Several members of my online writing group are in that
most frustrating part of the writing cycle where they are sending work out to
agents and publishers, waiting on pins and needles and dealing with the
inevitable slew of rejections that are, hopefully, the prelude to eventual
offers of publication or representation.
This has led to a spirited discussion of the role of “gatekeepers” in
the rapidly changing publishing world. Are
they really interested in bringing new voices to readers, or are they only interested
in higher profits?
Without claiming any special knowledge, I would assert
that they are interested in both, but the two are sadly less compatible than
they once might have been. It’s always
been the case that everyone wants to find the next big thing, but once they do,
everyone else feels the need to jump on the bandwagon and not get off until
diminishing returns force them to look elsewhere.
Star Trek was nearly cancelled after one season |
I would also posit that some combination of the increasing
homogenization of our external world and the insecurity caused by
environmental, social and economic upheaval makes people crave the familiar,
which thanks to the internet, is always at their fingertips.
Last week, a virtual earthquake shook the radio station
where I am a chattel worker – um, I mean unpaid producer. Our Interim General Manager announced a new
morning lineup, including a slightly revamped version of the old Morning Show,
which was taken off the air a year and a half ago. The former Morning Show producers and hosts have made it their single-minded
focus for the last year and a half to bring it back, blaming its cancellation
for every problem the station has ever had, from lack of money to declining
listenership. This despite the fact
that the show was cancelled in the first place because the station had a half
million dollar budget shortfall – which has now been made up, and that the
station’s subscriber base has remained relatively constant (and low) since the
1950s. Film critic Pauline Kael, who
volunteered at the station, complained when she left in 1963 that management
was not doing enough to increase listener sponsorships. At that time there were about 17,000; at our
peak in 2003, we had about 28,000, which had dropped to around 20,000 before
the most recent layoffs. In the same period,
California’s population grew by 225%, and KPFA is heard through one-third of
the state.
In their campaign to get the Morning Show reinstated, the
producers and their supporters had viciously and publicly attacked Interim
General Manager Andrew Phillips. They
also embroiled the station and its parent network in costly lawsuits (which
were thrown out), picketed the station repeatedly, and at times encouraged
their supporters to give money to a separate Morning Show fund instead of to
the station. Andrew had said very
publicly several times that the show would not go back on the air. Many staff on the other side of station
politics reacted to last week’s announcement with shock and horror, feeling the
message it sends is that bullying pays.
Staff also feel that we’re moving backward rather than
forward. The Morning Show was a
traditional news magazine, produced and hosted by paid staff, covering the
issues that are important to KPFA’s core audience, which is 65% white men over
[50]. Its replacement was a show called
The Morning Mix, produced by a diverse, rotating group of unpaid staff. The style and issue focus of the Mix vary,
depending on who is producing and hosting.
The paid producers at the station have refused to help them, so the
production quality also varies. Some
listeners like it much better than the old Morning Show, some stopped listening
altogether, some like certain hosts and hate others. The show has steadily built both audience and fundraising
capacity over the last fourteen months.
It has definitely brought in new voices and listeners.
When the new-old show, “Up Front” debuted last week, in
the middle of the fund drive, it raised three times as much money as any other
single hour during this drive. However,
there’s some indication that the new show might be pulling money from similar
shows.
Brenda Chapman had to fight to convince Pixar to make a film with a female action hero |
It is true, though, that you cannot build an audience overnight. You have to do it over time. In bygone days, television and radio
stations could sometimes take the time to do that, because people did not have
that much choice. When I was growing
up, we got four television channels. If
you didn’t like a show, you had a strong incentive to give it a chance to grow
on you, if it was on at a time when you wanted to watch television. Some of the most popular shows ever were
nearly cancelled after their first season.
Star Trek was saved from the ax by a letter-writing campaign after its first season, but
cancelled after three because of low ratings, only to live forever in
late-night reruns and spinoffs. “Cagney& Lacey,” which caused hours of angst for me and my politically correct
feminist friends (because we all loved it), was renewed only after CBS replaced
too-butch Meg Foster with the more “feminine” Sharon Gless. The show was cancelled again after its first
season, and again restored by viewer organizing.
Now, no one would take such a chance on a show that was
losing market share. They can’t afford
to, because not only will they lose audience during that time slot, but they
might lose it permanently. If people
flip the dial, they will probably flip it back, but if they turn off the TV and
turn on their computer or download something on their Kindle Fire, they may
never come back. Check out "The 15 Best TV Shows That Were Canceled Too Soon" to find out what you've missed because of this instant make-it-or-break-it mentality.
That’s why authors, performers and producers have to spend
so much time “building platform,” something else we talk a lot about in my
writing group. If you want anyone to
take a chance on you, you have to show that you already have an audience.
We like what’s familiar.
That’s why series do so well, whether in print or on film. I have to admit, if I have a choice of a
show I never heard of or a rerun of “Law & Order,” I’m likely to pick the
rerun, even if I’ve seen it five times already. I do watch new things, I read books by new authors, but I like to
mix them liberally with things I’m accustomed to. Obviously, this is not unique to me, or “Harry Potter and the
Deathly Hallows Part 2”, “Transformers: Dark of the Moon”, “The Twilight Saga:
Breaking Dawn Part 1”, “Mission: Impossible - Ghost Protocol” and the
all-important “Cars 2” would not have been the top grossing movies of 2011.
What is it about us, I wonder, that makes us seek the comfort of what we know, even when we realize that everything familiar was new once? How do you decide to try something new, and how long do you give it?