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 answering the question that was 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.
I began my kids’ media career as a director and writing came after that, first on my own shows and then on the shows of others. At that point, one of the strangest feelings was handing over the story. When you write, you immerse yourself in the characters, the world, the emotions, the laughs and you live in that space intensely. It is YOURS. Yes, you get notes and input and it is a collaborative process for sure but you’re the one who has to dive right back into that world to make those collective thoughts real.
And then a weird thing happens. The story is approved for production and you have to hand it over.
It is no longer yours. The production team and the director will take your script and make it THEIRS. They will interpret the lines their way. They will picture it their way. The voice director will get a take that has a whole different sense to the way you heard the line. Lines will get amended in pickups and there could be entire scenes you didn’t write. And on many productions, you might not ever know. There are episodes of shows I have written that I still have never seen. As a writer, it’s a strange feeling to be so close to a story and then just hand it over into the unknown. For people who are just writers, that has to be a tough thing to get used to and possibly even scary at first.
But I think back to where I started, directing Roobarb & Custard Too and working with Grange Calveley who created and wrote Roobarb. I think about how we took the scripts as the starting point and, from there, crafted the visual and audio storytelling from that. How we added visual jokes, puns (which were a big thing in the show), how we shuffled scenes and even had to completely reinterpret sections at times. Even at the time, I remember thinking that there was something special here – Grange had so much faith and trust. The property owner and distributor too. And in turn, I would pass that trust on to our team. It was a show built on creative trust and support.
Since then, I have tried to build every show on that same foundation. It is how I have got the best from every project – letting the people who are great at their job do their job to the best of their abilities. Sure, as a director and a producer I find it is essential to guide and lead and push but in a way that doesn’t stifle our team, preventing them from actually doing their job well. We start from a position of trust (“do an amazing job with this”) rather than suspicion (“you’re going to mess it up”).
So then as a writer, when I hand a story over to a director, to a production team, I do so sometimes with a slight sense of loss and certainly a huge curiosity about what happens next but mostly I do so with trust and support: my words are only the start and the next phase of storytelling is something different. Go make it something great!
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!