WHERE’S THE BUSINESS MODEL?

Newspapers have long run on a peculiar business model.

People buy the paper mostly for the news, but what they pay for the product covers only a fraction of the actual cost. Traditionally, advertising generated the other 80 to 90 percent.

That imbalance always resulted in an inherent tension in the executive offices, where any expenditure for news coverage was viewed with suspicion, especially when few of the publishers – the top local executive – came from the news-gathering side.

The rest of the operation included the composing room and related departments that manufactured the actual pages that then went to the presses, plus the “mail room” where supplements were inserted and the bundles were arranged for distribution, the circulation department, and then the ad sales reps, accounting, community services/promotion, and human resources. Especially accounting. In more recent decades, the computer techs assumed their own role.

For a bit of perspective, go to a store and buy an artist’s newsprint sketchpad and then compare its cost and the amount of paper against what the typical paper carries. You’ll see what a bargain the daily paper has been. What you pay for the news essentially covers the cost of getting it from the end of the press to the place you read it.

So this is how things ran until the Internet came along. And then, for a host of reasons, publishers began putting websites up and readers began getting the news without having to view any of the surrounding advertisements that were paying the bills. That, in itself, was a recipe for disaster.

Curiously, long before the arrival of the Internet, I’d noticed that what the readers paid for a paper would be sufficient to staff a newsroom and its supporting services. Leap ahead, and you can see that if users would pay for their local news online, you could create journalism that would not have the advertisers lurking in the corners. Unfortunately, online users have become spoiled and rarely pay for anything. Attempts at firewalls, as we’ve seen, have also failed.

At the moment, the future of American journalism looks grim. And that’s bad news for our political structure and the lives of our communities themselves.

~*~

Hometown News

To find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

 

NOT EXACTLY A BOOM

I’ve never really liked the “baby boomer” description. Besides, I think there’s a major barrier between the early experiences of those born before ’47 or ’48, and those after. Around ’48, my wave, was when TV sets were present from the very beginning of our exposure to the world. We can’t remember ever not having one at least somewhere in the neighborhood. (Suddenly, I remember being three or four and having the Sullivan brothers show up to watch “Howdy Doody” with me. They didn’t yet have a tube of their own.)

Every year as our class advanced, our new round of teachers was baffled. All they knew was we were “different” from the previous ones. So to some extent, the TV influence feeds into the hippie outbreak. We were, in effect, wired differently from our seniors. Still are, for that matter.

But the other big shortcoming in the boomer classification is the way it ignores the huge fissure within our generation between those who supported the Vietnam Conflict and those of us who opposed it. That’s something that’s never fully healed, and it’s certainly crippled our ability to come together to advance the ideals some of us, at least, so passionately embraced. I suspect there are many politicians and corporate executives – the dreaded Establishment, that is – who actively worked to keep the wound festering.

So here I am, calling for a renewed vision of our legacy. That’s been one of the promptings of the novels in my series Hippie Trails. You’re welcome to come along on the trip.

 

 

LISTENING TO A POETRY READING

Sometimes as I listen during an open mic, especially (and oh how I hate that spelling!), I find myself focusing on a particular reader’s moralizing and editorializing or cliche or heavy reliance on simile rather than metaphor, and that soon sends me into a disturbing zone.

What happens is that I begin editing heavily with an imaginary thick black marker, striking through all of the offending words and phrases, and pretty soon I’m tuning into only to the blackened blocks in the air and tuning out everything else.

Admittedly, I edit myself heavily, and this is a central step in the creation of many of my own works. Admittedly, too, I’m projecting myself onto the poor writer onstage. Admittedly, in particular, I’m forgetting to be humble and open here, star that I might imagine myself to be.

Does anyone else experience anything similar?

THE MISSING VOICE

A central problem for newspapers in the past half century is that they became increasingly homogenized and thus lost their distinctive, individual identities. Admittedly, that was always a problem when people saw it as “the paper” rather than the Times or Post or Chronicle or Herald and so on. But in the days when a city would have two or more daily newspapers, each one needed to have some unique identity to set it apart in the marketplace. Sometimes it was along party lines – Republican or Democrat – or social identities, such as blue-collar or proper society, but often it also meant the kind of news that was emphasized: national and international, for instance, versus local. And hometown columnists were always a voice that readers could count on. Think Herb Caen in San Francisco, Mike Royko in Chicago, or Jimmy Breslin in New York – or any of the great sportswriters.

In those days, newspapers were thinner than they became in the last decades of the 20th century – often just two sections – rather than the four to eight that followed in the great mergers and closures that led most cities to have only one daily journal. Much of that problem, we should note, could be blamed on the “unduplicated readership” that ad-space buyers relied on in allocating their budgets. No matter how marvelous the Washington Star was in its final days, or the suburban Journal papers were in the counties around the city, they couldn’t overcome that hurdle – when it came to outright readership, the Washington Post had the monopoly. Since everybody had to read it, there was no point in advertising elsewhere.

