I was at a roller disco a few weeks ago (I’m the roller disco king). It was my daughter’s birthday party and I thought the idea of roller skating was a little bit crazy because of the varying abilities of the kids and the potential for accidents. Nevertheless, the kids got on great. Even those who were skating for the first time just went for it.
Sure, they fell over a lot but they got up and kept going. And one kid who fell over a lot soon started to get the hang of it and the speed of progress was pretty astounding.
I was skating around and I saw him skating with all the other kids and he was doing brilliantly. It was like he had done this many times before. He looked smooth and confident. I gave him a big wave and said “Well done!”
And he fell on his backside.
I broke his flow. I was just trying to be encouraging but I interrupted him while he was making real progress. He had focus, he had momentum and I pulled that away from him. I guess at least I was being encouraging so he got up and set off again with a smile. I wonder how much worse it would have been had I shouted something like, “Bring your feet together! Go faster! Not that way, this way!”
So today’s thought is very simple: when someone is doing something good, let them do it. Don’t interrupt them. Don’t become an obstacle. Just allow it to happen.
You’re pitching your idea, it is special to you and, wow, it’s a pretty strong idea. Amazing that nobody has thought of it already yet. So what happens if someone you pitch it to rips it off?
In reality, I think that probably never happens. For a start, the chances of nobody having thought of a similar idea to yours are negligible. Ideas are just ideas. We have them all the time and we have similar ideas all the time. It is common that many similar projects can be in development completely independently of each other. I have seen this happen many times. There was the witch year at the Cartoon Forum. And the vampire year. They didn’t rip each other off. It just happened.
More importantly, if someone loves your idea and they hadn’t already thought of it, it makes much more sense for them to just deal with you to take it further. You’re a step ahead. You’ve done the groundwork. And really, you’re probably cheaper than their own team.
I think the question you should be asking yourself is not what happens if your idea gets ripped-off but how can I be essential to realising this idea in the absolute best way possible?
That’s really what counts. An idea is just a start. It’s important but not really anything on its own. What is important is how that is developed and explored and made real. If someone could easily rip off your idea and do it better than you, that’s the problem. You need to be the one who can do it best. You need to be the one everyone wants to develop this idea with.
At times in our work life, we will have a realisation that can improve what we’re doing. We find a new focus or a new aim. It can be large overall goal or a realisation that we should be changing direction. Or it can be small thing that will make a project better, something you’re now going to look out for as the project develops.
Any realisation about a way to improve something is a positive.
But they rarely stick. Why? Because we already have our daily systems and habits. Real life throws stuff at us constantly. Remembering to check for that new thing is next to impossible. It shifts to the back of the mind and then it’s gone until insomnia decides you should remember about it in the middle of the night when you can do nothing but feel bad that you let things slip.
The flaw here is relying on your mind to hold it front and centre the entire time. Your mind is busy enough as it is. So make those reminders external. If you have something new to add as part of your routine, add it to your to-do lists. Every to-do list so you can’t forget or ignore it. Write it on post-its and stick them where you can’t miss them. Make sure those reminders are where you actually need them.
Only by having constant reminders and nudges will you really integrate new changes or a new focus into your day. Without them, the second you get busy you will shift back to the old habits all too quickly.
Trends, eh? They’re important. If your animated TV show hits right at the beginning of a trend, pop the champagne. If it’s running counter to the trends, it could be a great project but the timing could kill it and never give it a chance. So how do you target the trends when creating your show?
My answer: you don’t.
It takes so long to develop a concept from scratch that, if it can already be identified as a trend, you missed it. Just develop the concepts that you think are awesome, that your audience respond to, that inspire you and others around you. Forget the trends.
Now when your concept is developed and you’re pitching and certainly when it is in production and you’re selling, that’s a different story. At that point you can look at the trends and see where it fits. Use it as a story.
But really, let your project just be the best at what it is.
When we start on a new project or a new job, our thoughts often go like this: OMG what am I supposed to do now?! How do I muddle my way through this one and not get fired?! When we reach a certain level, I think we become a bit more sure of ourselves and what we can offer.
