Yea, I've NEVER understood why Panel heads seem to be unreliable. It's SUCH an easy position post con. Just check the E-mail a few times a week leading up to about two months before and then wait till the guests and special events are scheduled and then you make a schedule! It's not that hard.
It's SUCH an easy position post con. Just check the E-mail a few times a week leading up to about two months before and then wait till the guests and special events are scheduled and then you make a schedule! It's not that hard.
The hard part is that no conventions except Anime Boston and PAX have a good way of managing the panel submissions themselves. As I've learned from ConnectiCon, without a system in place (ticketing, schedule management software, etc), it's terribly tedious.
This year, we ran Connecticon panels basically the way Otakon does theirs. For next year, we're completely redoing the process.
1. Except for pre-existing relationships and professionals, no panels will be considered except those submitted via a form. 2. Track scheduling instead of room scheduling. 3. Delegation of the details of scheduling to track managers 4. Use of panel ticketing and tracking software
So, instead of our "Room Manager" system for this year (where the goal was to have each room manager schedule their own room next year), we'll have "Track Managers."
Example:
1. Anime-related panel submission comes in.
2. Ticket for this panel reviewed by Department heads (myself and Scott)
3. If approved, confirmation sent to panelist and ticket passed to Anime Track Manager for scheduling
4. If the panel is special (very large attendance expected, for example), the Anime Track Manager would pass it back to (or have it pulled back by) the Department heads for scheduling in one of the two "special" rooms (the large ones).
So, the anime track room would have all anime-related panels. The guest track room would have all guest panels. The special rooms (Panel 1, for example) would be a mix. So, an ultra-large anime panel would be alongside a normal anime panel, but two normal anime panels would never be alongside eachother.
But, after reading the above, you can see exactly why panel departments have so many problems. We applied the same logic to panels that we did to GeekNights: analyze the process and improve it with each iteration. We're doing Connecticon's panels one year, and we see x problems. The next year, we address as many of these as possible, and see what new problems emerge. Every year will be easier, as we improve the process.
Now look at Otakon and the like. Panels are run by different people every year, full of fail, and the process never improves. Look at most podcasts. They spend hours and hours editing and wasting their own time on pre and post-production because they never improve their own process. With GeekNights, I spend ONE NIGHT editing for four hours, and started writing scripts to speed up the process. A year later, post-production was 90% automated.
This is something I never really thought about when weighing volunteer-run anime cons versus other types of cons. It seems like this could be the major factor. A volunteer con will often have to scramble to find replacements every year, because the previous person can't or won't do their job.
Seems to me that if the management is consistent from year to year, you'll have a well-oiled machine in place that can readily handle the training of volunteers and the overall organization of such an event.
This is something I never really thought about when weighing volunteer-run anime cons versus other types of cons. It seems like this could be the major factor. A volunteer con will often have to scramble to find replacements every year, because the previous person can't or won't do their job.
Well, the problem is usually that the same people fail every year, but the management don't get rid of them, nor do they spread the power enough so that there is a capable replacement at the same level. Thus, failure flows upward, not across. And, by not having replacements ready (or distributed decision making capabilities) or any sort of business continuity plan, they have to scramble every year when people inevitably fail.
Seems to me that if the management is consistent from year to year, you'll have a well-oiled machine in place that can readily handle the training of volunteers and the overall organization of such an event.
Ahh, if only. The staff orientation for Otakon was at about the same level as gopher orientation at a con like Connecticon. They make it clear that you're just a low-level cog, and that only with many years of dedication and selfless labor will you ever rise above the lowest echelons of staffing. There was no training of any note.
Anime cons are top-heavy, but without continuity plans. It makes them very easy to topple in the face of even minor drama.
I really don't get Otakon, I already know which panels I'm doing at Connecticon and when, but I have no idea whether I'm even doing panels at all at Otakon. They even had to buy themselves time by extending the early-bird pre-registration date.
I really don't get Otakon, I already know which panels I'm doing at Connecticon and when, but I have no idea whether I'm even doing panels at all at Otakon. They even had to buy themselves time by extending the early-bird pre-registration date.
We're both staff in the panels department, and we have no more information than you (other than soft knowledge as to why the previous department head was let go)...
Well, the problem is usually that the same people fail every year, but the management don't get rid of them, nor do they spread the power enough so that there is a capable replacement at the same level.
Oh, well, that's a separate issue. Your people need to be at least somewhat competent. No amount of organization will fix an incompetent manager - unless someone who is not incompetent set up the system before them.
Yea, the track system from what I can gather works well with Dragon Con. I'm experimenting a bit with that with my Zenkaikon schedule as we expand into other areas. (we are trying to move into sci-fi and board/RPG gaming slowly)
Karl and I are only going to go to Otakon on Saturday. I live close enough that a day trip is easier and will save a considerable amount of money. The charms of Otakon have worn quite thin on me. I have a soft spot for it as it was my first panel at a con, but other than that, eh.
