Superfamous
Among painters, poets, writers, actors, bloggers, directors, influencers, capitalists, fundraisers, politicians and singers, you’ll find a few who want to go all the way to superfamous.
They understand that their work won’t reach every single human, it can’t. They’re okay with that. But they’d like to reach just a few more people than anyone else.
Back when the New York Times bestseller list mattered, they worked to be on it. Not just on it, but on top of it.
Back when 100,000 followers were seen as a lot on Twitter, they hustled to be in the top spot. And when it got to a million, then that was the new goal.
Pop albums used to sell millions of copies. Now they sell in the tens of thousands. But one more than just about anyone else is enough (for now).
The desire to be superfamous might come from a good place. The work is important, it deserves to be seen by more people. The work is arduous, and reaching more people with it feels appropriate. The work is measurable, and measuring better is a symptom of good work.
Or the desire might come from the same drive that pushes people to do the work in the first place. Bigger is better, after all.
The problems with superfamous are varied and persistent.
First, it corrupts the work. By ignoring the smallest viable audience and focusing on mass, the creator gives up the focus that can create important work.
Second, the infinity of more can become a gaping hole. Instead of finding solace and a foundation for better work, the bottomless pit of just a little more quickly ceases to be fuel and becomes a burden instead.
Trust is worth more than attention, and the purpose of the work is to create meaningful change, not to be on a list.