A Seth Godin-ism that I recently heard on the radioLitopia site in an interview on the new face of publishing. In Seth’s view, this isn’t a bad thing, it just means roles will be redefined, responsibilities will be greater on creators (authors, musicians, filmmakers, artists in general). Nothing you haven’t been hearing me say to you for a while now. You can of course listen to the whole 30 minute interview, or you can just read these highlights I pulled out. Though he is talking about book publishing, there are many parallels with film.

-The internet has expanded the amount of content created and consumed, but it destroyed the industry In his view, we won’t create and consume less, but for the bureaucratic and scarcity driven business models that once dominated the industry, the end is near. He even recounted conversations he has had in boardrooms of publishing houses where management seems content that they will retire long before the new models are figured out. WHAT?? He thinks publishers (and I will add distributors) are woefully unprepared for their new role as connector, curator and partner to creators. Few have invested in the platforms and dialogs with consumers that will drive the new economy.

-Don’t fear price, fear clutter He sees a divide in pricing structures for books and I can see it for films as well. As more and more titles flood the market, the price you can charge becomes directly related to how similar your story is to others and how much of a following you have as an artist. Recent ebook success stories from authors Joe Konrath and Amanda Hocking show the pricing divide. While you may not have heard of either of these authors, they are cranking the $.99 ebook to six figure incomes. Higher paid authors and higher priced books come from only the very tippy top of the traditional publishing world as does comparable filmmakers and studio films. The more similar the films you are making to others already in existence, the more difficulty you will have making money. Are you telling stories anyone could tell? If so, you’d better make them cheaply because the value to the consumer is low, maybe worthless.

-The film is just the center of a conversation He said a book here, but you get what I mean. The fans need a work to be the short hand for a group of like minded people, the “in” people, the cool people. Enable your work to become the entry point to a larger conversation with you and among others. If one hasn’t seen the movie (read the book), one can’t easily join the conversation. In this way, your work spreads.

He also touched on the need for publishers to adopt a whole new way of looking at their client relationships. If an author/creator has built their own audience, created a sense of loyalty, sourced a means of distribution directly and tells one of a kind stories, what do they need a third party (publisher, distributor) for? In order to sustain and remain relevant, publishers/distributors should also be in direct contact with an interest driven audience that can be serviced by partnerships with author/creators rather than staying focused on the retail market relationship. In other words, instead of insisting authors/creators use social media to building audience relationships, they should try doing more of it themselves.

Building The Community Web Around an Artist

December 12, 2010
posted by sheric

Do you have a community web?

I think I have been promising this post for a while, ever since I wrote the New Independent Filmmaker’s Business Model. If you haven’t read that post, give it a little peruse so you can see what I am on about. The key premise is that all artists should be building a tribe (a Seth Godin term as it relates to marketing) or an engaged audience for their work. One that transitions from one project to the next throughout your career and indeed your life. These supporters will be your friends, your evangelists, your patrons and if you cultivate this relationship, you will not have need to reach a mass in order to make a comfortable living. I have been thinking though that maybe the idea should be compared to a web.

In looking through some other advice on this, I can see why some can be turned off by the idea. It seems most of the advice focuses only on how to lure people in just so you can sell them something, kind of like how the spider spins her web. It’s a strategy I guess, but that isn’t what I am going to tell you to do here. I am a firm believer that self promotion is about helping other people. What I propose is offering value, sharing knowledge and genuinely wanting to connect with people and connect people you know who should know each other. Perhaps it is better described as a web, an interconnected community. One that you lead, but is dependent on everyone’s interactivity. To me that is much more palatable to an artist because it is authentic, no ulterior motive, which is refreshing in today’s society. But reciprocity does happen because it is really human nature to help someone who has helped you, in fact in this scenario, it is expected.

First elements to understand when constructing you community web:

Permission-You must have permission to talk to people. Permission? Yes, you will only be talking to people who have opted in to hear what you have to say. You will NOT be eblasting everyone you ever met once a week. You will NOT be spamming hundreds of strangers who don’t want to hear from you. You will have “the privilege of delivering anticipated, personal and relevant messages to people who want to get them.” (Seth Godin).  How do you get permission? It starts simply by communicating with people on a one to one level. Aren’t you doing that now? You should be, that’s what social media is for. Not automated, canned message, advertising social media but real conversations. So think of what online services you can use, that you feel comfortable using for communicating every day. It doesn’t have to be hours every day, but some amount of time every day.

