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Stan Lee on writing: Write for yourself

Stan Lee shared some advice on writing when he spoke at Google a few years ago:

  • Read a lot. The more you read, the better.
  • Write what you yourself would love to read. Especially in television, companies are always looking to write something that would appeal to 13-year-olds, or 20-year-olds, and that’s fine. But what you want to write is something that you yourself would genuinely enjoy reading. If you write something that you yourself enjoy to read, then it’s very likely that there are other people out there who’d enjoy reading it as well—because none of us is really that different from everybody else. Don’t try to write something that other people would want to write.
    The great writers wrote to please themselves. And that’s why their stuff was good. Be your own best critique.

You can watch the entire session here, but the advice on writing specifically can be found at 26:25.

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We humans are natural born storytellers. We are addicted to stories. We live, think, and feel in narratives, and stories have had a profound impact on us individually, as well as collectively. Our culture and society is in a large part defined by stories we tell ourselves: stories about our past, stories about our present, stories about our future, stories about others, stories about what could be. It’s been like this since the beginning of civilization.

But nowadays, we don’t sit around the campfire and tell each other stories anymore the way our ancestors did. Now, the stories we tell and consume are mostly movies.

I’m currently reading the book King, Warrior, Lover, Magician by Robert Moore, and there’s a passage that I wanted to share with you:

The study of ritual process by the specialist may tend toward dry reading. But we may see it enacted colorfully in a number of contemporary movies. Movies are like ancient folktales and myths. They are stories we tell ourselves about ourselves—about our lives and their meaning. In fact, initiatory process for both men and women is one of the great hidden themes of many of our movies.

A good, explicit example of this can be found in the movie The Emerald Forest. Here, a white boy has been captured and raised by Brazilian Indians. One day, he’s playing in the river with a beautiful girl. The chief has noticed his interest in the girl for some time. This awakening of sexual interest in the boy is a signal to the wise chief. He appears on the riverbank with his wife and some of the tribal elders and surprises Tomme (Tommy) at play with the girl. The chief booms out, “Tomme, your time has come to die!” Everyone seems profoundly shaken. The chief’s wife, playing the part of all women, of all mothers, asks, “Must he die?” The chief threateningly replies, “Yes!” Then, we see a firelit nighttime scene in which Tomme is seemingly tortured by the older men in the tribe; and forced into the forest vines, he is being eaten alive by jungle ants. He writhes in agony, his body mutilated in the jaws of the hungry ants. We fear the worst.

Finally, the sun comes up, though, and Tomme, still breathing, is taken down to the river by the men and bathed, the clinging ants washed from his body. The chief then raises his voice and says, “The boy is dead and the man is born!” And with that, he is given his first spiritual experience, induced by a drug blown through a long pipe into his nose. He hallucinates and in his hallucination discovers his animal soul (an eagle) and soars above the world in new and expanded consciousness, seeing, as if from a God’s-eye view, the totality of his jungle world. Then he is allowed to marry. Tomme is a man. And, as he takes on a man’s responsibilities and identity, he is moved first into the position of a brave in the tribe and then into the position of chief.

Moore, Robert. King, Warrior, Magician, Lover (pp. 4-5). HarperOne. Kindle Edition.
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6 types of stories

Here’s the TLDR of a recent article in The Atlantic:
AI identified six kinds of story archetypes (narrative arcs of popular storylines / mapping the emotional trajectory of a story):

1. Rags to Riches (rise)

2. Riches to Rags (fall)

3. Man in a Hole (fall then rise)

4. Icarus (rise then fall)

5. Cinderella (rise then fall then rise)

6. Oedipus (fall then rise then fall)

How they came up with these categories:

Based on an idea from Kurt Vonnegut. They mapped “the narrative arc of popular storylines along a simple graph. The X-axis represents the chronology of the story, from beginning to end, while the Y-axis represents the experience of the protagonist, on a spectrum of ill fortune to good fortune.”

He’s discussed the idea in this video:

Here’s an example of what the Cinderella story arc looks like when mapped out this way:

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Some of the best storytelling in the world is done by the team at Pixar – and now they’ve released a free online course that you can join to learn the fundamentals of storytelling.

Pixar directors, storytellers and animators are sharing insights on how to craft enchanting stories, how to develop characters and much more.

New modules will be released over the course of the coming weeks and months, but the first module titled “We are storytellers” is already available now.

Check it out here

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Podcast.

Obama said in Charlie Rose interview that one of the biggest mistakes of his first terms was thinking that being president is about getting the policy right. But in reality, it’s also about telling a story to the American people.

The core idea of this podcast: Trump had a very simple story that people could buy into. Hillary did not.

And how you can bring narrative structure back into your world.

Randy Olson, Author and Independent Filmmaker, joins a special Business of Story Podcast to talk about how Trump intuitively utilized a surprisingly simple story template for creating compelling narratives to win the election.

Southpark storytelling technique: The rules of replacing ands with either buts and therefores. This is at the core of effective narrative.

Very simple. Fractal nature. Out of simplicity you can get complexity.

[Probably derived from a great screenwriting instructor in the 1980’s named Frank Daniel. Read more about his work here and here. Problem we always have with first drafts is that the default nature in our brain is the and and and mode. And then this happened, and then this happened, and then this happened. And the challenge is to go back into that first draft and replace the ands with the buts and the therefores. You could create a metric around this: ratio of ands to buts and therefores (or so)]

How did Trump do this?

