When I was a young pup, many, many years ago, I wanted to be a writer. I didn’t particularly want to write in any disciplined way, mind you. What I was after was the identity of the fierce intellectual, scowling over my Smith-Corona, dimly visible through the clouds of pipe smoke curling around my august head. I couldn’t pinpoint it, but somewhere along the line I came to the realization that I had not only to pound away at my typewriter to become the man of my dreams, but write well and often enough so that people would want to read my stuff enough to pay money for it. Crass, but there it was: I had to work, and I had to sell.
In spite of being a card-carrying old fart, I am reasonably cyber-literate, having worked with and on computers since about 1964 (not a typo). I have noticed an interesting phenomenon in the blogo-twittersphere: the writer as commodity; it comes with a cute bit of jargon as well: crowdfunding. Its done sometimes through websites like SellaBand or Kickstarter, but as often as an independent project. This typically involves a blog page with a link where you can send contributions; almost never is any actual piece of writing offered in exchange. Throw in a twitter account where you can point to the page, and keep everybody abreast of how the donations are going, and Bob’s your uncle.
I am very skeptical of this development, which strikes me as just this side of holding out a cup on the street corner with a sign saying “Will write, but not for you.”
I am well aware of the long tradition of patronage in the arts. It usually involved, however, wealthy members of the aristocracy, and was the norm mainly before copywrite laws and royalties. Indeed, the word “royalties” derives from the practice of royal courts to patronize writers and other artists. But such arrangements almost always involved the commissioning of specific works, which had to meet the criteria of the patron. If you held such a position, you had better write something pleasing to your angel, or you would soon find yourself on the street:
…writing for a patron typically meant avoiding the expression of ideas that would upset the established political order, on which the patron built his wealth and power. —Gennady Stolyarov II
Today’s writers would be affronted by the very notion of such limits on their production, but they forget, or never knew, that this commitment to artistic integrity is a very modern thing, dating to the fairly recent phenomenon that writers could actually make money directly from the sale of their work. You can have patronage, or you can have integrity; you can’t expect to have both.
Of course, it’s possible to get people to donate to your enterprise with no qualifications, on the basis of some romantic notion. Gullible people are everywhere. But do you want a living on those terms? I’m asking; if you’re comfortable with it, none of my business, I suppose.
The long and short of it: If you want integrity, sell what you write. Go ahead and advertise online, include a donation link if you like, but give something in return, beyond your mere existence as a writer.