Trust-We need to trust you. We need to know you are listening, you understand us, you will help us as we will help you and each other. We need NOT to feel that you are using us.

It’s not you, it’s we-Although this post is directed at building the web around yourself, it is really more about taking a leadership role that is missing from a community. There are lots of people in the world with similar interests and outlooks on life. Artists can contribute a lot to bringing these people together around ideas and creativity. Without leadership, they are just a crowd, unconnected to one another. You and your work are the catalysts that bring them together, if you actively step up to that role.

Building it, getting them to come

I have been reading a book this weekend by David Meerman Scott and Brian Halligan called “Marketing Lessons from the Grateful Dead” and it has helped me to think of how you should be looking at building your web. No one can tell you “do these 10 things and you will have a community,” but you can start by setting goals for yourself and thinking through the small steps you can take to achieve them. A goal could be to start building an email list of names so that you can speak directly with your community. This is exactly what The Dead did starting in 1971, long before social media made it easy. They placed a call to action postcard in the album sleeve of the famous “Skull and Roses” asking “Dead Freaks Unite!” by sending in their addresses. The band used this list to communicate directly, gauge where the tours would be booked, offer exclusive content, they even gave priority ticket offers for the live shows to list members. Their list of hundreds of thousands was built over 30 years and continues to this day, despite the fact that the official band no longer exists. The community lives on.

First start with you. What’s your story? What can you share with us that helps us to know if we are kindreds? This clearly means that you will not be attracting everybody. Everybody should not be your goal. Everybody isn’t loyal. Trying to attract everybody is like cat wrangling, way more trouble than it is worth. You want the RIGHT people, those who are most open to wanting to contribute to something greater than themselves. Those are the people who are going to enlarge the web, to help you weave it.

Give us the genuine signals that you care and are passionate about what you do. We can sniff out the disingenuous; those who are only in this for money and fame.  Make us believe in you and that you want to know us as people, not as targets. We won’t join you if you want to manipulate us. We have everything we need. We don’t need yet another commodity, another product.  Make us different people for having known you and your stories.

Then, find us. If you know yourself and what you are interested in, you can figure out where we live. Think about your throughline. Many people say that they are interested in many different things, but if they really analyzed all of those seemingly different areas, they will find a commonality. That’s your throughline and those most likely to connect with you will have the same. When you know what characteristics those are, it will be easier to find your community. Start to embed yourself in the places where we already gather.

I have heard some say that it is difficult to move people from one community to another. I personally have found this isn’t the case once they know you and I have advised people on how to embed themselves and have seen their personal community numbers grow. It takes time  and constant attention, but it will work. Your web will become intertwined in others so the goal isn’t to move people, it is to become an extension.

Build the platform. Give yourself a place to speak from and a place for the community to gather. This may be an interactive website, it may just be a blog, it may start with a Facebook page (though ideally you’ll want your own dedicated platform!). You may grow your community by starting in another one, but eventually you need a place of your own, a little place your community can grow and thrive.

Think of ways to delight us, to keep us coming back. As the propagator of your web, you need that connection to stay strong. Sometimes community members are lazy and forget to check back in. There should be a fresh serving of something noteworthy on your site at regular intervals. I saw a great reminder email the other day from a community with which I am involved. Just a message telling me what was going on over there, new discussions that were happening, new members who had joined and an invitation to check back in. It was very effective in catching my attention and letting me know that they had missed me, like they actually know I have been out for a while. Was it somewhat automated? Probably, but it still made me want to check back in and see what was happening. Someone should be thinking up and executing content that will keep the community engaged and involved.

This PMD person, how is this going to help?

This is the person who can keep the content on track and keep the community interested. I don’t think you should turn your personal identity over to a PMD (Producer of Marketing and Distribution), but a PMD can have access your community while helping to spread the web to other influential individuals and groups and help to figure out the best way to get your film out to them. Ideally, the person you choose to help you is either already in your web or someone you introduce to them as a helper to you. Back to the Grateful Dead example, it was Eileen Law who became the community manager for the Dead’s fans. She was one of the band’s earliest fans. Eileen put together the newsletters, collected and organized the fan list, her voice was the one fans would hear on the message machine when they called for priority tickets. The Dead had a record label, but the label wasn’t talking to the fans and much of the turnout to their shows came by word of mouth from the band. You still must keep engaged, but this person will serve as your liaison while you are in the creative process. All in the community must be kept aware of what is happening, transparency is important here. Believe me, once you start getting a community built up who expect regular interaction, this person will be vital.

