January 12, 2009

Memories of Bob, A Geek Who Helped Shape Me

This morning I received word that Bob Snively has gone gone terminal.  The kidney cancer that he’s been battling for several years has spread suddenly and that he has a very short time to live.

A few words about him, that maybe he’ll read or hear about before the universe shuts down his computer for the last time.  Geneologists would say that Bob was the husband of my Nana’s first cousin, in practice he was more like an uncle, but really while I was away at school in Northern California, he was my father-in-abstention.

He and his wife Sandy and their children Jill and Stormy have become some of the biggest members of my support network, shaping me into the person that I am today.

Bob is one of the most bright and analytic people that I have ever met. When I was younger he always took my inquisical nature and quirky sense of humor and encouraged it.  Always an open ear on a trailhead or driving me back from San Francisco to take me to their farmlet in Morgan Hill.  He listened and gave exceedingly practical advice about women, driving, and life.

His relaxed and nerdy masculinity was always something that I idolized him for — it was good to be smart and geeky in Bob’s world.  He was the first person I knew to have a gigabyte harddrive.  I remember seeing it and telling my friends back home and not having them believe me.  It was like I was telling stories about dragons or having an orgy, or having an orgy with dragons.  It was such a large capacity that it couldn’t be believed.

Bob and Sandy have always been supportive of me.  They came to parent’s day in college and we took the tour of the University farm.  Bob was the only one that asked questions.  Though he was a brilliant engineer, he seemed happiest in the rural setting.  And that day loved digging into the minutiae of how the animals were raised and the crops rotated.  I was more fascinated in the student tour guides meticulously pressed Wranger jeans and the ominously swinging chain and hook outside the meat “laboratory”.

They also came up and did a major bike ride when I was into such things.  They rode a 100 miles (or maybe it was 60) in the Chico Wildflower century.  It was more about spending time with me than the event.

They also were part of the investors who made AskANinja.com possible.  We had a risky business plan, a lot of hope and an idea that wasn’t even Ask A Ninja yet, but they just gave me a hug and a check.

Bob had a very accomplished career, chairing several standards committees over the years and working at IBM, SUN, and Brocade.  But professional Bob wasn’t someone I knew, because once it was the weekend and time for family he was an enthusiastic hiker/biker/fruit farmer.  We went canoeing, biking, or sea kayaking.  Never played football or baseball, and you didn’t watch TV when you were there (except they were years ahead on the Iron Chef craze, but they watched it on the local Japanese broadcast station).  In college I remember that I had to explain who Martha Stewart was to them.

To know the Snivelys, is to receive fruits and nuts from their numerous trees, or to drink the wine that their vines produced on their small plot of land.

To live near the Snivelys (or with them as their children and endless supply of exchange students can attest) is to become an unpaid farm hand.  There is always some sort of picking or pruning happening around there, and I quickly learned that there’s no escaping merely because you’re a guest (they’ve got several extra pairs of mudboots for new helpers).

One bright and sunny morning it was decided that it was wood splitting day.  The whole gang of us fed the freshly rented log splitter ginormous logs and stumps into the splitter to make fire wood.  Me and John (their future son inlaw) decided we’d do it the old fashioned way with an axe.  After about three whacks we’d gotten the axe stuck, as well as a wedge or three, and Bob had to help us out.

There’s also the famous story of the Eastern Block exchange student, placed at the Snivelys with limited english and not totally settled in on his first night being awoken by the family to help cover the fruit trees to protect them from the frost.  He thought he was in some some of forced labor camp and spoke of his misgivings to his mother the next day.

Right now I’m told Bob is at home, surrounded by his children, grandchildren, brothers and wife.  They are trying to put on the bravest face for the young ones, so that they’ll not be forever traumatized by this sudden decline.  Sandy said he’s been giving out his todo list of chores — the light flickers when you use the hair dryer and how to fix it, and the types on canoes and kayaks his brothers should buy.  He’s taking this in stride (much more so than me right now) and making his peace.

That house has always been filled with love, family, stories, and food, and I’m sure it’s where he wants to spend his last moments.

