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Psych 101

The dark tyranny of crickets

July 27, 2010 Psych 101, QandA

questionmarkLong story, short. Me and a very small group of people spent years working on an animated show for the web.

Funny thing was, once we unveiled it, the reactions, were, well… odd.

We received a few kudos, but the typical reaction was either, a) silence or b) pure unadulterated hate.

It’s hard to tell which was more bizarre. Granted, it was a web show, financed out of our own pockets, but some people seemed to expect Pixar quality animation or something, which was well, kind of weird. Not too many people rip on a video shot on a webcam because it’s not on Hollywood 35mm.

But the general silence and lack of enthusiasm, from even friends and family ranging in age and demographics, is probably stranger. Many people didn’t even bother to give us a polite ‘congrats’ or patronized us with a mere ‘cool’. It’s hard to tell if they even watched it.

I don’t get it. The show doesn’t suck. It’s based on an original concept, yes, but it’s not like some abstract, experimental, avant guard production. Maybe not for everyone, but nothing offensive or inflammatory.

Honestly, it almost feels like people really need to be told what to like, and then it’s ok.

As an industry vet, does any of this sound familiar? I truly believe we have a good show with a great concept.

— Peck
NY, NY

First, let me offer you sympathy and commiseration. I’ve been there. I’ve killed myself writing things that were met with indifference. It sucks.

Over the years, my skin has gotten thick enough to handle most criticism, but there’s no way to prepare yourself for crickets. Creating something is like a pitching a ball. You expect someone to catch it. So when they stand there with their arms crossed, letting it roll on the grass, your frustration is justified.

But where do you focus it?

Do you blame yourself? If I’d just worked a little harder, they would have loved it.

Do you blame your friends? If they’d just been more enthusiastic, and forwarded it to their friends, it could have gone viral.

Do you blame the audience? They’re sheep who won’t embrace anything unless someone else tells them it’s cool.

If you’re like me, you probably cycle through all these blame targets repeatedly.

I don’t have any great advice for what to do with your web show. Switch mediums? Change a major element? Hope it becomes big in Japan? Maybe you made the next Hello Kitty, and just don’t realize it yet.

A few suggestions might point the way going forward on new projects:

1. **Let yourself fall in love again.** Once burned, you may be reluctant to fully commit to the next idea. Don’t be. Let yourself get obsessed and passionate. Caution rarely leads to awesome.

2. **Given the choice, fail quickly.** This animated project took years, so the emotional cost was very high. If you had been able to make a version of the idea faster, you would have learned whether it was likely to work.

3. **Preselect your superfans.** I have a few people who tend to like everything I do. And while I value their insights, I mostly value their praise. Yes Men are fine as long as they’re not the only voices you hear.

4. **Plan your launch as carefully as you plan everything else.** As I’ve written about with the struggles of indie films, you have to think about the end of the project right at inception.

Keep in mind, you could take every word of this advice and still face crickets. That’s simply the risk of trying anything creative.

All of the other reindeer

July 2, 2010 Geek Alert, Psych 101, Story and Plot

A few months ago, I discussed how [Every Villain is a Hero](http://johnaugust.com/archives/2009/every-villain-is-a-hero) — very few bad guys perceive themselves as bad guys, so you need to think of their motivation in heroic terms.

I just finished playing the Descent into Darkness scenario for Battle for Wesnoth, ((Wesnoth is an old open-source game now available for iPad.)) which provides a surprisingly good example of this lesson.

The story follows Malin Keshar, a young mage trying to save his village from orcs. Desperate, he uses a little necromancy in a pinch, which gets him banished from his homeland. As the twelve chapters unfold, bad decisions snowball until the story reaches a satisfyingly bleak conclusion.

Reading up on the scenario afterwards, I came upon this description of Malin’s dilemma, a trope called [All of the Other Reindeer](http://tvtropes.org/pmwiki/pmwiki.php/Main/AllOfTheOtherReindeer):

> A character is surrounded by people who constantly put him or her down, usually because of some trait that is integral to them being a hero or villain. It seems the only responses one can make to this are the extremes: “put up with it silently” or “let them die/kill them all.”

