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The Power Of Pictures: 4 Ways To Make Your Stories More Emotional :: VSP #1

By Chris Oatley

The Tin Man, resting in a serene forest clearing, opens his heart hatch to admire the emerald heart from The Wizard Of Oz. Illustration by Chris Oatley.“Show, don’t tell.”

It’s every Visual Storyteller’s mantra.

…but it’s easier said than done.

In today’s lesson, you’ll learn four ways to write – with pictures!

…a practice that will help you solve existing Story problems, make a Story more powerful or get started on a new project!

Brian McDonald – Visual Storytelling consultant for Pixar, Disney, Sony and ILM – one of my closest friends and my most trusted mentor – joins me for:

The Power Of Pictures: 4 Ways To Make Your Stories More Emotional.

Click through to start the lesson…

Watch The Lesson:

[ download the mp3 ] [ download the pdf guide ]

Lesson Transcript:

The following is a transcript of the full lesson (with links to each resource mentioned).

Introduction:

The Album Art for 'The Visual Storytelling Podcast.' An elegantly designed, abstraction of an orange tree. Art by Maike Venhofen.Hello, my friends, welcome to the first episode of The Visual Storytelling Podcast!

I’m your host Chris Oatley.

I’m a Visual Development Artist and Illustrator currently working for Disney.

…and here at ChrisOatley.com, I help Artists create dream careers in the Entertainment Industry.

Before we begin, download the PDF Guide and the mp3 for this lesson.

…and if you like today’s lesson, please share a high star rating (and, if you have time, a positive review) on our iTunes page at: ChrisOatley.com/iTunes

Tip #1: Write The Silent Version First

Words often get in the way of a good Story.

I know that might sound heretical.

…but even if you’re a passionate worshipper of words, one cannot deny the common belief that a picture, as they say, is worth a thousand.

…or more.

When you need to troubleshoot a Story problem or get a strong start on a new project, try applying the advice in this next clip.

Here’s Brian…

——–

[Brian] When you’re working in a visual medium like film or comics.

…particularly with film (but with any visual medium), there might be words, but the words are, essentially, secondary.

…and people don’t really understand that.

…and I’m actually kind of surprised, when it comes to film, how many people don’t understand that this is “Motion PICTURES.”

[LAUGHTER]

Early screenplays were called “photoplays.”

It’s about the picture.

…and when I talk with people and they talk about how “well” something is written, they always mean dialogue.

They never mean the Visual Storytelling – which is also a kind of writing.

They always mean dialogue.

…and they often mean the dialogue calls attention to itself in some way.

…and if it calls attention to itself they go: “Wow! Really well written!”

…but I’ll just see a bunch of talking and nothing will be reinforced visually and I’ll think it’s – probably – pretty poor writing.

I’m not going to mention any names but there’s a particular Screenwriter who always draws attention to his dialogue in a way that is – I think – distracting.

…but it makes everybody think: “What a great writer [this person] is!”

…but I find the work really distracting.

The characters are basically the same character…

[Chris] Well, that’s the irony of it, right?

We praise the dialogue but, even using dialogue as the metric for quality, it’s actually not great Storytelling because all of the characters are the same character!

…so, even if it was a radio play and we had nothing but sound effects and dialogue, it would not be good.

[Brian] Well, they used to say that in the radio days, when they wrote radio.

…because the way the radio scripts were written is: On the left side you’d have the characters’ names and on the right side you’d have the dialogue.

…and they would fold it in half so you can only see the dialogue.

…and they’d say: “If I can’t tell who’s talking by just reading the dialogue, then what you’re writing is crap.”

…but this particular writer (and a lot of writers now), you couldn’t do that with…

[Chris] Dialogue often breaks the spell.

[Brian] I think that’s true.

[Chris] Audiences want an immersive experience and yet we’re constantly reminding them: “Hey! Here I am behind the curtain pulling all the levers!”

