Sunday, November 12, 2017

Why my dad hated All in the Family.

I ran across an article on Politico today called, "Why Won't TV Show People Who Aren't Rich?" You may have seen it, too, when I shared it on Facebook earlier today (although probably not -- thanks for the lame organic reach, Facebook). The upshot of the article is that shows like ABC's "The Middle" -- which features a middle-class family and which is now in its final season -- are few and far between. The author of the piece, Joanna Weiss, goes on to lament that so few TV shows feature middle-class families these days. She says it's particularly sad because the gulf between haves and have-nots in this country is widening by the day.

Weiss says it would be useful for TV to feature more characters who live on the economic edge because it would help us "coastal elites" understand what the folks in the middle of the country are going through. But there's no guarantee people would watch it -- and I'm not just talking about folks on the coast.

The top-rated show in the 1970s was "All in the Family." Produced by Norman Lear, its main characters were middle-class -- maybe even working-class. Archie Bunker was the old-fashioned, Republican, opinionated patriarch; his wife Edith was a homemaker and kind of dim; their daughter Gloria was the apple of her parents' eye, and then she married a long-haired liberal named Mike Stivic. Lear himself is a liberal, and his political leanings were obvious. Archie and Edith were played for laughs. Archie regularly gave Mike a hard time -- his favorite nickname for him was "Meathead" -- but it was pretty clear that Mike's ideas weren't all that terrible and that Archie was objecting simply because he didn't like the source.

My father had a lot in common with Archie Bunker -- he was a working-class Republican and not very well educated -- and he wouldn't watch the show. He didn't like it, he said. He didn't think it was funny. To almost everyone else in America, "All in the Family" was a microcosm of what was going on in the country in the '70s: the old, conservative guard being upstaged by long-haired youngsters. It allowed us to laugh at ourselves. But I think for my father, it felt like people were laughing at him.

Entertainment allows us to escape from our daily cares. TV shows today feature the rich, or at least the financially secure, for a number of reasons, but chief among them is ratings. These shows draw a lot of eyeballs precisely, I think, because they offer financially unstable Americans an escape from their problems. The respite doesn't last, of course, but the fact that the shows only make viewers more miserable in the long run doesn't matter to TV producers. They're only in it for the money.

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These moments of economically unstable blogginess have been brought to you, as a public service, by Lynne Cantwell.

Monday, November 6, 2017

That post-conference high.

I came home with a reading list...
It happens to me every November. I leave town for a writing conference for a few days, and come home all fired up about writing more books and, uh, somewhat less than fired up about returning to real life.

You're hearing from me a day late this week because last night -- or more accurately, very early this morning -- I came home from three days at the 20 Books to 50K conference in Las Vegas. It was my first time in Vegas, and it was both more and less than I expected it to be. But I'll leave the impressions of my trip for another time. Tonight I'd like to talk a little bit about what this conference is all about, and why I skipped this year's World Fantasy Convention to attend.

The conference name is somewhat self-explanatory: the idea is that if you write books in a popular genre and market them properly, you can expect to be making $50,000 a year by the time you've published 20 books. As someone who has just released her 18th book, I found the concept intriguing.

And as an indie author, I was getting less and less out of attending the World Fantasy Convention. It's a meetup for professionals, mostly, who either are chasing a contract with a traditional publisher or who already have one. So while the panels are often interesting and give me food for thought for my own writing, the emphasis behind the scenes is on schmoozing with editors and agents, neither of which -- as an indie -- I'm interested in.

Anyway. I didn't go into the 50 Books conference knowing much beyond what I explained above. What I was hoping for was a blueprint for how the indies who are making money at their craft got where they are. While I didn't get a straightforward answer, as the weekend progressed I got closer to the Big Picture.

First, you need to publish a lot of books each year, and for that you need to write fast. There were several presentations on methods for outlining a book, because it's quicker to write a story when you know where you're going with it. You also need to create characters who readers will fall in love with and want to read more about. Then your cover needs to fit in with others in your genre, your blurb needs to be well crafted, and your book itself needs to be professionally edited.

Next, you need to market it well, and for most authors these days, that means shelling out for advertising. There were several presentations on developing advertising campaigns for both Facebook and Amazon (and I bought books on those subjects written by Michael Cooper and Brian Meeks, two of the presenters at the conference). Another presentation talked about the strategy of doing a rapid release: you release four books, one each week, for four weeks straight. That takes an enormous amount of planning ahead, both for advertising buys and for writing time. But with four titles out at once, they work together to boost you up the sales lists at Amazon -- and the more books you sell, the more money you make.

Some of these concepts were new to me, but some are things we've been talking about at Indies Unlimited for years. (K.S. Brooks and I literally cheered when one of the presenters said his first question about any book cover is how it looks in thumbnail size.)

To sum up, organizers Craig Martell and Michael Anderle did a bang-up job pulling the conference together. And I'm going to be doing a lot of thinking over the next few weeks about how best to deploy some of these strategies next year. Stay tuned...

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Just before I left for Vegas, I pushed the "publish" button on Maggie at Moonrise. With that, the Transcendence trilogy is complete. I'll pull together an omnibus version pretty soon, but in the meantime, enjoy the new book -- and thanks in advance to those of you who have already bought a copy. You're my new best friends.

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These moments of bloggy enthusiasm have been brought to you, as a public service, by Lynne Cantwell.