For the record, when I say in this forum that “I am not a fan” of an artist, that does not always mean to cast aspersions on the skill or talent of that artist.
Case in point: I am not a fan of the Rolling Stones, and with all respect to Jagger & Co., you couldn’t pay me enough to sit through one of their concerts. I recognize that they are talented. I acknowledge they had an impact on a generation of music. Unfortunately, neither they nor their music ever connected with me.
(My elder sister, twelve years my senior, believes this to be a generational issue. She’s wrong: if my age was the cause of my Stones issue, how to explain my love of The Who, Frank Sinatra, and Benny Goodman?)
Talent does not mean connection. We too often interpret in others a failure to appreciate the work of an artist we like as an aesthetic failing, a fundamental flaw in their world view that prevents them from really seeing the work.
But if I have learned one thing at this early stage of my swim in a deepening sea of art and literature, it is the truism that no creation is objective. We bring our experiences, our fears, our subjective values to a work. And that is where the magic takes place. Art is not what happens on a page. Art is what happens when creation and perception collide.
In his 2009 study Outrageous Fortune: The Life and Times of the New American Play, Todd London, artistic director of the playwrights’ advocacy organization New Dramatists, reaches a bleak conclusion: “Financially speaking, there is no way to view playwriting as anything other than a profession without an economic base.”
“You Can’t Make A Living: Digital Media, the End of TV’s Golden Age, and the Death Scene of the American Playwright”
Los Angeles Review of Books
December 8, 2014
Here’s the unspoken part of that last sentence: it was not always that way. Ask Neil Simon.
The elephant in the room is that the economic base for screenwriters is being eroded by the combined onslaught of digital video and unscripted television. Late at night when we’re all lying in bed and our deepest fears come out of our subconscious to play, this is the cloud that hovers over the wordsmiths of the Golden State.
I don’t buy the “Doomsday is Nigh” for writers nonsense. The media for storytelling have changed regularly since Neanderthals began drawing on cave walls. The opportunity for great storytelling will always be there. All that will change are the tools we will use for doing it.
Ebooks have opened the door to books between 20,000 and 50,000 words, sending some of us back to look up “novella,” “pamphlet,” “chapbook,” and “monograph” in search of a term to fit our new formats. YouTube is becoming a repository for a growing library of scripted content. And as video game storylines become more flexible and complex, a screenwriter’s art is more essential than ever.
Is it going to be difficult to figure out how to make a living at this? Naturally. And a lot of us won’t: most of us who write will find that it becomes either an avocation or a means to a living rather than a living itself. But with apologies to the Bard of Avon, the play is the thing: man will ever need storytellers, and we need good ones now more than ever.