The Future of Conventions: Modular

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

Conventions have been part of my life for nearly 40 years. For many people, much like me, the story is the same – a majority of our life has involved attending, hosting, and even being guests at conventions. Now that they are threatened by COVID-19, we rightfully wonder what will happen to them.

Since COVID-19 has struck, I have wondered how conventions can survive. This is really a two-part goal: how do we preserve what makes conventions wonderful and how to we maintain having events. Vaccine-wise I don’t expect cons until late 2021 at best, and wouldn’t be surprised if we don’t see the first until 2022.

So how do we help them survive? One piece of the puzzle came to me recently when Dianna Gunn held an online Writer’s Conference.

This was a tight, focused, effective event. It focused only on writers. Each panel focused on a given subject, such as worldbuilding, and each had a monitor. There were rules, Zoom meetings, an discord, and in short a plan. I obviously enjoyed it – and as a Project/Program Manager enjoyed how well run it was.

Now this small event had all the elements we’d want from a convention. It was social, it was friendly, and of course it was an event. Smaller than even a mini-con, but it had the elements we’d want at larger cons.

What struck me then is that this may be the future of conventions – in part. Literally.

Imagine this as a blueprint for the future:

Small groups like Dianna’s evolve to hold “mini-events” that are tight, focused, and polished. They should focus on a given audience and themes, with a team just the right size to pull them off. They shouldn’t necessarily hold these events as part of cons – they should develop independently but form alliances.

Conventions should also work to create small groups like the above that to tight, focused events that are like the events they used to hold in person. They should not feel they have to hold them as part of a convention – though they may. But any set of events should be considered independent.

And then conventions can use these “modular events” to assemble online conventions as needed. Conventions might even share content and run at the same time.

What do you get out of this?

  • You get groups that are good at running a set of specific things – and have a target audience.
  • You get groups that can run relatively independently.
  • You can have these events happen on their own, but when they are part of a convention, everyone gets to know more about these events.
  • You can work outside the usual convention schedule.
  • When we can finally meet in person, you have the talent you need to do things in person, or share things virtually, or whatever works.
  • If any con falls apart, its elements can survive.

This idea is one I clearly need to think over, but it feels like it’s something that can work, and I’ve seen similar business structures such as Scrum At Scale and even SAFe. Maybe we can save and improve conventions by making them modular and distributed.

There’s a seed here we can grow.

Steven Savage

Steve’s Books 10/8/2020

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I write a lot and have quite a few books.  So now and then I’m going to post a roundup of them for interested parties!

My sites:

Fiction

I’ve been returning to fiction with a techno-fantasy setting of several planets orbiting a star called Avenoth.  Take a typical fantasy world of magic and gods, and let it evolve into the space age and internet age . . .

  • A Bridge To The Quiet Planet – Two future teachers of Techno-Magical safety find trying to earn their credentials hunting odd artifacts backfires when you’re hired to put some back . . . on a planet where gods go to die!

The Way With Worlds Series

This is what I do a lot of – writing on worldbuilding!.  You can find all of my books at www.WayWithWorlds.com! 

The core books of the series will help you get going:

  • Way With Worlds Book 1 – Discusses my philosophy of worldbuilding and world creation essentials.
  • Way With Worlds Book 2 – Looks at common subjects of worldbuilding like conflicts in your setting, skills for being a good worldbuilder, and more!

When you need to focus on specifics of worldbuilding, I have an ever-growing series of deep dive minibooks.  Each provides fifty questions with additional exercises and ideas to help you focus on one subject important to you!

The current subjects are:

Creativity

I’m the kind of person that studies how creativity works, and I’ve distilled my findings and advice into some helpful books!

  • The Power Of Creative Paths – Explores my theories of the Five Types of Creativity, how you can find yours, and how to expand your creative skills to use more Types of Creativity.
  • Agile Creativity – I take the Agile Manifesto, a guide to adaptable project development, and show how it can help creatives improve their work – and stay organized without being overwhelmed.
  • The Art of The Brainstorm Book – A quick guide to using a simple notebook to improve brainstorming, reduce the stress around having new ideas, and prioritize your latest inspirations.
  • Chance’s Muse – I take everything I learned at Seventh Sanctum and my love of random tables and charts and detail how randomness can produce inspiration!

