The World According To Rich

What's Happening So Far? Launching My Book!

2013-06-16T16:31:00.003-07:00

June 1, 2013 - announcing the official
book launch on TwirlRadio.com

I've just passed the halfway point in what I've been calling my "official launch month" for "My Life at the Bottom of the Food Chain," marking the full availability of my book in both e-book and paperback. Since the e-book began appearing in various ebook stores (Kindle, Apple iBooks, Nook and much more of which I hadn't been aware), it took two full months for the "full" rollout. Until the paperback began to become available in mid-May, I didn't want to start the process of promoting the book. Despite the digital world we live in, a book that actually appears as a paperback - even a self-published one - is still perceived as a more substantial effort. With the book in hand, I was able to start promoting the book in earnest. I ordered a supply of promotional copies, and began distributing copies to friends and some family.

While a couple of Amazon.com reviews appeared early from ebook readers, the promotional copies are generating reviews of their own. As of this writing, I have five 5-Star reviews on Amazon.com, and two 5-Star Reviews on Goodreads. Aside from my own videos, three videos have shown up on YouTube - two reviews and a follow-up (which included a reading). These initial review reflect those across the United States (and one in the UK) who know me or have received promotional copies for one reason or another. Nevertheless, these readers created well-written, insightful reviews that are helping to generate interest in the book (check out some great quotes from reviews at http://richsamuelsauthor.com)

My book at Pismo Beach

I began "official launch month" as a guest on my friend Mike Lidskin's Sacramento-based internet radio program, The Twirl, at TwirlRadio.com [Here's a YouTube Excerpt] While appearing on a program about rock music might seem unusual, I like to say that it gave my book a bit of a "cool vibe." Mike interviewed me on the program, I did a reading of a couple of pages from the book, and gave away a couple of copies to Twirl listeners. it was great fun.

I also began a giveaway through Goodreads.com, a social site to readers and writers alike. At the end of June, Goodreads will send me a list of ten randomly selected readers out of the hundreds who will have entered the giveaway by then (about 250 have entered so far). In the process of conducting the giveaway, hundreds - even thousands - have become newly aware of the book. Some of these potential readers will eventually post reviews and so help spread the word about the book even more.

Social media efforts began right away. Some readers have sent photos of themselves with the book, and I've some photos of my book in making random appearances around California (spurring even more photos from readers). Naturally, the book will also travel with me to London on an upcoming trip.

This is just the beginning. I'm learning and taking advice from friends and associates who share my belief in the book's potential - I'll share some of those insights soon.

So far, so good!

Even Authors Have Tech Specs

2013-05-27T18:42:00.000-07:00

On YouTube and elsewhere, techies often share their gear specs - computers, accessories, specific software, cameras, audio equipment - everything. I thought I would jump in on the game and share with you the tech specs related to the task of writing "My Life at the Bottom of the Food Chain."

1 - Hardware: 64gb iPad 2 (With some completion work on 32 gb 3.4 Ghz iMac 27")
2 - Apple Bluetooth Keyboard
3 - Arkon Portable Fold-Up Stand for iPad
4 - Software: Apple Pages (both iPad and Mac versions, synced via icloud), and some finishing work on Microsoft Word (so that I could work predictably with my copy editor)
5 - Primary Location: Starbucks, Valencia, California. Secondary locations included Metrolink Train traveling from Valencia to Downtown Los Angeles, and my home in Valencia
6 - Primary Drink: Coffee (Pike Place Roast)

The Adventure Begins: My Book in the Real World

2013-05-24T16:47:00.001-07:00

With the arrival of a box of promo copies of my book, this long journey is about to reach a climactic moment - not THE climactic moment, but the end of one stage and the beginning of the most exciting stage in the life of "My Life at the Bottom of the Food Chain." I'm busily sending out copies to all of those promised, after which we'll selectively begin offering copies for review.

The ebook is in full release, and the paperback is about to become available across the Amazon universe (actually, once I approved the final proof a week ago, it immediately appeared on Amazon sites in the UK and Europe, but the Amazonian powers-that-be are taking their time to make it live across the pond). The discussion groups seem to indicate the book will show up in four to six working days - so I'm expecting a surprise any day now...

Comments and reviews are beginning to appear, and I'm - dare I say it? - overjoyed at the response (and no, they're not all from family!). It's a promising beginning, but now the greatest challenge awaits: helping it find an audience.

For an indie author like myself, word of mouth - grass-roots support - is going to be critical - and I'm hoping that readers will be inspired enough to help spread the word. Reviews on Amazon and elsewhere are incredibly important to someone without a publishing conglomerate behind him. As I hope for reviews to begin appearing (three five star reviews are on Amazon as of this writing), I realize that I rarely - if ever - leave reviews on Amazon myself. I don't think most people do. One thing is certain - I have a stronger appreciation of their worth! Check out some quotes on my author side, http://richsamuelsauthor.com

I'm also hoping that readers witll use social media to promote the book - not only retweeting my book news and giveaways - but perhaps writing reviews or creating YouTube videos reviews (Zac Ward created this one for his "Keeper of the Mountain" YouTube channel).

Finally, while this book, it seems, is turning out to have cross-over appeal to adults as well, I'm hoping that kids and teens who like that book will share with their friends and through social media (and tell me about it).

My friend Lynette Privatsky told me that I should think of the process of building an audience as a "slow burn," as I and my readers slowly spread awareness. Whatever happens, the most exciting part of this adventure just may lie straight ahead!

Ebook vs. Paperback: "Yeah, But It's Not A Real Book"

2013-04-18T16:14:00.000-07:00

In creating a book aimed (or at least intended for) middle school aged readers, I've been curious as to whether my book will be read more in ebook or paperback. While tablets are used more and more, they're still not as ubiquitous as they are....say....in my own life. In face, as the paperback version of "My Life at the Bottom of the Food Chain" moves closer to publication, I've discovered anticipation and general interest has actually been greater than when I launched the ebook a couple of weeks ago. When this all shakes out and I can see actual stats, I'll be very interested in seeing how readers are enjoying the book.

Coincidentally, OnlineUniversities.com recently shared with me this infogrpahic showing just how quickly technology is now being embraced in the classroom. It combines data from a series of surveys and reports from a variety of news and media organizations to show that technology, finally is beginning to be embraced by teachers and (not unexpectedly) by students, after some uncertainty and suspicion just a few short years ago.

Though outside the scope of this graphic, I'd be interested in exploring if the "digital divide" between poor and wealthier schools has narrowed in recent years - or do these trends, as important as they are, still reflect schools that have the resources to embrace technology?

In relation to my book, I suspect that my target group, at least at this point in time, will largely read my book in paperback. After all, when I told my eight year old nephew that I had an ebook, he was unimpressed, and said, "Well, yeah, but it's not a real book."

Attribution: OnlineUniversities.com

First YouTube Review of "Food Chain"

2013-04-15T21:38:00.003-07:00

One of my strategies in getting my book out to the world at large is to encourage as many "grass-roots" reviews as possible - on YouTube, in blogs, podcasts - anywhere that spreads the word. This video by YouTuber Zac Ward is what I hope is the first of many (if you have any suggestions on how I might get the word out, or know any of the above, please share your ideas!)