[Brian] Yeah. I’ve said this before: Directors do it. Writers do it.

…where they’re very interested in calling attention to their work: “Look what I’m doing.”

There are Directors who say: “Look at me direct.”

…so it’s all “cool” shots.

…not effective.

Not about Storytelling.

…but about calling attention to: “Look at how cool this shot is.”

“Look at me direct. Look at me write. Look-at-me-look-at-me-look-at-me. Don’t look at the thing that I’m presenting to you…”

[Chris] …or yourself.

[Brian] Right.

“…but look at me and look how good I am at what I am doing.”

It’s a sort of self-centered way to work and it doesn’t actually make good Stories or immerse yourself in any real way.

[Chris] Right. It just gets people talking about you.

[Brian] Right! I guess if that’s your goal…

[Chris] …mission accomplished, I suppose.

[Brian] Yeah!

Mary Pickford – an old, silent movie star – one of the first movie stars – said something really interesting…

She said art usually goes from being complicated to being more simplified and being more refined.

…that it would have made more sense to go from talking movies to silent films.

[Chris] Yeah that’s amazing.

[Brian] Isn’t it?

[Chris] Something that has helped me tremendously has been: Write the “silent” version.

[Brian] Right. Yeah, when I, personally, write a screenplay or even a graphic novel, I’m trying to write a silent movie or a silent graphic novel.

When I have to write dialogue, it’s like: “Oh. This the limit of my ability to do this visually. I don’t know how to do this visually. Maybe in a year or two or ten, I’ll be better at it and I’ll know how to do this with pictures. …but right now I don’t.”

…so then I use dialogue.

[Chris] So dialogue is the last tool you reach for.

[Brian] It is.

[Chris] Why does the craft of Visual Storytelling – using pictures to tell stories – why is that such a richer experience for us?

[Brian] I think it’s probably more natural.

If you move from one country to another and you don’t speak the language, you have no idea what’s going on.

…and, quickly, you move into sign language.

…you move into visuals, right?

…because I think it’s much more natural.

Dogs will even indicate what they want in a kind of sign language:

“I want that thing right there!”

“I want out the door! *scratch scratch*”

…even though we’re not speaking the same verbal language.

…so I think that’s why.

I think it’s just more primal.

[Chris] Right. It’s deeper. It’s inherently more emotional…

[Brian] Yeah. And it’s gotta be older – in our evolution as a species – than language.

Tip #2: Create Space Between Your Words and Pictures

Though, for the Visual Storyteller, words are secondary, you can combine them with pictures to create dramatic effects that neither one is capable of on its own.

When words and pictures work together in complementary or contradictory relationships, the results can be hilarious, heartwarming and compelling.

Here’s an example from New York Times bestselling Author/ Illustrator Jon Klassen…

——–

[Chris] I’ll start with a children’s book called I Want My Hat Back by Jon Klassen.

Many people listening to this podcast are big fans of Jon.

…and here’s why.

Here’s why we love him so much.

…because he really is brilliant.

He has this bear who establishes (on page one) that his hat is missing.

…and that he wants it back.

…and then he proceeds with this sequence of meeting other animals.

…and he does this through the whole Story but I’ll just focus on the first, major, emotional moment.

The bear goes to see a fox and he asks: “Have you seen my hat?”

…and the fox says no.

…and then he visits a frog and asks: “Have you seen my hat?”

…and the frog says no.

In both of these images – with the fox and the frog – the images are designed to be as uniform as possible.

…and the only thing that changes is the animal that the bear is talking to.

The fox and the frog look like a fox and a frog but the design is very…

They’re still very similar in the way that they’re designed.

The color palettes are very neutral.

Nothing about the bear changes.

Turn the page and you have the exact same composition, the bear in the exact same pose with the exact same facial expression. Everything’s in a very neutral palette…

…and then there’s a little rabbit (in the exact same position on the page as the fox and the frog were) and the rabbit is wearing this bright red, pointy hat.