Careers

Being a “Professional Geek” is what I do – I turned my interests into a career and have been doing my best to turn that into advice.  The following books are my ways of helping out!

  • Fan To Pro – My “flagship” book on using hobbies and interests in your career – and not always in ways you’d think!
  • Skill Portability – A quick guide to how to move skills from one job to another, or even from hobbies into your job.  Try out my “DARE” system and asses your abilities!
  • Resume Plus – A guide to jazzing up a resume, sometimes to extreme measures.
  • Epic Resume Go! – Make a resume a creative act so it’s both better and more enjoyable to make!
  • Quest For Employment – Where I distill down my job search experiences and ways to take the search further.
  • Cosplay, Costuming, and Careers – An interview-driven book about ways to leverage cosplay interests to help your career!
  • Fanart, Fanartists, and Careers – My second interview-driven book about ways to leverage fanart to help your career!
  • Convention Career Connection – A system for coming up with good career panels for conventions!

Culture

  • Her Eternal Moonlight – My co-author Bonnie and I analyze the impact Sailor Moon had on women’s lives when it first came to North America.  Based on a series of interviews, there’s a lot to analyze here, and surprisingly consistent themes . . .

The Artist As Art

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

Friends and I regularly run movies and videos for each other online, a wonderful tradition it only took a pandemic for us to devise. We recently watched The Horse’s Mouth, a film based on a well-regarded book, starring Alec Guinness as an artist who destroys as much as he creates. At first it seems to be a relatively standard comedy, but as I sat with it, I felt it was more like Spinal Tap and similar movies – a comedy that hits close to reality. The artist Guinness portrays, Gully Jimson, is a a rambling storm of pathologies, who fascinates and repells at the same time – everyone seems to have a radically different opinion of the man.

The Artist As A Loutish Rorschach Blot as you will.

As Serdar, who introduced me to the film, noted, there doesn’t seem to be a market for stories of working artists. We seem to like our films to be about people who are wild or crazy. We may often see them as offensive like Mr. Jimson, but ultimately there’s something about our culture that accepts artists as talented a-holes. In the film, Mr. Jimson at best does a month in jail for threats, but is somehow accepted despite the fact one may question if his art is worth putting up with him.

But when we step back, our lives often contain many workman like artists and creators. We just pay attention to the annoying ones, and as they consume mental space, we forget everyone not being a bipedial emotional disaster. For every musical star posturing in their psychopathic delusions, I can easily think of ten of more talent and less need for treatment. Why do we ignore this?

First, I think that this is part of the Great Man theory that has infected our culture. We want to believe in a rule-breaking Ultratalent who transcends all boundaries to create great art. Certainly encouraging that viewpoint has fueled the rise of many artists and creatives and leaders, as well as the fall that always seems to come later. We create the idea of a Great Man.

Second, we are envious even if we may not admit it. We wish we were that person, who breaks rules and is awarded fame and money and sex and places in a museum. We want to believe it, so we both encourage it in others and feed the media our demands. We create the idea that maybe we can be like that – and should be.

Third, we believe each creator is unique and thus uniquely valuable. It is true everyone is unique, but that doesn’t mean there is superior value in that uniqueness. Because we may assume some ranting business leader is somehow unique, we assume he must be special. Sometime one is merely uniquely annoying. Yet we create the idea of value.

Fourth, we are distracted by spectacle. A posturing performer, an artist leaping atop a table and yelling at a convention, a start-up king burning millions gets attention. We want to enjoy the show, and writers and moviemakers will deliver that. We’ll create an interest in showing our dreams on sreen.

In the end, the reason we get these figures in media is we want them. Sadly, it means we miss out on the fascinating figures who may have not been drug off into rehab or melted down publicy. This is one of the reasons I adore movies and documentaries that go behind the scenes and into the less known – because often there’s far more there than a strutting rooster of a performer.

We get stories of these pathological artists as we created the delusions and the demand.

This is why, ultimately, The Horse’s Mouth fascinates me. This annoying, obsessive man (and a few others as bad as he) is a decent and passionate artist. But people worship him, or want his art, or tolerate him, believing there is something there. But is he worth it?

That’s probably the question, but except for one or two characters, Gully is surrounded by artists who’ve created their own idea of him.

Steven Savage