I remember this phrase from back when I was making commercials (a LONG time ago now) and I’m sure it is still one in very common use. We’ll fix it in post – shorthand for: let’s push the problem down the line and let someone else (or our future selves who may as well be someone else) handle it.
It isn’t just fixing a mistake in post-production either. There are many versions of this. Fixing your flow problems in the edit. Hoping your inbetweens will improve dodgy key animation. Letting your story problems through and hoping to fix them in animatic stage. Compared with some of those, “we’ll fix it in post” isn’t actually so bad.
The more fundamental the stage, the more you simply can’t rely on fixing it down the line. I don’t know if I have ever seen a scenario in my entire career where it has been easier to fix a problem later rather than fixing it right now in its earlier form. Once you build in problems, well, you’ve built in problems. You’ll face enough unforeseen difficulties when making anything that throwing foreseen ones on top could be an absolute disaster.
If something isn’t quite working, fix it now. Don’t fix it in post or anywhere else. Don’t shove the problem down the line or allow it to be next week’s problem. It rarely ends well. I’d say it never ends well except someone will probably hit me with a single example where it worked out okay. Don’t take that chance.
If you’re doing anything that involves other people, something that will go places and has got a bit of attention, you’re going to get notes. Notes are part of most creative careers and they can come at all stages of those careers. You need to learn how to deal with notes.
You’ve got to be true to your vision though, right? Well, unless that just involves being stubborn because now every set of notes is a battleground and it’s no fun for you or anyone else and, before long, people are just going to call a halt to the whole process. So instead you’ve got to flexible, right? Got to give people what they ask for? Well, unless that means a total detachment from your work and you are now just a middle person passing notes down the line and you have no investment in making something good whatsoever.
There is a third option and it is the best option. It is to take the challenge of the notes and make them work for you. It is to take your skills and your experience and your passion for the project and apply those in a way that can address the notes while creating something you love. You might be asked to cut an element you love and replace it with a new element that is being thrust upon you. So now find ways of making that new element awesome. Make that new element even better than the last one. You might be asked to cut a whole plot point from your story. Use that either as an opportunity to streamline and enhance the rest of it or, if you have the space, now you get to make a whole new scene. That’s a bonus.
Look for the opportunities. Always look to tackle the notes in a helpful way and do so in a way that gets the best from your own strengths and gives you something you’ll love. I have seen some really helpful notes over the years and I have seen the odd stinker but, always, there is an opportunity there to get something great at the end of it no matter what the note is.
Remember: your project can always get better no matter how good you think it is right now.
When you deliver something and the person you deliver it to feels it wasn’t right, there are many ways you can tackle this. Part of it depends on whether it’s just a taste call or a practical or technical requirement. But really you’re likely to end up doing one of these things:
1) Demonstrating why what you delivered was right.
2) Explaining why what they want won’t work.
3) Fix exactly what was asked for and deliver.
4) Consider the request and deliver a working version that solves the issue.
Only one of these is the path of action you should take. 1 is right out – they already got what you delivered and explaining it won’t make it right. 2 might well be true in your case but it doesn’t make the response to what was delivered any more positive. 3 and 4 sound pretty much the same, right? The difference is that 4 takes into account options 1 and 2. Whereas if there is actually a technical problem or a reason why they shouldn’t go for exactly what they asked for, that means going with 3 could land you in more difficulties.
4 is really the only correct response. You have to try to understand the issues, correct the issues or get close to what you’re being asked to do and do so in a considered way so that you get the best from it while making sure you don’t build in more problems or deliver something that isn’t fit for purpose. Aim to solve what you are being asked to solve, deliver something that works even better and hopefully in a way that you like too. That’s the aim every time.
A very quick thought today that is relevant to many (all?) forms of storytelling but especially to preschool media where you have to achieve clarity for a young audience. It is this: much of story is simply asking a question and then answering it.
An example and familiar question: can your character overcome a challenge? The answer might be yes or it might be no but you need to answer that question if that is the question posed at the start of the story.
Seems obvious, right? And yet when I’m reading scripts, often a lack of a satisfying conclusion can be traced back to not actually asking the question asked. You might have a big finish, a resolution but somewhere along the line the story went in a different direction and you didn’t answer the question asked. You might have answered a different one.
Ask a question. Answer a question.
Can a boxer prove he’s not a bum? Yes. Can a farm boy really take on the Empire? Sure. Can a crew survive an alien brought on board? Mostly no except for Ripley and Jones. Asked and answered.
What happens when the ideas just don’t come? When you have a blank page you need to fill, some story you need to conjure from nothing or you need to find a whole new project without a starting point?