> If a hero, the character will constantly show their virtue by putting up with it and saving their tormentors’ lives again and again. Said tormentors will be grateful for about five seconds (that is, until the end of the episode), and then start it up again.

> If a villain, they’ll inevitably explode and slaughter their tormentors, to the barely disguised envy of the audience. Oh, the hero will stop them eventually, but not before most of those who wronged the villain are taken out.

That’s a great roadmap for one kind of villain backstory.

And if you haven’t spent an afternoon [clicking through TV Tropes](http://tvtropes.org/pmwiki/pmwiki.php/Main/Tropes), it’s well worth the time suck.

Worst-case thinking for the screenwriter

May 17, 2010 Genres, Psych 101

Bruce Schneier on the [danger of worst-case thinking](http://www.schneier.com/blog/archives/2010/05/worst-case_thin.html):

> You can’t be too careful!

> Actually, you can. You can refuse to fly because of the possibility of plane crashes. You can lock your children in the house because of the possibility of child predators. You can eschew all contact with people because of the possibility of hurt.

He argues that we’re making bad decisions on the basis of what is possible rather than what is probable. Does anticipating disaster really make us safer? Are the costs worth it?

Schneier and I agree that one group certainly benefits from this kind of Black Swan doom-and-glooming: screenwriters.

> Basically, any fear that would make a good movie plot is amenable to worst-case thinking.

When I’m waiting for a meeting, I’ll often wonder, “If Godzilla fell back into this building, knocking it over, would I climb ‘up’ or ‘down’ to get out?” That’s somewhat productive thinking for a screenwriter.

For a policy-maker, less so.

Should she take anxiety medication?

April 16, 2010 Psych 101, Random Advice

questionmarkI was recently prescribed an anti-anxiety medication, but it’s just sitting there on my desk, untouched. My concern is that it will affect my ability to work — I am a writer, in a Graduate program, coming to the end of the second semester of my second year (of three). Now is absolutely not the time to be inhibited in any way.

On the other hand, I was prescribed it for a reason, advised to take it on an “as-needed, it’s-up-to-you” basis. But I was also advised that the medication could cause drowsiness, an inability to focus, etc. So what would you do?

Say you had to have a second draft of a new screenplay, a first draft of an original TV pilot, a spec script for another TV show, 2 short scripts and a 20-page essay due for… an entertainment magazine (yes, this is an accurate reflection of what I need to finish in the next… 20 days or so), would you take a chance and pop a pill? Or power through and hope the stress does not overwhelm you?

— Jenny
New York

random adviceFollow the directions on the label: take it when you need it.

I’m not a doctor or pharmacist, but unless they told you otherwise, you don’t need to take it prophylactically, the way you take medication for depression or other conditions. If at this very moment you are spinning with anxiety that needs to be shot down, take the pill. Maybe it will help. Maybe it won’t.

My only experience with anxiety medication is Xanax. I take it so I can sleep on international plane flights. ((Yes, for sleeping on planes there are other medications I could take that are strictly sleep-related. But Xanax works and doesn’t make me freak out, binge eat or forget the past few hours. So I’m sticking with it.)) A writer/producer I worked with years ago took it much more casually, half a Xanax with a glass of wine at lunch.

It made him calm, which made my life less stressful. But his productivity was functionally nil.

Anxiety medication isn’t going to help you write. It may help keep you from running full speed off a cliff of panic.

More than any pill, you need some serious work intervention. There is no way you’re going to write all of those projects, so you’re better off dropping a few now rather than waiting for missed deadlines to drop them for you.

Aim for smaller victories to avoid bigger defeats.

Write the thing for which you’re being paid. If that’s the magazine piece, buckle down and get it done way ahead of schedule. Then take half a day, see a movie, and get started on the next most important project.

In a graduate school writing program, your grades don’t matter at all. So disabuse yourself of all valedictorian fantasies, or the desire to make your professors happy. You’re much better off leaving with two great scripts than eight decent ones. Don’t waste time writing things you don’t believe in.

Play this smart, and you may never need to open that bottle. But if you do, don’t beat yourself up over it.

Our brains are wired for a completely different existence, one with lions and bears trying to eat us. Your neurochemistry treats a spec pilot like a predator. It may need some help sorting itself out.

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