Ideally, I'd like to see reviewers of all ages - kids, parents - anyone who appreciates what they read in the pages of "Food Chain." With it's somewhat unique title, most mentions of my book title, especially combined with my name, show up within the first two or three Google search pages. It seems that an unusually long title is working to my advantage!

I'm also checking regularly to see if any reviews pop up on the Amazon, iBooks, or any of the other sites. Nothing yet...but it's only been a week...

Enjoy Zac's "Redneck Book Review," also featuring a bit of autobiographical info about the author!

What It Took To Get Here: Why I Finally Wrote a Book

2013-04-14T17:41:00.002-07:00

As of this writing, "My Life at the Bottom of the Food Chain" has officially been launched in ebook form across most of the major (and even some not so major) outlets. The paperback is still in process, but should be available in about a month or so. In many ways, this is the culmination of so many aspects of my life stretching back to when I was nine years old, and wrote my first short story.

It's been about a year since I starting writing the book - and about nine years since the original screenplay upon which it was inspired first began to take shape.

While the story reflects some of my own junior high experiences, it also incorporates friendships and experiences stretching back to my earliest memories to my college years.

I actually finished writing the book (or so I thought) at the end of 2012 - but then spent nearly two and a half months working on polishing the manuscript with my editor/proofreader.

Going back even further, my nephew and I started discussing the original screenplay in 2004.

The very beginning of the first handwritten draft
of "Food Chain," which I then called "Targets"

Before the screenplay, I had actually started creating (and never finished) a fairly basic graphic novel based on the general idea (I'm still looking for those original drawings - I'd like to share them eventually).

The graphic novel idea evolved from a single image of Alexander (the main character in "Food Chain") and his friends that I randomly doodled. The idea (I'll be a little vague, since the situation featured in that drawing may be a part of a future volume in the series) struck me as funny, and started the story process.

Go back even further, and the evolution of the novel descends from three separate branches.

I've been writing short stories since I was nine years old. That first story, an school assignment in which we were to find a picture and write a story to go along with it, was titled, "The Lost Puppy." I've written hundreds of stories, short and long - shared some of them, and wrote most of them simply because I enjoyed the process.

I've played around with cartooning since I was in grade school - not with any serious intent, but simply to amuse myself and my friends. In college, it became somewhat of a "thing" I did for and with my friends, and was great fun for a couple of years.

It wasn't until my nephew came along and was growing up in the late nineties and discovered my old cartoons that I was inspired to create new ones, usually to entertain us on our yearly camping trips.

I've been writing screenplays since fifth or sixth grade, following the form I learned from the screenplays my father would bring home from his work at 20th Century-Fox. At first, they were short Star Trek knock-offs, but eventually they evolved into more original work. I produced a couple as short films, and wrote (or attempted to write) a few feature-length screenplays - sometimes on my own, and sometimes with collaborators. Before "Food Chain," two of those screenplays won a few awards here and there, and began to build my confidence in my craft.

"My Life at the Bottom of the Food Chain," then, is the evolution of all of my creative "adventures."

Whether readers will like it or not, time will tell. I had great fun getting here, though!

Recalibration

2013-03-16T14:05:00.000-07:00

I've been taking a break from updating my various social media channels - here, YouTube, Twitter and even (to a considerably lesser extent) Facebook. My "time out" wasn't really anything planned or intentional. I didn't wake up or come to a realization that I needed a break from social media. My informal vacation had to do with several l things.

First, I've simply been too busy. Work has picked up considerably this year. As I write this, I'm juggling several productions for several different clients, each with individual deadlines, levels of client involvement, and particular challenges of their own. I also have several other projects on the horizon that will be equally as time consuming (recalling the old worn adage, "when it rains it pours"). I actually find that having to work on multiple projects at once to be a fun challenge - meeting all the deadlines, creating a quality project that the clients like, and finding inspiration simply from making the overwhelming manageable.

Having said that, my personal creative projects have been very much on my mind. My novel, "My Life at the Bottom of the Food Chain," is finally nearing publication, fulfilling what I'm finally admitting to myself has been my single greatest ambition. Everything I do - producing, directing, editing - circles back to my first love - writing. I've always thought of myself to be a writer above all else - but I've never written a novel. Like screenplay writing, I've simply never had the patience to commit myself to a project that would then require a several-year attempt to win acceptance from a publisher or producer, who might be willing to try to bring the project into the sunlight and in front of an audience.

While I would love to have a formal publisher, the world has changed for emerging writers. I can now bring my work - my writing - directly to my audience. I can make both ebooks and paperbacks available and accessible by major online retailers. I no longer have an excuse. If I write it, it can be delivered. If I write it well, and work with a qualified editor, that audience will respond and grow.

Response so far by my early readers has been positive, I'm focusing a lot of my energy and time on working to bring it out to a wide audience. I've shared some of those efforts on the Facebook page for the novel, but have been more selective on what I share across other media.

My creative horizons- and how I pursue them - are evolving, and with them, my social media personality. Between this blog, my YouTube channel, Facebook and Twitter, I hope to share that evolution.

To support "My Life at the Bottom of the Food Chain," please check out the Facebook page: http://facebook.com/mylifeatthebottomofthefoodchain

My Announcement Vlog!

2013-02-10T16:18:00.008-08:00

My somewhat anxious vlog...announcing my book! It took me forever to sit down and do this - Somehow, it's now more real....I guess I better get it published!

The Social Media Guillotine

2013-02-05T13:24:00.001-08:00

The problem with sticking your neck out is that you can never be sure your head won't get cut off.

Though I've been involved in aspects of social media for quite a number of years (I started my first blog in 2005), I really didn't seriously “launch” myself into the universe until 2010. I ramped up a new blog to record my impressions, started a YouTube channel to experiment in that world, began using Twitter to pull it all together, and pondered what this new world of accessible media would mean to my future.

My current projects: one, an "evolution" of documentary filmmaking, and the other a genre novel offered in both e-book and tradtional editions (click on the image for the respective Facebook pages)

I've worked in aspects of visual media all of my life - I make my living as a creator of documentary, promotional and educational media. I sometimes work as an editor as well. I've won recognition, including three Emmy awards, and I sometimes have taught filmmaking workshops as well.

Creatively, though, I'm not where I want to be.

Since I began to explore social media and watching the masters at work (people like Gary Vaynerchuk and even the icons of YouTube, I've developed several hunches about "what this all means" to me:

Social Media technology is an entrepreneur's playground. More importantly, it allows more people in more places around the world the chance to become entrepreneurs than ever before, and reach a worldwide audience
Creative entrepreneurs - content creators from YouTubers to writers of ebooks - have an opportunity to achieve their individual goals - as long as their individual goals aren't simply tied to just one social media platform.

The key, I've come to believe, is to establish personal creative goals, and then perceive the entirety of social media as an opportunity to achieve those goals.

I also believe that many content creators don't appreciate that their talents are bigger than the platforms they use. Many talented YouTubers see success on that site at their only option - instead of just part of a bigger picture.

My beliefs, though, have been largely theories. Beginning last year, I began my own “grand” experiment to put those theories to work.