With few exceptions – New York, Boston, Chicago, Philadelphia – we’re left with single-paper markets where the product looks and reads like those everywhere else, except that the stories take place there than elsewhere.

As the local newspaper more and more became a one-size-fits-all model, what I no longer heard was the feeling that it “speaks for me” or my section of the wider community. And now, even those special voices within its pages are no longer there – one by one, the columnists were never replaced.

The newspaper I longed to create had little resemblance to that bland crime-and-crashes emphasis that too often prevails these days, in place of more difficult and costly investigative reporting or a bigger view that critically examines education, the fine arts, social justice, the environment, and so on.

It’s hard to get excited by what’s there. And we wonder why circulation kept declining even before the Internet?

This is, I should note, a contrarian viewpoint, since the publishers kept proclaiming the “improved service” each time they merged two papers into one. So here we are, online and blogging.

~*~

Hometown News

To find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

LIGHTING THE FUSE

It’s tune in, turn on, and take action in this tale of campus intrigue. Little does a small band in a remote college town realize its opposition to small-ante bureaucracy goes straight to the state capital. And then Washington and the Mekong Delta are another matter as the hippie movement hits tranquil Daffodil. Nothing will remain quite the same.

As the headline said:

BOTCHED DRUG BUST BACKFIRES.

When narcotics agents made an early morning knock-down-the-doors raid on the twelfth-floor of one of the high-rise dormitory towers, they turned up nothing – and were surrounded by irate residents before they could frame anyone, either.

“If you think the slaying of innocent students at Jackson State University was merely a racial atrocity,” Lakasha proclaimed, “you’re not seeing the big picture. It’s about an attack on civil rights – freedoms that belong to all of us. You don’t have to live in a big city to live in ghetto housing. Every student in Daffodil lives in a ghetto. Where I come from, we have a word for high-rise housing like these big dorms – the Projects. And the pigs who come charging into the Projects act just like those who busted in on the twelfth floor the other night. Never mind whether they find anything or not. Look, the university’s demanding that the students pay for the busted doors and busted furniture and busted walls. That’s why they call it a bust in the first place. Wake up, America! Demand the names of the ‘unnamed informants,’ the ones who were so wrong about the presence of illicit substances in those rooms. Wake up, I say! Mississippi’s closer to Daffodil than you think!”

~*~

To learn more about my novel, go to my page at Smashwords.com.

Daffodil-jnana

A LITERARY CREDO

I read – and write – not to escape the world but rather to more fully engage it. So literature for me hardly falls into the Entertainment category, even when it’s entertaining.

Likewise, my goal in the written word is to perceive some basic or essential connection with new clarity, understanding, and compassion.

This makes a world of difference, page by page. Maybe I’m just looking for holy scripture, even of a secular sort. Or at least the Holy One along with the mundane.

Often, my approach to writing and other fine arts resembles the essence of a dream – one foot in the present, the other in the past. Or, in another way, one foot in concrete reality, the other in fantasy of some sort, such as surrealism, as a way to engage more than I’d otherwise apprehend.

FACING THE TECHNOLOGY

Shifting to the world of epublishing has stimulated a gentle learning curve for me. Maybe because my to-do list has always been much longer than I can manage or maybe because I felt I already had too much detailed work at hand, I’ve tried to avoid becoming a computer geek who spends all his time in the technical minutia. Actually, it’s the same way with my cars – I don’t want to spend my mornings, afternoons, or weekends under the hood or on my back under the chassis; I just want to get in and drive. As for high tech, I’ll wait for all the bugs to get worked out before I buy the updated version, thank you, especially since I’ve always been on a very limited budget. And for the record, I hate Windows 8, which is always interrupting my work by blowing its apps in my face or requiring me to log on again throughout the day.

On the other hand, keyboarding on a computer has been a vast improvement over a typewriter, at least for klutzes like me, and the ability to correct and revise as I go or rewrite and edit later is, well, divine. Sometimes progress really is progress.

And sometimes it isn’t, as we seemed to discover at the office each time we moved on to a new system whether we wanted to or were instead forced to when our current equipment was declared obsolete. (I’ll let others relate those nights of terror when they pulled the plug on what was finally working as promised.)

