Hey, y'all.
Jeffrey Craner here.
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And now here is an excerpt from episode 53, Low Barrier to Entry.
This is available exclusively at patreon.com startwiththis when people talk about barriers to entry in art, I mean, I think the first thing that comes to mind, it's, for me is distribution is basically the actual gatekeeper, right?
Like the editor at the newspaper to get your story printed.
If you're a journalist to get your story printed at a newspaper, the gatekeeper is your editor to tell you whether or not it's meaningful news, to tell you whether or not it's a worthwhile story.
And then they make that judgment as to whether or not it actually gets any column inches.
Distribution is, I think, the thing that we're all looking for.
There's the difference between self publishing a novel and getting Simon and Schuster to print your novel for you.
Because it is a wider distribution.
Yeah.
And that, you know, distribution is often the biggest aspect of that.
And that's sort of why podcasting gets the moniker of low barrier entry so much, because no matter who you are, you end up kind of distributing the same way.
Whereas as you say, like a Simon and Schuster novel and a self published novel are just going to go very different paths to how they're distributed.
A lot of the successful self published things that I can, that I could think of, if we really sat down to try and do that, are going to be either people who have a whole other Persona online, that they're already very popular on Twitter or wherever they're at, that they can sort of just self publish whatever they want.
And people run because they've built their own audience over time that a marketing campaign and the New York Times books section can't.
Or there are people like Chuck Tingle that is doing something so unique and so bonkers out of left field that it develops sort of a cult following that bubbles to the top.
Another one, of course, is money.