"My Life at the Bottom of the Food Chain," the book I'm preparing to publish, is part of that process; so is "Life Online," my documentary about a family living their lives in social media.

How has it been going?

My Indiegogo campaign for "Life Online" raised only 13 percent of my budget, while another YouTube centered documentary - created by and starring YouTube celebrities - was fully funded to the tune of one hundred and seventy thousand dollars. That proves, of course, the power of a wide social media base.

But what about the rest of us? How does it work for most people? How can we put social media to “work” effectively - even if we don't have followers that number into the many thousands?

And what does “work” mean, anyway?

I’m reevaluating “Life Online,” with a wider perspective that reflects the landscape of social media - and it’s returning me to the heart of why I wanted to make the film in the first place.

I called "Life Online" a YouTube documentary - but I was wrong. It's much more than that - it's a story everyone - young and old - is struggling to understand: what does this mean to me? How can it help me achieve my dreams? What's possible now that was never possible before? How - on a very personal level - does it impact the nature of our relationships?

I've realized that in seeking simply to make a documentary - a finite, single linear program - I was missing the point. The key to telling the story isn't to reach out in one dimension.

"Life Online" can use a wide range of approaches. It might be a documentary - but it could take forms, too. . Some of the approaches I'm considering include creating an "enhanced" e-book - including not only the written word, but embedded video, audio and perhaps active links to engage the reader in the story at hand. I might also consider interactive mobile apps allowing not only a linear story, but, options to branch off with individual family members and experience a family dynamic in a very original - and I hope, entertaining - way.

As part of the project, I would also create a video workshop with the family - involving them intimately in the filmmaking process.

It’s a huge challenge - perhaps even bigger than the concept I posted on Indiegogo a couple of months ago - but it's an exciting evolution.

The journey continues. Let’s see if I can keep my head on!

The Vlogger Interviews: CountyofSDDAS - Animals Rule!

2013-02-03T18:31:00.001-08:00

There's no question anymore about the power of social media and online video. Revolutions have been born, causes have been promoted, products have been sold, stars have been created and dreams have been fulfilled as a direct result of social technology.

Just how to create an effective online video, however, is a an art that's largely elusive to many businesses and organizations.

The County of San Diego Department of Animal Services, however, is discovering that it's worth the time and effort to create fun, entertaining online videos - distinctly different from the typically schmaltzy tug-at-your-heartstrings videos that have so far dominated similar efforts by animal organizations.

Tiffany Shields, Supervising Animal Care Attendant with the County, teamed up with a video savvy volunteer, Greg Baldwin (who happens to be my nephew), and together they've created over twenty videos promoting not only adoptable animals, but the people and ethics of their department - and always with a broad sense of humor that makes the videos fun to watch - even if you're not intending to adopt an animal.

In this interview, I talk with Tiffany and Greg about the evolution of these videos, their impact on the community and on the department itself.

Taking the Leap: Publishing My First Book

2013-01-29T21:40:00.000-08:00

Please "Like" the Facebook Page

A short time ago, I launched the Facebook page for "My Life at the Bottom of the Food Chain," a novel I've been working on since early last year. It's the story of thirteen year-old Alexander and his outrageous fears of daily life in middle school. His fears of what might happen spiral out of control, until he feels compelled to confront a boy he perceives to be his arch-enemy. It's a fun little novel that's had an eight year evolution that began with a few casual comic drawings and an award-winning (but unproduced) screenplay. It's also my first novel, and so fulfills a life-long ambition. With the help of my editor / proofreader (in the guise of my niece, who does that sort of thing for a living), I'm almost ready to send Alexander out into the world.

Aside from the not-inconsequential task of actually writing the novel, it's become relatively easy to self-publish these days. Amazon, Barnes and Noble's Nook and Apple's iBook are becoming more and more widespread, and the pathway to preparing a book for publication is relatively straightforward - even more so when using one of several low-cost services that specialize in physically preparing works for those devices. Createspace, Amazon.com service that currently offers my documentary Bollywood Steps both as a physical DVD and on-demand video, also provides a similar service for paperback books. Amazon manufactures books on demand as consumers order them. My costs, depending upon the services I chose, can range from nothing to several hundred dollars. For a minor expense, my work is available to the world.

In recent years, self-publishing is less seen as so-called "vanity publishing" as a legitimate pathway to a potential audience. It still takes quality work, word of mouth, and a bit of creative marketing - but it no longer requires the approval of a "gatekeeper."

Don't get me wrong. I wouldn't mind someday achieving the still valuable legitimacy of being distributed by a mainstream publisher. At the same time, I'm not willing to shop around a manuscript for untold years when I can reach my intended audience directly.

I don’t care how old or how young you are - life is too short not to take a leap of faith. We’re living in the age of the entrepreneur - nothing is stopping us from at least giving it a try.

Naturally, I'm a bit anxious to see how this will all unfold - and if I can, in fact, reach the young audience I believe would most enjoy the book. Will ten people read it? One Hundred? One Thousand? Have I done my job as a writer? As a marketer? It's a great, exciting challenge.

"Food Chain" is part of a broader effort I’ve undertaken to discover how I might better employ social media to achieve my personal and professional goals. I'll assess how that effort is moving along in my next blog.

Latest Vlog on "Life Online!"

2013-01-14T22:25:00.001-08:00

Contribute at http://tinyurl.com/acegrw4

We're slowly putting together a new strategy to make the film a reality. More news soon!

Thirteen Point Six: "Life Online" and My First Try at Crowd-Funding

2013-01-05T09:01:00.000-08:00

The Indiegogo Funding campaign for my new documentary, "Life Online," ended on New Year's Eve. We raised a total of $750, or 13.6% of the $5,500 goal. We had a total of 17 donations, ranging from $2 to $150, from donors in the U.S., Canada and the U.K. . Of course, I would have liked to have gotten closer to our stated goal, but this is only the first step in a wider effort to get the film made. Am I disappointed? Sure, but the experience proved to be invaluable, nevertheless.

When I began the campaign, I hadn't realized to what extent events in the world at large would play in my efforts. I felt obligated to hold back on social media efforts for hours or even days at a time. During the period of this campaign, there were major efforts on Indiegogo and elsewhere to raise money for the victims of Hurricane Sandy. The Presidential election occurred a week into the campaign. I didn't tweet or post content related to the campaign in the days following the shooting at Sandy Hook Elementary School - that simply felt unethical and disrespectful. My campaign also occurred over the Holiday season, extending from Thanksgiving to New Year's Eve.

This campaign provided an opportunity to re-connect with many of my documentary colleagues, and presented opportunities to help the further development of this project (i.e. a feature film), once this short film is done. I also spoke with a couple of college production classes about the project and social media in general, confirming my belief that the time is right for "Life Online." Finally, StyleQuirk.com wrote this feature story on my project and social media philosophy. That, in itself, is incredibly valuable.

As part of this effort, I've been posting blogs related to my thoughts and ideas related to this production: inspiring films, my approaches to production, and my perspective on social media. This hyper-focused content has increased my social media network (especially my blog readership, but Twitter followers and YouTube channel subscribers are also trending upward).