[LAUGHTER]

It’s just a red triangle, basically.

…but it just jumps off the page.

…and, already, we’re laughing.

…and it’s so impactful – I would say that the dramatic impact of this Story moment is maximized – I think it’s fully optimized – because of the discipline of those first two shots.

[Brian] Sure, yeah. I think that’s true.

[Chris] So much of the comedy in this moment is what you’re – the audience – is what you’re doing.

[Brian] Right.

[Chris] I mean – Jon Klassen – not to diminish his accomplishment at all. It’s amazing to be that simple and to be able to create a moment that emotionally impactful…

…but the fun and the punchline is happening with us.

[Brian] Of course it is.

With Visual Storytelling, you often connect dots. You’re putting A and B together and going: “Oh…”

[Chris] Right. We’re never told that this is the bear’s hat.

No one says this but we know.

So then, the bear asks the rabbit the same thing he asks the fox and the frog: “Have you seen my hat?”

…but now the rabbit has kind of a…

…almost a monologue.

[LAUGHTER]

…where he’s clearly overcompensating.

He’s clearly guilty.

…and so he goes on and on about how he hasn’t seen any hats at all.

…and: “Please stop asking.”

…and: “Of course, I would never steal a hat.”

[LAUGHTER]

He offers the word – the “stealing” part.

…and then the bear says ‘Ok. Thank you’ and moves on.

But now we know.

You’ll have to read the book to get the rest of the Story.

…and I highly recommend it.

But I just think that’s an amazing example because both things – the image and the words – work better.

[Brian] Yeah. The dialogue says: “I didn’t steal your hat. I don’t know anything about a hat. I’ve never seen a hat.”

[LAUGHTER]

…but the picture tells us that’s not true.

There’s space for the audience to participate.

We’re participating in this Story because we’re like: “But that’s the hat! He’s got your hat!”

So we’re participating.

If you do all the work, the audience can’t participate.

Tip #3: Don’t Forget To Use The Costumes, Props and Sets

Whether digital or handwritten, many Visual Storytellers begin their work in a text-based format.

…and, sometimes, words are the only thing a Storyteller has to work with.

…so it makes sense that our Stories often get too wordy.

When you get stuck in the process or have trouble getting started, look for inspiration in the physical – that is to say: “visual” – elements that exist within the world of your Story.

…like the costumes, props and sets.

While listening to this example from an obscure, 1985 western, try to keep track of all the ways legendary screenwriter Lawrence Kasdan used costumes, props and sets to create a funny, suspenseful (and almost entirely visual) sequence…

——–

[Chris] I’ve never seen Silverado.

[Brian] When it came out, I loved it because it was written by Lawrence Kasdan.

…and Lawrence Kasdan had written Raiders Of The Lost Ark and The Empire Strikes Back so whatever that guy was doing, I was following it.

I read every interview with him and then, later, I realized it didn’t have a very strong first act and so I think that’s why it hasn’t really stood the test of time.

It’s got too many focuses and it doesn’t really know what it’s about and it’s not simple enough.

…but I can still tell it’s the guy who wrote The Empire Strikes Back and Raiders Of The Lost Ark because there’s stuff in there that is as good as in those two movies.

This is a western.

Kevin Kline plays a guy who’s been robbed of all his stuff.

…so he’s in those red long johns that they used to wear and that’s all he has – these long johns.

A guy finds him in the desert and helps him and takes him to a town.

…and the guy says: ‘I’m gonna go take care of something. Go buy some clothes.’

…and he gives him a coin to buy some clothes.

So he’s all by himself. He’s in his underwear and somebody responds: ‘Oh my god!’

…because otherwise we don’t know that wearing those red long johns is like walking around naked in this world. So we need that cue.

…and then you see him spot somebody.

…and he has described the people who robbed him, so…

So you see him spot somebody.