Next post: Artists who are doing this and a roadmap…


The New Independent Film Distributors’ Business Model

September 30, 2010
posted by sheric

I want to focus on how to rehabilitate the film distribution entities so that they may continue to exist. I know what you are thinking “What’s she on about? We’re fine. We survived the latest shake out and are all the stronger for having less competition.” I am here to tell you that is fallacy. The old ways of bringing films to market are fading fast and it is time to reinvent your business. I want to acknowledge my gurus Gerd Leonhard, Seth Godin and Clay Shirky (though he is more my go to guy on all things having to do with immersive storytelling and audience collaboration) for being a constant source of inspiration for me in looking toward the future of media.

When Ted announced on his Facebook page that he would take part in a panel discussion at the upcoming Woodstock Film Festival concerning the new distribution paradigms, I had to look at who would be involved in this discussion. What people and companies would be taking part who are practicing radically changed business models for film distribution? It was as I thought; none. I posted a link on his page (http://www.techdirt.com/articles/20100326/1452138737.shtml) asking all involved in the discussion to read it and then talk about how they see the new paradigms. I don’t know if anyone did, but I did get a response from Dylan Marchetti from Variance Films explaining to me how his company functions to actively engage audiences for films they’ve booked in the theater. It was a lengthy exchange that resulted in my writing this post. I don’t think he read the article before he spoke because the point of that piece was to inform on how businesses need to form ecosystems around their companies, not continue only to sell copies of the content they distribute. Distribution companies should not be focused on selling copies, either for viewing or for owning. They should be selling access, creating networks of devoted fans around their brand and developing customized experiences instead. In other words, selling things that cannot be copied. This means they must first gather and cultivate a community of engaged followers and then develop, acquire, produce, and source material with only these people in mind.

Of the companies taking part in the Woodstock panel, I would say only Cinetic with their Film Buff organization has started with the potential to do this, but rather than building an engagement platform, they have merely built another online distribution portal (like so many others in existence that consumers have never heard of) to put copies out on the internet. Actually you can’t see any of the films on the site, it just directs you to their existence on VOD channels. Their “community” engagement is only a call for an email address so that they may send marketing messages. What is communal about that? What connection would a consumer have to the company itself besides advertising? None. Cinetic has no idea who these people are, what drives them, motivates them, interests them. It is not fair to pick only on Cinetic, I can’t think of a single distributor currently connecting directly with audience who can answer those questions. Troma comes to mind as a distributor with a very clear brand identity but even they are not directly in dialog with their audience. All current distributors are far too dependent on push marketing, usually hired from outside the company, and sourcing films purely on guesses based on audience reactions at festivals , favorable press or from hottest trends in market research. Every investment prospectus will tell you future earnings are not indicative of past performance, so why is that how decisions are continually being made?

What would I suggest for these companies? First, a total rethink of what business they’re in. Distribution of goods is no longer needed from you. You should not think of yourselves in the film distribution business because distribution has become easy to access by anyone online. (I know Dylan, you’re not online, but art house theater days are numbered too). Attention getting is now your main role. But from whom? If you don’t have a following as a company, a deep relationship with a community, how will you get attention and keep it? By building a tribe around the people in your company and, in turn, the company brand itself. This starts by identifying what kind of group you appeal to or want to appeal to, actively seeking them out and forging those deep connections. At first, this will mean attracting people through outside means, appealing through media and various outside groups to introduce yourself. Eventually the effort to enlarge the circle will be done by the community members, but until you have one, you must do that work.

Often, in a rush to monetize, companies jump right over the relationship building. The dismal failure of paywalls in newspaper circles only serves to prove my point. They did not build up an engaged community first, and then ask for payment. They falsely thought that their paper subscribers would be willing to continue the previous paid relationship even after it was possible to get most of the news stories from aggregators for free online. There is a great video from Jeff Jarvis explaining the new business models for newpapers here (http://www.youtube.com/watch?v=Jsb9NfJmqPY&) and lots can be gleaned from it for all corporate endeavors.

