At the Theakstons Old Peculier Crime Writing Festival in Harrogate last weekend, I gleaned two very interesting and significant insights into two of my earlier posts – Which novels ought we to like? and Cooking with data.
The first concerns the data released by Kobo that seems to suggest that the winner of the 2015 Bailey’s Prize, How To Be Both by Ali Smith, was only finished by 34% of readers. However, in print, readers would purchase one of two versions of the novel, each with the book’s two parts in alternate order. Yet someone from Apple told me that digital platforms include both versions, in which case the figure of 34% is highly misleading – and very unfair.
The second insight came from the Harrogate Festival’s amazing interview with screenwriter Paul Abbott. Asked how subscription channels such as HBO or Netflix affected the way he works, he said that Netflix’s policy was to commission work (presumably on the basis of their viewing data), hand over the money, and then not interfere until the drama or series was delivered. Get it wrong, and they’ll never use you again – fair enough. But presumably Netflix are confident enough of the winning combination of their data and the experience and track record of the talent they commission to stand back and not second-guess the creative process. Which supplies one possible answer to the question of what kind of expectations will be placed upon writers by the growing influence of data.
Screenwriter William Goldman is famous for saying of Hollywood that nobody knows anything. But that was before this kind of data meant that subscription channels do know certain kinds of things. If the Netflix approach becomes the working model for commissioning – in film, TV or fiction – then bring it on.