He quickly moves his hand like he has a gun. He quickly slaps his thigh and holds it like he has a gun: “Oh. Dammit. I don’t have a gun!”

[Chris] Wow.

[Brian] It’s really nicely done.

So you go: “Okay, so this guy’s used to having a gun.”

So you know that about him.

So then he runs into a gun shop.

…and he picks up a gun and does all these fancy gun tricks.

…and he’s looking out the window – making sure that guy is still there.

…and he does all these gun tricks and you know: “Oh my god. He’s good with a gun.”

…and so he plops the coin on the counter and says: “I’ll take this one.”

…to the clerk.

The clerk has a pair of scissors which he puts in Kevin Kline’s chest and says: “No. This one is twenty dollars.”

So he can’t take that gun.

…and he keeps looking out the window like: “Oh my god, he’s going to get away!”

He wants to get out there with a gun so he says: “What can I get for this?”

…for the coin.

And what the clerk hands him is a rusty, old gun.

He hands him a rusty, old gun!

…and Kevin Kline’s looking at it and – as he turns it to the side – the barrel falls out in his hand.

[LAUGHTER]

…and, so, that’s the gun he buys!

He buys the gun and he’s loading it with bullets and he’s racing outside to try to get the guy who robbed him.

…and the guy sees him.

Kevin Kline’s still trying to load his gun and the guy shoots at Kevin Kline.

…and you see a hole underneath his crotch, in his red underwear.

[LAUGHTER]

…but he’s still calm and he’s still loading the gun.

…and then he loads it: BAM!

…shoots the guy dead in one shot.

[Chris] Wow.

[Brian] So you know he’s really good at what he does.

You know he’s a really good gunfighter.

You know that and nobody said a word.

Tip #4: Make Your Theme Visual In Every Way Possible

Storytelling evolved to become the most effective way of communicating information about how to survive and/ or thrive in life.

A good Storyteller makes it artful, elegant, and emotionally powerful.

But how do we design Stories that are both artful and focused?

How do we unify form and function?

Theme.

Theme is the lesson that your Story communicates about how to survive and/ or thrive in life.

Theme is a filter. Theme is focus. Theme is fractal.

Theme is both form and function.

Here’s what I mean…

——–

[Chris] How would you state the Theme of The Wizard Of Oz?

[Brian] I always word it: “You may already have what you’re looking for.”

…because it’s not always true, right?

…but you may already have what you’re looking for and so maybe you don’t need to go very far to find it.

[Chris] That’s good. That’s very succinct.

[Brian] Yeah, well, I’ve thought about it a lot.

[LAUGHTER]

[Chris] Dorothy – our protagonist – learns this lesson throughout the Story.

The Scarecrow, The Tin Man and The Cowardly Lion are also all manifestations of the Theme.

Scarecrow is looking for a brain.

We see throughout the Story that he already has a brain.

Tin Man is looking for a heart.

We see throughout the Story that he already has a heart.

The Lion already has courage…

[Brian] They demonstrate it throughout the whole piece.

…again, it’s visuals.

They demonstrate over and over again.

No matter what they say.

[Chris] No matter what they say. Right.

So you could do this example with Scarecrow or The Lion but Tin Man – I think – is the best example of the Theme made visual…

When we first meet the Tin Man he is rusted and stuck.

He can’t move. He can’t talk.

Dorothy and Scarecrow are coming down the yellow brick road they discover The Tin Man.

He’s able to sort of mumble.

…and they’re able to make out the words: “Oil can.”

…and so they grab the oil can and start greasing the joints.

He’s freed up piece by piece and he’s able to talk and move.

He says: “Go on. Bang on my chest.”

…and then Dorothy bangs on his chest and we hear the echoing sound inside his chest.

Then, later, he says: “The guy who built me forgot to put a heart in there.”

So we establish this idea that he doesn’t have a heart.

Tin Man has his song and dance.

…and then: “We’re going to go to the Wizard. He’s going to give you a heart.”

