by Elizabeth S. Craig, @elizabethscraig
I don’t usually watch a lot of television.
One of the reasons is that I’m so short on time and jealously guard the free
time I do have. I don’t want to waste it
on bad TV.
One of the reasons is that I’m so short on time and jealously guard the free
time I do have. I don’t want to waste it
on bad TV.
Then, by the time it finally trickles
down into my consciousness that something is a good
show, it’s probably two or three seasons in…I’m just that out of the loop. By
that point, it seems useless to even try to catch up.
down into my consciousness that something is a good
show, it’s probably two or three seasons in…I’m just that out of the loop. By
that point, it seems useless to even try to catch up.
But at some point, networks started
realizing that if they aired old episodes online, they could snag new
viewers. My sister-in-law assured me
that I’d enjoy Lost which was airing
on ABC. At the time, the show’s last season was about to air. I started watching episode one on my laptop
during my lunch one day. I continued
watching an episode or even more each day after that until I was finished
catching up by the time the final season aired.
What’s more, I felt like I’d really followed the fairly convoluted plot
because of the way I’d chosen to consume the show. It had been a self-paced marathon.
realizing that if they aired old episodes online, they could snag new
viewers. My sister-in-law assured me
that I’d enjoy Lost which was airing
on ABC. At the time, the show’s last season was about to air. I started watching episode one on my laptop
during my lunch one day. I continued
watching an episode or even more each day after that until I was finished
catching up by the time the final season aired.
What’s more, I felt like I’d really followed the fairly convoluted plot
because of the way I’d chosen to consume the show. It had been a self-paced marathon.
I’ve been fascinated by the way Netflix
is approaching television with their February 1 release of House
of Cards. They left the pacing up to the viewers by releasing all thirteen episodes of the season at once. I’ve watched the series and it’s a strangely
addicting process to view a show knowing you can just keep going once the
credits start rolling. You want to keep watching and see what happens next. What’s more—the show is available for you
when you’re available for it. If
you’ve got a block of free time, you can watch more than the usual weekly new
episode that’s allotted to viewers by the networks.
I’ve also noted, with interest, the
success some self-published authors have had
with putting up large numbers of books at once, or releasing books in
rapid succession. I believe this has
been a contributing factor in some authors’ success…resulting in increased
visibility at online retailers (specifically Amazon.) Romance writer, Barbara Freethy, released a
substantial backlist very quickly. Amanda Hocking wrote quite a
few books before releasing any (she was trying to break into traditional
publishing and wrote other books as she submitted, as she outlined in her post:
“An
Epic Tale of How it all Started.”
Hugh Howey began seeing success with his first installment of Wool and was encouraged to outline the rest of
the story and accelerate his output…forgoing NaNoWriMo
to focus on working on Wool, as he
explains in his post “The Story of
My Middling Success.” It’s also,
obviously, very important to have some quality control for what you’re
releasing…these books weren’t written and published in haste, but over a period
of time.
success some self-published authors have had
with putting up large numbers of books at once, or releasing books in
rapid succession. I believe this has
been a contributing factor in some authors’ success…resulting in increased
visibility at online retailers (specifically Amazon.) Romance writer, Barbara Freethy, released a
substantial backlist very quickly. Amanda Hocking wrote quite a
few books before releasing any (she was trying to break into traditional
publishing and wrote other books as she submitted, as she outlined in her post:
“An
Epic Tale of How it all Started.”
Hugh Howey began seeing success with his first installment of Wool and was encouraged to outline the rest of
the story and accelerate his output…forgoing NaNoWriMo
to focus on working on Wool, as he
explains in his post “The Story of
My Middling Success.” It’s also,
obviously, very important to have some quality control for what you’re
releasing…these books weren’t written and published in haste, but over a period
of time.