I want to wrap this up with some sort of bland “we’re going to miss you statement” but I can’t muster anything right now, because I’m crying a lot and I’m a bit pissed off at the universe right now.  Angry that the pat cliches creep up on me: it’s not fair, it’s the cycle, we all die, life will go on, etc.

Bob,

Thank you for leading your life as an example.  For being a great father, grandfather, husband, and geek.  Thank you for giving me something to aspire to in life and in death.  I love you.  You’re being taken too soon.  I miss you already.

UPDATE:
Bob Snively passed away 1/17/09 surrounded by his wife, children, and grandchildren.  His last words were, “Thank you.”

January 2, 2009

Goals for 2009

Personal

  • Be a better friend, son, brother, and community member.
  • Enjoy the moment.
  • Exercise three times a week.
  • Work at my desk more.
  • Make my bed.
  • Eat less red meat, and more vegetables.
  • Simplify, simplify, simplify.
  • Move into a new place.

Professional

  • Make Ask A Ninja into an actual business.
  • Write and Shoot a mumblecore feature.
  • Shoot a spec commercial.
  • Sell another project to Hollywood.

December 21, 2008

Seminal Moment: Old People Pirating DVDs

So an anonymous couple in their early 60s have recently dabbled into media piracy.  It used to be that people who shared ripped DVDs were anonymous freshmen living in the dorms.

Not anymore.

On two separate occasions these members of the elder set have now copied a DVD they purchased, and now received a full DVD wallet of Christmas classics.

This officially means that DVD copying has become mainstream.

And I think that’s great.  In the wallet of the Christmas DVDs received from a friend that gave them out as Holiday gifts, there were several movies they already owned on DVDs, and then several very old and obscure chestnuts I’d never heard of, along with some well known classics.

Chances are that Couple X would never have bought or rent these ever, but now that they know that they are available, I could see them buying one or two of them to get the packaging.

But, regardless, they pirated, they are delighted by these films and I can see them getting hooked.

They also recently asked for help in copying a DVD they purchased to give to their friend.  And I think once they get an easy system down they will do more of this in the future.  They buy a lot of media and love to pass along the ones the buy (previously they just watch once and then give it away to friends and family, but now I could see them passing along a copy).

I think the solution to this for the media companies is not to clamp down more, the genie is way out of the bag, but to become even more open, especially with their libraries that don’t get watched much.  If Couple X’s Tivo box was hooked up to a massive back catalogue of those Holiday films, I’m sure they’d pony up a few bucks to watch those flicks, or put up with Hulu-style ads.

In short, the tools for piracy have become easy enough for the least savvy to use them.  And the DVD will remain strong over BluRay just because it’s easier to copy for the foreseeable future.

December 20, 2008

Indie Advocate Gets Bitter About The State of Filmmaking

Mike Curtis, an HD evangelist over at ProVideoCoalition.com and HDforIndies.com, is majorly depressed and angry over the current state of the indie filmmaking world.

A sample:

Story – a guy trying to make little cheapo guns ‘n boobies sci-fi movies on the ultra cheap – make 3 a year. He got no bites on international distribution at some film market, and sold all domestic rights for $16K. That’s half of what he needed just to break even.

Another story – similar tale of someone who, after all the other fees and cuts and whatnot were done, got $2 per DVD as producer. OK – sold about 5000 units. That’s $10K compensation for making a feature film.

Anecdote – it used to be that the hot new movie directing talent came up through commercials and music videos – think David Fincher. McG is, I think, the last name I can think of that came up that route that has achieved commercial success. Anybody else? Anyone? Anyone? Bueller? Bueller? There was a list of top 50 hot talent something or other. Nobody under 30. Where’s the new talent coming from? Not from music videos anymore – there’s barely a market, and certainly no real money, in that anymore

As long as I’m ranting, film school education has GOT to be one of the worst investments. Spend $100K or more to learn a craft where you have no hope of making that kind of income as a median for 10+ years. An ex-girlfriend talked about going back to grad school, and if your loans totalled what you made your first year out (about $45K in her case), it was a good balance, a good deal. So, $100K in loans and $25-$50K at best first year out? Bwahahahhaaaaa…..of, man, that hurts.