Participating in the small-press literary scene has been another matter. When I first ventured into email, thanks largely to my now-wife, well, let’s say broadband’s been a huge improvement over those telephone connections and leave it at that. Still, cutting and pasting poems into the email and having them accepted within hours rather than be rejected months later was quite an eye-opener. These days, with most of the liveliest literary action happening in online journals, the process has taken leaps forward; typically, you use a submissions program, upload your file, insert your cover letter, and follow the pieces through the editorial process, if you wish. For a long time, I tried to maintain two sets of files – one for journals that still used, or even required, submissions via the Postal Service, and those that took them online. This year, finding that too complicated, I decided to drop the postal-only journals altogether. (That move, let me add, was hastened by problems with our computer printer as much as the much higher rejection rate on the envelope entries.)

The 2005 publication of my second novel, Ashram, as an ebook was another eye-opener. I was surprised by how easy its preparation was, how quickly it went from acceptance to general availability, and how pleasurable reading a long work on my computer screen could be (even if the work was issued only in PDF format). Unfortunately, we were also a bit ahead of the ebook reading trend and many would-be readers told me of their difficulties in downloading the volume. The other snag was getting the work reviewed at all – even online critics stuck solely to paper editions.

Blogging has revolutionized much of this world, probably more than we realize. For me, avowed neo-Luddite that I am, WordPress has been heavenly. It’s allowed me to take a model “out of the box” and run with it without modification, even if I do admire the customized tweaks many of the rest of you add apparently without hassle. The Blogs That I Follow, searching by topical tags, and Freshly Pressed streams have introduced me to many wonderful voices around the globe for my daily perusal. In fact, I’m still struck that in its first year, the Red Barn had readers in 72 countries. Amazing.

These days I’m learning again. The opportunity to publish my novels to be distributed across a variety of platforms (as they say) has meant following a new set of directions to strip out all the hidden codes (we hope; some of mine go back to the first versions on WordPerfect4.0) and set up the work to flow smoothly in a reading device. (I started to say “reader,” but for me, that will always be a person, not a machine.) I’ll admit that adjusting to the concept of considering a long work as a continuous text, rather than pages, has been major, as has the matter of inserting hyperlinks. Remember, I’m someone who loves the art of printing from its very origins. (How many Gutenberg Bibles have you seen?)

Even so, I’m excited by the new opportunities and the new visual dimensions.

Here we go, again.

WRITING LONG

Even as a cub reporter, I loved writing long pieces. It’s what I prefer to read, really read, when I have time. By long, I don’t mean pointless minutia or the trivia of, say, a public hearing, but rather the probing look at how and why a thing has happened and maybe even what to expect as a consequence. Add to that the human dimension, especially from the point of view of those most impacted by the action rather than those at the top of the pyramid.

One model of this style of news writing came in the three stories on the front page of the Wall Street Journal each day – what they called their “leaders,” back in the era before Murdoch. If you looked closely, you’d see how each one was composed of several smaller stories, each one telescoping into the next. The reporters could joke that their work was so heavily edited they no longer recognized the finished version, but for those of us reading, the result was rewarding, the way a good meal is.

As a journalist, the irony has been that I spent much of my career crafting headlines and photo captions … short, short, short … and that was even before I relied more and more on news briefing columns to get the day’s world and nation reports into the paper at all.

Not that I lost my love of long writing. My “shelf” of ebook novels is proof of that, including my most recent, which delves into the news business itself.

As a blogger, though, I’m also admitting pleasure in composing shorter postings like the ones that appear here at Jnana’s Red Barn. Apparently, from the stats, they must be connecting.

My other four blogs provide venues for the longer writing, and the results to date are mixed.

To my surprise, my genealogy blog, The Orphan George Chronicles, has drawn far more hits than I’d anticipated. I figured its appeal would be to a few dozen fellow researchers, and having the results online would be much easier to find than if the files were archived in a few libraries somewhere. As for publishing them in paper editions, the likely audience would never cover the expenses.

My Quaker blog, As Light Is Sown, has shifted from the two book-length presentations that appear as the initial postings to a year-long Daybook of short postings, so I must admit that trying to analyze the results there can be inconclusive.

Thistle/Flinch exists to present book-length PDF editions of poetry and fiction, so I guess you can say that’s writing long.

And the remaining blog, Chicken Farmer I Still Love You, is still taking shape, as the numbers show. The first part, Talking Money, presents essential material for addressing the material sides of life … income, spending, wealth, possessions, labor, time, goals, and the like … followed by a close look at New England’s famed foliage. These days, it’s taken on a new focus in reconsidering the hippie outbreak and its renewal. Again, many of its postings are chapters for book-length presentation.

What I am finding in general is that even without the demands of daily employment, time is still the most precious commodity in my life. There just ain’t enough of it for what I hope to accomplish these days – including reading or writing, much less in any length.

So I guess that’s the short of it, for now.

 ~*~

Hometown News
Hometown News

To find out more about Hometown News or to obtain your own copy, go to my page at Smashwords.com.