Back to the television, Netflix
is also being innovative by using data as part
of their creative process. Greg
Satall writes in “What
Netflix’s House of Cards Means for the Future of TV” for Forbes: “Finally,
it’s the first time that programming has been developed with the aid of big data algorithms.” Jessica Leber
for the MIT Technology Review stated in
her article, “House of Cards and Our Future of Algorithmic
Programming”: “(Netflix) bought House of Cards based on what it knows about
the viewing habits of its 33 million users—it knew which and how many users
watch movies starring Kevin Spacey and the director David Fincher, and, through
its tagging and recommendation system, how many sat through other similar
political dramas. It has shown different trailers to people depending on their
particular viewing habits, too.”
is also being innovative by using data as part
of their creative process. Greg
Satall writes in “What
Netflix’s House of Cards Means for the Future of TV” for Forbes: “Finally,
it’s the first time that programming has been developed with the aid of big data algorithms.” Jessica Leber
for the MIT Technology Review stated in
her article, “House of Cards and Our Future of Algorithmic
Programming”: “(Netflix) bought House of Cards based on what it knows about
the viewing habits of its 33 million users—it knew which and how many users
watch movies starring Kevin Spacey and the director David Fincher, and, through
its tagging and recommendation system, how many sat through other similar
political dramas. It has shown different trailers to people depending on their
particular viewing habits, too.”
As authors, we don’t have as much data
available to us as media providers like Netflix and retailers like Amazon…but
we do have some, and we can make educated guesses as to other data. We can measure reader response to titles, covers,
and stories by tracking sales. We can review the highlighted sections on the
bottom of our book’s sale page to see what resonates with readers. We can study our reviews on retail sites like
Amazon, and book sharing sites like Goodreads (now owned by Amazon), even if
that’s painful for us (and it’s sure a lot easier if we can adopt an analytical
approach to the reviews.)
available to us as media providers like Netflix and retailers like Amazon…but
we do have some, and we can make educated guesses as to other data. We can measure reader response to titles, covers,
and stories by tracking sales. We can review the highlighted sections on the
bottom of our book’s sale page to see what resonates with readers. We can study our reviews on retail sites like
Amazon, and book sharing sites like Goodreads (now owned by Amazon), even if
that’s painful for us (and it’s sure a lot easier if we can adopt an analytical
approach to the reviews.)
As I mentioned, I’m fascinated by these
developments. I see exciting
possibilities for writers…but I also see some potential pitfalls. I’m going to post part two of this post
(since this first is becoming a bit longwinded) on Friday…and I’d love to hear
your thoughts, too.
developments. I see exciting
possibilities for writers…but I also see some potential pitfalls. I’m going to post part two of this post
(since this first is becoming a bit longwinded) on Friday…and I’d love to hear
your thoughts, too.
What excites or concerns you about the a
possible change in viewing/reading/consumer habits for entertainment? Do you see a place for algorithms in
publishing? In the creative process,
itself?
possible change in viewing/reading/consumer habits for entertainment? Do you see a place for algorithms in
publishing? In the creative process,
itself?
First of all, I had forgotten that I wanted to watch House of Cards. Thanks for reminding me.
Secondly, that is a brilliant idea to release several books at a time. I can see how that would excite the reader–to have books available to read from one author. And frankly, I can see how that would take the pressure off the writer to write fast. :)
Exciting possibilities indeed.
I’m glad this strategy seems to be working – I’m planning on trying it in a limited way. I’ve got 1 book ready to go but I’m not going to pub it until the 2nd one is ready and 3 & 4 are close. I’m hoping it works!
Elizabeth – I suppose it’s because I have an academic background that looking at data makes so much sense to me. Perhaps authors don’t have the vast amounts of data that Netflix does but as you say, there are pieces of information that we have and should use. It’s all about making informed decisions.
As for releasing several titles at once, I actually think that can work very well. It can help the author’s visibility and it can win new fans, especially if the author has a series with story arcs.
I haven’t had Barbara Freethy’s amazing success, but I did try to release my backlist titles relatively close together. Of course, now that I’m out of back list titles, I actually have to WRITE the books first.
Terry
Terry’s Place
I’ve seen a lot of changes in my 71-year life. Radio to TV, TV to the computer and the Internet and so forth. I’m convinced authors, producers, etc., accomplish nothing by railing against change. They need to adapt just as vaudeville comedians had to become people like Red Skeleton on TV.
In other words, I understand authors who rail against e-books, but I’m convinced the authors who will succeed will have determined how to use the change to promote their work. E-books give outlets for more good but not wildly popular authors. They give reasonably priced books in a form where the type can be enlarged for older folks like me. I live in small retirement home. The first thing we had to do was greatly reduce our libraries to live here. Now my library is on big servers at places like Amazon and B&N.
All this is a long way of saying, authors should adapt to the changes and readers should embrace the advantages e-books bring. There is still radio. There will still be published books for those who want them.
