Why All the Fuss About "Atlas Shrugged"?

Here's a web page that answers that question. It also links to a number of my own writings about Atlas Shrugged -- including essays on the ideas and literary merits of the novel, an internal timeline of the story events, and a list of its characters.

Not just for Rand geeks, this page is also for those simply curious to discover why there's so much enduring controversy about this unusual story and its author.

UPDATE: 423 theaters now, and climbing rapidly. Check for a theater near you.

And now the Legacy Publishers are sweating bullets

This speaks for itself. And it should explain why I'll be self-publishing Hunter: A Thriller, rather than going through the New York publishing house "query-go-round." 

The Indie Era

Many readers of my Facebook page know that, in recent weeks, I've been beating the drum about two topics: self-publishing, and the new "Atlas Shrugged" movie. Here, I'd like to draw some connections between the two topics that may not be readily apparent.

Both are "indie" enterprises. Both are succeeding in the face of entrenched establishments. Both are possible today -- for the first time in history -- because of the confluence of two factors: affordable technology and free markets. 

And this is having revolutionary consequences in our economy and culture.

"Do-it-yourself" publishing and film-production technology has become so affordable that individuals and small groups can now create works of a quality equal to that produced by giant corporations. And it has also allowed them to market their wares on an almost equal footing, too. One of the greatest marketing equalizers, for indie authors and filmmakers alike, has been the Internet. The chief advantages that big corporations traditionally have offered to authors and to filmmakers is a giant pool of capital to market their creations to the public. But individual artists, simply by going "viral" with free, targeted online publicity (blogs, websites, social networking, YouTube, links, etc.), are able to neutralize many of the marketing advantages traditionally held by major publishers and Hollywood studios. In fact, they are able to target niche audiences that big corporations frequently overlook.

Moreover, corporations are bureaucracies, with all the lumbering inefficiencies, group-think, timidity, and inertia you find in any large institutions. They take forever to make decisions, and those decisions are usually made by committee and consensus. In other words, they are safe, don't-rock-the-boat decisions that avoid "outside the box" thinking and innovation. By contrast, individuals can respond quickly, decisively, and creatively to seize emerging opportunities, without having to go through channels, ask permissions, fill out paperwork, or pound the table to convince alleged superiors of The Obvious.

An apt military analogy to the competitive marketplace would be "asymmetrical warfare," where small, irregular, guerrilla forces use speed, stealth, and nimble tactics to outmaneuver their much larger, better equipped adversaries.

The world of publishing is being rocked by such tactics. The rise of upstart Amazon.com as an online book retailer has put formerly gigantic, thriving brick-and-mortar bookstore chains on the ropes. And now that Amazon has entered the publishing business with ebooks, it is beginning to threaten the giant publishing houses, too, competing with them for authors, even as it is eliminating their sales outlets (bookstores). In doing so, Amazon and other online publishers are providing platforms where individual authors can now inexpensively and successfully self-publish and market their own works, without the acceptance or support of traditional gatekeepers: agents, the publishing houses, and bookstores.

We're seeing the same thing with the rise of "indie films," such as "Atlas Shrugged." That movie was self-financed, then self-promoted via free publicity online, going "viral" through sympathetic talk-show hosts, columnists, and clever niche marketing to Tea Party groups and other sympathetic demographic segments. This eliminated the need to buy prohibitively expensive traditional media advertising. It then was released by hiring a small, independent distributor to cobble together a network of individual theaters across the country.

In both cases -- self-publishing and indie film production -- the same two factors are making success possible: free market competition and affordable technology. And in both cases, perhaps the greatest benefit for the artists in going it alone is creative independence. Today's author does not have to hew to the latest editorial fashions and fads of the Big 6 publishers, who look to yesterday's bestsellers to make decisions about what to publish tomorrow. Likewise, the "Atlas Shrugged" filmmakers did not have to water down Ayn Rand's controversial ideas to accommodate the Politically Correct sensitivities of leftist Hollywood screenwriters, actors and actresses, studio bosses, and financiers.

Thanks to markets and technology, we are entering the Indie Era: a time where individuals, operating independently, can challenge behemoth institutions and succeed, both financially and creatively. It is a time of unprecedented opportunities for anyone who has what it takes.

And what it takes, more than anything else, is a spirit of entrepreneurial self-responsibility. That is the spirit which built America. It is the spirit that can save it.