Archive: February, 2010

Ever since I launched Huffduffer, one of the features that really caught people’s attention was the sign up form.

I have to admit, I didn’t really think it was that revolutionary an idea. All I was trying to do was make the sign-up process a little friendlier and if web standards have taught us anything, it’s that there’s nothing inherent in the presentation of any element, much less forms. So I made the form more conversational and less blocky and rigid.

Well, it turns out that people love it. I’ve received bucketloads of Twitter messages and emails from people telling me how much they enjoyed the sign-up process.

But amongst all the positive comments I saw about the sign-up form when Huffduffer launched, I saw some armchair UX practitioners wondering about the usability of this somewhat unorthodox approach to forms. Fair point. Without user testing, how can I really know if the mad-libs approach is really working?

Now, it happens that Luke W. likes the Huffduffer sign-up form, as evidenced by a recent chat he had with Jared.

If anyone knows anything about the usability of web forms, it’s Luke. He literally wrote the book on it.

Not content with simply expressing a liking for the Huffduffer-style of human-friendly form presentation, he decided to put it to the test with Vast.com:

After seeing the Huffduffer form in action, I was curious how it would perform against a traditional form. Would people be more inclined to complete it because of the narrative format? Or would the unfamiliar presentation format confuse people? Thanks to Ron Kurti and the team at Vast.com, I now have some early answers.

Ron and his team ran some A/B testing online that compared a traditional Web form layout with a narrative “Mad Libs” format. In Vast.com’s testing, Mad Libs style forms increased conversion across the board by 25-40%.

That seems to be a statistically-significant result, even accounting for Cennydd’s reality-check on A/B testing.

It’ll be interesting to see if this is the start of a trend. If nothing else, it’s a way of getting designers to think about the presentation of common human-computer interactions, such as signing up to a new website.

The past

These talking machines are going to ruin the artistic development of music in this country. When I was a boy…in front of every house in the summer evenings, you would find young people together singing the songs of the day or old songs. Today you hear these infernal machines going night and day. We will not have a vocal cord left. The vocal cord will be eliminated by a process of evolution, as was the tail of man when he came from the ape.

—John Philip Sousa

The present

The future

The International Convention on Performing Rights is holding a third round of crisis talks in an attempt to stave off the final collapse of the WIPO music licensing regime. On the one hand, hard-liners representing the Copyright Control Association of America are pressing for restrictions on duplicating the altered emotional states associated with specific media performances: As a demonstration that they mean business, two “software engineers” in California have been kneecapped, tarred, feathered, and left for dead under placards accusing them of reverse-engineering movie plot lines using avatars of dead and out-of-copyright stars.

On the opposite side of the fence, the Association of Free Artists are demanding the right of perform music in public without a recording contract, and are denouncing the CCAA as being a tool of Mafiya apparachiks who have bought it from the moribund music industry in an attempt to go legit. FBI Director Leonid Kuibyshev responds by denying that the Mafiya is a significant presence in the United States. But the music biz’s position isn’t strengthened by the near collapse of the legitimate American entertainment industry, which has been accelerating ever since the nasty noughties.

—Accelerando by Charles Stross