Explaining the Timeline of My Podcast Documentary
I'm right you're wrong, we're wrong
So now that we know in Parts One and Two the "who" of what I was looking to talk to in making this documentary, let us move onto what I was going to ask them.
So firstly, it is important to know what I know about media in general. I am an independent, freelance creator of films, movies, a podcast, and physical art. I am not going to go on about what that means to me, or really what that entails, but all we need to know for the purpose of this article is: I create every opportunity I get.
That means I try not to count on platforms, or luck. I find ways to make my art known and profitable. Once I see those chances, that is where I take my art.
As I said in Parts One and Two, the so -alled booming podcast world was inhabited and being promoted by people who had no understanding of making money through art, or even why there are opportunities to share art. Because I have to find opportunities, I talk to a lot of people and I knew the podcasters I would talk to would have certain beliefs:
- 1They would not have even thought to consider the "why" of an industry. Here's a neat experiment: Next time a friend or someone you know says they have Instagram of YouTube ambitions, ask them how it is possible to upload videos to YouTube? What brought the technology about or makes it possible? This isn't a way to humiliate people into them not knowing history, but instead to show how someone has unsure footing in their industry. i.e. A good stockbroker knows what conditions, however catastrophic, would force the stock market to close down. I knew these podcasters thought/think, "You upload it and then," and that they would not have considered why/how they upload it.
- The podcasters would think, "You upload it and then." This seems like getting two points out of one, but I knew the majority of podcasters hadn't considered, "Should I upload this?" or, "Is this project a podcast?" That is because the idea of uploading was pitched to them as something they could do, not as a way to make art.
Point two was my chief argument that no matter how professional other parts of their careers or entertainment careers were, that these people were amateur podcasters no matter what. Why? Because a normal artist thinks: "What is the best way to bring my idea to people in a sustainable and lasting way?" While Podcasters were thinking: "I'm going to podcast and then something will happen."
So again, let's get back to the point: What was I going to ask them? I was not necessarily trying to get people to say they hadn't been professional. My goal was to document these types of people pursuing this career, the chief question of which was: Why and how do you plan to become professional?
The tagline of the movie when we were making it was: "Everyone knows someone who podcasts, you might just not know about it." I believe that these podcasters were shy about telling people outside of podcast communities because they were not really comfortable with the nature of how the podcast profession worked. I believe a lot of them had a secret answer, that they were afraid to admit what was wrong; or, a more fair way to say that is, that they had some plan to be a professional but never thought to question it or put it to the test.
Mostly, my goal was to bring to the light the world of amateur podcasting, and do it in a way that the podcasters themselves were not used to.
We'll talk in the next segment about how I was the only force moving into their insulated world.
My most recent podcast, an rpg
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