The whole thing is a little long and rambling, but his frustration with the death of the Indie Film model of the 90s comes across loud and clear.

I think his frustration is mostly because that model (make a film, sell it on the festival circuit, become a famous filmmaker) hasn’t really been replaced with anything better.

But to be honest, I don’t think that model ever really existed.  For every Soderbergh, Tarantino, and Smith, there were dozens, if not hundreds, of less successful filmmakers trying to do the exact same thing.  Now that high quality tools are available to the masses, motion picture production is more available now than ever before.  Couple that with easy distribution, we’ve got the current situation, so today there are thousands of filmmakers for every Ask A Ninja, Midwest Teen Sex Show, and LonelyGirl15.

To address his specific concerns in the excerpts above, yes deals are crappy right now, that’s why we’re seeing things like a Sundance darling turning down a conventional distribution deal.  (But my filmmaking books all talk about crappy deals for first timers even during the heyday).

Where’s the new talent coming from?  YouTube, but we’re still very early in that process.  Most features take years to gestate and 2008 was the first year to see Feature deals for Internet filmmakers.  Those films will start coming out in the next few years.

And yes, Film School is a bit of a waste in terms of providing a guaranteed return on investment and a financially viable career.   Though I do sometimes wish I was part of the USC film school mafia.  :)

But overall, Mike’s Rant comes off as a tirade of an artist that believes merely because he creates something, that he should be entitled to earn a living from it.  Which is not that case.  Actors, directors and writers get fat fees because they have a track record of making other people money.  A lot of money.  The first and biggest hurdle today is actually finding an audience and building a relationship with them so that they will a) tell people to watch your stuff, b) buy something from you, and c) support your next project.

But I think this sense of entitlement by filmmakers for an audience and ultimately for financial success is fairly common.  It’s the hubris of having a vision and not checking into if you’re actually communicating that vision with anyone else.  Which is always a problem for filmmakers at all levels because we perform in silence (quiet on the set!) and then edit in a closed feedback system.  The audience always comes at the end of the process.

This new model will reward those that can stand out, which you can only do with the work itself.  My analysis of the Indie film world was to be successful your film just had to not suck and then have something special about it.  The not sucking is tremendously difficult (take it from me I’ve made a ton of crappy films) and the something special could be anything from clever dialog to inventive camerawork or clever editing.  Just something.   And that something doesn’t need to be amazing, it just needs to show that you’re a little different.  But the not sucking is key.  And the same thing applys now.  Just don’t suck.  And then have something…

It used to be that getting people to see your work was hard, and getting paid for your work was even harder.  Audiences either had to go somewhere and pay to see it or get a physical piece of media that they either paid for or got for free (either you gave them a copy or they begged borrowed or stole it from someone else) to put into a player attached to their TV.  Now people get a link and click.  Done.

Getting them to watch it is relatively easy.  But getting them to share it?  That requires you to make something compelling enough for people to want to put their cred on the line and have the internal dialog, “I like this, this is cool, and I think you’ll like this too” when they send a link to their friends.  That’s really hard.  Because you’re not only competing with cat videos and whatnot, you’re competing with all of culture ever produced.  Instead of your movie or video, they could send a link to the Torrent of Vertigo or footage of Welles’s Julius Ceasar.  But you have the advantage of being new and hopefully capturing the zeitgeist.

So now it’s easy for people to watch and share your stuff, but getting paid is much harder.  But you know what?  Getting paid is always the hardest part.  It’s the same deal as before, either you give it away for free to get people to see your work and consume it as they will, or you get paid to produce it and that producer is responsible for figuring out how to make money from it.  The free model works with selling advertising in the content and relationship building through t-shirt sales and DVD sales.

If your stuff is watchable, people will watch it, if it isn’t, they won’t.  And even the “unsuccessful” videos that only get 10,000 or 50,000 or 100 views, think about in the old days how difficult and expensive it would be to even make 100 VHS copies, let alone 50,000.