I find that creativity leads to more creativity. If you can get ideas flowing at all, it will bring you somewhere and you’ll be able to find more ideas. If this is the same for you, you need a creative kickstart. Here are three ways I do this:
1) Work on something else. If the thing you’re supposed to be working on is going nowhere, how about starting by coming with ideas for something totally different? It’s like searching your house for something – you’ll find it while looking for something else. Ideas can be like this. Pick something else and get to work. As soon as the brain starts moving, see if you’ve got anything for the project you’re supposed to be working on.
2) Creative time travel. If your ideas just aren’t coming, how about going back to a time when they were? I keep ideas all over the place but most of them are buried in many, many notebooks going back more than a decade now. A lot of the scribbles and notes contained in these notebooks are terrible. But they are creative. They came from a burst of inspiration or a building flow of ideas. Pull out some old notes and leaf through them. Remind yourself of some old silly concepts and your brain will add more to them. Before long, you’ve got new ideas and your creativity is flowing.
3) Cheat. I have mentioned this one before. I keep what is effectively a story cheat sheet for when I get stuck. It is a list of character traits, everyday experiences, story starters and even just silly words. A combination of just a few of these could lead to hundreds of different stories. Keep your own story list of things you like and, when things just don’t come to you, refer back to it and just pluck ideas straight from it. No creativity required to start with. But once you start playing with them, the creativity will come.
So there you have it. Three ways to get your creativity moving on those harder blank days. Get started, get ideas flowing and keep working!
I have never liked the phrase ‘expect the unexpected’. It’s probably because I have made enough TV shows to know just how dangerous the unexpected can be. The unexpected can cost you a good scene. It can cost you an episode. It can cost you weeks and lots and lots of money. Unexpected frightens me. I don’t like it.
So rather than expecting the unexpected, I prefer to turn the unexpected into the expected and then plan for it. I guess that makes my version of this expression: ‘plan for the expected’. I realise that doesn’t sound anywhere near as fun or mysterious but I can guarantee you that it is better.
Step 1: find out what might be unexpected so it’s now expected. Some of this comes from experience, doing it over and over until you refine your methods. Some of it comes from the experience of others, learning from the stories, the test cases, especially the mistakes. If someone gives you a warning, heed it. A lot of it, however, comes from nothing more than some creative thinking and common sense. Run the process through your head a few times. Where could it possibly go wrong, assuming that something WILL go wrong?
Write it down so you have a list.
Step 2: plan for it. Look at everywhere that problems can happen (if you’ve done it well, that will cover a LOT of areas) and make a plan for each one. For me, what I call a plan really comes down to three things. The first is prevention. Simply having gone through step 1 will drastically reduce your chances of bad things happening because you’ll be aware enough to prevent most of them. The second part is the Plan B – what happens if it does go wrong? Have your backup plan ready to go.
The last part is one of the most important parts: time it. Have in your head some sense of the repercussions. If you’re on episode 4 and just about to put scenes into animation and Godzilla destroys your building, how long will it take to get a new building and get the animators ready to start again? Contingency should be standard in a budget (sometimes it isn’t) but often missed in a schedule. To make matters worse, if you pop in extra weeks into your schedule, guess what will get cut the moment anyone suggests a squeeze? Yep, those extra weeks. How you handle that is up to you but it does need to be handled and you’re better trying to grab more time. It’s easier to have to explain to someone why something is early than explain why it’s late.
So plan for the expected. There must be a more exciting way to say that…
Some time ago, I was having a conversation in which I put forward that we overthink narrative and that the success of YouTube Let’s Play videos offer narrative in a much simpler and wonderfully spontaneous form. A form that those of us in more constructed media are missing (something I have said here before). I questioned the need for anything resembling traditional narrative at all. The very next day, I wrote a post about the need for very traditional and very constructed narrative ideas – how we need to build on the established structures.
You could be reading this and writing all this in your notebook (it’s okay, I know you don’t do that) and be thinking to yourself, well now I don’t know what to believe! Which is fact here? Traditional narrative or not?
Here’s the thing: when you take in every piece of information you get from someone who has made media, had certain successes or failures, has had a long career or whatever appears to make them qualified, you need to think about how that information applies to YOU. To YOUR work.
The one rule I have found over the years is that any time someone says there is a rule, you need to instead write that down as ‘guideline’ or ‘personal piece of advice according to this person’. There really aren’t facts when it comes to this creative stuff. Yes, there are so many things you can learn and should learn but that won’t mean they are always relevant to your work right now. What works for one project in one particular year won’t necessarily work the same for another project in another year. Actually, you can be pretty sure it won’t, hence my rather obvious prediction that the next big successes will come as a surprise to most people.
Many have gone before you. Many have tried different things, done the research, had failures and often understood why. These are things you should learn. There are tools of the trade that we should all have.
But unfortunately this won’t give us a simple set of instructions to follow. So they shouldn’t be taken that way. When your favourite author or creator says something that you remember, don’t file it away as a rule. Because it’s not. Instead, think of it as a tool to be considered. A resource you have that may or may not be applicable in different situations.
