I like my preschool funny and happy and silly and then maybe even more funny. Bright skies, big smiles, warm hugs. Kids are full of love and the world can be a wonderful place. Why would we have anything else?
But I remember years ago when my eldest was little, my motorbike was stolen. And she couldn’t understand why someone would do that. She had no frame of reference for that. The day it happened was the first day I talked to her about a specific TV character in a more serious way: Swiper the Fox. Yep, Swiper from Dora who steals things. At that moment, Dora the Explorer went from being a shouty show with Spanish words to a very useful parenting tool.
There have been some dark world events recently that can be difficult for kids who know about them and we’ve had one rather gruesome local event that had me struggling to talk to my kids about it, even now at the older ages they are. I have found myself wondering: what tools might have helped? What metaphors or characters or narratives might help guide a conversation? We have to be careful because a lot of events will completely pass young children by so no need to hit them with the hard stuff on television. But that doesn’t mean we ignore reality or shy away from prompting thought or discussion. Some of the best television for children challenges their audience. And when kids learn so fast, it seems like a good time to do it.
It’s not easy and you have to be careful but it’s something to consider. I guess it comes down to a question I find good to ask when making anything: how can I help? So maybe give that some thought when you’re creating.
As people who know me are familiar with, one of my mantras is: be good to the parents. If your show can be not just entertainment but actually useful at some point, you’re doing some real good and also generating goodwill that will come back to you. I guess hopefully taking all of us, children and adults alike, one step closer to that world of bright skies, big smiles and warm hugs.
Is your character lacking something? As long as the answer isn’t along the lines of ‘enough development’ then this is a GOOD thing! Characters who are too perfect make storytelling way harder than it needs to be. They have nowhere to go and nothing to learn.
Watching a character who has all the answers is like staring at someone following a strict set of clear instructions when it is much more fun to watch an artist create spontaneously. Why? Because it can go wrong. We have something to lose. There is room for surprises, the unexpected actions. A character needs that. A story needs it.
In young children’s media, we’re often pushed to make our characters nicer, smarter, better. We like them aspirational – kids should want to be like them. We like them to model good behaviour. I can assure you as a parent that there are good reasons for that. We (me included) often portray characters in young children’s media how we would like kids to be rather than how they are. Sometimes that’s okay to an extent but it can make a character deadly dull and make good stories very difficult to tell. Then there is also the issue of that question I like to ask: what does this say about a child’s life as it is right now?
I like aspirational characters. But children grow and, I feel, so should characters. And for that to happen, they must start with a need. With something lacking. Something that someone might perceive as a flaw (whether it is or not is up to your story) or something within them that actually works against them. I think we’ve all probably got some trait like that even if we’re slow to admit it.
So allow your character to lack something. To need something. Give them somewhere to go. And then, in your story, take them there.
When you’re in the midst of a production, or probably life in general, things come at you all the time. There is a never-ending stream of things to do. We might need to get something important done, like this little doodle illustrates below. Easy, right? We go over and we do it.
But in reality, all these other tasks pop up along the way. Looking a little like this…
And there can be a temptation to handle them like this…
This is not the way to do it. Why? Because tasks are like fractals. I’m showing those big tasks that pop up to get in the way of achieving your main goal. But if I went deeper and zoomed into that image, you would see a whole bunch more little tasks and, each time you go to tackle one, you’ll likely see more things that need doing. And your original goal gets further and further and further away. The person tackling things in this order is a very busy person but they aren’t always making the best use of their time.
The thing is, not all of these tasks are equal. They may all need doing but they don’t all need doing NOW. You have to focus. You have to prioritise and use your time as best you can. Instead of being busy, you have to be productive in a very clean way. You go for your core task and you do that knowing that, if it is truly important, other tasks will either depend on it or be made easier by its achievement.
So really how you should approach the task is like this…
Focus on your core task. Get it done. Then evaluate those other tasks, prioritising them, delegating what you can and even making a conscious decision to ignore some – not everything is crucial and some schedules simply don’t allow for every little thing to get done. Focus on what will count when the end product is delivered and do so in a very clear order of importance. Go straight to your main task. That’s how to get stuff done.
When you’re making a series, you have to think long term. Are you making 26 episodes? 52? Double that? Where are all those stories coming from?
When the stories come in, there is one consideration often missed: is this going to affect other stories? Does it blow an idea without making real use of it?
Sometimes small details can have an effect on a later story and we usually encounter these after it has happened. A writer might have a great story idea about the main character not wanting to eat vegetables and then coming to love them. Until you realise that the last four episodes showed that character munching into vegetables. You might plan an episode about the first experience on a skateboard only to remember that there was a skateboard scene in a montage in a previous episode. A story might have your character bitterly disappointed that the boating trip they have been looking forward to all year has been cancelled but kids know that your character goes boating every second episode and it is no big deal to wait for the next trip.
Stories affect other stories. So when stories come in, or you’re the one writing them, you have to consider the series as a whole and you’re better looking for these things in advance. It is important to ask yourself: does this rule out anything in a future episode or use up a great idea that could be a whole story in itself?
Sometimes that will be hard to spot. No reason generally to avoid a character eating vegetables, for example. So you just deal with that new story suggestion when it comes in. But you can definitely look for a story point that might be blowing an entire future episode. If you see a beach story coming in that has a brief throwaway surfing moment, for example, it would be worth considering saving that idea for a whole story around surfing. Or you might suggest an amendment – if the surfing moment has everyone surfing really well, maybe it would be an idea to restrict it to just a couple of characters so you can do a story later about how one of the other characters has trouble learning to surf. If you show everyone surfing well in one shot, you’re establishing a default that is hard to go back on.
When making a whole series, you need stories. You’re going to need lots of them. So keep a lookout for the needs of stories yet to come and avoid breaking them or blowing them too early. Your future self will thank you.
Ah, notes. We all love notes, right? I know the first reaction to notes is usually negative (that’s normal) but it’s important once we get past that to see how they can help and how best to tackle them. Different people give different notes. Some are consistently great and helpful and others might not always seem useful initially. You have to get to know the notes you’re dealing with and the person you are getting them from and so each project often requires a different approach when it comes to notes.
But here’s something that is useful no matter what kind of notes you’re getting: look beyond the notes themselves. Look for the intention behind the notes.
Almost every note has a problem to solve or a question to answer. But sometimes the problem listed in the notes is not actually the real problem. It might be a symptom of something else that has been missed or has become unclear. It might even be about something outside of the work that you’ve made so far – a request that has come in from someone else that is now being applied in the form of a note passed on to you. Sometimes acting on a note immediately as described can actually cause more problems than it solves if you don’t know the intention behind it.
This will be especially relevant if specific suggestions are given. When people give notes, I love when they give suggestions on how to fix things. Firstly, it shows they really want to contribute positively and, secondly, it gives a really great starting point for the fix. But it is just a starting point. The solution offered may not be the fix. And your reaction to it might be “that won’t work” and you might even be right. But look for the intention behind it. What is it trying to solve?
Look beyond the note itself and try to find the intention behind it and you’ll then understand what you need to achieve and, more often than not, the real solution will become clear.
And if you’re reading this and you’re someone who gives notes, here’s a tip: you can help people get to the best fix by making clear why something is a problem or why you’re asking for something. No matter what side of the notes you’re on, knowing the intention always helps.