SHOOTING THE SAME SPOT AGAIN

We could be considering writing or painting and drawing as much as the photography that prompts today’s line of thinking. Specifically, I’m reflecting on the tension between trying to capture everything I see everywhere versus the reality that one needs limits.

For starters, I reach a point in shooting where I begin to weary. Push hard enough and everyone hits a wall. When it comes to photography, I just stop seeing images of interest. When I’m writing, my words go flat. Folks in other endeavors can relate their own versions.

A second fact of life comes in trying to arrange and manage what I already have. Accumulate too much and I’ll never find anything when I want or need it.

I find a similar tension in a writing project, where I can hope for a tightly focused, crystalline work even as it begins to expand into a complex baroque construction. Or the other way around.

As I’ve been shooting over the course of the Red Barn, I’ve found myself increasingly resisting an urge to range more widely from my base in Dover. I’m sticking more and more to what’s at hand here and in a few other familiar places like Sandwich, to the north, and Fort Foster in Kittery Point, Maine. We’ll see how that evolves in the future.

For now, what fascinates is seeing how much new keeps appearing to me in our yard or while I’m walking to meeting for worship on Sunday. Perhaps that’s why working on pieces in a series hold so much appeal as more and more keeps surfacing from the depths.

The other aspect of the series is the desire that somewhere in there is the one iconic piece that rises above the rest, can stand on its own, deserves its own place.

Oh, what would Monet say to all this? Or Matisse? Or any of a host of others!

The Cocheco River viewed from the footbridge on the community trail has become a favorite spot for my camera. Here's part of the scene as I was walking to meeting for worship on Sunday morning.
The Cocheco River viewed from the footbridge on the community trail has become a favorite spot for my camera. Here’s part of the scene as I was walking to meeting for worship one Sunday morning.

PHILISTINES AND AMERICAN SOCIETY

Before my graduation from college, back in my social activist period, I wondered how American society could possible afford High Art while so many went hungry and homeless – domestically as well as internationally. Then I began to see everywhere a desire for expressiveness even in every ghetto – for that matter, ranging from ghetto blasters to Playboy. There were murals and blues bands. To say nothing of the infusion of professional sports, to which every poor youth, from the inner city to the mining company towns, seems to aspire. So opera and museums and other “Establishment” operations came to lose their exclusivity in my mind. Indeed, over the years I’ve heard that the real classical music lovers are the ones in the cheaper seats, the ones they can afford. Mankind, after all, has a need to reach to the higher realms of thought and the imagination of the spirit; anything less reduces our existence to nothing more than economics, impoverishing everyone in the society.

Look closely, and you’ll also see that in America, Art has become the state religion, no matter the level of state and federal funding exists. In this country, at least, there’s also been a long recognition of the fine arts as an adjunct to wealth, for whatever reasons. Many sense an abstract “goodness” in the products of art chamber music, art museums, Shakespeare festivals, opera, poetry, the “book” that so many people dream of writing even if the artist himself/herself remains (often with good reason!) somewhat suspect, a shady character. Perhaps that’s why these big institutions stand between us and the rest of ourselves, as artists and audiences. Something abstractly “good” even when they themselves admit they don’t know much about the field. Contrast that to the related state religions in America: collegiate and professional athletics, Hollywood movies, and rock concerts, wherein no one actually advocates any common wealth. (The High Priests are paid handsomely, after all.)

Art as the semi official State Religion of today? Or should that be entertainment and its host of celebrity worship? The stamp of approval. The aspiration.

Art as commodity, too. “How much did it sell for?” What was the box office?

At heart, all art is, primarily, either spiritual/religious or secular/amusement in intent and execution. Take Milton or Pepys. Today, the overwhelming materialism of our society reflects an insatiable hunger.

Even as starving artists we’re enmeshed in materialism, one way or another. It’s so easy to hold the artist up in some idealized light or the product itself as the object of worship, an idolatry, totally forgetting to turn to the Source of All. The worship of living genius, from Beethoven and the Romantic era on. Or the pretty faces of mostly Hollywood celebrity today.

As an editor on newspapers where nearly everyone was giving totally (many unpaid hours of overtime, etc.) in an attempt for excellence, I was always appalled by the charge of “elitism,” which comes to mean “give me mediocrity not the truth” or “mere pleasantry” from the same people who would not accept such standards in their professional football team or new automobile.

The shift in the meaning of “culture” from learning and aspiration to the mundane lowest common denominator of daily life. Culture, as in a petri dish of mold or germs, rather than a rare book library or new opera.

Still, if you want to comprehend the view from the top of the mountain, you need to climb it. And be warned: driving, if a road’s an option, loses a lot in the translation. From a religious point of view, at least, we can’t settle for anything less than the best in the end.