…and then we go to The Lion.

…and then there’s an encounter with The Witch.

…and then we see The Witch in her tower. She’s got a looking glass. She’s spying on the characters and she decides that she’s going to create the poison poppy field outside of The Emerald City.

…and when the characters run through, the flowers are going to poison them.

The characters arrive at the poppy field and they’re all excited: ‘Here’s The Emerald City!’

…out on the horizon – and they start running toward it.

…and Dorothy is the first to succumb to the poison poppies.

She starts getting lightheaded and needs to take a minute to rest.

…and now the characters are starting to get a little nervous. …starting to get agitated.

Dorothy passes out.

…falls down into the flowers.

Lion goes down.

…and then Scarecrow looks up at Tin Man and Tin Man is crying.

The Scarecrow says to him: “Don’t cry or you’ll rust.”

…so Tin Man’s first response – the picture we see…

…his first response to Dorothy and Lion – his friends – being in danger…

…is to cry.

…so we’re seeing empathy.

We’re seeing empathy displayed. We’re seeing how sensitive he is and that he does, in fact, have a heart.

…and then we see an image of Glinda superimposed and she creates this snow which, apparently, subdues the effects of the poppies.

So all this snow comes down and Dorothy wakes up.

…and Scarecrow is excited: “Oh, Dorothy! You’re waking up!”

…and he pats her on the shoulder.

The Lion is yawning.

[LAUGHTER]

It’s just so great.

Dorothy looks over and sees…

“Oh no!”

…and the camera pans to reveal The Tin Man just like he was in the first shot – except he’s not holding the axe up – but it’s a very similar pose.

So, now, we’ve charged this with emotion. We’ve charged this actual image of him frozen there – with emotion.

…and that image is not just proving that he does, in fact, have a heart.

…but it, also, is this icon of the Story.

[Brian] Yeah, it’s amazing.

Yeah. The movie’s full of that.

I don’t know why people don’t talk about it more.

[Chris] About The Wizard Of Oz?

[Brian] No. Nobody talks about this.

Nobody talks about the power of visuals.

Often when you talk to people about visuals, they talk about how beautiful they are.

People say this about cinematography a lot: “It was beautiful!”

…and I’m like: “Was it appropriate?”

…should it be beautiful?

Were they the shots that the Story needed?

Was it the lighting that the Story needed?

…or was it just beautiful?

They go: “I just watch this for the cinematography.”

…or: “I just watch this for the [this or that].”

…and I’m like: “Oh, that’s interesting. Why didn’t they put out a movie that’s just cinematography?”

[LAUGHTER]

“Oh, well, that would be boring? Oh, so they did try to make a Story. Well, they failed at that part.”

It’s like: “Well, if they just put out a movie with just fashion, let’s see how many people go.”

[Chris] Well, yeah. They already have that. It’s a fashion show.

[LAUGHTER]

[Brian] Right! Exactly!

[Chris] That’s why we do fashion shows.

…because we just want to go and experience the spectacle.

…and that’s fine.

I think that’s the other thing, too. …is that’s fine.

Let’s just – if we’re going to make a movie – let’s make a movie.

[Brian] Right. Or if you’re going to do a graphic novel, do that.

…but whatever it is, do that thing and honor its strengths.

[Chris] Yeah, right.

[Brian] It has certain strengths and you should honor those strengths.

…and honoring weaknesses is also a way to honor strengths.

…but you have to do that or you’re not using your medium to the best of its…

Um… You know what I’m saying?

[Chris] Maximizing the potential of the medium.

[Brian] There you go. Thank you. Thanks for using words I couldn’t find.

[Chris] Well, I owed you one.

[LAUGHTER]

[Brian] You did. You did.

Yeah, I don’t know how to evaluate anything if it’s not in service of the Story.

[Chris] Oh yeah. Well, sure. Then, otherwise, what is your measure?

