Werd I/O

Quick PSA:

A podcast is only a podcast if you can listen to it anywhere.

Just like a newsletter isn’t a newsletter if you can’t subscribe using any email address, the point of a podcast is that you can listen to it in any podcast app. It just works.

If your podcast only works in Spotify or Apple Podcasts or another proprietary app, perhaps because of an exclusivity arrangement, it’s just serial audio. The content may be wonderful, but you’re missing out on the complete set of potential listeners in order to focus on one app’s existing username.

In some ways that’s fine - after all, you can’t watch a Netflix show in any app but Netflix’s - but it’s not a podcast. It’s something else. It’s just a show on someone’s channel.

The way podcasts work is by releasing episodes as attachments on an RSS feed. You don’t need to know that this is how it happens - all you need to know is that it doesn’t matter which podcast app you prefer, just as it doesn’t matter which browser you use to access your favorite website. The point of these platforms is that you have the choice.

That’s important for listeners, but it’s also important for producers. Tech companies are notoriously fickle, and signing an exclusivity deal with one inexorably ties your future into their evolving business strategies.

It might make sense to make an exclusive deal with a streaming platform if they’re going to give you $200 million like Joe Rogan. (I tend to think this is win-win: Spotify thinks it has something unique, while the rest of us aren’t bothered with Rogan’s show.) But if you’re making a deal for a fraction of that money, know that you’re losing out on reaching out to a whole ecosystem in exchange for tying yourself to the business model of a startup that might change business model on a dime and leave your show - or even your whole production company - in the dirt.

The media industry is littered with the graves of companies that tied themselves to onerous distribution contracts. There’s no need. Podcasts are open, available everywhere, and easily monetizable once you’ve got a subscribed audience. You don’t need to prostrate yourself for a company that, ultimately, doesn’t care about your future.

I wanted to understand what’s involved in setting up an online store, so I’ve created an Etsy store to accompany my website. Everything is made and fulfilled by Printful, which seems to work pretty well.

Anyway, this is my favorite item in the store right now:

I’ll add new stuff from time to time. This is mostly for fun, but also, like I said, a bit for my own education.

I’ve been wondering about adding more organization to my site. As of right now, the homepage is a mix of long-form posts, short thoughts, and links I consider interesting, presented as a stream. It’s a genuine representation of what I’m reading and thinking about, and each post’s permalink page looks fine to me, but it doesn’t quite hold together as a whole. If you look at my homepage with fresh eyes, my stream is a hodgepodge. There’s no through line.

One way to get around this might be to split my homepage into columns: one big column for latest long-form pieces, and a smaller column for links. Andy Baio’s site does this pretty well, for example.

On the other hand, sites like The Verge present notes, links, and articles in one stream. I find it a little confusing to read, but there’s at least precedent for my approach. Of course, my site is more or less monochrome, while they clearly have a visual design team on-staff. One thing I really like is that (as befits a tech publication rather than a single-author blog) they don’t just display the latest long-form post on the homepage; you’ve got to click through. This is similar to the WordPress setup we use at my day job at The 19th.

I think I’m just sick of my design and need to try something else out. What do you think? Drop me a line if there’s a blog design you particularly like, or if you’d like to see me organize my stuff in a particular way.

American TV is saturated with copaganda: media intended to sway public perception in favor of the police. Even in a world where it’s become clear that the police disproportionately kill people of color and otherwise enforce adverse power dynamics for oppressed communities, we see show after show after show where the police are unambiguously the good guys. Often those maverick cops get their good guy jobs done by flaunting the rules - because, after all, what possible good could those rules possibly do?

As Aaron Rahsaan Thomas, the co-creator of S.W.A.T., put it:

Traditionally, the domain of TV police procedurals has been as morality plays, where clear lines are drawn. The past 60 years have seen shows like Dragnet, The Untouchables, and Adam 12 establish a formula where, within an hour of story, good lawmen, also known as square-jawed white cops, defeat bad guys, often known as poor people of color. This stark clarity, indulging the idea of the hero cop, often provides a sense of satisfaction for some viewers in an otherwise complicated world.

It’s worth considering which viewers. His whole piece is an important read, particularly on white voice even in the face of diverse casting.

