Where is everyone?
Children can follow a story easier if they know where everything important is. The reason is quite simple: the moment a child wonders why a character is going a particular direction or what happened to the cow who was there earlier or why the house is now blue and not red, they are out of your story. They are likely not looking at what you want them to look at and aren’t hearing the next important lines you or your writer tortured over. If you’re fortunate enough to engage them again at all, they’ve missed bits.
So make sure your audience knows where everything and everyone important is.
You can do this in many ways: clear establishing shots, framing shots in such a way that everyone important is visible, sticking to a few set camera angles and not reversing the viewpoint without a damn good reason (3D animators – just because you can move a camera doesn’t mean you should). These are about getting your animatic right and they’re good guidelines to stick with in general.
If your team have set out a clear map of where everything is, this can be a great help – now you have reference. But guess what? Your audience doesn’t have that. Don’t assume that because it makes sense to you, it will make sense to them. Keep it clear, keep it consistent.
Always ask yourself: does my audience know what they are seeing? How have I shown them this?
And watch for places where consistent geography will actually work against a clear understanding. If a path doubles back on itself, for example, that could have kids thinking that characters turned around and are going the wrong way unless that geography is made crystal clear.
On that particular subject, here’s a little confession from my Fluffy Gardens days: we had no idea where anything was. Not a clue. There was a vague map but we shifted it around to suit episodes and individual scenes. Town changed all the time. Bushes teleported regularly. Now some of you might be gasping in horror at this apparent carelessness but this actually worked very well and here is why: we knew our geography was fluid and we used that to enhance our clarity within individual episodes. It is a 2D show. It is broadcast on a 2D screen with a defined aspect ratio. It made sense that journeys should also be 2D: left to right or right to left. So rather than worry about how Paolo travelled south around the mountain to reach Mavis, we instead made each and every journey a simple horizontal one, either left or right. How do we know when they’re going home? When they walk the other way. That made it incredibly clear to children.
Often but not always the going was right and the coming home was left. Why? Because that’s how we read most Western languages: progress is left to right.
In each episode, I watched carefully for these journeys and sense of place at animatic stage.
I equate making television with doing a magic trick. You decide where you want the audience to look and what information to take in. What the audience perceives as happening is more important than what is actually happening. If you do it well, they won’t notice how you did it. In our case, we kept the journeys in Fluffy Gardens clear by keeping the geography fluid. Might seem counter-intuitive at first but it works.
So whether you lock down a location map or allow your geography to be fluid, keep it all clear as events are playing out in an episode. Don’t let either of those methods work against you. Show children where all your important characters are. Show them where the characters are going. Show them where they are coming from. And don’t confuse the two. If a character leaves or enters a scene, show it. And if, when showing an animatic or rough episode, a kid or your producer or an exec or anyone else at all (even a single person who was sending a text through half the episode) has trouble with the geography then fix it.
The most important thing here is this: when writing, directing, designing, storyboarding an episode, you have more information than any child watching. What you know about where everything is doesn’t matter. It’s what the audience knows that counts.
The good news is that you get to control that.