Why didn't the campaign reach it's full potential? There are numerous reasons, of course, ranging from topic to campaign management, but it really comes back down to the "crowd" in crowd-funding. Final stats showed that I had only 303 visitors to the campaign page - but with a total of 1,031 views (meaning some of the same people visited several times). The page was liked on Facebook 104 times, and tweeted a total of 146 times. For this to have been effective, those numbers should have been much higher. Once again, this sort of campaign only works if the campaigner can actually attract a "crowd." I'll leave the question of how I would do things differently for another blog.

Was it worth it? Definitely. The campaign was useful in launching the project and creating some early "buzz," which will in turn prove helpful as we move forward and explore other avenues to help make this a reality. It also continued my ongoing effort to build a creative "eco-system" to support my creative work across traditional and nontraditional platforms (more on that soon).

Finally, it's important to mention that I had the choice to either create a funding arrangement that paid only if the goal was reached, or create an arrangement that paid out regardless of the final result. I chose to the second option. Part of my reason is motivational: Friends and strangers have donated time and money to this effort. Those who have chosen to contribute to the project, or help promote it in other ways, have expressed trust and belief in my abilities to follow through.

Crowd-funding is a fantastic tool - even if it provides just 13.6 percent of the funding.

My social media efforts focus on exploring ways of using social technology as a tool to accomplish my creative goals. It's not, however, the only tool available. While I would have liked to have fully funded this project with this one method, many productions come together through multiple channels of funding and support - I'll continue to pursue those other channels.

The experience of creating and running this campaign has enhanced my understanding of the mechanics of creating effective and useful social media. Experience trumps theory every time.

And yes, I would do it again.

Filmmaking That Inspires: Ken Loach's "Kes"

2012-12-30T15:43:00.000-08:00

This is the third in a series of behind-the-scenes blogs about the story behind the making of a documentary - in this case, my film, "Life Online," the story of a family in Florida that's uniquely dedicated to the "YouTube" lifestyle. Interested? Donate at: http://tinyurl.com/acegrw4 .

These blogs and vlogs will trace the evolution of this project as I prepare, shoot and edit "Life Online." I hope these prove helpful to aspiring filmmakers.

If you've read my blog, you may remember that I have a particular appreciation for Ken Loach's landmark 1969 film, "Kes," a narrative feature film about a 14 year-old's bleak life in a British mining town in the mid-20th century, and the faint flicker of hope he discovers in training a wild kestrel.

Film

The trailer for "Kes," as presented on Criterion's YouTube Channel

The film, a masterpiece of bare-bones filmmaking, is considered by the British Film Institute to be one of the top ten British films of the 20th Century. In America, however, it's still largely unknown. Until Criterion's recent Blu-Ray/DVD reissue, it wasn't easily available here. Even today, the authentic regional dialect makes understanding the film a challenge (though the new release offers options, including subtitles, and an alternative soundtrack - recorded at the time with the original actors - with more conventional english pronunciation).

"Kes," according to Loach, was heavily influenced by the tradition of documentary filmmaking. Loach was striving for authenticity at every stage - including casting. With one exception, every cast member including the extraordinary young lead, were non-professionals hired from the very town in which the story takes place. These individuals - particularly the school children - understood and lived the world featured in writer Barry Hines book and screenplay.

Loach, whenever possible, liked to minimize the filmmaking environment. He would keep lighting to a minimum (not an easy task when low-light technology was in its infancy), or create a sense of intimacy for the actors by removing even the camera from their immediate space. In one instance set in a greenhouse, Billy Casper, the main character, is engaged in a private conversation with his teacher. To preserve the authenticity of that private moment, particular for his non-professional lead actor, Loach had a hole drilled into the wall of the greenhouse, and shot the actors from a distance through a long lens.

Loach didn't like to over-use the camera for dramatic effect, preferring to allow actors and settings to establish mood.

Though "Kes" is a narrative film, and I'm shooting a documentary with a decidedly more upbeat vibe, it represents the sense of time, place and respect for the subject that I hope to emulate in "Life Online."

My goal, too, is to keep my presence to a minimum, and allow the real-life subjects to be themselves.

Three Great Documentaries

2012-12-08T17:25:00.001-08:00

This is the second in a series of behind-the-scenes blogs about the story behind the making of a documentary - in this case, my film, "Life Online," the story of a family in Florida that's uniquely dedicated to the "YouTube" lifestyle. Interested? Donate at http://tinyurl.com/acegrw4

These blogs and vlogs will trace the evolution of this project as I prepare, shoot and edit "Life Online." I hope these prove helpful to aspiring filmmakers.

There are a number of films that have inspired my upcoming documentary, "Life Online," the story of a family that has embraced the YouTube "lifestyle." With three boys and their mom all creating content for their individual lifestyles, and all family members contributing to their non-stop production "studio," this film will offer a great perspective on why more and more people are deciding to express themselves publicly through YouTube and social media. "Life Online" asks, 'What happens to family life when there's an audience to serve?'

Three documentaries in particular loom large in my decision to tackle this project:

Considered by some as the original 'reality show,' "An American Family" was a multi-part public broadcasting series featuring the life of a "typical" suburban family in Santa Barbara in the early 1970's. They turned out to be anything but typical, as their family literally disintegrated under divorce and a series of dramatic revelations by each family member. Unlike today's "reality" programs, this documentary wasn't subtlety moved along or even scripted by the producers. Events simply unfolded from May to September of 1971, during which time Producer Craig Gilbert's team shot hundreds of hours of 16mm film. It's also worth noting that shooting a film like this in the early 1970's required cumbersome camera, lighting and audio equipment, creating a disruptive environment that some suggest may have been a provocative factor (among others) in the family's demise.

I'll long been fascinated with the patience, dedication and trust necessary to create "An American Family." Unlike so many of today's "reality" shows that pretend to portray life as it unfolds, this program felt authentic.

Oscar-winning director Michael Apted, who has moved back and forth between feature films and documentaries, continues to create the "7 Up" series of feature documentaries, an extraordinary portrait of a group of ethnically and economically diverse Britons whose lives he has revisited every seven years since they were seven years old - now, over fifty years. Inspired by the Jesuit saying, "Give me a child until the age of seven and I will give you the man," this is a uniquely revealing portrait of human nature. The "7 Up" films not only prove that personality may indeed be in place, but they're also an extraordinary tribute to the resilience of human beings in general. Apted shows a respect for his subjects that offers a great example for any filmmaker. (Here's a review of the latest film in the series, "56 Up")

Respect for the subject was the central factor in the effectiveness of "The Boy Mir." Director Phil Grabsky's film follows a peasant boy in Afghanistan from ages eight to eighteen, during the dramatic events of the last decade, as he and his family struggle to survive amidst the chaos and then emerging new freedoms transforming their world. Grabsky returned to Afghanistan periodically over ten years to tell Mir's story, creating a film that personalizes a story that exists for the West mostly in impersonal headlines. (Here's my review of the film; I had an opportunity to interview Grabsky about 'The Boy Mir. ' Here's my blog, 'The Minute You Pull Out a Camera, You're Intervening').

"An American Family," the "7 Up" series and "The Boy Mir" are varied in style and approach - but share three important elements that, I feel, make them effective films: Dedication of the filmmakers, trust and mutual respect between the filmmakers and their subjects, and uncommon patience. If I have the opportunity (Consider contributing here) to create "Life Online," that's what I'll be striving for.