I’d love to see more shows - any shows, actually - about law enforcement that move beyond this narrative and are willing to discuss the complicated power differentials that underpin oppression. There’s so much to talk about here, so much great drama that speaks to peoples’ lived experiences, yet I wonder if it would even be possible to put it on the air.

Copaganda is part of the culture. Some of it was certainly produced with the explicit intention of swaying the public towards law enforcement. But it’s a trope now: these are established categories of drama that perpetuate themselves because we’ve come to expect them. Just as the CIA funded Iowa Writer’s Workshop and shaped modern American literature as a result, police PR has shaped television.

As that last linked piece puts it:

Maybe it's just a reminder that we need to be wary of the sandboxes we’re building our castles in, of the institutions that define our creative thought so wholly that we often forget (or never bother to ask) how and why they were established in the first place.

British TV does a slightly better job, perhaps partially because Britain tends to hold a bit less reverence for its institutions (at least if you squint a bit and don’t ask too many questions about the enduring legacy of its empire). I enjoyed both seasons of Slow Horses, a British drama about dysfunctional MI5 agents who find themselves working against establishment corruption that is at least as formidable as any outside force. Back in the nineties, the BBC show Between the Lines dealt directly with police corruption. They’re both great TV, but while the protagonists in both cases are from a semi-ostracized branch of the powers that be, they’re still formally a part of that established order. I would love to see drama fully drawn from the perspective of people who wind up on the wrong side of it.

The Wire might come the closest, at least in intention. Its star, Wendell Pierce, speaking to Yahoo Entertainment last year:

Sure, you're recognizing the individuals that were lost in a system that perpetuated this sort of misconduct, and maybe you had empathy for some of the individuals in that system. But in no way did we celebrate the moral ambiguity, the moral inconsistencies and the failures of the police — quite the opposite. We showed the dysfunction of the police and hopefully awakened people to why it needs to be changed.

But the real answer is going to lead from more diversity at the highest levels of television. You’re not going to get an authentic story about communities who have been oppressed unless you greenlight shows written by people from those communities, again and again and again. There’s a lot of work to do.

Aaron Rahsaan Thomas again:

I often hear platitudes about hiring more diversity at the lowest levels and tolerating new points of view from “cooler” white writers, but rarely hear how any writer of color can manage a career to get to a point where their voice drives a show and impacts the worldwide narrative on these stories.

Please, let’s get on it. I want to watch some TV.

I had an idea for an online science fiction literary journal.

First: it’s on the web and free to access on beautiful, standards-based, responsive, blazing-fast web pages. Nobody ever needs to pay to read its content. It’s all out there, paywall-free, and anyone can link to it and share it. That means that authors can share links to their work without worrying that someone can’t see it, which in particular will allow emerging authors to find audiences frictionlessly. The website publishes roughly one story per week.

Second: you can subscribe via email, RSS, and ActivityPub. However you get your content is a-ok. Every new story is shared on social media, there’s a Flipboard publication, and so on - if you want the content to come to you, it will. Every piece is illustrated by a real, human illustrator, in part so that they show up beautifully on every platform.

Third: the journal is patronage-supported. Anyone can put money in and will be acknowledged on the supporters page, in the order of the amount of money you’ve paid in your contribution history. Above a threshold, these acknowledgments have a full referrer link to a contributor’s website. Every payment is always acknowledged.

Fourth: everyone is paid fairly. Authors and illustrators both get a one-off fair, flat rate payment, as well as a portion of the patronage contributions. Payouts are proportional to views in the month of the payout, and are above and beyond the original fair payout - so they’re kind of a bonus rather than forcing their full earnings for their work to be based on attention. But if a particular short story continues to be popular for a year or two, the author sees compensation for that.

Fifth: there is an annual compendium of short stories, published as a real, hardbound book. Authors and illustrators see royalties from this, too. No further rights are sought aside from the website and the book, so authors and artists are free to bring their work elsewhere and secure further rights however they wish.

Sixth: it’s not going to be profitable. But it would be a fun labor of love that also hopefully provides both monetary and career support for artists.

Probably don’t let me actually do this right now. But it’s fun to think about.