The reinvention

“The future leaders in business will be connectors, not directors”-Gerd Leonhard
The new model will be to build and foster a community around the brand as a company and to be in the entertainment fulfillment business. This community will have interests that the company can fulfill and that is the company’s ONLY function. To try and serve a well balanced diet of wide ranging content is to spread too thin and attract no one. Mass is not your target.
You will be a resource to your community not only in entertainment but in anything that interests them. This means you MUST know what “that” is. Is it books, is it music, events, clothes, games, causes, other similar tribes? These will be your other revenue sources as you create a network of interconnection with other companies who have their own niches, their own tribes. Also, consider enabling community members to profit in what you have sourced, to be affiliates and to create networks of their own. The network will feed each other spreading the brand even further.

A key part of your site will be to connect your community to each other. Some companies have sites where they connect to the user, but they don’t allow for intraconnection and some networking platforms are merely housed on a company website but members are never engaged by the company, merely left to use the tools as they see fit. Listening and collaboration will be cornerstones for this model to work. This isn’t work to be left to interns, by the way, but by those in power within the company.

You will also partner with other tribes of like minded individuals. Through these interactions, you tribe influence grows. There is no need for shouting out messages, gaining favorable PR placement, buying media for attention or forcing members to spread the word. If you are fulfilling their needs admirably, they will do it. You will however, generously reward those members in your community who do enlarge your circle. Instead of paying large amounts of money to outside companies to get “buzz” and “traffic,” you will invest that money in building experiences tailor made for your community. Development of experiences can only be done from active participation in the community and collaboration with them.

This model is far simpler to run as you won’t be going for masses, you will only cultivate your community. It will be labor intensive work, but not prohibitively expensive. You will need to develop tools so that the tribe members can speak to each other and so that they can spread the word to their friends easily. You should be facilitating sharability at all times, not closing it off and being insular.

The filmmaker/artist whose content you will source (not acquire as creators will have an equal partnership in your tribe) will be encouraged to participate with the community. In fact, if they will not, then their work is not very attractive to your community. Engagement at all times is key, this is no place for egos.

How To Make Money?

It may be that while you are in audience building mode, you will be spending more than making to develop a truly exceptional experience for your community. If you start this now before your entire business collapses, you will fare better.

-Create an online experience that makes the lives of your community better, easier, richer and be the number 1 site they visit for news, information, resources and community tailored to what interests them.

-Fill the vacuum of the lack of curation. People are confused by where to find things they like and overwhelmed by the choice. In a sea of content, be their favored destination. In this way, you can take on the likes of Netflix, a company that offers a huge range that makes finding content specific to personal interests nearly impossible because they don’t intimately know who their customers are. You will know this.

-Lock in the community by maintaining a dialog that will turn their initial attention into a revenue stream for your brand. A subscription model is what you should aspire to, but you cannot rush to that without first showing what you have to offer and reeling them in. First offer the ability to sample, share and then buy.

-Innovate in the online experiences you build to keep the community engaged and interested in making the circle bigger for you and for them. Incentivize those who are the most active at enlarging the community. Take the money you would have spent on outside marketers and use it to think of interesting incentives for your tribe.

I fear the problem for all of you will be waiting to see if another business model becomes successful before you decide to reinvent your own. This is extremely detrimental because waiting only results in being that much further behind. The first ones to embrace a new model win. It is why Netflix beat out Blockbuster. By the time Blockbuster conceded the model Netflix forged was legitimate, they could never catch up. Entrenched companies usually misjudge the speed with which change happens. Now is the time.

The new, independent filmmaker’s business model

August 12, 2010
posted by sheric

I will start by giving credit right off the bat to my futurist heroes Gerd Leonhard and Seth Godin who spend way more time than I do contemplating issues on the future of the media business and how to succeed. What I get out of their talks and posts has helped me to formulate this post and bring my thoughts into order on how I see filmmakers sustaining themselves in the very near future.

There is a ton of talk right now on how independent filmmakers can sustain themselves by making their films and how independent film can be “saved.” So much talk, without many answers. I felt maybe I should take a stab at providing one. This is purely my reaction to all of this talk and I fully expect that I will be challenged for what I propose. It isn’t going to be palatable to the vast majority of filmmakers or others who profit from their work in the industry.

You can read the full post today on Multihyphenate.

