Tag Archives: tips

MakeThemDifferent

Regular readers will know I like to be able to break a character down to the very basics. When you write your story, you have to be able to quickly bring to mind that character and how they act. A simple sense of who the character is really helps give you clarity.

But it can also help you avoid what is an all too common problem: all of your characters coming across the same in your story.

The big test of character is not how great your description is. It’s if the audience knows who these characters are in a single story. In a single scene. They should. Every time. Your characters should be that clear. And how do we do this? Through action. Through how they tackle a situation, react to the unexpected, respond to pressure. So you need to give them situations, the unexpected or pressure.

And you can test this. Give your scene to someone who doesn’t know the show and ask them to describe the characters. Do they get it right? If not, what can you do to fix that?

Here are some things you shouldn’t rely on to make your characters different: funny voices, catchphrases, colours, different tools or weapons, racial stereotypes. None of these things are a substitute for actual personality and the last one is right out.

Know who your characters are. Make them different. Then make them clear.

Strengths

In all likelihood, if well-developed, your concept has more than a single strength. There might be many reasons why your concept should make it to screen. But when you’re pitching, you need brevity and clarity and you need to know what your strongest reason is. What is the one thing you can say that will make your show an easy buy?

If you know what that is, the rest is simply support. Don’t bombard people in case that one good reason is lost in the crowd.

However, there is something very important to keep in mind: not everybody is looking for the same thing. Every broadcaster has their own vision, their own remit and they buy different types of shows. You need to know who you’re pitching to. Now you can’t please everyone and I would advise that you don’t try – that’s how you water a show down to nothing. You have to have a sense of who your show might be a fit for.

But you don’t have to pitch the show the same way for those people.

If you give the exact same pitch to two people looking for different things, there is a good chance that it won’t work for one of them. And yet what that second person wants might well be in your show. It’s just a different strength. If you accept that different people are looking for different things, highlight the right things when you pitch. Don’t lie! Don’t try to make out like something is in your show that isn’t there – a broadcaster will see through you in an instant and it won’t go down well. But if your show truly has something that would work well for that particular broadcaster, put it out in front.

What this comes down to is the exact same thing you need to think about when making your show: know your audience. Know who you’re pitching to. Look at what is on their channel, at what they’ve said in articles or magazines and try to get a sense of what works for them. Look at your concept’s strengths and make sure the appropriate one comes across in your pitch. It won’t be the same every time.

Jul 27

Know kids

KnowKids

If you’re making content for children, one of the most basic requirements is that you know children. You have to know your audience. If you’re creating, writing, directing, animating child characters, you have to know what children are like at that age.

Kids and adults are not the same thing. Approach your audience like adults and you’ll get it wrong. Approach your characters like adults and, yep, you’ll get it wrong.

And be aware that children of different ages vary hugely. Sure, a 36 year old might be pretty much the same as a 39 year old. A 3 year old child is like an entirely different being to a 6 year old. They are not the same thing.

There are far too many things to cover in one post (and I shouldn’t – reading bullet points is not the same as knowing what kids are like) but you have to remember that young kids are SMALL. They are curious. They are explorers. They learn fast and soak up information. They often think in absolutes, not grey areas. They don’t do subtlety. They get REALLY excited about things. More excited than you ever get and often about things that you find utterly mundane. And they can go straight to REALLY upset in an instant. They can switch emotions with no transition. They are animated, expressive and, when young, usually have very few reservations or social barriers. They have challenges you never face. And they don’t let it hold them back. The smaller ones have to climb just to get up on a chair. You can be sure they’ll climb up on to the kitchen counter to get a glass. They have achievements every single day, often several a day. That means tying their laces or something else you take for granted. They will eat sweets until they are sick and then do it again the next day. They probably don’t care in the slightest about the pretty scenery out the window. They could well be picking their nose and eating it at this very moment. And they can do exactly what an adult just told them not to do and it doesn’t make them bad kids.

And most of all: they are all different.

But the one thing they aren’t is adult. You’ve got to know what kids are like. It’s so important.

Choices

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.

OneLastCheck

Writers will understand the need for this straight away. It’s that feeling when you save the final version of your file, put it in an email and click SEND. And then you spot the typo. EVERY. TIME.

It just needed one more check before sending. That typo probably isn’t the worst idea thing in the world but it will haunt you. And it may not be a typo – it could be something bigger. It’s not just for the writers either. A scene. A storyboard. A design. They could all do with one last check before you show them.

So buy that time.

Work it so you can take the time to do that final check before you send. To do this, aiming for your deadline isn’t enough. Given that something will likely slow you up somewhere, you should always be aiming earlier anyway but you’ll definitely need some extra time for that last check. So reset your deadline to accommodate that.

Remember: the deadline and the actual time you need to finish in order to meet that deadline are rarely the same thing.

Build it into estimates you give people. If you think something will take five hours, say it will take five and a half. Or six. If it will take a week, build in an extra half day or even a day. It’s check time and it will pay off. Yes it takes more time but it will mean your work is presented in a better form and you may well find you have more to fix than the equivalent of typos.

Always have that time for one last check. If you didn’t need it, great. But usually you will and you’ll be very glad you allowed for it.

GetToTheStory

Ever skip a paragraph in a book? Sure you have. Don’t deny it! Ever drift off in a movie? Start thinking about work or what you’re going to have to eat afterwards? Yep. I know you’ve done that. Kids do it too. Some people have this image of children locked to a screen like zombies but, actually, they usually get pretty busy when they watch TV or a movie. They move around a lot. Their attention might not go to you when you’re calling them for dinner but they might see a bird outside or see if they can put their toes in their mouth or whatever.

And the reality is that it’s not always as easy to engage a child meaningfully as some seem to think.

So think about when you drift off in media. There are many factors but there is one common problem I see crop up a lot and it also happens to be in a bunch of scripts that have passed by me in children’s media over the years: you’re just not getting to the story part.

We can call it a lot of different things and it ties into character agency but, really, it’s that simple. You have got to get to the story part. What is the story about? What’s the problem to solve or the challenge to overcome? Don’t get to it in the last 10% of your story. Get there as quick as you possibly can and let it drive every beat of that story. Is it happening too late? CUT ALL THE EARLIER STUFF! Just cut it. Get to the story. Can you do it on the first page? Give it a shot.

A lot of what we tend to write is fluff around the story that helps us as writers find that story and that depth and that world. But it’s not all story. Some of it is just help for us, part of our process. Like scaffolding around a building – you take the scaffolding off at the end so people can just go straight into the building. Get kids straight into your story. Remove the fluff. Get to the story parts.

Always imagine someone shouting in your ear as you edit and write those later drafts: “JUST GET TO THE STORY PARTS!”

MoreThanJustAShow

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.

Lacking

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.

TaskMain

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.

Task01

But in reality, all these other tasks pop up along the way. Looking a little like this…

Task02

 

And there can be a temptation to handle them like this…

Task03

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…

Task04
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.

ThinkLongTerm

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.