy and the print quality is poor—but this is also evidence that if an author and editor put the work in they do occasionally produce quality material despite the publisher. There are a number of asides that clarify language which demonstrate an attention to detail too often missing. It would have been good to see clearer signposts as to which features are new in Drupal 6 and which were available previously, but the online API docs can provide most of that.

When I reviewed Pro Drupal Development I noted some disappointment that the book didn’t devote any time to automated testing of drupal code, and that criticism applies here too. Along with staged deployments, automated testing remains one of the least considered aspects of drupal and that’s a serious concern for those looking to build robust well-managed applications on top of it. There are a few good articles online about how to test drupal code, but it would be good to see it taken more seriously as a core part of the module development process.

This book is likely to sit alongside Pro Drupal Development on my desk whenever I’m working on a drupal project and is a worthwhile investment for anyone who spends much time building drupal modules. There are clear areas for improved coverage, but it is as comprehensive an account as you’ll find of how to build modules that take full advantage of the facilities Drupal provides.

Disclaimer: I was sent a copy of this book for review by the publisher. You can find it at amazon US, amazon UK and all sorts of other places.

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Yesterday, responding to a post Steve wrote on our Social Media efforts at Greenbelt I noted that it’s important to remember that this wasn’t the first year we’d worked with social media at the festival. Flickr has been our most prominent outlet, with the festival’s tags being some of the most visible in the week following the festival for several years now. But as I’ve written about here in the past (from a fairly techie perspective), we’ve made efforts to aggregate content from multiple blogs, social bookmarking services, and the like a few times previously. So what was different this year?

As Steve points out, video is a significantly different medium to photos or text and it has its own set of hooks. This wasn’t the first festival video to be posted online—a few videos had snuck onto youtube in previous years—but it was the first time tools like qik were available to allow live streaming. As I noted a few days ago live streaming currently benefits from its novelty: “this is streaming live on the internet” is a great hook for drawing in guests and viewers. That may well not last, just as blogging has lost much of its mystique over the past six years, but this year it served us well.

The “embeddability” of the content is a very important factor. We’re all pretty used to embedded youtube videos at this point, but it’s only been in the past few months that its become the majority of media storage sites that have offered facilities along the lines of what Dan Hill dubbed ‘tear-off’ content. That’s significant in a number of ways. We didn’t have time to really develop the platform for what we were doing (we’d wondered about using Alfie’s moblog platform but ran out of time) but we knew that if we used qik we could not only export the video later, but we could very quickly embed widgets into blogs and other sites to promote the content. That freedom from worrying too much about platform is liberating, but for achieving attention in a festival environment it’s the ease of embedding that’s key.

Twitter was, of course, a vital component of our strategy. Just as there was no time to build up a platform for aggregating the content, we didn’t have time or budget to do any real promotion, and since this was a very experimental approach we didn’t even have time to build it into the editorial content of the festival’s own website. But we’ve all got relatively large personal networks on twitter (and for some of us our twitter posts are syndicated into facebook) and we’ve been cultivating a Greenbelt twitter account and it was easy enough to post notes there. Whether posting automatically (”I’m streaming live on qik …”) or personally, we saw a very good response and were able to receive some quick feedback. Twitter works really well as a glue between pieces of content you’re generating around the web, acting as a hub for a network that will follow link and engage with content hosted in a variety of locations.

Perhaps the key non-techie reason that things felt different this year was that there was concerted effort from a team. The real turning point for our flickr presence was when we started posting the festival’s official photos there—it gave it a certain kudos for those festivalgoers who may have been reticent and meant we were promoting flickr heavily in our editorial—and similarly having a group of people establishing a body of content provided something resembling a critical mass. Since our online networks intersect fairly heavily there was some reinforcement (”oh, X and Y have both mentioned this, I should check it out…”) but there’s enough distinction that the message went wider than any one of our personal networks. As a team we were also able to exchange skills and discoveries through the weekend which helped enormously when we had so little time to get up and running.

In purely numeric terms flickr is still where the vast majority of social media attention around the festival rests, with views of the photos being an order of magnitude greater than of the videos. Much of the conversation is taking place among blogs, with many scattered posts picking up a few comments. It’ll be interesting to see whether video capture at the festival follows in the footsteps of flickr and attracts a much larger group of producers or whether it remains an activity of a fairly small group. Either way, we’re very pleased with how it worked out this year.

(photo above is by Jon McKay, from his ‘So What Do You Think?‘ project)

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This post is a follow-up to my initial thoughts on our Social Media efforts at this year’s Greenbelt.

Going into Greenbelt I’d made some fairly naive assumptions, primarily that it would be easy enough to just capture conversations we were having anyway and events we were attending. For people whose sole responsibility at the festival was reporting that might have been possible, but for those of us who were already deeply committed to other activities it’s not quite that simple. While Steve, Lisa and Mike were able to gather a lot of great material, and made the capture their primary focus, I was more distracted and my efforts are much thinner on the ground, and decidedly patchier.

Steve was using a Nokia N95 and the rest of us had N82s. We’d heard good things about the N82, and I like the form factor of it quite a bit, but for live streaming the N95 was far and away the better device. It seemed to get stronger 3G signals and had considerably better battery life. Both devices took quite a while to get set up, given that we only received them the day the festival started, and so we went into it cold. If we were to repeat the project with current technology we’d definitely push to get N95s for everyone and more time beforehand to set up, learn the tools, etc.

So, a few lessons for next time:

• Have one team member whose primary role is logistics, not reporting. While it was possible for all of us to get some content, and one properly prepared person could get a lot of content, if there’s any chance of having someone who can manage liaison with the rest of the event, and other logistics, that’s ideal. That person may be able to do some reporting, but don’t count on it. If time allows, that person could also manage aggregation and promotion of your content.
• Get to know the tools in advance. By the end of the festival we all knew our way around the phones, but there were settings we hadn’t had a chance to explore that could have affected quality. Getting off to a quick start is important for confidence, and promotion. I suspect that the sketchy quality of some of my early videos may have put some people off from watching the others, particularly viewers who didn’t know what we were doing.
• Phone companies don’t make your lives easy. I bought a new Orange pay-as-you-go SIM for the festival and ended up spending 40 minutes on the phone getting it activated, and used over four pounds of credit on the call. Once that was done, their “7 days’ unlimited data for £5″ deal worked out well, but these things always take longer than you’d like.
• Build in time to review the material you’re gathering. This is particularly important if you haven’t produced content in this way before, but is good practice either way. Reviewing the content is the only way to work out how to improve, and the review process is another chance to identify particularly successful videos and promote them. Steve did a good job of watching his and other videos and blogging about them as the event went on, which significantly increased his audience. In many festival programmes there will be lulls at certain points in the day and that can be a good chance to find a quiet spot with wifi.
• Talk about what you’re doing. For now, the idea of live streaming to the web is novel and is a strong hook to get people engaged and start conversations. That led to some good interviews, to other people joining in and to ongoing conversations that have spilled outside of the festival.

(photo above is by Jon McKay, from his ‘So What Do You Think?‘ project)

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