The Long Tail/Anderson 72-78

73 This is the world of “peer production,” the extraordinary Internet-enabled phenomenon of mass volunteerism and amateurism. We are at the dawn of an age where most producers in any domain are unpaid, and the main difference between them and their professional counter-parts is simply the (shrinking) gap in the resources available to them to extend the ambition of their work. When the tools of production are available to everyone, everyone becomes a producer.

76 Many such noncommercial books are best seen as marketing vehicles meant to enhance the academic reputation of their authors, market their consultancy, earn them speaking fees, or just leave their mark on the world.

78 From filmmakers to bloggers, producers of all sorts that start in the Tail with few expectations of commercial success can afford to take chances. They’re willing to take more risks, because they have less to lose. There’s no need for permission, a business plan, or even capital. The tools of creativity are now cheap, and talent is more widely distributed that we know. Seen this way, the Long Tail promises to become the crucible of creativity, a place where ideas form and grow before evolving into commercial form.