Narrative intuition. Storysense.

Work with the rules so deeply that it moves to a deeper level of intuition.

Intuitive feel for how story is shaped in a way that pulls people in and holds people’s interest. Trump has great narrative intuition.

Problem solution dynamic.

Wizard of Oz. Problem: stuck in a place where she doesn’t want to be. Solution: how to get back to Kansas.

Trump is a dealmaker? But what IS a dealmaker? He’s focused on problem-solution.

He’s constantly speaking in ABT (AND BUT THEREFORE) form:

We love Mexicans. But we feel there’s too many illegals. Therefore we need to build a wall.

He gets to the therefore very quickly, without much nuance and without going into too much detail. That was Hillary’s downfall, because she is very intellectual and tried to communicate things in all the nuanced levels of detail, which doesn’t work on a campaign. Connect with the masses.

We got a problem with the tax code. Therefore, we’re gonna get the best people to solve it.

Very high narrative content.

Overarching Trump story: MAKE AMERICA GREAT AGAIN.

A: Once upon a time we were a great and mighty nation.

B: But we’ve slipped.

T: Therefore, it’s time to make America great again.

 

3 fundamental forces in narrative:

  1. Agreement: How we begin a story. Getting everybody on the same page. And, and, and…
  2. Contradiction: But… everytime you hit a point of contradiction, a part in their brain lights up. It stimulates the audience.
  3. Consequence: TK

Great orators have a very high ratio of buts to ands.

ratio of buts to ands = narrative index

Gettysburg address. 3 paragraphs. and but there structure. → one of the most popular speeches in US history.

 

 

Hillary’s narrative structure was all: and, and, and… (narrative index: 14)

Trump was ABT. ABT. ABT. (narrative index: 29)

Trump also gave people a label and then consistently stuck with it: Crooked Hillary. Little Marco. Lying Ted. Sleepy Eyes Chuck Todd. “Pocahontas” Elizabeth Warren. [Research has shown that the use of noun phrases creates a sense of permanence. It’s the difference between calling someone a chocolate-lover vs. saying someone loves to eat chocolate. The former is a more concrete description. It’s called “essentializing,” which is psychology-speak for coming to see a “trait or quality as an essential and indisputable feature.”]

Hillary was going on and on with facts and information.

 

Look at MLK I have a dream speech. First paragraph is ABT:

AND: I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.

Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.

BUT: But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languished in the corners of American society and finds himself an exile in his own land.

THEREFORE: And so we’ve come here today to dramatize a shameful condition.

 

Give speeches that could have a title to them!

 

Single narrative. Unified theme. E.g. equality. For Trump it was “Make America great again”.

 

Sentiment analysis. They throw out all the ands and buts.

 

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If the story is good, the facts don’t matter

Jason Cohen makes a compelling point that if the story is good, the facts (kind of) don’t really matter (that much). He does this by looking at Malcom Gladwell’s book The Tipping Point (yeah, his blog post is from 2008, so it wasn’t outdated then).

He quotes Duncan Watts, who has debunked many of Gladwell’s claims:

“It sort of sounds cool,” Watts says, tucking into his salad. “But it’s wonderfully persuasive only for as long as you don’t think about it.”

Well, at least as long as you don’t think about it deeply and double-check.

We want to be fascinated. We want to be entertained. We want to have Eureka! moments. And if a good story gives us all of that, hey, don’t start splitting hairs please, you annoying fact-checker dude wearing your booooring logical reasoning hat.

Now this shouldn’t mean that you should come up with stories to distort the truth.

Instead, it means that you should use stories to convey the truth in the best way possible.

If you’re a bakery, don’t tell me you’ve got the most delicious, yummy cakes. Don’t even just tell me why they are delicious, or just about the wholesome ingredients you use, and what makes it superior to the new breed of cakes that uses all kinds of chemical shortcuts to look like a really awesome cake and taste like crap. Instead, tell me stories that convey these features and benefits, so I don’t just know about them, but I actually feel glad to know them!

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If you had a chance to learn about the art of storytelling from Emmy-award-winning filmmakers, would you take the time to do so?

This is not a hypothetical question.

Storytelling The Stillmotion Way: Part 1 from stillmotion on Vimeo.

Since you’re interested in the power of stories, my bet is you’re going to love this post.

Even though it’s mainly storytelling for filmmakers, there are lessons for storytelling in any medium included in this video.

So here’s some questions which will be answered in part one of this series:

  • What are the fundamental building blocks of any story?
    (The 4 P’s: People, Places, Plot & Purpose)
  • People: Who is in the story?
  • Place: Where does the story take place?
  • Plot: What is the conflict and the journey?
    • have a conflict in every story you tell  (even if it’s just a car commercial!)
    • you want to have some form of conflict or tension (it doesn’t need to be a villain that causes the conflict)
    • constantly generate questions that will keep your audience intrigued
  • Purpose: Why should anyone care about this?
    • be able to state your purpose in one clear, succinct sentence (before you even pick up a camera, you should be able to do that)

Was this an insightful video on storytelling for you?

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