Big Media's Romance with YouTube: Why It Will Fail

2012-11-26T15:50:00.000-08:00

The entertainment industry is still excited about YouTube. In the November 26th edition of the Weekly Variety, "YouTube Newbies Wow the Biz," explains how "Big Media" is beginning to invest in Multi-Channel Networks (MLC's) like Fullscreen and Maker studios, with the hope of getting in on the ground floor of a new industry, farming new talent, and connecting with young audiences.

But do they really get it?

In the Sunday, November 25th edition of the Los Angeles Times, another article, "YouTube's Best Video Creators Now Have Their Space in the Sun" discussed YouTube's new Playa Vista studio, which caters to YouTube partners by providing them access to a state of the art production facility that might have previously been out of reach. They'll be able to "up their game," improve their production value and create better and more ambitious content.

While this influx of investment and interest from both Big Media and YouTube will prove a fantastic opportunity for some of the top YouTubers, both sectors still seem to be curiously blind to the most powerful aspect to the world of online video - a direct connection with the viewing audience.

For the vast majority of YouTubers, those whose views may never reach the stratosphere, the real opportunity isn't necessarily in hooking up with Big Media - or becoming part of the YouTube elite. Learning how to better grow and engage their viewers/subscribers/followers/fans offers the best chance for most online content creators to build a future in that world. The key isn't simply to share in YouTube's advertising revenue (which tends to really pay off only for those with at least tens of thousands of views) - it's getting the big picture: understanding one's own talent and abilities - and using YouTube channels as tools to build toward those goals. In other words, what are you good at, and how will you get there? To some, that simply means hawking fan-centric items like t-shirts and posters. To the more ambitious, that could mean music, videos, e-books, audience involvement in crowd-funding projects, smartphone apps, or developing one's own sponsorship opportunities separate and distinct from the limited percentages of YouTube advertising revenue. In short - individual creators need to begin seeing online video as a tool for entrepreneurship.

Individual engagement and interaction, which offers precious little room for corporate overlords, is the real attraction that draws the YouTube audience. Big Media interest will likely wear thin fairly quickly as they discover that drawing in online audiences isn't simply a matter of pushing out content.

While some will benefit handsomely, investments in FullScreen and Maker Studios - and YouTube - will prove disappointing - but not because the opportunity isn't there - but because improved tools for engagement aren't being developed as feverishly as production capabilities.

It's quite possible that the true power of online media will remain firmly - though so far potentially - with the individual.

Talking It Out: Documentary Interview Techniques

2012-11-13T20:27:00.000-08:00

This is the first in a series of behind-the-scenes blogs about the story behind the making of a documentary - in this case, my film, "Life Online," the story of a family in Florida that's uniquely dedicated to the "YouTube" lifestyle.

In today's blog, I share some of my favorite basic techniques in conducting an effective, "authentic" interview.

First:

Be prepared

This doesn't just mean that you should do your research - you need to be technically prepared as well.

Whether you are your own crew, or you have one, two or three people helping you on documentary shoot, it's imperative that you work with individuals that are experienced and/or motivated to prepare camera, sound and lighting as quickly and efficiently as possible. There's always going to be a balance - some would say tension - between setting up a great shot, and engaging your subject as quickly as possible.

Interviewing Neil Parikh, one of the boys featured
in my documentary, "Bollywood Steps"

If you have an individual waiting to be interviewed, and the preparation process is too slow, they start to feel impatient - even rushed - and increasingly nervous. A minor inconvenience becomes a major disruption. Particularly in sensitive situations, this can impact the quality of the interview when it finally occurs.

Know why you’re there

Conducting an effective interview begins with trust. This isn't necessarily the same thing as trusting your subject - but if you hope to create effective content, your subject needs to work with and feel comfortable with you.

If you're interviewing a subject in their home, you and your crew need to be aware that your responsibility isn't limited simply to the individual - but to their family members and their home. If you're working with a larger crew, they need to understand their limitations and responsibilities to the venue. I've had crew members raid a refrigerator in a private home - or interfere with the conduct of a business. Anything that makes your subject uncomfortable or impatient will have an impact on the quality of your interview.

Make eye contact

When conducting an interview, eye-contact is an important part of the accelerated trust-building process. You may have notes - perhaps some questions, but don't depend so heavily on written materials that you don't give yourself the opportunity to look your subject in the eye. This is not only important in trust building, but allows you to gauge your subject's emotional response, and might give you hints as to how the interview should proceed. If you're more interested in your notes than the person you're interviewing, you will be perceived as distracted and uncaring.

Assure the subject

Many interview subjects are nervous and/or uncomfortable in an interview situation. Your job is to assure and reassure your subject, and let them know that they're doing fine, you have their best interests in mind - and that you'll present them fairly.

Even if your subject is distinctly unpleasant or untrustworthy, your objective is still to convince them that they can trust you. That doesn't mean you'll lie or distort the truth - though they may not see it that way.

Never give the impression that you're interrogating the subject. If the individual feels that he or she is being verbally assaulted, you'll lose the opportunity to achieve anything of real value in the interview. Always discuss and engage - never interrogate.

Ask questions that can elicit passion

Whatever the subject, your objective should be to obtain the most compelling content possible. Each interview should have that objective, as well. Make sure to ask questions that elicit emotional responses - not just the thinking questions, but the feeling questions, as well.

During the vlogger interviews that I've been conducting on YouTube, I not only ask individuals why they vlog, but why they like vlogging. I might also ask what they think they will aways remember years down the line. Regardless of the subject, I always look for questions that will generate an emotional response.

Repeat/restate when necessary

Your subject might speak your language - but don't be fooled - the way in which your questions are perceived depend on a host of factors: education, location, mood, religion, ethnicity - there's a whole host of reasons why what you imagine to be a clear question might be misunderstood. Within the space of one interview, how a person answers your question may change depending upon when you ask the question and how you ask the question.

News reporters might stick a camera in an individual's face and ask them how they feel about the murder of a loved one, but the filmmaker will sit down with the individual and not only ask how they feel - but why they feel.

Listen

You can conduct an interview with dozens or even hundreds of questions exploring every last aspect of an individual's life or relevant situation - but don't depend too heavily on those notes. They're only a jumping off point. Don't miss important clues in a subject's answer because you're focusing too much on the next question. When interviewing an inmate at a youth detention facility in California about his involvement in an arts program, he confessed to me the reason why he was incarcerated. The interview took a turn into areas I hadn't expected as we began to explore questions of abuse and neglect - resulting in a riveting interview that I might have missed or minimized had I been using my written questions as a security blanket.

Make the subject feel comfortable

Your interview subject isn't a prop - or a puppet. Have you ever had to pose awkwardly for a formal photo? Imagine having to hold that position and answer questions for hours.

You will likely not have the flexibility you might have in a narrative video to create that perfect shot. That doesn't mean you compromise quality, but it does mean that you recognize that a comfortable subject is often a talkative subject.

Finally:

Connect with your subject

The most effective interviews depend upon the interviewer's ability to connect personally with the subject. Sometimes, you might have an extended opportunity to get to know a person over time. Other times, you may meet a person seconds before your interview begins. You may like your subject, or you might find them repulsive. You may share a common background - or your subject may come from a background radically different in very possible way from your own life experience.

