media

Seeking Appeal

by

(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

Many writers harbor that dream of creating the work everyone loves.  Many writers also have the dream of creating a work that connects intimately with others.  Finally, most writers find that reconciling these – let’s call them Broad Appeal and Personal Appeal – is a nightmare in practice.

Yet some works manage to have both Broad and Personal Appeal – let us call it Universal Appeal.  Those rare movies and books are things we all treasure, for we can enjoy them by ourselves and share them with others.  Some creators break through the barrier, and we wonder why (we’re not jealous, right?).

This issue has been going around in my head for a while.  My tastes for media have evolved lately, and I’m trying to understand them.  This Broad, Personal, and Universal appeal are whirling about in my mind, so join me in an attempt to understand my thoughts.

Thoughts On Broad Appeal

Media with Broad Appeal are those works that interest many people but may not be particularly intimate.  They’re enjoyable or insightful, but most of the audience doesn’t experience that connection that drives people to obsess over or plumb a work.  We’ve all had that movie or show where your reaction is, “yeah it’s good, nice to share that with others.”

Broad Appeal is not bad.  I would argue the near-endless Marvel Films tend towards the Broad Appeal category, but most are good to extremely well-crafted.  There is a place for Broad Appeal because it lets you share the experience.

I can understand why some people focus on writing things with Broad Appeal.  It makes money and you get lots of people who like it – and both are great!  However, it seems to take effort to reach that level of Broad Appeal, or one may crave the intimacy of Personal Appeal.

Thoughts On Personal Appeal

Media with the Personal Appeal are works that connect deeply with a set of people but aren’t “for everyone.”  The right audience has a deep experience because they truly “get it.”  I’m sure you’ve had that book or comic or show where you loved it but found it impossible to share.

Personal Appeal is not exclusionary.  It’s just that you have to be the kind of person who it’s made for, who connects with it.  Some stuff just isn’t for you – something I get to with my large library of philosophy, little of which I can safely say “yeah you’ll dig THIS translation . . .”

Personal Appeal seems to be easy for some people to write – create what you like or focus on a domain of specific knowledge.  Writing things with Personal Appeal also has an intimacy that is quite enjoyable, which I can say from personal experience.  Still, an author may want to have their work have a broader audience than they have . . .

Thoughts On Universal Appeal

Universal Appeal is that rare work that appeals to a wide audience and reaches people’s depths.  Everyone (or at least a lot of people) can enjoy it and feel a deep, inspiring, life-altering connection.  It’s the work everyone talks about and will be considered classic decades or centuries down the road.  For many authors, it’s the hope – getting paid and reaching people.

There are a few works I’d put in this area.  Historically, one example is the Tao Te Ching, the “life-changing evening read” which has reached people for aeons.  More recently, Lord of the Rings fits this category – I’ve been through multiple revivals in my own lifetime.  I’m sure you have others.

Universal Appeal is a challenge.  I don’t think it can be calculated or planned.  It may be something that just happens, and creators may just have to live with that.

Our Journey

I find I rather like this taxonomy.  It’d doubtlessly oversimplified, but it gives me ways to think about works for the future.

I hope this gives you things to consider – which means I hope it has Broad Appeal . . .

Steven Savage

Media, Message, Mismach

by

(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

When creating a piece of a media we need to ask “did I choose the right form for my Bright Idea?”  Should it really be a book, comic, movie, game, or is it better suited for another form?

Some readers may be nodding, others may be curious.  Let me explain by examples.

I’m no fan of the Twilight series, yet I found the lush-looking movies beautifully overdone.  When I saw the manga it impressed me as more interesting than the books.  At least to me, Twilight seemed better suited to a visual medium.  Yes, it was a commercial success, but I can’t shake the feeling that had it been an anime/manga there might have been more to it, and maybe some useful artistic lessons.

As a less personal example, consider an issue that I discuss with fellow authors – those series that seem to be Open World games or RPGS in novel forms.  As much as I love worldbuilding myself, I know 800 pages of “it really picks up by the second book” doesn’t interest people.  Some novels or series seem best – or became – things better suited to games or fictional guides.

If you’re a creative, especially a self-published one, you should ask if your story and setting fit the medium you chose.  Some people might be fortunate enough to get away with a “media mismatch” (see above), but ask if you can beat those odds.  A marketing machine can get someone to read a five-book series far easier than you may – even if people forget it afterward.

This doesn’t mean you should give up on an idea – you need to refine it for your chosen media.  If you have a book that is an RPG-in-disguise, you can refine it into a more bookable form.  If you want to make an RPG, but it comes from a story, maybe you can expand the worldbuilding.  It’s OK to rework your idea so the audience can enjoy it in the form you want.

Making a piece of media accessible requires many things – the right wording, rules, art style, etc.  However, we should ask as if we’re doing the right thing in the right form of media.  There may be a mismatch here.

To give an example in my Avenoth series – which is worldbuilding heavy – “A Bridge to the Quiet Planet” was a romp across worlds, and had overly “worldbuildy” moments.  I tightened up the focus in “A School of Many Futures” which made it more intimate, which made the setting more accessible.  A tweak of perspective improved the story.

Consider the right media for what you want to tell and how to make what you want to say optimized for the media you’ve chosen.  It’ll help you reach people, which we all want, especially in a crowded market.

Steven Savage

The Difficulty of Difficult Media

by

(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

(Thanks to Serdar, who inspired me with this column.)

I often hear the word “Difficult” used to describe media with praise. The “difficult” film that supposedly makes you a film buff if you understand it. “Difficult” is apparently a good thing, and I see no reason to believe this.

If a book or movie is “difficult” to understand, is that a testimony to its depth? There’s no reason to assume that it’s any good – maybe it’s incoherent or bad. Perhaps the creator didn’t know how to communicate. A difficult movie isn’t necessarily a mental obstacle course that strengthens you, but just a pointless labyrinth.

Yes, some media is “difficult,” and yes, it takes intellectual fortitude to understand it. I evaluate such media on a case-by-case basis because “difficult” even when properly used doesn’t communicate depth. A clever mystery isn’t the same as a symbolism-packed journey.

I think people love to praise “difficult” media because it says I am smart enough to understand this and you’re not. Claiming something is “difficult” for too many is a way to praise themselves. It’s a way to use a single word to claim one’s intellectual superiority that you “got” it.

I’m always wary of simplistic descriptions such as “difficult.” They quickly become shorthand whose meaning is lost or ignore important distinctions. One word can get in the way of the real experience of a piece of media or a person.

Steven Savage