When I was in high school, I pretty much saw every film that ever came out. Now while you might think that points to me being a reclusive shut-in (or shut-out, because I guess I was at least sitting in a movie theatre and not my own home), but I have an excuse. See, I was a teen movie critic, which is as oxymoronic a phrase as has ever existed. I wrote for the Kansas City Star‘s now-defunct TeenStar section, which was a great weekly outlet for teen writer’s in the KC metro area to have their work seen by thousands and thousands of readers. While most of the staff focused on actual journalistic pieces, my interests were a bit more shallow…BUT, by focusing on movie reviews over everything else, I managed to get into the paper almost every week. Thanks, Hollywood!
Writing Isn’t Falling In Love
I’ve discussed in the past the idea of your worst ideas actually being your best…but I hear a lot of reluctance towards pursuing an idea that isn’t your absolute favorite. After all, you throw yourself into your work with all the passion and fervor of a crazy person, and it eats up weeks or months of your life, depending on what exactly it is that you’re trying to write. So why bother investing yourself in something that you don’t even think is good?
If you don’t like your idea, that’s not an excuse to dismiss it. An idea you don’t like is a challenge. Because here’s the reality of what happened:
- Your brain felt that the idea warranted some form of generation to begin with.
- For whatever reason, you wrote it down into your big notebook of scrap ideas or in the heat of a fast-paced brainstorm.
An innocent tree died so that you could have the pencil wood to write that stupid thing down! You deserve to honor it! This is where the whole “love” thing comes in. Writing isn’t dating. When you’re dating someone, and you aren’t really enjoying it, it’s probably a good idea to get the hell out of there. You can’t change your lover, and it’ll only hurt to try. Ladies, you’re with me on this one.
You can change your idea. Writing isn’t a “love at first sight” process. You don’t have to start off in love with your shitty idea. In time, you can learn to love it. All you have to do is push past that initial rejection and start to question what it is about it that you don’t like. Is it not grounded enough? Is it about something that doesn’t interest you, or that you don’t know much about? These are fixable problems. You know the old “it’s not you, it’s me” excuse? Take it to heart. It’s not your ideas fault, it’s your own. You came up with it, you can make it work.
Creativity is as much about the experience of creation as it is the experiences that come from the final product. Whatever it is that you don’t like about an idea, use it as a catalyst to learn something new or have a new experience. And if you absolutely can’t get something down on paper, even after giving it the fairest shot in the world, then so be it. But before you push all your “little ideas” aside, remember that you already wrote something and that’s a hell of a lot further than we get on most of our ideas. It would be a shame for it to go to waste.
Take a Picture of Your Building: How To Get People to Notice You Indirectly
I was walking past a woman on the way to Second City the other day who was taking pictures of a building across the street. Naturally, I stared at the building , because…y’know…if someone’s taking a picture of a building, there’s probably something pretty damned special about that stupid building. Except I don’t think there was, at least not on the surface.
The point of this story isn’t the building, it’s the woman. Her attention provoked me to give my attention, and that got me to thinking about what actually causes fame. By the time you reach the early middle stages of your creative development, I think we all come to the realization that most of the people who are famous aren’t necessarily any better at the craft than anyone else, nor are they somehow more deserving. They’ve simply figured out (or, maybe more accurately, their team has figured out) how to turn one person giving a shit into millions of people giving a shit.
When you think about it in this sense, that fame is a consequence of attention and not vice versa, it seems like a much more attainable goal. We lose sight of the fact that our goal, especially in the early stages of our creative careers, isn’t to be loved by everybody, it’s to be loved by one person at a time. If you’re doing your job right, those people will attract others by virtue of the fact that you’ve warranted their attention. Like the building.
But here’s the thing about that stupid building: when I looked at it, I didn’t understand why I should care. This woman cared, but the building wasn’t coming through. There was a thing they did on The Today Show a few months ago where they took one of the NBC Pages, gave her a professional stylist and then sent her out on the streets with a fake entourage including a fake papparazzi, a fake manager, stuff like that. And even though people didn’t know who she was, they assumed she was someone famous and wanted her autograph or her picture and then asked people around them who exactly she was. What that can tell us, and what my fascination with this building might tell us, is that we’re willing to give the initial benefit of the doubt to something that other people are noticing, but that window is very limited, and you have to be prepared to take the focus and run with it once it is gifted to you. It’s not the job of the person standing across the street taking your picture to continually play advocate for you or your work.