The fact is, most human beings are social creatures, and experience, during the course of their lives, feelings of love, hate, disappointment, joy and sadness. Find the common ground you share with your subject, and you'll discover the connection.

Interview techniques may not be rocket science - but I actually learned a lot from interviewing a rocket scientist. Thankfully, we weren't talking about rocket science! Instead, we were creating a video about a volunteer community organization he led, so our discussion would focus on those activities.

Unfortunately, while you can take the scientist out of the lab, you can't take the lab out of the scientist.

As we arranged the interview, the scientist asked for a list of questions so that he could better prepare. When the time came to actually conduct the interview, I discovered that he had taken my questions, and scripted extensively detailed answers, written in tiny lettering on a yellow legal pad. As I attempted to proceed with the interview, he referred to his notes with such ferocity that he barely looked up. He was nervous and uncomfortable.

Though I knew the footage would be unusable, I let him refer to his notes without restriction. Once we finished those prepared questions, however, I quietly signaled the cameraman to keep the camera running. I had a casual chat with the scientist, asking him many of the same questions - but as someone who was personally curious about his organization.

Absent his fear of the camera and worry about the precision of his presentation, he was animated, happy and enthusiastic - selling his program as we had intended - all because he was talking to another human being.

State of the (Crowd-Funding) Campaign

2012-11-08T23:04:00.000-08:00

I'm now over one week into my Indiegogo crowd-funding campaign for my documentary, "Life Online." It's been a slow launch, but I'm still optimistic that I develop some momentum and perhaps create the necessary "crowd" to make this a reality. After all, I did launch this effort just after Superstorm Sandy, and a week before the election - a particularly awkward time to squeeze in a few moments of your time. I'm particularly grateful to my funders so far, whose generous contributions have gotten the ball rolling.

DrewDudeTV...and a bag of chips.
Drew's on the left.

Where do I go from here?

The first objective is still to bring more attention to the "Life Online" Indiegogo page - visits are not yet anything close to what's necessary to make this happen. The more people that visit the page, the more chance that some will contribute to make this a reality.

I need immediate help to bring news of this documentary out to more people - whether through Facebook, Twitter, YouTube, blogs or other means. IndieGoGo stats indicate that it's important to keep the word out about the documentary - it takes about seven separate contacts, on the average, for an individual to decide to jump on the bandwagon. This is why you'll hear about this project frequently.

What do you think? How can I get this project - this funding campaign - out to more people? How can I maintain this effort between now and the rest of the year - without becoming the social media equivalent of those overly repetitive, obnoxious campaign commercials?

AND, (as "Life Online" donor Odell Hataway says, I need to engage in more shameless promotion) what can I do to convince YOU to become part of this effort?

What can you do? Here are some links!

1 - Contribute! Even the smallest donation helps - we need to build - and show - momentum!

2 - Follow us on Twitter

3 - Join The Facebook Page

Launching My Campaign (How Indiegogo Works)

2012-11-01T18:41:00.001-07:00

Here's my vlog explaining my Indiegogo campaign - and explaing the basics of an Indiegogo Campaign.

LIFTOFF! (Why I'm Crowd Funding)

2012-10-30T15:56:00.000-07:00

Today, I'm launching an Indiegogo crowd funding campaign for my new documentary, "Life Online." This is my largest step yet in putting social media to work for my life and career. My blog, Twitter account, YouTube channel, Facebook page and the like have been around for a few years now. Over the past year, I've had a great time interviewing YouTubers and other online entrepreneurs (and sharing those interviews on my YouTube channel). I've connected or re-connected with individuals around the world. Like most who have jumped into social media, I've had a great time.

Now, though, the time has come to put these tools to work. As someone who has worked in so-called "traditional" media most of his life, I've come to believe that the future - or, perhaps, the more exciting future - of this profession lies in the ability we now have to directly reach an audience.

The democratization of media - increased access to creative tools and fewer "gatekeepers" - allows any individual with a computer (or smartphone) to be an entrepreneur. The potential is enormous - but so are the challenges. It still takes a leap of faith and the acceptance of risk to take that step.

All of this brings me to today, and "Life Online," a documentary about a family dedicated to creating on YouTube and living through social media. Mom and three sons have YouTube channels, and even dad and their youngest daughter are also involved. One son, 14 year-old "Fur," (it's short for Christopher), is even a YouTube partner and shares in the ad revenue on his channel. I'm hoping to create a documentary asking the question, "What happens to a family life when there's an audience to serve?"

(Follow the film @LifeOnlineDoc)

Crowd-funding sites have become enormously popular in the last couple of years. Essentially, they allow anyone to donate to projects - from films to inventions to political causes - at levels that range form just a few dollars to thousands, in exchange for perks that can range from a Twitter shout-out to credit on the film Using social media "word-of-mouth," popular projects can reach their goals and become reality to an extent never before possible.

I've wanted to try crowd funding for quite some time, but until now, I hadn't found the right project - one that not only had to potential to capture the imagination of potential funders, but also had the social media "legs" to spread far and wide and give me a fighting chance to succeed. "Life Online" seems like a perfect opportunity for my Grand Experiment.

First, I'm telling a popular story. Like it or not, social media has fundamentally changed the ways we interact. YouTubers - those who share their lives online - are at the forefront of that change. The fun, quirky family I'm profiling, I think, provides the perfect vehicle to explore what that change really means.

As "Life Online" tells a social media story, I'm betting that I may be able generate enough interest in the social media community to give me a fighting chance to get the film funded. A number of individuals with their own network are helping me get the word out. Getting people to visit the IndieGoGo project page is the first challenge. If I did my job right, some of those visitors will accept my pitch and be willing to help.

Will it work? Starting today, I'll have just about two months to work at it and find out. I'll let you know how it's going.

Diving Into the Media Abyss

2012-09-25T14:00:00.006-07:00

I've been living a double life.

I work in "traditional" media, producing documentaries, promotional, informational and educational videos. I've done okay, received some recognition (including three Emmy Awards), and seem to be emerging through the economic downturn.

Over the last couple of years, however, I've made a concerted effort to shift my efforts, my career - and my future, toward digital media.

Digital Media.

What does that mean, anyway?

For many, it simply indicates another platform to push traditional media out to audiences that are increasingly moving away from the traditional television model: movies or television shows ported to other platforms, from Netflix to YouTube, Hulu, and a hundred other variations.

That's part of it, of course.

For others, Digital Media means the creation of web series - often, this reflects the interpretation of traditional media for the new environment (for example, informational, documentary, news, drama or comedy series) in a shorter, online friendly length.

While Traditional media producers recognize the advantage of encouraging audiences to interact about traditional media programming, there's little understanding of the value of interacting with an audience.

The old buzz-word "interactivity" has risen to an art form on YouTube, where content creators - those who maintain their YouTube channels and post videos on a regular basis - understand that the greatest tools to building and maintaining an audience is interacting and responding to their audience. They reply to commenters on their videos, comment on other people's videos, ask their viewers for feedback and opinions, and create ongoing opportunities beyond their YouTube base to further engage their followers. They're all about promotion and development through interaction. Anti-social artists need not apply.

