Finding Your Voice

After spending a few minutes with me you’ll find that I tell a lot of stories. I come by it naturally, as my dad told stories every night at the dinner table. His daily adventures as a cop were thrilling, hilarious, or absurd. And yes, he did get shot in the line of duty and lived to tell the incredible story.

Even in his death, dying in a mysterious plane crash during a freak storm, he guided me with clues into a life of storytelling. I found myself hunting down every unanswered and mysterious story behind his death. My curiosity grew, as I delved deeper into the 100 out-of-place coincidences that I discovered.

5357__ROlJiMzo6Later in life I’d hear Hannah Brencher share about how our voice, as a writer or filmmaker, is birthed in our experiences and emotions. Brencher said, “Live and then write it down.” It’s such a simple activity that develops our voice, yet it’s all too often overlooked.

The process solidifies our experiential and emotional patterns rising from our soul to our consciousness—the very thing that determines our life passions. Once we see these patterns outside of ourselves, our minds are capable of standing firm in our beliefs and perspectives. The repetitive nature of the process also strengthens our resolve and gives us the tools to help others.

But our value is of little worth to those we inspire, unless it’s coupled with the elements that can seed their life for great results. To bring a sense of fulfillment to our followers, we must find a way to teach, rather than just inspire them. We must transcend the typical story by salting in life elements that can be embraced by those we serve with our words and films.

Brencher shared how she went camping with no more than the idea of camping on her mind. She wasn’t prepared, and had no idea how to build a campfire useful for warmth and cooking. Thankfully a guy one site over lended a hand and built her campfire. He also replenished it later that evening and fueled it again to cook breakfast.

That afternoon he broke camp to continue his travels. She too left, even though she paid for two nights, because she still didn’t know how to make a fire. In that moment she realized that inspiring people is nice, but teaching them how to inspire themselves is better. The experience raised a new passion in her that would permanently alter her voice. She learned that as a writer she needed to give everything she had, not just the inspirational pieces.

Give everything you have “in the moment you are asked to give it all,” became Brencher’s new moto. It’s a moto for those with little to share and those with a lot. The size and strength of our voice is not what’s important, but the value we bring to others.

Brencher’s voice was uniquely hers and couldn’t be copied by anyone else, except through plagiarism. No one is able to create a similar voice that can stand the test of time. It’s only when we dig deep within our personal experiences and emotions will our voice rise and be like none other.

Spending a couple decades listening to my dad share true-life stories, coupled with a rise in my curiosity from the 100 bizarre coincidences associated with his death, sent me on a journey of countless experiences and emotions that forged my voice…. A voice that was like none other. A voice that hopefully inspires and teaches.

Maybe it’s time for you to consider journaling to bring your needed voice to the forefront.

© Copyright 2018 by CJ Powers

Write, Read and Watch—Lessons from Marvel’s Jim Krueger

Jim_CJ_Art

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.

Copyright © 2018 by CJ Powers

Confident Creations

© Peter Kim - Fotolia.comI 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.

This confidence in one’s art comes from practice and exploration. There is no other teacher that can raise the tone necessary for the proper development of a story. An internal boldness must surface in order to birth a vision of magnitude.

“The more you practice, learn, and make discoveries, the more confident you will be!” —Tim Delaney, Concept Development

Confidence is not the sole key to successfully developing a story. All creations need to take on a life of its own and transform throughout, as the plot points are ticked off, heading diligently toward the climax.

However, the backbone of any good story rises from the creator’s viewpoint and must stay intact, yet flexible. In this case, the filmmaker chose to shoot a short film in order to entice investors or distributors to bring a feature version of his story to the silver screen. He purposely left out the ending of the short story to enhance the audience’s desire to see the feature to find out how things end.

While raising a central, unanswered question certainly seeds a desire for more, it doesn’t prove that the filmmaker knows how to tell a complete story. If I were investing, I’d watch his short film and realize that he has a beginning, middle, and no ending. I’d feel ripped off and wonder if the feature will also leave the audience hanging or unsatisfied.

His choice isn’t uncommon. There is a trend in filmmakers leaving short films open ended. While it’s unsettling to the audience, it shifts the focus from the director’s ability to tell a story to his ability to make something look and feel cool. Many young filmmakers are more interested in the look and feel of a project than in giving the audience a resolving end to the story.

Unfortunately, films with only a beginning and middle do poorly at the box office. Even short films with solid endings outperform “impact films” 10 to 1. One reason is that a person won’t tell others about a film that doesn’t resolve. Very few will watch the film a second time because the impact is only good at the first viewing. All subsequent viewings require a satisfying ending.

The film or the creation must be crafted with skill and confidence to be effective, but it also must have an ending to elicit ticket sales. Otherwise, the audience will be much smaller and the film seldom watched more than once.

Copyright © 2018 by CJ Powers