Is the indie content business model difficult?  Yes.  But it always has been and will just continue to be, because when you’re an indie, you’re an artist and a business person.  And it’s difficult to balance those two different worlds.  Which means sometimes you eat the bear, and sometimes the bear eats you.

But it’s something that you’re going to need to keep learning and adjusting to because this is the reality.  People want to share good works, and if you don’t make it easy for them to do officially (and give you some profit back), then they will do it unofficially and you’ll have no real way to build a relationship with your audience.

As Clay Shirky said in a recent interview:

I’m just so impatient with the argument that the world should be slowed down to help people who aren’t smart enough to understand what’s going on.

December 16, 2008

The Power of Myth in Advertising

Matthew Yglesias wrote:

The problem newspapers are having with online isn’t that the readers won’t pay, it’s that the advertisers won’t pay. The reduced costs per reader make up for the reduced revenue involved in giving the product away, but a physical newspaper generates far more in terms of ad revenue per reader than does a newspaper website. Probably once physical newspapers all disappear, ad rates for news websites will go up somewhat merely because ad buyers won’t have as many options.

That’s the real crux of the problem.  Advertisers don’t know how to value online eyeballs.  The myths of old media have accrued until now they are just pure common sense or conventional wisdom.

My favorite example is what’s known as the pass along rate in magazines.  The pass along rate is some imaginary number that publishers say that original subscribers pass along the magazine to friends and other non-subscribers.  And that certainly happens in the real world, but it’s also very hard to quantify.  It’s squishy and human and imprecise.

Right now most of online advertising is anything but squishy and human.  Google adwords are the king (44% of revenue), with display brand dollars getting a distant second (21% of revenue), according to the most recent IAB study.  Adwords and the other search ads are addictive and very measurable in their effect on consumers because they are there the second someone is looking for that good or service.

Awesome.

But how does one create a desire and a need for a new product or service?  That’s very squishy and unquantifiable.  Ads that build awareness are always going to be inherently low action ads (few clicks on the ads themselves), but they are going to build a want and need for a future action.

That’s why you’re seeing newspapers in the bad way that they are right now.  Because they can’t extract as high a value for the same eyeballs that they can for the dead tree edition.

And they can’t because they don’t have the same mythology in place.  It’s a huge PR event when someone like MoveOn buys a full page ad in the NYTimes.  But if they spent the same amount of money to roadblock (i.e., buy every ad impression on NYTimes.com for a certain amount of time), they most certainly wouldn’t get the same amount of coverage and controversy that the infamous “General Betray Us” ad did for them.

Why?

It’s the same amount of money, and probably the online ad would be seen by more people and run for more days.

First and foremost, it’s tradition.  We all know, or think we know, or imagine that full page advertisements in big papers like that are expensive.  That they have value.  So the notion of some non-traditional advertiser spending moeny like that is itself a topic for debate.

Part of that tradition is that the New York Times has a great brand.  And that anything printed in it has inherent added value.  I remember in the early days of AskANinja, someone once said to us when we were being interviewed for the online version of Business Week, “You really should try and get into the print version of Business Week.”  Sure… but, we weren’t making that decision.  And as a result of a print piece, we’ve never seen a spike in our numbers.  Only online things have helped concretely, and mostly online pieces from blogs not papers or magazines.  Print editions have only driven up the awareness of our brand (which is good too).

Moving forward, we are going to need to see an increased value for eyeballs online.  When a show like Ask A Ninja can deliver similar or better demographics as Adult Swim, then Ask A Ninja needs to be able to command similar ad rates.

Same with newspaper’s online divisions and everything else.

But that’s not to say that we online folks don’t need to change and figure things out.  We have to be flexible, we have to work to create the new mythology of value and make a system that works for users, publishers, and advertisers.

We all need each other and we can’t cut a corner out of the triangle.

December 14, 2008

My Blogiversary: One Year Writing About Producing New Media

I started this blog one year ago to give attention to the plight of Perez Hilton and his banned YouTube channel.