Sign-Off:

Check out Brian’s books on Visual Storytelling and also his new graphic novel from First Second Publishing. It’s called “Old Souls” and it’s awesome.

…and if you haven’t done so yet, download the PDF Guide and the mp3 for this lesson!

…and if you find this podcast helpful or inspiring, please share a high star rating (and, if you have time, a positive review) on our iTunes page at: ChrisOatley.com/iTunes

If you have a Story that you know you have to tell, but you’re struggling with the process, please consider joining our Visual Storytelling course at ChrisOatley.com/TellMyStory

Until next time, my friends, remember: In a visual medium, words are secondary.

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Disney Visual Development Artist/ Illustrator Chris Oatley helps Artists and Writers find healthy, fulfilling careers in Animation, Games, Comics, Film and Illustration.

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Comments

  1. john says

    July 10, 2019 at 7:09 am

    Can’t go wrong. Thanks Chris and Brian. Show, don’t tell plays on a loop in my head as i write so why is it so easy to just keep telling?

    • Chris Oatley says

      July 10, 2019 at 8:47 am

      That’s a great question, John. Check out this post about Semantic Memory and let me know if it provides any insight: https://en.wikipedia.org/wiki/Semantic_memory

      Thanks, as always, for the encouragement.

  2. Ben says

    July 10, 2019 at 7:28 am

    This is so spot on. I have a hard time enjoying movies for the sake of enjoyment anymore. The film has to have meaning and it has to communicate that meaning or I don’t enjoy it. Sometimes I feel cheated…especially if I’m paying to go see it. I’ve been accused of being a killjoy or a story snob the past few years because I refuse to love a movie simply because I “should.” I have Brian to thank for that! After reading his books a while back it put into words the things that I couldn’t quite get across before. I don’t mean to come across like I’m “elevated” above everyone else but I feel liberated with that knowledge. Like my tastes have not only changed but improved. I only hope I’m able to share the same knowledge someday and be able to tell some good stories along the way! Thanks for this post Chris! It was cathartic for me!

    • Chris Oatley says

      July 10, 2019 at 8:53 am

      Awesome, Ben! Yes! While a true understanding of Story can make some media harder to love, it makes the truly great work even more amazing. #neverwannagobackintothematrix

      Thank you for the comment!

    • Brian McDonald says

      July 13, 2019 at 11:20 am

      Hey Ben,

      I was once talking to a guy about a popular show that I didn’t thunk was very good he said to me, “You’re on your own there!”

      The thing is that I don’t make my decisions on quality based on what everyone else thinks and I can’t think on a single artist of significance that has.

      No one great has ever said, “Run with the pack!”

      I have been accused of not liking movies in general because my standards are “too high”. But it’s just the opposite. I love movies (comics, books, TV) and know how amazing they can be when they reach high.

      I have learned that most people are not interested in doing great work and are content with being adequate. Greatness requires something of you that many are unwilling to give. It’s much easier to like what everyone likes and do what everyone does. It’s less risky.

      The legendary playwright Lorraine Hansberry said, “The thing that makes you exceptional, if you are at all, is inevitably that which must also make you lonely.”

      That’s too high a price for some.

      Keep studying the best work and learn all you can from the greats. Don’t settle for adequate in yourself or anyone else. That has always been the path to greatness, but you’ll meet very few fellow travelers on that path.

      • Prem says

        July 18, 2019 at 3:32 pm

        Very true..
        Thanks Chris n Brian!

  3. Diana says

    July 10, 2019 at 7:43 am

    So excited to have listen to the podcast again! I have needed this company. Great job guys! I love how succinctly insightful these lessons are.

    • Chris Oatley says

      July 10, 2019 at 8:54 am

      Thank you, Diana! So glad to hear you like the show! If you have any questions or requests, just let me know!

  4. Paul Joseph Nicholson says

    July 10, 2019 at 8:14 am

    Love the new podcast. I’m always trying to think of better ways to communicate my ideas visually and these tips really help. Show, don’t tell will be my new mantra from now on.

