I got together with a couple dozen creatives over the weekend for a workshop on story. It was a great time of networking with like-minded artists. Jim Krueger, a storyteller, comic book writer, novelist and filmmaker, was the keynote speaker. He’s most known for his works (including Earth X) at Marvel. He also won the prestigious Eisner Award for Justice (DC Comics).
Jim pointed out the three things that all writers need to do each day: write, read, and watch.
WRITE
Writers need to write everyday to strengthen and mature their “voice.” Jim, who tries to write four hours every day, believes that the writing process helps us to pour out the very thing that can fix our broken world. He also suggested that we have to know ourselves in order to find those internal nuggets of value that are worthy to be shared.
He gave us an exercise to write down our top 10 films that we love followed by the top 10 films we hate. The correlation was amazing and helped us to discover the passion that stirs within us. Within the stories we hated was an internal “No” wanting to be expressed. This pensive drive reveals the “Yes” that we want everyone to embrace—the very thing we must write about to be fulfilled.
READ
Screenwriters need to read the best scripts in the genre in which they write. Authors need to read the best books in the genre they write. Studying the best allows us to improve our techniques, while also learning what has already been done. Unique character reveals, rhythms, and pacing become second nature when we immerse ourselves in the writings of the best.
Being able to spot in others’ works what makes us feel good, and why, helps us understand how to craft our own stories that inspire. This is an important base element in writing that will attract followers and build a fan base. It’s the fulfillment of a natural need, according to Jim, who said, “People need to feel good about themselves after watching your story.”
WATCH
Since our world was transformed from a literary to a visual culture, Jim recommended that writers watch feature films and long form television to study what’s being created for the market and what is well received. While he didn’t intend to do a commercial for Movie Pass (now $6.95 for a monthly subscription program), he did recommend going to the movies often for study purposes.
James Patterson, who writes first thing every morning, shared in a class that I took a couple years ago, how he heads to a theater and watches a feature film after his morning writing session. Since he goes daily, he doesn’t always stay for the entire picture, but learns what he can about the market, what’s been done in the realm of stories, and any story techniques that he can observe and capture.
After convincing us that we all needed to be writing, reading and watching, Jim shared that the rules of story must also be followed with no exception. “Rules as a storyteller are never to be broken, only worked around with loopholes,” he said. When rules are broken, the audience can’t easily follow the story and loses interest, so it’s important to make sure the core elements or the logic and reasons behind the rules are never altered.
Jim pointed out that the limitations put on the storyteller are actually valuable creative tools. “Limitations allow us to put surprise and wonder into place,” he said. Understanding how wonder plays a role in the development of entertainment gives us the fuel to explore an idea until it rises to its best version before releasing it to the audience. Jim suggested that it could take anywhere from 4-6 weeks for an idea to mature to its highest value.
At the end of the day, Jim autographed three panel original art from his next published work due out in a few months. Keep your eyes out for his work.
I recently coached a young filmmaker who wrote a short story that demonstrated a significant amount of confidence in his work. The artistic choices were bold and he didn’t allow any inexperience to slow his approach. The script was resolute in his desire to thrill the audience. The boldness of the character alone was enough to capture the audience’s attention as he struggled to discover what had happened to him.
The most repetitive conversation I had at a recent conference was about the difference between redemptive and faith-based stories. They shared that a redemptive film has five motifs that permeate the story, which delivers a single message. In contrast, faith-based films do not have commonality of format, form, or motifs, and always have multiple messages within the story. 
CJ's Corner 