Modern
marketing began with the notion that, instead of making a product then trying
to find customers to buy it, it would be more effective to find out what the
customer needs or desires then make a product to supply that need or desire.
Fair enough,
but does it work with the writing product - books, plays, media? I guess it must
to a degree, judging by the millions spent globally on focus groups,
trend-spotting and other techniques in search of what might be the next big
thing.
There are at
least two problems, though. The first is that the customer is a rear view
mirror - what you get from looking closely at customer behaviour and opinion is
not so much the next big thing as the last big thing. How can customers desire
what they don’t yet know exists? That must be an even bigger problem for
considering products of the imagination than it is for considering products of,
say, technology, which tend to work more by accretion than departure.
The second
problem is that the product of aggregated opinion must be cliché. By definition,
work that is predicated on the predicted must be predictable. In other words, writing
out of focus group wisdom is bound to produce the same old pap however thinly disguised
in next year’s colour.
So, if we are
not writing for the ‘customer’ as made flesh by the marketeers, who are we writing
for? ‘Write for yourself’ is sound advice I’ve heard many times, coupled with
‘Write what you know’. To take my own modest case, without it I would not have
produced my semi-autobiographical collection of short stories We Never Had It So Good, nor indeed many
of the plays for schools earlier in my writing career. Dickens produced some of
his best work engaging with and writing from his personal experience, as have
so many others - Alan Bennett, to settle on a modern example - but these
maxims, useful as they are, set their own boundaries. There is a limit to
writing out of yourself, while writing for yourself could restrict you to an
audience of one. What would Shakespeare have achieved if he had left himself so
confined?
I believe the
best we can do is to write for the seeker.
Instead of trying to analyse trends or aping yesterday’s successes we need to
ask ourselves what is capturing the thoughts (or stoking the anxieties) of
humanity now and for the future. Much of our impulse forward is fuelled by a
sense of searching for something - often ill-defined, sometimes intangible, but
nevertheless there. What is the object of that search; what can we say about
the journey?
These are
questions that are useful for writers of fact and fiction. They provide a
motive force for our research and can drive our writing. Addressing these
questions can be so much more liberating than merely writing what we know, and
edifying too. As the author Simon Brett pointed out at a recent Authors North
event I attended, the full-time writer, cut off from a normal working environment, knows
less and less. Writing for the seeker give us a certain impetus to find out
what we don’t know. Our efforts to answer the seeker’s questions lucidly will help
shape the work we do, and we can demonstrate our qualities to the extent we are
able to define what was ill-defined, make tangible the intangible.
Of course the
seeker and the writer may be one - taking us back to the notion of ‘write for
yourself’ - but the broader concept of write
for the seeker offers infinite possibilities on so many levels - personal;
interpersonal; societal; global; universal - as well as a forward dynamic and a
natural structural fit with the idea of the story or argument as a quest, a
journey, an unfolding.
For me there
is also a sense of companionship, if only a virtual one, in the idea of writing
for the seeker, a realised image of the reader as fellow-passenger on the
journey, one for whom I have responsibility throughout and must navigate to our
mutual destination across all the obstacles, working with a map that seems to
be missing significant parts of the route, overcoming challenges on the way. I
may be the guide but, as in all good quests, neither of us could make it to the
end without the other.
Finally (to
throw the marketeers a bone) there is a commercial rationale. Bookshops,
libraries and on-line repositories are natural haunts for seekers of all bent
and persuasion. If we have anticipated and successfully engaged with the
objects of their search in the works we have created, they will surely find us there.
For myself, I write books that I feel need to be written. In a way, I suppose this is "writing for myself" -- but it's writing for myself as part of the greater world, not myself in a masturbatory authorial way.
ReplyDeleteI write because there are certain burning questions that I have, certain issues I want to explore, certain feelings I want to evoke. I assume I can't be the only person in the world who's felt those feelings or asked those questions...and if someone else finds familiarity or solace or whatever in it, then I've done my job.
Great comment TL. I think, like me, you've also been following the thread on this in Absolute Write, which has been interesting.
ReplyDelete