The Launch-10 Tips For Your Film and Your Career

April 7, 2010
posted by sheric

As always, my hero Seth Godin had a great blog post today. It was on the iPad launch and how successful it was in only one day. I loved his points about how Apple accomplished this and how it would work even better for small, more focused endeavors. Like say, indie films…

The tactics for a successful launch as he described:

Earn a permission asset-say what? According to Seth’s own definition, a permission asset is the privilege (not the right) to deliver anticipated, personal and relevant ideas to the people who CHOOSE to get them. Basically, collecting emails addresses and other contact details from people who opt-in to hearing from you and then giving them information about you, your film, and topics that they would enjoying hearing. This is done over time so start doing it as soon in the production process as possible. This is where you are starting to build your connections to your audience.

Don’t try to please everyone-it seems a given, but so many of you still think your film is for everyone. It isn’t and you shouldn’t try to make it that way because you will be unsuccessful at reaching and pleasing everyone. He thinks it is probably the most challenging one to understand on this list. It is ok to have a film that is targeted, it is preferable in fact.

Make a product worth talking about-This should be obvious to most indie filmmakers. Most of your stories are provocative, creative, horizon-expanding. These are inherent qualities in making something worth talking about. Then, you have to get it out to influential people who will talk for you. Which leads us into…

Make it easy for people to talk about you-His example is how Steve Jobs does not have a Facebook page or tweet or have a blog. You’re not Steve Jobs, so I think you should do all of these things, but you can’t be the only one doing it. Make a film worth talking about and let your supporters do the talking. It also helps to have widgets, RSS feeds, social media links on your blog and website, podcasts, YouTube channels. Anything that can be easily passed around.

Build a platform for others to play in- this tactic corresponds well for your affiliates and organizations who might cross promote with you. If you have a way for other like minded organizations to reach your target audience, their target audience, easily, then make it available. This could be via your blog, your social networking pages, your YouTube channel. If you have a film that corresponds to a certain genre, say horror or scifi, enable publications to have access to your audience there and they should give you access to theirs. If you have a cause related documentary, allow cause organizations to speak to your fans and in turn they should give you access to their members. A win win for everyone. And allow your fans to interact with each other. No closed Facebook pages, no closed comment section on your blog, all access enabled.

Create a culture of wonder-I think this point has more to do with creating a cult for your film. It is time consuming and constant maintenance is required to build your audience, your cult, your brand. Apple did not have a successful launch in one day because they hadn’t been doing their tribe cultivation over many, many years.  Of course they did. As many people have been saying recently, being a successful filmmaker is a marathon, not a sprint. You cannot make one film and suddenly have thousands of fans. Well, if you were unknown to begin with anyway. You must build your personal brand, create your own tribe for your work. This will lead people to be curious about you, curious enough to check out your work.

Be willing to fail-A tough one to be sure, but even the most successful studios have failures (sometimes really big ones!). Being bold, taking risks, it is what we indies do and we won’t all be successful all the time. Can you deal with that? You have to if you are going to be bold and daring.

Give the tribe a badge-For Apple, it was having the iPad itself to show off to people in the office. Showing your membership in the iPad tribe. What uniform, badge, symbol of membership can you give your fans? This must be visible and something they want to show off somewhere.

Don’t give up so easy-Many of you will. The ones who can’t see the opportunities for getting your film out to audiences by your own hard work because you don’t want to put in that kind of time and effort. But, the ones who can see them, who will embrace the new models or are willing to forge their own, you will succeed. Apple worked on the engineering of the iPad for many years, longer than most companies would have devoted. If you are to be successful, you have to be willing to put in this kind of devotion and willing to learn many more skills than you thought you would need.

Don’t worry so much about conventional wisdom-His example is the closed system Apple employs because Apple fans like it. It is a stretch, in fact it is one of the reasons I don’t like it, even though I have an iPod that I can only load mp4s from their site on and can’t transfer those songs onto any other devices. But I digress… here is what I get out of that statement. There is so much talk at the moment about what the new model of distribution is going to be, like there will be only one path to follow. I think it is rather exciting that there are no rules, no formal ways of connecting with an audience, no one method of creating content (film, webisode, multimedia, graphic novels, ARG’s, all together!) and making it available only on one platform. While it is beneficial to hear what others are doing and what has worked, keep experimenting, keep evolving, don’t worry so much about the right way to do it. Find your own way.