    • Chris Oatley says

      July 10, 2019 at 8:56 am

      Great to hear it, Paul! Can’t wait to see how your already-fantastic work becomes even more visual!

  5. Andrea Ivetic Vicai says

    July 10, 2019 at 9:14 am

    Movies used to have a point, a theme, a goal, something they wanted to say … now, it’s all about how flashy it is, it no longer has depth or spirit. The language of film has been totally forgotten.
    If you tell a story and someone asks you why is this character doing this, or why is this scene the way it is, or any kind of why and you can’t answer it, you did a bad job. At least, that is my opinion.
    Thank you for another awesome podcast, and some food for thought!

    • Chris Oatley says

      July 10, 2019 at 9:54 am

      Thanks for the comment, Andrea! It’s certainly harder to find great Visual Stories in movie theaters these days. Digital spectacle often seems to be the priority. But take heart! Great storytelling is still alive. Just recently, we had “Eighth Grade” and “Black Panther.” Those are just two off the top of my head. There’s a lot of good stuff being made for the small screen. You’re absolutely right that a focused point is key. We would be wise to consider more closely the work that has come before us. Thanks again!

  6. Melissa Peterson says

    July 10, 2019 at 10:07 am

    Thanks Chris and Brian! I enjoyed the podcast! I feel motivated when you send out these lessons. I appreciate the time and effort you put into them. It can sometimes feel overwhelming working on a project especially when it seems to keep growing. I’m working on expressions with my characters more and your talk is a boost to the process. Thanks again!

    • Chris Oatley says

      July 10, 2019 at 10:45 am

      Thanks so much, Melissa! So glad to know we’re helping to provide motivation through the more challenging aspects of your project! Stay strong! Thanks again.

      • John says

        July 11, 2019 at 5:44 am

        Ok, lemme try this out…
        Repeating facts/telling is a habit, just like gesture sketching is a habit. (semantic brain “muscle” vs imaginative/ creative brain muscle).

        The “show, don’t tell” mantra is there to help me see which habit I am in and signal me to shift modes. If I am still finding it hard, the dominant brain muscle of logical descirption is overpowering my desire to just be more creative. I haven’t found a new mode I am just trying to render my way out of a fundamental shift.

        The habit of telling the silent version is a way to “tie my dominant right hand (semantic brain) behind my back” so that my left hand (creative, experiential, showing brain)
        can develop it’s muscle memory. I guess i need some different writing exercises. (https://www.simpsonsworld.com/video/302317635760)

  7. Mona Lloyd says

    July 10, 2019 at 11:17 am

    The new theme song gives me chills every time I hear it!

    I really treasure your episodes with Brian. I mean, you’re both awesome on your own, but I just love how the conversations between you both develop and flow, it’s just so energizing and inspiring to listen to them!

    The tips you shared are super helpful and well put, thank you both so much for such great advice! (I gotta get myself all of Brian’s books haha)

    • Mona Lloyd says

      July 10, 2019 at 11:21 am

      *I find the first tip especially helpful and Brian’s comment about writing for radio and having to be able to know who’s talking without seeing the name of the character is so good. That’s a great exercise right there! (I struggle with differentiating dialogue/accent/voice a lot when writing, I think that’s were most of my insecurities of not being an English native speaker have decided to set up shop.)

      • Chris Oatley says

        July 10, 2019 at 11:39 am

        Thanks for sharing, Mona! And thank you for the kind and encouraging words. Brian and I had a blast recording this episode. He’s a very special person and I’m lucky to know him. …and yes, writing for a language that is not one’s first seems to be really challenging. Fortunately, “the power of pictures” can solve that problem (mostly). That’s one of the reasons I love Sylvain Chomet. He really gets it.

