The Audience for Canadian Shows is Tiny

It doesn't take many viewers to make a show #1 on the CBC in Canada. The series THE BORDER was the highest rated "off-ice" Canadian series last week with 765,000 viewers. The guest appearance of BATTLESTAR GALACTICA's Grace Park is credited with the spike in viewership. According to the TV Feeds My Family blog, there are YouTube videos that are getting bigger audiences than most Canadian series.

The rest of CBC's week went like this: Air Farce Final Flight: 710,000, Dr. Who: 701,000, Rick Mercer Report (repeat): 637,000, Heartland: 625,000, The Tudors: 567,000, Fifth Estate: 526,000, Nature of Things 486,000, Little Mosque on the Prairie: 464,000, This Hour Has 22 Minutes (repeat): 428,000 and, dwindling well below sustainability, Sophie: 280,000.

Among the other Canadian-produced fare last week, CTV's So You Think You Can Dance Canada waltzed off with 1,160,000 viewers (another 888,000 watched the results show Thursday night). Next was ol' reliable Corner Gas at 1,066,000. Global's The Guard was down to 385,000. Well back, making Sophie look like CSI, was Degrassi: The Lost Generation at 222,000 viewers–across Canada. There are more people in Saskatoon!

UPDATE: The previous headline on this post ("The TV Audience in Canada is Tiny") was miss-leading so I have changed it to more accurately reflect what I was trying to say. American shows draw the lion's share of episodic TV viewers in Canada as they do in many European countries.

How NOT To Get People to Watch Your Show

Insulting your viewers probably isn't the best way to get them to watch your show. But that didn't stop HEROES showrunner Tim Kring from laying the blame for the ratings decline of his show on serialized storylines and the limited intelligence of his audience. 

The engine that drove [serialized TV] was you had to be in front of the TV [when it aired]. Now you can watch it when you want, where you want, how you want to watch it, and almost all of those ways are superior to watching it on air. So [watching it] on air is related to the saps and the dipshits who can't figure out how to watch it in a superior way." 

A superior way? Why is it "superior" to watch the show on your iPod or your computer instead of on TV? Isn't it a TV show? How does the medium you choose to watch HEROES with make the stories and characters any more or less compelling?

I'm sure that heavy serialization is part of the problem with HEROES. But the bigger problem is that the show is a confusing, uninvolving mess that isn't compelling or entertaining enough to get the viewer to make the necessary commitment. At least not this viewer, one of the "saps and dipshits."

I watched all of season the "superior way" on my iPod on plane flights while traveling back-and-forth to Europe. And I really liked it. I saw the first four or five episodes of season two on TV. And gave up on the show.  I guess if I'd watched the season two episodes on my iPod I would have liked them. (Or is he saying the opposite, that TV is the "superior way" and other platforms are for saps and dispshits? He's not too clear. Either way, it's the stories and characters that matter, not whether you watch it on TV, a computer, or a DVR).

Now Kring is planning to make his stories less serialized…or not serialized at all. That could work, but I'm not sure that he's attacking the real problem, or as Time Magazine TV critic James Poniewozik puts it:

Yes, you can blame technology for siphoning all the smart viewers away from your series. You could try revamping your show so that it becomes the complete opposite of what it was conceived as. Or you could try, you know, not sucking. A story arc or two that doesn't inspire ridicule could go a long way with the saps and dips***s, is all I'm saying. […]Whatever problems Heroes has, the fault lies not in its DVRs but in itself.


UPDATE 11-25-08
: Poniewozik reports that Kring has apologized for his comments in an open letter to fans, which reads in part:

I was making the point that these platforms now offer a superior way to watch the show (without commercials, with extra content, commentary, at the audience's convenience, etc.) … It was a boneheaded attempt at being cute and making a point. Instead, it turned out to be just plain insulting and stupid. I know now how it sounded, but I truly never meant to suggest anything bad about our audience. 

Voighted

I loved this line in the LA Times review of 24:

"Meanwhile, back in the states, a senator so vile that he is played by Jon Voight is funding the rebels."