Since then I’ve written close to 100 posts about new media and how to make a living in this new universe.

Writing about this stuff has been a fun and humbling journey.  It’s a scary new world, with a lot of unwritten rules.  The exciting thing is that we as a community are all collectively blazing the trails that others will follow.  That is why it’s good to reflect and analyze what’s happening and what’s working.  And it’s important to keep offering a hand back to those just starting out.

This is a space that completely reinvents itself every few months.  It’s hard to have long term vision when there is this much churn.  Like being caught in a riptide, this is a time for calm and steady action, not wild and flailing panic.  We can see the shore from where we are now, but we can’t swim directly there.  We need to swim laterally and get out of the confusion and then to the safety of shore.

In New Media, that means do good work, expect no money, expect no fame, but prepare for them.  Continue to get better with each piece of work.  And above all survive.  Survive either by raising friends and family capital, or by keeping your day job, or by having the TV or movie version of your show ready to sell.  Most likely you’ll need to do a little of all of the above.

There is no straightline from anonymity to being set for life.  Even extremely popular and consistent producers like Fred, aren’t making enough money to that their equivalents in TV and film are making.  I would guess that Fred is grossing 1/10th of what a comparative writer/creator/star makes on even the most basic sitcom.

And he needs to keep producing for him to keep making money.  There’s no residuals or a big efficient market (yet) for syndicated short form content.  So Fred and everyone else making it online needs to diversify and make a TV show, write a book, sell merchandise, which will inevitably pull him away from creating new media content.

These issues will be worked out over the coming years.  But they still are very much unresolved now.

And that’s not to say that it’s not worthwhile to produce shows without it being financially viable — that puts you solidly into the realm of artist.  But, as with most human endeavors, it’s difficult to justify the investment of time and money without some sort of return.

My dad is a woodcarver.  He specializes in making primitive wood caricatures and figures.  They have a rough hewn charm the belies the hours of work and care he puts into them.  He sells the finished product occasionally for well under $1o0.  With each carving taking at least 40 hours to produce it’s not a moneymaking affair.  But he is a professional carver because he teaches it at a community college.  So he has dozens of students currently and he has made an impact on thousands of people over the years from his efforts at the school and the crafts fairs he’s attended.

He’s on the low end of people that make a living from his art (in terms of time spent versus monetary compensation), but that still puts him ahead of most people that carve wood.  And his reward is much more than money.  He gets out of bed every morning and preps for his class and carves for himself because he loves it (and his spouse tolerates it, if you ever meet my mom ask her about all of the wood in the garage).

He carves because it gives back to him more than he puts into it.  He loves sharing his most recent work, he loves showing the process to new people, his enthusiasm is infectious and at times overwhelming.  When we were growing up, he got our entire boy scout troop their woodcarving merit badge.  We all carved dolphins and learned how to sharpen our knives.

And that’s why you should be creating videos too.  Because you have to.  Because they express things that you can only accomplish using a taped medium.  Not because you think the YouTube partner program is a good deal.  You should need to make films and want to share them with people, because if you didn’t you’d die a little inside.

I love to make people laugh.  I love to communicate ideas.  I love figuring out how to piece together disparate concepts and weave them into something new that creates a reaction.  Technology has made this increasingly easier to do, but still it always, always comes down to writing and execution.  RSS and Youtube are nothing without you to put the soul into them.

That our job.  We are the soulgivers, the storytellers of this new generation.  The money situation will work itself out.

So here’s to another year of blogging about New Media.  May your 2009 be better than your 2008.  :)

December 13, 2008

Reflecting on my Goals for 2008

First let’s review my 2008 goals:

Personal
Be a better friend, son, and brother.
Enjoy the moment.
Get outside more.
Eat less red meat, and more vegetables.
Get rid of unnecessary things.
Move into a new place.

Professional
Supercharge Ninja merchandise revenues.
Maximize revenues from Advertising and Licensing.
Launch a new and original internet series.
Sell a project to Hollywood.

