Oh, everybody says they want something new and creative. But as this article from Slate shows, even places that are supposed by be hotbeds of artistic and creative genius, like magazines and ad agencies, are often machines built to squash the life out anybody who dares think outside the box.
You see this in so many places.
Newspapers, which I adore, all did the same thing in reaction to the Series of Tubes: “Hey, let’s not let this train pass us by. How about we innovate by doing what every other newspaper is doing. We’ll put all our stories on this Interwebs for free, then money will pour through the windows from all the banner ads.”
They didn’t question the fact that other papers doing this were bleeding more money than Kim Kardashian on a 12-hour shopping spree.
All these newspapers and magazines did the same thing everybody else was doing. But expected different results.
People who thought outside the box, who said (a) make people subscribe to the paper to read it online or (b) don’t put it online at all, because then people won’t subscribe and advertisers won’t advertise and America will lay off 15,000 journalists, well those people got ridiculed as crazy. They weren’t hailed as creative prophets, avoiding doom. They were seen as nuts and the people in charge ignored them.
PETA and the creator of Dilbert, Scott Adams take a different approach. Instead of doing the safe thing, and what everybody else is doing, the guerrillas at PETA and this random nerdy looking man who worked at banks figured out you can’t plan on hitting a grand slam on your only at bat. You can’t even count on hitting a single, or getting the baseball over the plate.
Successful creative types are idea hamsters who try dozens, or hundreds, of different things. Because you can’t predict what will be a world-smashing success, and you certainly won’t somehow break through while doing the same thing that 185,892 other people and businesses are doing.
Scott Adams didn’t have a master plan to become a syndicated cartoonist. In his books, he writes about having dozens of long-shot ideas, and that for somebody who couldn’t draw when he started out, being a cartoonist wasn’t exactly a sure thing. He kept swinging for grand slams and kept missing until Dilbert took off.
PETA doesn’t have the bazillion-dollar advertising and marketing budget of corporations like Coke and Ford, or even non-profits trying to cure cancer and such. PETA gets all their publicity from free ink and airtime. Do they guilt magazines, newspapers and blogs into covering their cause? No. They try dozens and dozens of wild, creative long-shot ideas, most of which fail spectacularly. Why? Because the one idea that takes off can get them free press around the world.
I wrote a series of posts about PETA and publicity stunts for about.com, back when The New York Times owned that blog. (Related: I can say that, as a journalist, I cashed checks every month from the NYT, then got fired, though technically all of the contributing writers got axed, so it’s not as romantic as going on strike and getting replaced by the staff of the Lower Kentucky Valley Register, then walking into the editors office and handing in your resignation via a punch to the nose, which every journalist does dream about at one time. I had fun, and they were kind to me, and I learned many things by writing them down.)
Social media is the other big area where you FEEL like you’re being creative and different, when actually, you’re doing the same thing, oh, about 1 billion other people hooked up to the Series of Tubes are trying to do. Except you’re expecting a radically different result. While that may be magical thinking, it is conventional, safe and boring–not creative.
Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller (FREEDOM, ALASKA) that won some award (PNWA 2013). Represented by Jill Marr of the Dijkstra Literary Agency.