Speaking of 24, it's amazing to me how many former showrunners they have working under Howard Gordon in their producing ranks, which includes Steve Kronish (THE COMMISH), Brannon Braga (STAR TREK),  Evan Katz (THREE), Manny Coto (ODYSSEY FIVE) and Alex Gansa (DAWSON'S CREEK),  who is Howards former writer partner from their days on BEAUTY & THE BEAST and X-FILES. It just shows how hard it is to find a job in TV these days that Howard could get such an A-list roster of talent.

Worse Ratings Are Worst Enemy’s Worst Enemy

Variety reports that NBC has canceled MY OWN WORST ENEMY after the series notched its worst ratings yet this week. The Christian Slater spy drama will halt production after wrapping their ninth episode, which they are shooting now. 

Meanwhile, ABC is mulling whether or not to pick up PUSHING DAISIES, though showrunner Bryan Fuller vows to continue the show as a comic book if the ax falls.

“The idea would be to finish out the season’s story arcs in comic
books,” Fuller said during a “Inside the Writers Room” night at the
Paley Center for Media Tuesday evening.  The comic would likely be
publshed by DC because “Daisies” is produced by DC’s corporate sibling,
Warner Brothers.  

The purpose of the comic book series would be “to satisfy the fans
and ourselves, to finish up the stories we’d love to tell” and to
“clear the slate for a movie” Fuller said.

Reusable Man-Tits

EmpathStorm
The Smart Bitches Who Love Trashy Books bloggers have caught Harlequin using the same cover image over and over again:

"In a failing economy, it becomes essential to any business to recycle
and to seek alternative means to cut costs. Such as? Stock imagery!
Hey, when you find a hot image with expansive man-titty, you work that
for all it is worth. "

Or you just change the heads.Souls

Rebooting the Reboot

The rebooted KNIGHTRIDER is getting a reboot. Half the cast — Sydney Tamiia Poitier, Yancey Arias and
Bruce Davison — has been let go and the concept is being tweaked to make it closer to the original series. Showunner Gary Scott Thompson says:

 "We're moving away from the
terrorist-of-the-week formula and closer to the original,
making it a show about a man and his car going out and helping
more regular people, everymen."

The Writing on the Wall

The once-hot HEROES has cooled considerably. The ratings are declining, producers are getting fired, and now Bit-Tech reports that Ubisoft has abruptly canceled plans for a HEROES game.

Though no official information was ever given out on the game or why
exactly it has been cancelled, speculation is that Ubisoft is
responding to declining interest in the show, which is now in the third
series. Though the show proved phenomenally popular in the first
series, the second series came to an abrupt end thanks to the writers
strike and the third season has struggled to get positive reviews.

I wonder how much longer NBC will stick with the show, which reportedly costs well over $4 million an episode.

UPDATE: The New York Times reports on NBC's attempts to save HEROES from sliding any further.

The impetus for the firings came from the top, according to two people
close to the production who spoke on the condition of anonymity. (These
and others close to the show were not authorized to speak on the
record.) They said that Jeff Zucker, president and chief executive of NBC Universal
and Mr. Silverman’s boss, was greatly upset by an Entertainment Weekly
cover story two weeks ago that said some of this season’s developments
were “jump-the-shark preposterous” and concluded that the series “may
no longer be a pop-culture phenomenon.”

[…]Yet on Friday, Entertainment Weekly also reported that Bryan Fuller,
one of the lead writers in the first season of “Heroes” who left to
create “Pushing Daisies” for ABC, is considering a return to “Heroes”
if ABC fails to extend “Pushing Daisies” beyond the 13 episodes it has
ordered for this season.

Writers Write

Career3
My friend Lisa Klink has some great advice for TV writers who are finding it very cold out there right now:

Budgets have been cut and
writing staffs have been reduced, resulting in more competition for
jobs.  Some experienced writers are taking less money and/or lower
titles just to keep working.  Networks are ordering fewer pilots, which
is also increasing competition among writers trying to sell shows. 
There’s a general tension and uncertainty in the air, which makes the
people doing the hiring less inclined to take chances on unproven
talent.