Hmm, well the first thing on the list “Be a better friend, son, and brother” I think I made a small but notable improvement.  I reached out more to talk to the people in my life and hang out with them with no agenda, just to be with them.  But I think this is an area that can always be improved upon and I’ll keep this on my list for 2009.

Next is “Enjoy the moment” I think I’ve been especially good at this.  Just being aware of the special time and place that I occupy.  It’s been helpful especially these last few months when things have gotten a little harder.

“Get outside more” this I was better at in the beginning of the year but I quickly kept cocooning inside.  I live in the sunniest place in the world but you’d never now that from my habits.  I suck.

“Eat less redmeat, and more vegetables” I certainly have cut way back on my red meat consumption.  I still occassionally eat it twice in one day, but I now feel guilty and certainly try to add much more poultry and pork into the mix.  I’ve recently added more fruits to my diet, and am enjoying it immensely.

“Get rid of unnecessary things” still a bit of a pack rat.  The last year I was very mobile, living at houses that my ex and I were housesitting or going to her place because of the dog.  So as a consequence, my place stayed in a bit of a state of suspended animation.  Now that I’m here fulltime again, I’m starting to pare down much more.

“Move into a new place” didn’t happen due to several factors.  Hoping that 2009 will bring enough stability and fortune to allow for this.

Professional Goals

“Supercharge Ninja Merchandise Revenues” ugh, we need to find a better way to sell things.

“Maximize Revenues from Advertising and Licensing” Licensing was a bright spot for us this year.  Did a great deal with XBoxLive that everyone was happy with.  Advertising has been a challenge, we just can’t seem to connect to the young male consumer brands as well as we would like to.

“Launch a new and original Internet Series” didn’t do this for a variety of reasons.  And I think we won’t in 2009 unless it’s part of a multi-platform situation with a TV show or a very limited season (i.e., 5-10 episodes).

“Sell a project to Hollywood” ATTACK OF THE KILLER TOMATOES!  It’s been fun working on the script and with the producers.  It’s just a slow process.  Looking forward to selling more things to the system.

Stay tuned for my 2009 goals.  :)

December 13, 2008

The Future of Local TV and New Media

First off, I love it when I beat traditional media with analysis.  The NYTimes basically says the same thing that I did in my last post, the Leno move signals a big change in TV.

That post has a comment that has gotten me thinking.  Brandon J. Mendelson wrote:

Eventually, NBC, Fox, and the others will free the beast (their affiliates) and allow them more programming hours. That’s where you’re going to find new original programming.

And he’s right!  Everyone of those locally owned affiliates will eventually be unleashed and will become poised to compete with the mothership networks as well.

Up until now I’ve been thinking about it in the reverse.  That the affiliates would be begging the networks for more programming.  But the local stations seem to be getting antsy with the crappy programming that doesn’t reflect their locality.

From DeadlineHollywoodDaily.com:

“I’d much rather have NBC give me a program with strong ratings,” says KSHB/KMCI VP/General Manager Craig Allison. “But if that doesn’t happen, I think this does present an opportunity. We’ll take it and make lemonade out of it—we know how to do that.” Now, isn’t that a ringing endorsement of Zucker’s track record? Sheesh.

These stations already have ad sales teams, they already produce hours of extremely localized content (i.e., the News) and they started out back in the day with local entertainment shows that have now gone away.  If the local show equals or slightly beats the network produced show, then it’s a big win for the local station.  They get to keep all of the ad revenue, they build a local and loyal audience.

And they also get to build a new business model.  Right now I watch several network shows, but never watch a local affiliate.  The last time I did, was with the recent fires here in SoCal, and then I just watched on their website.  With more unique and local content, these stations will continue to be vital businesses, if they are just the place to get the shows that are available everywhere else, then they are doomed.

I can see a future where local affiliates start dabbling more and more into homegrown entertainment content that has a strong multiplatform approach, then if it gets successful, rolling it out into syndication for other stations around their region (and country if it’s a broad enough show) to pick up.

Sure unprogrammed airtime is also going to mean more reruns and other dead content.  But with the means of production so cheap and the channels of distribution are plentiful (they can always put it on their website), you know that a few stations are going to experiment, and then a few more.