That doesn’t mean it’s your job to wave your arms around and attract attention. Desperation will close that window before you even get the chance to prove yourself, because we perceive desperation as an indicator of lack of quality (i.e. “why do they need to do all this?”). And yet, you still have to be a shrewd self promoter to get initially noticed. So what’s the middle ground? Or is there one? Do you either have to do good work quietly and wait for it to be noticed, or do you yell and scream and risk alienating people to come look at your good work and hope that they can push past the tactics?
One of my challenges for the work I produce this year is to build in ways that encourage people to stare. That’s why I keep pushing this alternative venue thing…if people are looking in and see something going on, that’s going to make others look in, and so on and so forth. It could mean outdoor theatre, spontaneous plays that pop up in the park and draw a crowd. A walking production that pulls people in slowly, Pied Piper style. And at the end of the production, how do you get people to continue looking at others looking, even after they’ve gone home? Maybe that’s merchandise…maybe it’s a shirt with some art from your show, maybe it’s a punch card that you give them to give to a friend to encourage them to come back. I don’t know, I’m brainstorming here.
All I’ll say is that…as you’re building your next creative venture, take time to build in ways to let people stare…and even more than that, find some way to involve the people who are staring at the other people. Don’t let those folks pass by, because each one of them represents ten more who will follow close behind.
On that note, I still don’t know what was so special about that damned building.
I Like You, But I Don’t Need You
I think tonight may have been a weird kind of turning point night, despite the fact that it also may not have been and I’m just assigning more import to it than I should. But tonight was a night where I did a show in a space that’s not meant for it, missing half of the cast and without an audience to speak of…and still came out on top. Here’s the story:
We’re in the midst of our Level 5 Conservatory shows at Second City. For those that don’t know, we do an 8 week run of a sketch show as the final piece of our study at Second City. Last week was the first week of the run, and we were told not to get our hopes up because first weeks have about a 70% cancellation rate. Now why would they cancel a class show for a class that we’re paying for? Because they haven’t sold 25 tickets for the night. Kind of a ridiculous system, in my opinion, but I don’t make the rules (I’ll just change them when I open a theatre of my own someday).
But last week we were fine, had a good show with maybe 30-35 people in the crowd. Not huge, but we’re just testing material right now, so who cares. Tonight, though, we got canceled. This wouldn’t have been such a bad thing had my girlfriend Amanda’s parents not been in town to see the show (she’s also in my class, just to clarify). They weren’t here JUST for this show, but still…they were excited to see it, she was excited to show them, we all wanted to do a show, stuff like that. So when pulled the plug on us at about a quarter till the first group was supposed to go up, it was a pretty severe disappointment.
Except that wasn’t the end of it. There were maybe 6 or 7 of us milling about, having just heard the news, and it dawned on us that just because we were canceled didn’t mean we couldn’t still do a show. Except, of course, all of the rooms in the Training Center were booked with classes or rehearsals, and attempts to gain access to the empty theatre for a private showcase were not met with much approval. So we found a reception area, with a stairwell. We sat down Amanda’s parents (and her aunt, who was also in town) on the stairs. We quickly ran over the running order, cutting the few pieces we couldn’t do with our smaller numbers and swapping in people to play parts as needed. And then we did a fucking show.
Was it our tightest show? Who gives a shit. Our blackouts were coming in the form of yelling “blackout,” our sound cues were coming out of my tiny iPhone speakers. We played the cards we were dealt. And yet I still came out of that mini-not-a-real-show feeling better than I have about a lot of recent performances because it just felt fun. It was as much just for us as it was for them, and it reminded me of why I’m doing anything creative to begin with…to do what I like to do and hope that others find something fun in it.
I think we all reach a certain point in our development as creators where it kind of stops being fun…you hit a plateau for awhile, where you’ve been drowning in classes and mediocre performances and being in your head and fighting to find an audience for so long that it’s all you can focus on, and you lose sight of enjoying the thing that you set out to do to begin with.