I’ve heard publishing frequency attributed as a factor in the epub/self-pub success of many of the top selling indie writers, and it makes sense that it would. I hadn’t really thought about it, but I admit that I am more passionate about the shows that I’ve downloaded and watched in quick succession than I am about the shows that I watch on a weekly basis. Food for thought!
Teresa–Hope you’ll enjoy it. It’s dark…but interesting.
I think it could ease pressure up…or, if a writer is a fast writer anyway, it could mean that they really could make some income. I write 3-4 books a year, so could do a short series a year…or could do a long series in 2. But the problem would be sitting on those books for so long!
Jemi–Hope it does, too! Think it’s a good strategy for visiblity.
Margot–Exactly. I’ve got a real fondness for data, too, and it’s come relatively late in life for me. But I love seeing what numbers might indicate (maybe it’s a mystery of sorts.)
I think you’re right–*especially* if it’s a series with story arcs. Mine can be read out of order, so I’m not sure if they would do as well.
Terry–I bet you loved going through that backlist! Yes, I’m in the same boat now…writing new stuff for a discontinued series.
Martina–I’m so easily distracted and so rarely watch TV that I think it’s *easier* for me to watch them in sequence and quickly or else I’ll forget to tune in. With my trad published books, I’m always worried that readers will forget about me and my series in the year before the next release.
Joe–So true…adapt, or die, right? And, using your analogy, silent film stars had to adapt to talkies. Some couldn’t make the switch and didn’t continue their career.
As a reader, I wasn’t initially excited about ebooks…at all. What spiked my interest was the discount (we were spending a fortune on books here) and the fact that I would have my book with me wherever I went (because, as Mom, I always have my phone with me.) Adapting wasn’t just important…it was a good choice for me.
So important to be aware of trends in the industry (not in terms of story…in terms of platform, distribution, etc.) and to try to adapt as well as we can.
This is a fascinating post. You make a lot of very valid points. I never thought about Netflix collecting so much data to help determine how they would add shows to their queue, and it interesting to think about doing that for our own work as writers.
First, House of Cards is an awesome show. Wasn’t as taken with Hemlock, but they hit upon a great idea with releasing all the shows at once. That’s why I don’t watch much regular television – I tend to catch up one season at a time so I don’t have to wait.
And bummer, I can only write so fast…
M.J.–You know, it’s just amazing how we can all use technology these days. I think about the way that TV shows used to be developed (in the recent past) where writers just bounced ideas and thought about elements of successful shows that they could adopt. Now a place like Netflix has real *data* of viewer behavior and interest that it can use to create series.
Alex–Haven’t seen Hemlock…will have to check that out. So you’ll watch the previous season right before the next season airs so there will be no lapse?
Elizabeth, my viewing experience was almost exactly like yours–we acquired a Roku device to stream Netflix movies to our t.v., and Lost was one of the first shows we watched, long long after it ended on network t.v. We were obsessed, often watching four episodes in an evening, and it was terrific. Most recently we finished watching Upstairs, Downstairs, along with many other shows we’d never had a chance to watch when they came out.
House of Cards is brilliant, and the original British version is brilliant, as well, and also available on Netflix.
Minimalist–We’re on Roku, too. :) We’re plug-pullers. I’ve watched a little Upstairs-Downstairs, too. Wish there were more hours in the day!
Thanks for the tip on the Brit HoC…I’ll check it out on Netflix. :)
The House of Cards situation has been really interesting to me, too. I keep waiting for publishers to stop relying on bookstores and offer direct sales from their own websites–or even offer a monthly paid service for access to their full collection, like Netflix does with movies. And what I keep seeing is the opposite: retailers (Amazon with self-pubbed books, now on a bigger scale, Netflix) are becoming publishers. I definitely think that this merging of publishing and sales services is the natural trajectory for art and entertainment in the digital age. There’s a lot of opportunity out there.
Emily–I think you’ve hit the nail on the head. Unless publishing starts quickly adapting…I’m not sure what it will mean for traditional publishers. They haven’t been nimble, at least this far, with the digital revolution.
I tell my author clients that it’s the multi-book author who’ll still be making a business of it 5 years from now. The single book author, 5 years from now, will either still be sadly flogging their single work, or off looking for other forms of satisfaction.
Who doesn’t love a series? Even Dick Francis, with is usual one-book heroes, brought back Kit Fielding and Sid Halley. Guess which are his most popular books?