Dialog must be Relational

Conversation is about Relationship, Not Information.

pexels-photo-89873There are talkers and there are listeners that will hopefully never meet. They’re missing the chief cornerstone of relationship when only focused on half of the equation. Talking and listening actively is relationship.

Talkers can never learn or be satisfied until they listen equally as well. The listeners will bust at the seams until they share the valuable information stored within their heart. Communication is the only relational tool that unites the human race and forms culture.

During one film shoot, I directed a group of actors who were very different from their characters. The joy on set was high, as the talent played with roles that stretched their imagination beyond the stereotypical. After great contemplation they delivered heartfelt performances that opened our eyes to new perspectives.

One woman, who was an intellectual, played a ditzy blonde type that had a heart for kids. Her research brought the perception that “ditzy” was based on circumstances of how the person addressed the unknown. Curtailing the stereotype, she resisted playing the person that when jolted by a comment would say the first words that came to her.

She entered the scene as a brunette who led with undefined empathy, which became clear by the end of the scene. The actor’s choice gave the feeling of “ditzy,” but without showing a lack of intelligence. This resulted in the character coming across as empathetic and what I called squishy-warmhearted.

This empathetic quality came out because of the conversation between her and another leader. The dialog revealed the heart of both people and their relationship. It was more than just an exchange of information. The expressions of each character’s souls were on the line, demonstrating their courage in conversing.

Ursula K. Le Guin in her essay titled “Telling is Listening” published in The Wave in the Mind: Talks and Essays on the Writer, the Reader, and the Imagination, shared the following complexities of human communication:

“In most cases of people actually talking to one another, human communication cannot be reduced to information. The message not only involves, it is, a relationship between speaker and hearer. The medium in which the message is embedded is immensely complex, infinitely more than a code: it is a language, a function of a society, a culture, in which the language, the speaker, and the hearer are all embedded.”

The film was powerful because each character did more than communicate information. Their expressions and backstory came through in how they presented each comment. Even their reaction shots revealed how they were impacted through the courageous interchange.

The audience was mesmerized and fascinated by the dialog, not because it was written well, but because of how it was crafted using the embedded elements of each character within the exchange. The dialog was far more than words or information. It was real in everyway.

I made an interesting note the night after the shoot that read, “Dialog is about relationship, not information.” Whether a discussion occurs in real life or on screen, it is only of value if it develops the relationship. Talkers who talk without listening and listeners who listen without sharing are not interesting because they are only focused on themselves.

© 2017 by CJ Powers

Nuances Touch Audiences

RedWhiteBlueLiving next to train tracks delays my exit from the parking lot often. It gives me the opportunity to watch the characters biking, walking, jogging and running on the Prairie Path just north of the condo. Once the tracks are clear, I focus on the unique cars that stream past until I can find a break in traffic to pull out.

This morning I watched three cars drive past that were equally spaced from one another and moving at the same speed. The first car was red followed by a white car and then a blue one. Not only was the timing of the moment unique with the fourth of July around the corner, but also the cars had marching tonality in its colors.

Moments like these make me wonder if someone is trying to send me a message. While I find it highly unlikely, I do have to acknowledge that wonderful moments, no matter how simple, happen far more often than we let on. But most instances are missed due to the cares of the day.

The best benefits of observation come from seeing the beauty in the mundane, cleverness in the random, and amazement in the details.

Beauty in the Mundane

There is a certain innocence found in the unadulterated. Its ignorant purity brings beauty into the world like an unsure fawn experiencing fresh fallen snow for the first time. The quality of innocent naiveté reveals the best in us as a people. It can bring hope to our lives that provide the crisp feelings of being unsullied by our past. This unpolluted hope invigorates us to act out of selflessness for the sake of others.

Cleverness in the Random

The wise know that finding cleverness or any other form of intelligent thought suggests that what we view as random can many times be labeled as “divine appointments” or “God-incidences”. The mere aspect of intelligent design reflects the impossibility that ingenuity in the random is far from aimless, haphazard or accidental. The culmination of the unrelated to form a whole greater than the sum of its parts is truly a generous and heartfelt gift.

Amazement in Details

Strolling down the Prairie Path between the times I get home from work and dinner being served is relaxing and inspirational. Along the path are wonderful displays of nature that sometimes grabs my interest enough to take a picture. The closer I move the camera in the more intricate the patterns I see. The opposite is true of manmade items, as errors and an array of fragmented mistakes that lack precision become evident.

Intelligence in the arts always brings about a higher quality that audiences appreciate. The art that lacks attention to the finer points always falls apart when scrutinized by the discerning eye. This leads me to believe that focusing on the nuances of the arts, which takes longer and is more costly, is far more rewarding for the audience that it’s designed to touch.