If you find yourself in the former situation, there is an easy way to help that. If you are in the latter, it is something that becomes even more important because it is when we get complacent that the real problems can start and soon we find we’re not doing as great a job as we thought we would. So what to do? It’s simple: ask.
Ask how your client would like a job done. Ask how you could be most helpful to your peers or collaborators. Ask and you’ll get the answers you need to do a better job.
Take script editing as an example. I have found over the years that there are many different types of script editors, all offering completely different things and all with the same title. Some take a big picture view looking at theme and form and they ask the big questions. Others don’t want to mess with a writer’s story but will help them tell it better by getting into the details and working on a line by line process. Some are just looking for the red flags and are like a quality control process. All of these have value and they will help different types of writers in different ways. But they won’t all help all the writers all the time.
So if I’m script editing, it makes sense for me to ask: what will be the most helpful to you? What are expecting out of this process? We will often find that the job needs more than we’re told (because what people want and what they need are not always the same thing) but it gives us a fantastic place to start the process.
When in doubt, ask. When not in doubt, ask anyway.
Last week I was at Cinekid for Professionals in Amsterdam on a panel discussing the Dos and Don’ts of Storytelling in Digital Media. It was my first time at Cinekid and I was impressed.
For a start, Cinekid isn’t just a professional’s conference. It has family events and screenings and children are everywhere. This is fantastic. When you walk outside and you’re among families, it is an instant reminder about why we’re talking about what we’re talking about. It was no coincidence that listening to the audience and reacting to feedback was a common thread in our discussions – it is all too easy to lose sight of the audience in this business. To get caught up in trends and advances and all sorts of abstract concepts. Too easy to forget about the kids we want to make great stuff for, and their parents.
Cinekid doesn’t let you forget and I love that.
Cinekid is also home to an incredible media lab. A huge hall full of what are effectively cutting edge toys. Huge screens where your actions will sweep bubbles away. A rolling game where you roll huge tyres to make progress and much more. Some I couldn’t even figure out but there was a little bit of magic in just about everything in the room. That’s if you got a go – the kids liked to hog the best stuff! There is also a co-production market and workshops.
The conference itself covered a good mix of topics. An inspiring talk by Gary Pope. A little bit of frowning at Minecraft Story Mode (I like it and think it contributes nicely!). A great piece of research into girls and media from Pineapple Lounge – the main message: celebrate who she is, not who she feels she has to be. Some excellent insight into virtual reality from Nicoletta Iacobacci and the always wonderful David Kleeman leaving us with some real challenges as content creators (I’ll pick that up in another post). We had a live Let’s Play with the excellent Minecraft educator Wizard Keen (Adam Clarke) and a glimpse into Maker Studios from Robbie Douek which left me conflicted as he told us it was about authenticity while playing a car ad that, as far as I could see, wasn’t labelled as such.
Then there was our panel with Ida Brinck-Lund (consultant for Lego’s Future Lab), Caitlin Burns (business strategist for brands from Microsoft, Nickelodeon and more), Julien Fabre (Ankama) and me, moderated by Warren Buckleitner who guided the whole day. I’d like to think we were brilliant and probably the highlight of the conference but it is always hard to know how our discussions impact others. What I do know is that we covered a broad range of topics and each brought a different view. All four of us are in different spaces and yet similarities could be identified – needing to engage with our audience and also needing to learn and adapt as we work.
No matter how long we have been doing what we do, no matter what history is behind us, we are in an ever-changing space in an ever-changing world and each new media form and device provides a whole new set of challenges. It’s exciting. As I said to Warren on the day, from having made Dino Dog I could write books on how not to make an app. It was a steep learning curve and sometimes that rich history in one form of media is walking you right into a trap in another. That is one huge reason to do your homework. No matter what it is you’re making, no matter how confident you feel, do the research. Learn. Ask questions. And be open to the answers you get.
So there is an easy Do for Storytelling in Digital Media: do your research.
And a Don’t? I guess don’t always assume that the research has been interpreted correctly. If we knew it all, the big hits wouldn’t surprise people the way they always seem to.