If I were in the hinterlands (i.e., not New York, Chicago, or LA) and doing new media, I would make a hyperlocal show, build an audience through the cafe and school circuit, and then try to sell it as a latenight show to a local affiliate.

Bill Streeter are you listening?  ;)

December 11, 2008

How The Tonight Show Will Fuel New Media

The recent news about Jay Leno moving to 10pm is going to have major impact on the TV landscape, I think it’s a smart decision for NBC Universal but will force more talent to smaller networks, that ultimately pay less, which will drive more entry level and middleclass writers and producers to create for themselves in the online space.

So let’s first look at the move itself, Leno will take his production and move it up an hour and a half.  He real net jobs gained or lost.  Conan moves to the 1130 slot and will be taking the majority of his creative staff along with him, but will most likely hire a lot of below the line folks here in LA.  And I would imagine the bulk of his old below the line staff with stay on board with Jimmy Fallon’s new show.

All of that replaces four days of entertainment programming and one of Dateline.  So for the cost of a single new show, and a variety show at that, NBC is saving on 4 hours of much more expensive programming and an hour of Dateline.

Pretty cost effective for the network.  Now, the audience demand for those hour long shows hasn’t gone away.  If anything I’m sure it’s as strong or increasing.  But, as a major studio, it’s much cheaper for them to launch a new drama on USA, SciFi, or Bravo.  Less expensive talent contracts all the way down.  And then let the breakout hits flow up to the mothership if there’s sufficient demand and incentive.

So with more shows launching on the cable networks, more shows being hour dramas (which have smaller writing staffs than sitcoms and replace two sitcoms with each hour of programming) and reality shows (which cut out both actors and writers), there’s just less money in the system for actors and writers.  Which is going to continue to sort out with major winners and losers and no middleclass that can do well on dayplaying and being staffed.

This is going to make even more people to join the new media fray (and leave Hollywood) because they aren’t getting paid anyway, so why not have all the control and have fun.

Which is going to have major repercussions because it’s going to limit the pool of available writers and actors. Because the safety net of small jobs and consistent work is going away, finding the right person for the job, will be replaced with finding the best of who’s left. Which will continue to diminish the available pool.

This is sounding like a bummer, and it is, but I do have some faith that some unseen force will make this cycle change. Will it be the majors will actually let small production companies own their own work and license it them? Maybe, but honestly I just heard an abhorrent story of a studio at the 11th hour adding a provision in a contract that prevented both the writer and producer from working on anything else for five years. A provision that is repugnant if the show goes and inhumane if goes and gets canceled quickly. Such provisions are more about locking up talent (where the term development hell comes from) than actually producing a show. Both the writer and producer walked and the deal never happened.

My faith mainly comes from just the creative impulse. People will always seek out good shows and want to be entertained. And those shows and creators will always be scarce and valuable.

It’s just going to take a little time for everyone to figure that out.

November 17, 2008

Inside My Creative Process

So it’s been rather difficult for me to be creative these last few weeks and months dealing with a lot of professional and personal stress.

My creativity is much more burst-based, than a constant flow of production.  I usually come up with an idea or three, and then it takes me a long time to gestate and either get it down on paper or edit the episode.  But once I’m into it I just do it and get it out of my system.

Over the weekend I set a goal to write this little script that I’ve needed to write for the last few weeks.  It’s fairly simple and fun.  All weekend I kept proRADstinating on it, until 11pm on Sunday night.

Finally, on the last hour of the weekend, I just did it, got the three pages out of my head.

And here’s how.  I didn’t do it on a keyboard.  I just took a pile of index cards on my bed and wrote a single line or description on a card and laid them out in order.  About 21 cards total.

Then I went into Final Draft and wrote it out in order, adding and taking away as needed.  After that I sent it out to Douglas for him to do a pass on it and then I’ll polish and send it along to the producer for their notes.

I wish I was more consistent with my output, but at the same time I really don’t want to add any more judgement or presure to a process that’s done me right so far.

What’s your process?