And when you do, let us know so we can support you!

Setting Up Your Own Audience Platform

September 25, 2009
posted by sheric

Once again, I must defer to the wisdom of marketing guru Seth Godin from a post he made this week on his site. I see in the things that he posts many parallels of what is happening in the traditional marketing and advertising space and what is happening in the independent film space. No longer is it the duty of a company’s marketing department to simply find space on media company sites (TV, magazine, newspaper, billboard, websites etc.) to advertise wares. The duty has shifted to creating a company’s own space (websites, social media sites, blogs etc.) on which to engage with customers and build a loyal fan base. No longer are they “renting” an audience on a short term basis, they are building one of their own that is easier to keep and grow than it is to start from scratch when a  new product or campaign comes about. This also has become the duty of the independent filmmaker.

A filmmaker can no longer, nor should any longer, depend on a distribution company (the said media company) to find an audience for his film every time a new film comes out. It is up to the filmmaker to build that audience and keep them engaged with all of his projects, not start over every time a new one is completed. A platform needs to be built in order to nurture, engage, educate and convert an audience to seek out the projects. First set up the platform (website, blog, social media page) and then fill it with people, your people, not rented-for-a-certain-amount-of-time people.

In his analogy, Seth uses authors. He recounts how authors used to rely on publishers to bring them readers. The author gives up the majority of the income to the publisher and, in turn, the publisher brings them the readers. In the traditional distribution model, filmmakers make a film and give up the majority of the income to the distributor to bring an audience. But when an author or a filmmaker builds his own audience with his own platforms, using a publisher or a distributor is a choice not a necessity. If the filmmaker owns his own media distribution channel (on YouTube, Vimeo or any of the multitude of online viewing sites), the majority of the revenue goes to him, not the outside media company. 

Compared to the loss of revenue that ”renting” an audience from a distributor means, building a platform is cheap. Filling it with people eager to hear from you, well that’s the expensive part, mostly in time and effort. If you don’t invest in the platform, you’ll be at a disadvantage, now and forever. To build a loyal and eager following the smart way is to invest in the elements of the platform… a great film with a great story,  a whole business team not just the production team, the online presence  and the systems you need to make it easy for people to find your project and become engaged. And then embrace these people and shoot for 90% of the revenue, not .5%. Good investments are often expensive but worth more than they cost.

When To Quit

July 31, 2009
posted by sheric

I have introduced you to the wise words of marketing guru Seth Godin before. He has amazing insight into the inner workings of marketing strategy and using it to your advantage. He has a book called The Dip which is about quitting. Yes, quitting is a success strategy that goes against everything anyone has ever told you about succeeding. The reason I want to talk about it here, where filmmakers come to read my thoughts and advice about film marketing, is that learning about quitting is a valuable tool to use before you embark on a career in filmmaking, or any career for that matter. I realize that this is not a popular concept, but hear him out.

With the proliferation of digital cameras and tools, the process of filmmaking has become simplified. So much so that practically anyone can give filmmaking a try and the market is now flooded with cheaply made, varying quality films all hoping to succeed. So how does one succeed and stand out from this  pack of new filmmakers? Seth explains that the dip is the barrier that exists to keep the masses out. When you start off being a filmmaker, it is so exciting. You are filled with enthusiasm for your project and you infuse that energy in the people around you so that they are also excited and supportive. Everyone starts out with a full head of steam when they start.

Then comes the part where you have to come up with a great and strong story, raise money,  find crew and talent who are skilled but willing to work for little to nothing. If you get into the production, it is often without a real sense of what is going to happen at the end and all of that enthusiasm starts to wane. This is the dip, the hard part that inevitably comes. The barrier that separates the truly committed and talented from everyone else. Proper planning, a clear determination toward your goal and an amount of research into what successful filmmakers before you have done to survive the dip will help you come out of it. That is what separates the successful from every other filmmaker.

If you are not willing to commit to coming through the dip, do not start. Do not even attempt it. It is imperative that you do not get into the dip and then quit. All of the time you spent at the start will have been wasted and you will never enjoy the benefits that come after you make it through the dip. You could have directed that time and effort into something else more rewarding. Only the focused, prepared and committed will make it through the dip. Everyone else should quit and devote their time to something else that will make them a success.

Here is a short video of Seth Godin explaining his philosophy on quitting and making it through the dip.