So that was Cinekid 2015. My trip also included bicycles, ferries, odd street layouts and the ever-present smell of pancakes and weed. The real highlight? Meeting a lot of really great like-minded people all doing different things. I enjoyed your company and I hope we see each other again soon.
Bank work whenever you can. Waiting for someone to come back to you? Get something for the next step done. Have something fall through? Use the time to get ahead on the work you have or even might have. Push forward and bank the work, even if you don’t need it yet.
I think the trick to really getting things done and delivering is not about keeping up. It’s not about measuring everything to hit that deadline. It is getting well ahead of it. You see, something is going to get delayed or some problem will crop up somewhere. It could be really small but it will happen. If you’re on track for hitting that deadline and then a problem or delay arises, you’re no longer on track.
So any chance you get, push forward. Get ahead.
Will this ever cause problems in itself? It can come with a risk. Let’s say you have delivered a script or submitted a scene of animation and you’re waiting for feedback. If you get stuck into script 2 or that next scene, there is a possibility that the notes from the first one will change how you should have approached the next phase. But you have already begun to work through ideas and problems so, even if you have to make considerable changes based on that feedback, you still have a head start.
Keep going. Push ahead. Bank the work for when you need it. Your future self will thank you for it.
Mario is one of the most well-known plumbers in the world. So when my pipes break, inevitably I call Mario. But Mario won’t fix my plumbing. And I can’t even get his brother on the phone (I get some message about ghosts in an old house).
Okay so they are famous now and maybe I just can’t afford them. But actually that’s not it. It’s because they just happened to find that, after all that plumbing training and apprenticeships and years of honing their skills, they were suited to another line of work: jumping platforms to collect coins and rescue princesses (with karting at the weekends). And that line of work is either more important to them or it pays better. Possibly both.
Stay with me here – this has a point, honest.
Often we will find that people have trained for a certain thing and might even be really excellent at that thing. But it doesn’t necessarily mean that it is what they should be doing. Even if they (you, me, anyone) are fantastic at it. It is not wrong to want to try other things. To explore and test and allow your career to veer in another direction. It is not wrong to turn down a gig because you would rather be doing something else that is more important to you, even if you are the perfect choice for that gig. Just because you are good at something doesn’t mean you must always do it.
And getting older doesn’t change that. You will always find new interesting things to focus on if you look for them.
You may love what you do and it may work out perfectly for you and you could be completely content with that forever. For the others, those who get restless or find you shift around your careers adding new jobs and new skills or even moving in whole other directions, go with it.
You might already be an awesome in-demand plumber but maybe you should be out jumping platforms instead.
Very early on in my career, I spent a short time at a games company back in the early Playstation 1 days. Making games required long hours, it seemed, and people stayed at the studio until around 10pm every night. Anyone who dared leave early was judged as they left because it’s hardly fair to leave your comrades working, is it? You have to pull your weight.
But it didn’t take long to notice that most people spent a large amount of their day not working. They chatted about football and Ministry of Sound and DJs. They made lots and lots and lots of tea and others were out for cigarettes every half an hour. It didn’t seem entirely productive. And it was easy to see why. There was a mentality of: well, I’m working late anyway so I can have these breaks and I’m still working hard.
And that rendered the late nights pointless. They were working late for one reason – because a working late culture had crept in. The truth was that nobody really valued the time.
Good time management is essential. And for you to be good at managing time, you have to be aware of its value. Every minute has to mean something to you.
A culture of working productively is fantastic. One of working long is not the same thing. Which is why I’m sure you all know some studio somewhere that has its people working late most nights yet constantly misses deadlines.
All time must be assigned a value. It’s how we can manage development and it’s certainly how we can manage production – juggling stories, scripts, animatics, animation, sound, editing and more on multiple episodes at once. And if things go wrong, the values assigned to specific blocks of time must be reassessed and redistributed. When you have solved that problem and are back on track, you then reassign the values yet again so that you’re not spending time doing things that now aren’t needed. None of that happens if you don’t value time as a precious commodity.