Not only was Anime Expo not a total mess due to all the staff walk-outs, it was the largest and most organized AX in my five years of attending. Top three things that most impressed me:
1. The registration and pre-reg lines. There were about fifty computers set up where you could scan your barcode from your confirmation email and have your badge printed immediately. The whole process took about three minutes, tops. Even when the line was at its longest on Saturday when my friend had to pick up her badge, it was only about a 15 minute wait, despite the fact that the line for pre-reg snaked up and down the outside of the convention center about four times.
2. No scheduling changes. NONE. FUCKING NONE. At least, that I knew of. The schedule printed in the book was completely accurate to the actual events programming. Everything was on time. Everything was where it was supposed to be. Nothing got canceled, moved, or rescheduled. It's a good thing I didn't buy the iPhone app with live updated schedules, because it would have been completely unnecessary.
3. The size. Holy shit, the con was massive this year. The reason the tickets were more expensive this year quickly became apparent when I realized how much farther AX has sprawled. Not only did AX take over the LA convention center and several of the surrounding hotels, but they also rented out Nokia Live and part of the Staples Center, meaning that con territory stretched in a 3+ city block radius in any given direction. They had the all-ages dance and a laser light show outside in Nokia Plaza and the 18+ dance at Club Nokia, which is a really really really nice venue. My GOD was this con huge.
Overall, it was probably the tightest ship AX has ever run. I was nervous about how this year would go but, after this weekend, I will absolutely not hesitate to buy my pass for next year as soon as it becomes available.
Not only was Anime Expo not a total mess due to all the staff walk-outs, it was the largest and most organized AX in my five years of attending. Top three things that most impressed me:
Oh yeah - My girlfriend was working press at Anime Expo, and you might have seen her around the Flipside booth, too, with Brion and Jen. She thought it was ace. EDIT - If you saw her around, this is what you would have seen -
Double edit - The one on the right, you cheeky bastards.
Comments
This year, we ran Connecticon panels basically the way Otakon does theirs. For next year, we're completely redoing the process.
1. Except for pre-existing relationships and professionals, no panels will be considered except those submitted via a form.
2. Track scheduling instead of room scheduling.
3. Delegation of the details of scheduling to track managers
4. Use of panel ticketing and tracking software
So, instead of our "Room Manager" system for this year (where the goal was to have each room manager schedule their own room next year), we'll have "Track Managers."
Example:
1. Anime-related panel submission comes in.
2. Ticket for this panel reviewed by Department heads (myself and Scott)
3. If approved, confirmation sent to panelist and ticket passed to Anime Track Manager for scheduling
4. If the panel is special (very large attendance expected, for example), the Anime Track Manager would pass it back to (or have it pulled back by) the Department heads for scheduling in one of the two "special" rooms (the large ones).
So, the anime track room would have all anime-related panels. The guest track room would have all guest panels. The special rooms (Panel 1, for example) would be a mix. So, an ultra-large anime panel would be alongside a normal anime panel, but two normal anime panels would never be alongside eachother.
But, after reading the above, you can see exactly why panel departments have so many problems. We applied the same logic to panels that we did to GeekNights: analyze the process and improve it with each iteration. We're doing Connecticon's panels one year, and we see x problems. The next year, we address as many of these as possible, and see what new problems emerge. Every year will be easier, as we improve the process.
Now look at Otakon and the like. Panels are run by different people every year, full of fail, and the process never improves. Look at most podcasts. They spend hours and hours editing and wasting their own time on pre and post-production because they never improve their own process. With GeekNights, I spend ONE NIGHT editing for four hours, and started writing scripts to speed up the process. A year later, post-production was 90% automated.
Seems to me that if the management is consistent from year to year, you'll have a well-oiled machine in place that can readily handle the training of volunteers and the overall organization of such an event.
Anime cons are top-heavy, but without continuity plans. It makes them very easy to topple in the face of even minor drama.
1. The registration and pre-reg lines. There were about fifty computers set up where you could scan your barcode from your confirmation email and have your badge printed immediately. The whole process took about three minutes, tops. Even when the line was at its longest on Saturday when my friend had to pick up her badge, it was only about a 15 minute wait, despite the fact that the line for pre-reg snaked up and down the outside of the convention center about four times.
2. No scheduling changes. NONE. FUCKING NONE. At least, that I knew of. The schedule printed in the book was completely accurate to the actual events programming. Everything was on time. Everything was where it was supposed to be. Nothing got canceled, moved, or rescheduled. It's a good thing I didn't buy the iPhone app with live updated schedules, because it would have been completely unnecessary.
3. The size. Holy shit, the con was massive this year. The reason the tickets were more expensive this year quickly became apparent when I realized how much farther AX has sprawled. Not only did AX take over the LA convention center and several of the surrounding hotels, but they also rented out Nokia Live and part of the Staples Center, meaning that con territory stretched in a 3+ city block radius in any given direction. They had the all-ages dance and a laser light show outside in Nokia Plaza and the 18+ dance at Club Nokia, which is a really really really nice venue. My GOD was this con huge.
Overall, it was probably the tightest ship AX has ever run. I was nervous about how this year would go but, after this weekend, I will absolutely not hesitate to buy my pass for next year as soon as it becomes available.
Double edit - The one on the right, you cheeky bastards.