© 2017 by CJ Powers

Managing Daunting Projects

startup-photosLast Saturday I interacted with several generations at a friend’s 95th birthday. Typically during events of that nature I get to learn a lot about people and observe things that get tucked away in my brain for future use. But this time a person brought up my latest novel (Steele Blue) and asked, “How were you able to write an entire novel? Isn’t it such a daunting task?”

I answered, “It’s not all that difficult if you write it 500 words at a time.”

Now, I’m aware that my answer was a bit simplistic when you consider story structure, character development, and the other intangible elements that must be carefully crafted into a novel. But the person’s face suggested a concern about how to overcome very large and overwhelming projects.

Last week I happened to be consulting with a CEO of a marketing communications firm that specializes in elite professional speakers. The question raised to me was very similar and went something like this, “How do you manage the myriad of elements it takes to make a movie?”

Again my answer was simple, just like you’d give an answer to the question, “How do you eat an elephant?” One bite at a time.

There are three steps I take to break down the overwhelming into manageable bites:

STEP ONE: Assess the project scope.

The 50,000-foot view is a great starting point to understand the maximum effort required for a project. However, a 10,000-foot view makes for better decision making because it includes all departments and freelancers that will have their hands in the mix.

Before I break down a movie script to determine budget and schedules, I must first understand the “why’s” of the project and who will be heading up the departments necessary to capture and translate the vision into a reality. This insight immediately tells me what size ballpark we’ll be playing in and the rough estimate of the cost to produce the picture.

As a director, I’ve found that Anthony DeRosa, who’s worked on numerous Nickelodeon and Disney projects, is one of my favorite producers to work with. The reason is because he and I have a shorthand of quickly determining if a script is a $3MM, $12MM, or $40MM project. It allows us to quickly assess what level of actors will be tapped for the show and what team might be best to spitball the visual effects budget.

The bottom line is that only speaking at the level of vision and goals is not sufficient for breaking down daunting tasks. It must be broken down for each department head to fill in the blanks of what he or she knows is needed to accomplish the task.

In the case of an author or consultant, the work needs to be looked at from the standpoint of available time slots. No consultant can work on more than four projects in a given day because it takes time to ramp up and review the previous day’s work, plus have enough time to do something significant to move the project forward. Most experienced executives will try to limit their productivity to no more than two projects on any given day so they have enough time to meet quality standards.

STEP TWO: Look for natural breaks.

When you look at a work of art you see the whole that makes an impression. But when you study it, you see all the segments that make up the whole. In a story there is always (or at least should be) a beginning, middle and end. In film you have the three-act structure.

In nature, you see patterns of fractal art. Take a closer look at a tree. Its trunk branches out into large branches. Each large branch then, in the same artistic fashion, extends out with more branches. This pattern continues until you have a full balanced tree of branches. Next the leaves come in, and the piece of art is complete.

Finding the natural breaks in a project reduces the pressure and allows for the steps to be aligned to a calendar for easy management.

When I was at a large technology company I was tasked to sell $480MM in switching equipment to one customer. After meeting with the CEO, I learned that I needed to get the written and signed consent from certain key vice presidents before the sale could be completed. I then learned from each V.P. that I needed agreement from key directors, who needed buy-ins from senior managers.

It took me two and a half years to collect support from all players. Everyone added great insights to the project, which also altered the configuration to exactly what the company needed. I closed the deal after a long presentation of input to the executive board including the new offer for $750MM.

That meeting was the easiest close I had ever experienced because I had reduced the entire project down to 300 pieces of research, presentations and sign-offs. The CEO was thrilled because he knew the $480MM project didn’t fit, but loved the perfect custom package, and the future profits the new offer provided.

STEP THREE: Develop specific action plans.

Zig Ziglar, arguably the greatest salesman of our time, shared a story about a father giving a party for his newly available daughter. The father hushed the crowd and told the eligible bachelors that the first man to swim the length of the pool without being bitten by the alligators that he stocked in the pool for the night, would receive $100MM and his daughter’s hand in marriage.

A splash was heard at one end of the pool, and after a series of frantic strokes a young man emerged at the other end. The father asked the young man what drove his decision to risk his life: his daughter’s hand in marriage or the $100MM. The pale looking man answered, “Neither. I just want to know who pushed me in.”

Clearly the young man didn’t know what he was doing or why he had “won.” No one is capable of knowing if they achieved a goal unless they first set it in writing and objectively measure the outcome of their activities. Before taking action, people also need to know what’s in it for them, which is the strongest motivator that we hold dear.

A written action plan must include the following: measureable objectives, motivational benefits, self-assigned awards for success, resources needed to accomplish the tasks, and the next steps for the portion of the project during that stage.

With these three steps in place, the daily tasks are reduced to simple steps that are easily accomplished with little emotional concern.

© 2017 by CJ Powers