Can Old and New Media Work Together?

Over the last several years, I've made a concerted effort to understand the relationship between traditional and emerging media platforms. This year, those efforts are beginning to coalesce into concrete action.

Since April, I've traveled to three media-related conferences:

Vidcon, attended by YouTube content creators, was held in July at the Anaheim Convention Center. It featured an array of informational seminars, screenings, entertainment and an exhibition hall featuring services catering to the YouTube content creator (fan outreach, monetizing opportunities, games and autograph sessions with top YouTubers). Missing: production equipment vendors offering the very production and software products these new content creators constantly seek.

The National Association of Broadcasters show- a conference featuring the largest exhibition of professional broadcast technology in the world - clearly provided a peek in to the dawning of high quality, cheaper and simpler to use product. The GoPro booth was likely one of the most popular and enthusiastic destinations in the sprawling complex. Though GoPro is a specialized product, it's real a harbinger of much more to come across the industry.

Last week, I attended WestDoc, a conference of professional documentary filmmakers, producers, networks and funders.

I hadn't been to WestDoc before - but as I move closer to some major new initiatives in my career, the time was right to return to the heart of what I've been doing my entire professional life, and begin the process of bringing these old and new elements together.

The slogan for this year's Westdoc was An Industry is Being Reborn, reflecting a recognition that the world of nonfiction media production and distribution is inexorably changing. NAB, too, reflected this awareness at it's April conference with it's own theme, The Great Content Shift. VidCon, however, emerging from the very world the rest of the media world is trying to understand, didn't need such to signal it's attendees that the world is changing - they know.

WestDoc featured an array of seminars and informational sessions featuring many of the networks interested in documentary and reality content (History Channel, Food Channel, Lifetime and Discovery Channel, to name a few). Even YouTube was there, reflecting the site's current interest in developing and producing professional channel content.

Current trends were explored as well, including crowd-funding, Online Retailers for video content (such as Amazon.com, on which I've made my documentary "Bollywood Steps" available), and a day-long "PitchFest," providing documentarians and reality TV creators a high-profile platform to push their concepts out to potential funders and networks.

With an industry being "reborn," and "content shifting" online, I've been intrigued by the great abyss that still exists between traditional media professionals - who perceive YouTube and similar sites as simple platforms for traditional, one-sided non-interactive content - and the pioneer content creators who make up for their occasional lack of professional production skills with innovative audience engagement strategies.

Many media professionals perceive online content creators as rank amateurs. Online Content Creators, on the other hand, don't often see themselves as filmmakers, though they follow in the footsteps of the motion picture pioneers of the late 19th Century, who sought to find strategies for making the most of the new technology.

Traditional media producers are, generally speaking, experts in storytelling and creating production value, while Intimate Audience Engagement is largely the domain of the modern content creator.

Imagine a meeting of the minds, bringing together these disparate worlds to learn from each other, and making both worlds stronger, engaging wider audiences - and creating a more financially sustainable industry for all concerned.

In my next blog, I'll explore how I'm approaching my upcoming work with a eye toward both worlds.

You can follow me on Twitter @rickflix

Honesty On Film - Ridley and Tony Scott's "Boy and Bicycle"

2012-08-23T20:37:00.003-07:00

After the recent death of motion picture and television director Tony Scott (Top Gun), I became aware of "Boy and Bicycle," a 27 minute short film his older brother Ridley Scott (Bladerunner, Black Hawk Down)had created as a film student in 1965. It featured Tony as a teen skipping school and riding his bike around his English coastal town. We hear his interior dialogue as Tony's mind wanders from random thoughts on his home life, his school life and his immediate surroundings.

This fictional film honestly captures the mood, sarcasm, frustration and curiosity of a sixteen year-old boy. The deceptively simple plot line shows off the talents of both Scott brothers, who would go on to develop substantial careers in mainstream motion pictures and television.

"Boy and Bicycle" reminded me an experience I had some years ago when I brought a half dozen teens from a filmmaking workshop I was teaching to a film festival in Los Angeles. We attended a screening featuring a collection of short films created by high school students across the city. The films ranged from comedy to drama to animation and documentary, all a few minutes or less in length.

After the screening, I asked the boys which films had the greatest impact. They weren't interested in the action films, or films on current issues impacting teens, or anything that reflected the high production value that some teen videos can have in a company town like L.A. Instead, they were in awe of a series of documentary-style films that, like the fictional "Boy and Bicycle," featured the introspective voice-over thoughts of individual subject/filmmakers about their lives, set to video featuring moments in their lives, often seeming to wander aimlessly, as the Boy in Ridley Scott's film.

The boys, who were residents at a facility for those recently released from juvenile hall, especially valued the simple, honest nature of these short autobiographical films. To them, at that time in their lives, honesty was rare and unusual.

Honesty, after all, is at the core of all great and effective art - whether a painting, music, motion pictures - or even a vlog on YouTube. Learning to create can be a challenge - but the struggle to create truthfully can last a lifetime.

Though it's a forty-seven year old black and white short film, I recommend catching up with "Boy and Bicycle" - hyper-personal and directly engaging, you may discover that it speaks directly to the age of YouTube.

What do you think?

Thoughts on "Ethel" - A Documentary About the Life of Ethel Kennedy

2012-08-15T18:12:00.001-07:00

Click the image to visit the official "Ethel" website

Robert F. Kennedy was slain in 1968, five years after his brother John, leaving a widow and eleven children, one of which was born six months after he died. That last child, Rory Kennedy, grew up to be a documentary filmmaker. For the first time, she turns her attention to her own mother in "Ethel," a HBO presentation premiering on the channel on October 18th.

"Ethel" is an emotional, moving, and at times even intense experience, incorporating a wealth of previously unseen photographs and home movies of this iconic American family. This program, however, shouldn’t be considered an historical documentary. This is, first and foremost, a family’s self-portrait, featuring Ethel Kennedy's unique perspective on the highs and lows of her eventful life.

Rory narrates the film, and warns us early on that her mother isn't generally a reflective or introspective person. Ethel doesn't dwell on tragedies, explaining that "nobody gets a free ride" in life.

Though the film is called "Ethel," this is really about Ethel's enduring relationship with Robert Kennedy. Forty-five years after his death, she considers everything she's done since, including raising her eleven children, as simply carrying on her husband's legacy. She dismisses Rory's suggestion that she's done anything extraordinary in raising her children, explaining that the values and ideals with which they were raised were Robert Kennedy's alone.

Of course, the truth in any iconic relationship is much more complicated. Many of Rory's siblings took part in the documentary, sharing their memories and perspective on the nature of their parent's relationship, and their belief that they were who they became because of each other. Ethel, too, was raised in a large, spirited Irish Catholic family - though her father was a self-made man (and a staunch Republican). She was fiercely supportive of her husband, and remains active in the causes he supported.