I want the opportunity to do more shows like tonight. I want to be able to do a show without the pressure of needing it to change the world. I want to be able to do a show where I’m not on the line to pay back the theatre for an hour of space, or where I need more than three people to see my work to feel validated about it. I want to remove the limitations of accessibility that I’ve put onto my stuff and just do what feels right, and if other people don’t dig it, maybe I don’t need them to as much as I did before.
My next show’s about a space station. Genre stuff. Not a ton of commercial appeal, I’d imagine. But I’m going to do it however the hell I want to, in a space that’s not meant for theatre, and I’m going to blow the roof off of it. I encourage you to do the same, because as backwards as it sounds, I think I’m more inclined to come see your show if I know you don’t need me there to make it the best thing you’ve ever done. And while I don’t need you to, I do hope you stop by.
We’ll find a comfortable stairwell for you.
“Produce Yourself” Returns
I’m going to be restarting my Produce Yourself series over here on the official site. Previously, I had been publishing it on another blog that I write for, but I want to bring it home because it’s going to be a lot of what I’m talking about over the next few months.
For an overview, the gist of Produce Yourself is simply that I want to help you along every step of self-producing. I believe in the idea that it’s pointless to wait for opportunities to fall into your lap…if you want something, create it for yourself. Of course, that’s easier said than done, which is why I’m going to talk about everything from venue booking to marketing to just creating a viable concept for a show. The whole spectrum of creation from beginning to end is our fodder, and I WILL be jumping all over the place.
For the time being, I recommend catching yourself up on the first two installments, linked below. They were originally written to go in a much more linear fashion, and I’m ditching that aspect of it, but I’m really big into the idea of narrative evolution, best-worst ideas and sabotaging your work, so these are good primers to some concepts I’m going to explore further down the road.
Stuff I Never Finished 3: NASCAR Samurai Priest Mystery Hour
In college, I made an original short called Jesus In the Phantom Zone (which you can view right here). I wouldn’t go so far as to say it was animated…more that it was just a series of still images accompanied by voiceover and narration. Either way, I figured I was onto something as a means of being able to produce some of the stupid ideas I had in my head without needing a full crew of people to make a live action film.
With that thought, I began developing the concept for a series called NASCAR Samurai Priest Mystery Hour. The show would have been in the tradition of the Father Dowling Mysteries in that it was about a priest who solved mysteries, but it was SO MUCH MORE AS WELL.
Here’s the pitch: Trevor McRoy was a famous NASCAR driver…until he got into a big ole crash that managed to kill an innocent bystander with the debris. Disgraced, he left NASCAR and became a samurai to try and find some balance and discipline….until he got into a really bad samurai fight and accidentally killed a fellow samurai with a sword. Disgraced, he left the way of the samurai and became a priest, embracing his faith in a higher power.
But when the police discover the grisly murder of McRoy’s brother with a crime scene that prominently features evidence that could point to either the competitive racing world or the modern samurai world, they turn to the one man who might be able to help. For Father McRoy, it’s not just a standard murder…it’s his sordid past taking its toll on those he holds most dear.
That was episode one, anyway. Obviously (not obviously) it’s a comedy. I got so far as to write down some loose outlines, but it never moved beyond the concept phase, and I apparently never went so far as to type up any of the stuff I jotted down. I’m sure I’ll stumble across it one of these days. I did find this character design for Father McRoy, though…
As you can see, this was before I was better at digital artworking. I also found this still from the project, which I believe was intended to be at Father McRoy’s extremely modern church service. Naturally, they had a DJ. And that DJ was a robot. And that robot’s name was Funkytron. DUH.
And that’s how great ideas are born: combine a bunch of niche career fields into a crime story.
Stuff I Never Finished #1
Over on my Illustration page, you can see a good amount of “finished” work from the last few years, but for every inked, colored and completed piece I have, there are ten more that never quite made it to those final steps. That’s what Stuff I Never Finished is all about. Let’s see what never got finished THIS time (this being the time that stuff was officially declared “never finished”). Up and away!
This guy’s called “Space Ain’t No Joke.” Which is true. When there are dinosaurs out in space, and all you have is a sword?! GOOD LUCK.