Depressed yet?  I don’t say all this to be discouraging, just to
offer some perspective.  If you’re not getting the opportunities you’ve
been hoping for, it probably has less to do with your talent as a
writer than the stressed-out state of the business.  So what’s a writer
to do?  What we do best.  Get creative.  Expand your horizons beyond
television to other media: video games, web series, graphic novels,
etc.  Get (or borrow) a digital camera and make a short.  Write a one
act play and stage a reading.  Explore every possible way to get your
work seen and produced.

None of this is to suggest that you should stop writing new specs,
meeting new people and looking for TV work.  But in addition to a
full-frontal assault, try coming at the TV biz sideways.  Having any
kind of success in any medium will distinguish you from your
competition.  More importantly, I think it’s psychologically helpful to
any writer frustrated with the business to find other creative
outlets.  Take a break from beating your head against the wall and have
some fun with your talent.  Remind yourself that you are actually a
good writer – and become an even better writer while you’re at it.

She's right. As my grandfather used to say, "You can't catch fish with your line in the boat" (it's amazing how many different situations I can apply that advice to, just like he did). That's why I am always working on several things at once.

Today is a good example. I had a pitch at FX, I did some research for my next "Monk" novel (which is due in April), I wrote five pages of my "standalone" novel, got notes on a spec script I've optioned to some producers,  and I started sketching out some ideas for a pitch I have on the 13th.

I have my professional ups and downs, and personal ones as well, but no matter what I am always writing something. Even when I had two broken arms. It's how I stay sane and it's probably how I stay in business.

Snead’s Screed — Dishonest or Stupid?

I don't know whether Louise Snead, publisher of Affaire De Coeur, is dishonest or stupid or self-deluded..or a little of all three. As you may recall, I took her magazine to task for her unethical editorial practices (accepting advertisements in exchange for reviews) and for an outrageously unethical conflict of interest  (her advertising director co-owns a sham publishing company that received cover stories, features, and extraordinarily positive reviews in the magazine).

In subsequent public comments on this blog and others, Snead and Bonny Kirby, her advertising director, unapologetically confirmed both the reviews-tied-to-advertising policy and the conflict-of-interest and defended them as appropriate conduct.

But now, in an Affaire De Coeur editorial, Sneed is trying to reframe the discussion by grossly mischaracterizing my objections, lying about her advertising policy, avoiding any mention of the magazine's conflict-of-interest, and chiding publishers for not rushing to her defense. Snead writes:

These are very serious, slanderous allegations, not even borne out by his own review. He didn't take out an ad and his publisher has never taken out ads either, so how did he manage to get a five star review if what he allegesis true?

As she knows, I never said my five-star review was bought. What I said was that AdC offered publishers the opportunity to buy reviews (and other editorial coverage) in exchange for an ad…and that, in some cases, purchasing a review was required before the book would be reviewed. Don't take my word for it, take Snead's, as stated in AdC's own advertising package:

To compliment your ad and review we also offer interviews or articles.
If you would like an interview let us know 3 months in advance so it
will go in the same issue as your review and ad.[…]Book cover
ad.–This is the cover of the book that goes right beside (or above or
below) the AdC review of your book.[…]We do not review books after
publication unless it is done in association with an ad.

It's sleazy and unethical. And, therefore, I wanted nothing to do with them or their positive review of my book. She pretends not to have this policy in her editorial and then has the gall to say:

I was under the impression people could not simply tell lies on the Internet as if they were gospel. I was wrong.

But apparently she's under the impression that it's okay to tell lies in a magazine, since that is what she's doing. She's denying an advertising-for-reviews practice that both she and Kirby have previously defended in comments they posted here and on other blogs. Did she think no one would notice?

But of equal surprise was how disinterested in the truth some readers are. Some of the AdC staff and I responded to Goldberg's allegations with the correct facts, borne out by statistics which anyone can gather from our magazines, only to be completely ignored.