At the Los Angeles premiere of "Ethel," held at North Hollywood Laemmle Noho 7 as part of the International Documentary Association’s DocuWeeks program, Rory explained that she carefully considered her family's feelings as she produced and edited the documentary. In a particularly telling moment in the film, Rory brings up the evening of Robert Kennedy's assassination with her mother. Ethel at first remains silent and distant, then curtly suggests that they talk about something else. There's little footage from either November 22, 1963, when John Kennedy was killed, or June 5, when Robert Kennedy was assasinated - a conscious decision, Rory explained, to spare her older siblings from reliving the still traumatic events.

This isn't a film about scandals, indiscretions, or political posturing (though Ethel shares a truth that must have been borderline scandalous in her family: her parents were staunchly conservative Republicans). The film touches on the struggles they've faced - Robert Kennedy after the assassination of his brother, and the family after his own assassination - but this isn't a film about struggle.

This documentary may not be an exhaustive portrait of Ethel Kennedy or her family, but it does reveal a rare perspective: Behind the iconic/legendary status of the Kennedy name, this is just a family - and like most families that survive the test of time, they choose to remember the good times.

Teens Achieving Dreams in a World Without Gatekeepers

2012-08-13T12:07:00.000-07:00

(From L-R) Harrison Houde, Andrew Brackin, Cassius Morris

Traditional media is largely governed by "gatekeepers," those people and institutions that determine the fate of countless creative individuals that attempt to "break in" to the media industry. From casting directors and script readers to studio chiefs, the obstacles to success are great, and few break through to the "big time." The gatekeepers may be experienced industry veterans with an eye for quality and talent - or, they might be largely governed by more arbitrary criteria ranging from pure instinct to pure prejudice.

Alongside traditional media, however, there's now another world - without gatekeepers. In just the last few years, the "democratization" of media has made it possible for anyone with a few simple tools and access to the internet to create, distribute or simply access a wide audience.

Musicians, artists, filmmakers, writers, commentators - or, really, anyone who needs to establish a base of like-minded comrades - can do it. If they can create with quality and consistency - and navigate social media to promote their work, they can achieve their personal and/or artistic goals.

Through my Vlogger Interview web series, I've had the opportunity to speak with three teens who may not think of themselves as pioneers, but offer, I believe, a hint of what's to come:

Harrison Houde, sixteen, is a professional actor with several television and motion picture credits (including a small but hilarious role in the first "Diary of a Wimpy Kid" movie). He's been able to pursue his personal filmmaking interests through his YouTube channel, xTurnipTimex, and recently used IndieGoGo, the crowdfunding site, to finance a short film. He's built his channel through hard work and interaction with the YouTube community. He creates quality content, responds to his audience - and has built a following that isn't about exploiting his professional work as an actor, but earning his success as young content creator on YouTube. [See my Interview here]

Andrew Brackin, eighteen, discovered the world of entrepreneurship as a young YouTuber. That initial social network of friends and associates made it possible for him to actively move ahead on his dreams while still a young teen. He created an internet radio station, licensing music at fourteen years old. He later co-founded GetDealy.com, a daily deal type site aimed at the tech community. Today, he's working with like-minded entrepreneurs in the US and UK to move even further ahead, even as he shares his insight with aspiring young entrepreneurs. [See my Interview here]

Most recently, I spoke with thirteen year old Cassius Morris. Cassius discovered the world of podcasting several years ago. He's co-hosted a podcast on his favorite band, KISS, and more recently has been building a following as the sole host of "That Reporter Kid Speaks." He's approaching thirty episodes of the program, which features Cassius interviewing comedians in the US and Canada (Cassius lives in Halifax, Nova Scotia). He's learning from his experience, from others, and from direct audience feedback.

Cassius' initial success (he has 4,600 Twitter followers) is also notable for another important reason. He freely shares having been diagnosed as being both bi-polar and ADHD (Attentional Deficit Hyper-Activity Disorder). At thirteen, with a growing audience, he also can serve as a source of hope and inspiration for the hundreds of thousands of kids his age that struggle with the same challenges.

In a sense, what Cassius, Andrew and Harrison are doing isn't new - hard work and dedication go hand-in-hand with achievement. Unlike previous generations, however, they've grown up with unique access to the world at large. It's intriguing to consider what these three creative individuals - and thousands like them - will do with that access - and what they might achieve in the future.

Dawn of the YouTube Family

2012-08-06T20:55:00.001-07:00

In the eight years since it's inception, YouTube has become many things to many people. For some, it's a social network, for others it's a replacement for television. It's a tool for social change, and a wide-open forum for self expression. It's a repository of all kinds of talent, and a source of pop culture thats so prevalent that it's hard to remember a time when such a platform didn't exist.

As YouTube continues to evolve it's place in contemporary culture, it's also becoming a source of family bonding. Recently, as part of my "Vlogger Interview" web series, I've interviewed two families that are living what might be called a YouTube lifestyle.

The Flores Family, of Ontario, Canada, consists of single mom Tammy Flores and her sons, Craig and Calvin. All three maintain YouTube channels. Mom vlogs about her family's daily lives, travels and adventures, while the boys thirteen and fifteen years old, simply create for the sake of creating. Craig, the thirteen year-old, is often asked by his friends when his next video will be posted, though they're really, in his words, "randomness." The boys aren't creating for subscribers (at least not yet), but for themselves. For the Flores family, creating on YouTube also comes with an added benefit - it's provided a gateway into and connection with the YouTube community. Through YouTube, Craig and Calvin enjoy friends and mentors across Canada and the United States. It's something the boys appreciate, and Tammy recognizes as something that helps and enriches their lives, even as they offer videos to enrich others.

My discussion with the Flores family came just weeks after a discussion with another YouTube-centric family. While dad and their daughter don't have their own channels, mom and her three sons are actively involved on YouTube. "Fur" is even a YouTube partner, creating collaborative videos not only with his family, but with many other members of the Florida YouTube community (Check out their interview here).

The wider and growing familiarity with YouTube and what it offers is beginning to encourage parents not only to allow their kids to create online, but to jump in themselves and become part of the YouTube experience.

What will it mean in the long term? "The Family YouTube" is still a new phenomena, with very few engaged to the extent of these two families.

The opportunity to create together can be powerful, but might prove challenging as well. Creative expression and egocentric behavior sometimes go hand-in-hand, and not every family may be equipped to juggle those traits fairly. Still, as parents become more aware and sometimes involved with YouTube, there's likely to be a wider acceptance of the potential benefits.

The chance for kids to grow up with enhanced verbal and media skills in an increasingly media-centric world might offer a strong competitive edge. YouTube also offers the creative boy or girl a chance to find other similar creative minds world-wide. Millions of young content creators have already discovered this; future generations may not have to work as hard to prove it to their parents.

On the other hand, will some families become overly sensitive to reflecting and catering to pop culture trends? Will entire families, like some individual YouTubers, lose sight of the creative and social benefits and become obsessed with monetizing their content? Will micro-celebrity culture distort the family structure?

Finally, what will it mean to "Grow Up YouTube?" What's your view of the world, if you've always been shared - and eventually shared yourself? Do you live only to please your lifelong subscribers? Do you compromise part of your identity to serve your followers and subscribers? There have been movies that touch on this theme (The Truman Show) - but soon we'll be experiencing the reality.

For now, one thing seems certain after chatting with these two families: Creating online content together may not be for everyone, but for a family with creative and artistic talents, it may prove to be a real gift.