A lot of creative choices are simply that: choices. That’s all. Got a teapot in a shot? Maybe you make it yellow. Or blue. Or kind of off white. Maybe an art director would prefer it purple to match some curtains somewhere. Maybe the director’s favourite colour is orange and tends to go for orange more. Six different people might pick six different colours for that teapot. And a day later some of those might pick a different colour.
When someone hands you that teapot design and it isn’t the colour you would have picked, you might want to jump in and get that changed… STOP!
Before you put something into the system, ask yourself this: will this change genuinely make it better? Or will it just make it different? Different is rarely enough reason to justify the change. There are enough things in any given story, episode or production that actually need examination or improvement for anyone to spend time just making something different.
Story, engagement and entertainment are what matters. Detail is important in fleshing out a world, the stage for the stories. But it needs to be recognised that so many choices in any creative endeavour are no more than that: choices. We won’t all make the same ones and that doesn’t make a different choice wrong.
So when working with a team or evaluating work, keep in mind that a choice is not wrong just because it is not the one you would have made. Don’t focus on the things you would do differently. Focus on where you can genuinely improve and enhance, always keeping in mind the bigger picture – the storytelling and engagement.
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.
We had a great day on Saturday talking through writing and developing for preschool media. For the most part, we stayed with the needs of the audience and how best to focus and present the creative in engaging ways. But any work comes with systems that must be dealt with on top of all the fun creative and dealing with notes is part of almost any process. We touched on this a little on Saturday but I felt it worth expanding on here. It’s fantastic to get notes about how awesome our work is but, when we aren’t used to them, more critical notes can sometimes feel like a kick in the gut.
They can feel rotten and can be hard to take when we are so close to our work. That’s the truth of it.
So knowing that, here are my top tips for handling notes you don’t particularly like:
1. Don’t react instantly.
Read the notes. Then do nothing. Don’t send a mail, don’t pick up the phone and don’t tear your work apart. Do nothing. Instead, leave them and revisit them the next day. They’ll look different and you have now had time to process them even if you weren’t considering them directly. Sure, there may be some notes in there you still don’t like but the knee-jerk reaction is gone and you will be better able to consider them for what they really are.
2. Remember they are not out to get you.
People write notes to contribute. And you know what? Most do contribute. If there are notes that you vehemently disagree with, remind yourself that the person who wrote the notes is not your enemy. They want to help and their intentions are good. I could have done with someone reminding me this early in my career.
3. Really consider them.
This is so important. You might read something in the notes that doesn’t match with your initial thinking or they may be phrased poorly or even (the odd time) read as offensive but is it possible that the point behind the note might actually make your story better? Or is it possible that you might be able to implement them in some way that would produce, for you, a neutral result – so that you give on the note without feeling like you have lost what you were aiming for? If so, do it. Most of the time, even a note we see as rotten has a very valid point behind it. It’s a sign something hasn’t worked. The truth is, it is the critical notes that have value.
4. Choose your battles carefully.
Eventually you will find a note that, to you, defeats the whole purpose of what you wrote. One that would make you feel terrible if you went with it. You need to save your credits for that one. Don’t waste them on the little things, those things that don’t really matter. Don’t get into the habit of rejecting notes – it will wear you and everyone else down. Save the credits.
5. Those battles? They can’t be battles.
If it becomes a confrontational situation, everyone loses. You win by keeping people happy, acknowledging that something hasn’t quite worked and looking for solutions that are positive for everyone. Keep control, get the results you want while making sure everyone is okay with that. Be positive and stay constructive, not destructive.
And the most important tip of all when you have notes arriving in…
6. Cut off your email.
Don’t check project emails in the evening or weekend. Give yourself a cut-off and stick to it. I would even advise picking a time early Friday afternoon or lunchtime and cutting it off from then. Because someone might send a note on a Friday just as they are walking out of the office, like dropping a little nuclear bomb on your weekend. And you can’t do a thing about it until Monday morning. So let it wait until Monday. Don’t have it on your mind all weekend. You need your weekends, you need your evenings and you need your sleep. So be selective about when you open yourself up to mails.
So those are my top tips for handing those notes we don’t agree with instantly.
I will leave you with just one other thing to consider. I so often preach the value of Audience Awareness – knowing who it is we write for and keeping our audience in mind at all times. One of the wonderful by-products of embracing Audience Awareness is that it can take ego out of the equation. It becomes all about the kids and not in any way about you. When that happens, it stops being personal and you can really see that notes are not about being critical of you or what you can do, but are about seeing if a whole team can give something even better to children.