The core thing here is that everything you hear and read, the very reason you’re reading this right now, should really be to get you thinking rather than to stop you thinking. To provide an insight that will help you in your own work and, if we’ve done our job, the insight will more likely come from YOU rather than the words you’re reading right now.
For me, my guideline, my personal piece of advice is: be informed. As much as possible, be informed. And then really consider that information. Think about it. Use it. Or don’t use it but make that a decision rather than just something that happened because you didn’t realise you had tools at your disposal. Let every nugget of information prompt more questions. Your work is your own and you will find your own path.
So traditional narrative or not? Well that actually has a very simple answer: maybe…
A large part of successfully working across a production is about cause and effect and predicting the future. If you are just dealing with things on a day to day basis, you are going to miss what’s heading towards you. You must see what is coming. The difficulty is doing this while also dealing with what any particular day is throwing at you.
Here’s how this happens: you might have a delay in a particular area and now you’re behind in one process. You scramble and maybe you have to find someone else to get what you need that day or maybe that week. That’s your short term and it’s important and it can take a lot of your attention to get that sorted. But that attention is only on the now. Maybe even in the now, it doesn’t seem like all that big a deal – you can handle it. You have got it sorted.
But project to a month down the line. The person you got to fill in has taken a while to grasp the style, their output is just that little slower for the first few weeks and now things are just too tight. Someone else throws a spanner in the works, some other process gets delayed, and that’s all it takes to throw the production into full-on crisis.
That’s just one example – there are so many ways that a small challenge now or, more likely, a build up of small challenges now can lead to a major problem later in the production.
So what do you do? The first thing is to always look at what is coming – what you planned for and what has now changed. Where will the next potential jam occur? What happens when new plans meet old systems? What do you have to do now to minimise the problems that could be coming? Examine your schedule and processes for more information. The next thing is to protect every other part of the process. Because the big problems can come from a build up of little problems, once you have identified one problem, lock down everything else – the more you can avoid any other change in the processes, the better your production will be and the more you can focus on just fixing the issue at hand. It is so often when problems collide that they become a big deal. Do what you can to make sure everyone knows that the parameters in other areas must not change.
The important thing is to make sure things don’t build. Never assume things will sort themselves out. Never put off dealing with a challenge. Tackle it now, lock down and protect everything else and, if you can do that, you’ll never have to deal with an actual crisis.
How long is that going to take? No matter what part of a job you’re doing, this is a very hard question to answer. My old producer will no doubt tell tales of me skirting around an answer for days because I don’t like to commit to something and then miss a deadline. Missing deadlines is not cool. But more often than not you are going to have to pick a figure and stick to it.
When you do, you have to factor in the little things. The parts that, to you, aren’t really the job itself. For example, maybe you’re a background artist and you’ve got a background in progress. You have it roughed out and it’s in good shape and, with the colouring and texturing, you might have another day’s work in it.
But how long will it take to do the housekeeping? Naming the layers? Merging layers or removing the ones that are no longer needed? Copying or uploading the file to where it needs to go? That delivery time? And if you have a single crash and have to wait for it to reopen, even that might push you over that day and now you’re delivering late.
With writing, I find that even digging out yesterday’s notes and trying to catch up with where I was at and get back into that mindset can take up a good chunk of time. It’s not writing time but it needs to be factored in every time. And I can’t deliver once I reach the end of my document. After that comes several passes to catch various problems before it’s even close to being ready to send. All those things are so easy to miss when gauging how long things will take.
But people need to know. They need to know when to expect something because every part of the process in our creative field depends on the previous part of the process.
So when someone asks how long something will take, you’ve got to give it your best guess. Remember to factor in all the little things, things that don’t even seem like part of the job. Give yourself the time to actually deliver.
Notes, eh? They can frustrate. Just when you think you’re done, you get a new note and have to unravel what you’ve done. Maybe even come up with something else entirely. And can you do that in the time you have? Notes can throw spanners in all the works. But there is something to consider here:
Quite some time ago, we were trying to work out a character for a thing I was working on and we submitted some first options to see if we could get a steer. One of those options was approved instantly. No notes. No suggestions. No questions. An approval.
Cause for celebration? No. I wasn’t happy. That character wasn’t completely ready yet. It wasn’t as great as it could be. It was a first draft. And it could be made better but we didn’t get the opportunity. And this is exactly the thing to keep in mind: notes are an opportunity to make something even better.
Even if you don’t like the note, you now are given that chance: make it better. Take that opportunity. There are times in my career I did not agree with notes I was given and there were times we got too many notes with not enough time to carry them out and notes have to be managed on all sides because they can cause a production to grind to a halt… and yet I can’t think of many cases in which something got worse after we had another attempt. Because it wasn’t just about carrying out the notes. It was an opportunity to make things even better.
Notes, revisions, retakes, redrafts – they are all a part of the process. They come with the job. And when you get them, take the opportunity they offer.