She's being disingenuous. It's not possible for readers to make an informed judgment about the magazine's biases and conflicts of interest when those relationships aren't disclosed.  You won't find any disclaimers alerting readers to reviews and articles that were written as a result of an advertisement being purchased by a publisher or author…nor any disclaimers alerting readers to articles, reviews, and cover stories about publishers and books in which executives at the magazine have a financial interest. Therefore, it is impossible for readers to gather anything from flipping through the magazines about the objectivity of Snead's reviews and articles. She writes:

[…]for 27 years we have strived to produce
a product and reviews that are as good and unbiased as we can make then.

If that were true, she would have informed readers that all the Light Sword books that were reviewedall but one of which received four stars or better — were published by a company co-owned by AdC's advertising director.

If that were true, she would have informed readers in the cover stories about Light Sword that the company they were raving about was co-owned by an AdC executive.

But those facts, representing an outrageous conflict-of-interest and bias, were not disclosed. And yet, Sneed expected publishers to line up to defend AdC's dubious editorial integrity.

A greater revelation is how cowardly some people are. AdC reviews over 100 books per issue, the vast majority of which do not have ads in the magazine. Hundreds of authors and publishers could have stepped forward and declared that Goldberg's opinions were false but sadly, only a few authors did — some with qualified statements — and only one publisher stepped up to the plate, saying that we review dozens of their books and they've never taken out an ad. And even then, she did it anonymously.

I'm
guessing that publishers didn't defend
of Snead because they have very little respect for the magazine and are
disgusted by the repugnant conflicts-of-interest. I'm making that assumption
based on the tons of emails I've received from authors and editors
thanking me for taking a stand and exposing Snead's highly unethical
editorial practices.

I am not surprised that Snead is using her magazine as a soapbox to present her side of the story nor that I am
depicted as the anti-Christ nor that she doesn't acknowledge the unethical relationship between
AdC and Light Sword Publishing.
  It makes sense. She doesn't think that
there is anything wrong with her ads-in-exchange-for-reviews policy
or that her advertising director co-owns a sham publishing company that
has been heavily promoted in her magazine and has been found guilty in court of defrauding authors. In her view, the
only wrong here was that I dared to call her on it.

(Thanks to EREC for alerting me to the editorial)

Taking Your Own Advice

I've taught writing a lot in the last few years — UCLA Extension courses, Writers University online courses, week-long seminars abroad,  conference workshops, speaking engagements, etc.  One of the many reasons I enjoy doing it is that talking about craft invigorates my own writing and helps me take a fresh look at what I am doing. That point was underscored for me this week.

I have been reading & critiquing manuscripts and screenplays for the South Carolina Writers Conference, which I am attending this weekend.  Many of the manuscripts have serious structural problems, point-of-view issues, and are bogged down in insanely dull (and unnecessary) exposition & backstory. The stories never actually get started.

At the same time, I have been wrestling with the first 40 or so pages of a "standalone" crime novel that I'm writing. I am working with a much sketchier outline than I usually do…I thought it might be exciting for me since this isn't a "whodunit" and I pretty much know where I'm going. Maybe that's a mistake, because the writing hasn't been going well. I find myself continually rewriting my work and not getting anywhere.

I was in the midst critiquing one of the student manuscripts, and writing down my advice, when it hit me — I was making the same mistakes in my work that he was in his.  I was smothering the drama and conflict in exposition, I wasn't giving the reader a chance to get invested in the characters or the story. I wasn't following that old screenwriting adage — show, don't tell. I needed to get the story started, then carefully dole out the necessary exposition in bits and pieces in ways that reveal character and generate some conflict.

Yesterday I went back and rewrote my first 40 pages yet again…dramatizing key moments that I'd buried in exposition…and suddenly it all began to work. I felt a rhythm to the writing that was missing before. The story had a pulse, a forward momentum now…and it has carried me through my writing today.

That's not to say I won't have trouble again. I'm sure I will. I have been in this situation before on other books and scripts. But what can be great about teaching, at least for me, is that it can give you the distance and perspective you need on your own work.