        • Mona Lloyd says

          July 10, 2019 at 11:55 am

          I have not yet watched/read anything by Sylvain Chomet, is there anything you can recommend?

          • Chris Oatley says

            July 10, 2019 at 11:59 am

            Triplets Of Belleville and The Illusionist are both masterpieces, in my opinion.

      • Brian McDonald says

        July 11, 2019 at 11:46 pm

        Thank you Mona,

  8. Rhiannon says

    July 10, 2019 at 6:13 pm

    Yay new podcast! Inspiration is back on the menu boys! Tip #2, create space between words and pictures, reminded me of a book I just read; making comics by Scott McCloud. He had 7 ways words and pictures can interact. Using words or pictures more heavily to describe a story, having them work together, independently or interdependently. Tip 2 was the interdependent approach. He suggested being aware of these relationships and knowing when each might heighten the effect of the story. I thought it was really good, I’d recommended anyone check it out. Loved the way you guys put that point actually. Thanks so much for taking the time guys! Awesome episode!!

    • Chris Oatley says

      July 10, 2019 at 6:27 pm

      Scott is awesome. I look forward to reading that again. Thanks so much, Rhiannon! Hope you’re well!

  9. Amie Farrell says

    July 11, 2019 at 1:00 am

    This was a wonderful podcast and just from those 25 minutes alone (it was over too soon!) I was able to peek behind the curtain on how you both analyze films and stories through thoughtful observation. Both the Jon Klassen and Wizard of Oz reference really resonated with me, I cant wait to start making those visual connections between the characters and their stories on my own! Also “just do the thing” while still honouring its strengths and weaknesses, definitely something I needed to hear and work on. Thanks as always for being two of my favourite people to learn from. (Love the new podcast!)

    • Chris Oatley says

      July 11, 2019 at 2:33 pm

      Amie! Thanks so much! So glad you’re getting so much out of the show! And thank you for the encouraging words. You’re awesome!

  10. Brian McDonald says

    July 11, 2019 at 11:49 pm

    Thank you, Mona.

    So glad you got something from the talk.

    You’re concern about not being a native English speaker was also an insecurity of Billy Wilder. He was one of the best writers EVER in the movies and was really great with characters.

    Let Wilder be your inspiration.

  11. Sway Molina says

    July 15, 2019 at 4:40 pm

    I constantly go back to Charlie Chaplin, Rowen Atkinson, and many others who were great with physical comedy ( and storytelling) to learn a thing or two. I do every time! My latest curiosity is to learn from mimes. I catch my being more physical on stage ever since I started paying close attention to this. I wrote a short script before listening to your podcast. It did challenge me? I’m telling too much? lol. Thanks for the reminder!

  12. Rebecca Weis says

    July 17, 2019 at 5:42 pm

    Wow, I never thought about it, but writing the silent version first does make sense. That way I can focus more on trying to convey a particular emotion than I do with words. Often I write (or type) too much dialogue then I have to go back and trim down paragraphs or sentences to communicate what I want a character to say or feel.

    I laughed when you mentioned the children’s book I Want My Hat Back by Jon Klassen. I didn’t get why people thought it was such a great book, until I read his second one. I didn’t read this one with the bear, but I can really see the point you make about how much of a help creating space between your words and pictures for your story. That’s so true Brian, that as artists or writers we mustn’t do all the work or the audience can’t participate, that’s something I certainly need to keep in mind.

    Ohh excellent 3rd point! I’ve slowly started saving reference images for my story that have to do with characters, their outfits, the items they carry, what places they might walk or ride through etc. But when I get stuck I haven’t been looking at them for inspiration to help me move forward. I think I’ll try it.

    Wow Chris, your right, that’s what I like about stories they have a certain theme. I haven’t really devoted time to focusing on what my story’s theme is. I have some ideas, but after listening to you point out how important theme is, I realize I need to fine tune what mine is so that it informs what I story want to tell.

    Great VSP #1 Podcast Chris!

    Rebecca

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