You also have to be aware that the same activities can carry different values in different situations. For example, wandering around a house with a coffee can be essential think time for a writer. For a train driver, it means they have skipped work and there are a lot of angry people waiting on a platform somewhere.
The same rules don’t always apply.
So to achieve good time management and get stuff done, appreciate the value of time. Evaluate and reevaluate it. Never take it for granted and never just slip into the habit of using it up for the hell of it.
One last thing: it is also imperative that you don’t take the time of others for granted too. Value their time. If you send someone a work email on a Sunday, for example, and it doesn’t go frontloaded with an apology you’re effectively saying you don’t value their weekend time unless it’s about a project you are both working on together and have agreed to communicate on over those periods. Even if they are choosing to work, that’s their time (thank them for that later). Draft the mail and send it on Monday. If you do have your team working the weekend, feel bad about it. Really. That will help you get better at managing the situation to avoid it happening in future. The worst thing is that you start to take it for granted. Because when the value of time slips, so will effectiveness and productivity.
Time must be valued and treated as sacred for you and everyone else to stay productive. And if that’s not reason enough, keep in mind that it eventually runs out for all of us. You’ll want to feel you used it wisely.
Children’s media is is like a warm, difficult, thrilling, heartbreaking, wonderful vortex of conflicts. Too many to cover in a single post. The obvious example is: what is the product? If you’re making television shows, that’s the product, right? No. Because that’s not what most people are paying for. Your target audience gets it free. Commercial broadcasters are selling ad space and so in a way the audience is the product while others sell products to that audience. What were once secondary revenue streams in licensing are now primary revenue streams for many in the business so toys are the product. And it goes on. That realisation can taint everything. It could make you disillusioned and cynical, unable to put your heart into it. Or it could motivate you to milk those kids for all they’re worth and I’m not sure that’s a good thing either.
What about the audience themselves? Who are you making the content for? Regular readers will know that audience awareness is a huge thing for me and years of time, experience and research goes into shaping content that works for my audience: young children. For me, they always come first.
But the buyers are adults.
TV channels are run by grown ups. Distributors? Yep, grown ups. Even parents who are the gatekeepers of content in their own homes are grown ups. And as is well covered on this blog, children and adults are not the same. They like different things. Some of those adults are very in tune with kids. But not all. And even those who know kids well can still be swayed by their own adult sensibilities just as we all are. That’s normal and to be expected.
So you can pitch to the adults and get your show on television but will it work for kids? Or you can make the best content for kids that few adults see the value of so it never gets a chance. Can you satisfy both? Should you?
These are just the tip of the iceberg. Conflicts everywhere.
So how we resolve these conflicts? Unfortunately most of them can’t be resolved. They are tied into the very core of kids’ media. What is important as you work in this area is that you recognise the conflicts when you find them and you make an active decision on where you stand with them. Otherwise you are navigating at random. For me, my focus is delivering the best for the children themselves. On forming Mooshku, our mission became: if it’s not good for your kids, we don’t make it. On content not being the actual product, I made the decision years ago to treat it as the product regardless. That way I know I’m always aiming to deliver the best package in a TV show, app or anything else. But these are not the only ways to look at children’s media. The conflicts still exist.
Your approach, your own stance on all these conflicts will be your own. What is key is that you have a stance.
A couple of other things:
Next week on Thursday the 12th, I’ll be presenting a case study masterclass at Animation Dingle titled FROM BLANK PAGE TO THE BIG PITCH. Using MILLIE AND MR FLUFF as a case study, I’ll be talking through the process of taking a concept from the beginning of an idea all the way to being ready for that green light – development, pitching, tips and pitfalls and a glimpse into our rather unique production methods for Millie. Details will be up on the ANIMATION DINGLE site!
Lastly, it’s great to announce that a few of my projects have been nominated for the Irish Animation Awards. Planet Cosmo is nominated in the Kids’ Choice category and Best Writer. My app Dino Dog is nominated for Best Animation For Apps And Gaming. And Punky, which I script edited and was creative director on is also in the Kids’ Choice and Best Writer (Andrew Brenner) categories. So that’s nice!