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If You Think People Don’t Change, You Need to Get Out More

Society and culture

Recently I had the misfortune of seeing the movie Young Adult. It offers some interesting story elements, with very good acting and direction, and it does a great job of realistically depicting a writer’s job (something most movies about writers fail at miserably, despite presumably having been written by writers) but the storyline is appalling, and I can’t recommend the movie at all. The end of the movie actually had me shouting at the television with indignation and disgust … although really, I was shouting at the screenwriter, Diablo Cody.

Ms. Cody wrote one of my favorite movies of all time, Juno, so I don’t mean to suggest that she writes only bad movies. I got some insight into where she was coming from when I read this excerpt from a Huffington Post article about the movie:

“I feel like Facebook is, in a lot of ways, proof that people don’t change,” Cody said. “The fact that we can keep up with the people that we used to know and watch them progress or not progress — which is the case most of the time — it’s interesting and it’s a little sad.”

So in that framework, the movie makes sense. If you believe people don’t change, you might then write a movie about a person who is a mess and doesn’t change. However, writing a movie like that doesn’t make it a workable story–nor does it make it true.

People who think people don’t change need to spend time with more and different people.  Have you ever met a recovered alcoholic? Ever met someone who went back to school later in life and started a new career? Someone who lost a bunch of weight and got the fitness bug? I certainly do.

Facebook certainly isn’t proof that people don’t change: in fact, the primary reason I seek people out on Facebook is to find out how they have changed. What are their relationships like now? What kind of work do they do? What’s important to them? Where do they live? How are they spending their time? Are they happy? What happened later in the story of that person I used to know and have lost touch with?

It’s true, though, that we’re built to resist change. Our habitual behaviors are expressed in our brains as neural connections that strengthen over time, and it takes concerted effort or a stark change of circumstances to build new connections. However, this is worlds away from saying we don’t change. With the right influence or effort, virtually anything about us can change. Unskilled people can become masterful (see “Do You Have Enough Talent to Become Great at It?“); unhealthy people can become healthy (“Finding Exercise You Love: The Taekwondo Example“); and unhappy people can get used to having joy in their lives (see “The Best 40 Percent of Happiness“), for example.

The thing that most upsets me about the idea that people don’t change is that it tends to be a self-fulfilling prophecy. In a meta-study about willpower done a few years back, a key finding was that individuals who were trying to change their habits generally didn’t succeed unless they believed they could. This makes sense: how much effort will we realistically invest in something that we feel won’t pan out?

Trying to convince people wholesale that change isn’t possible hacks away at the foundation of confidence we need to be able to change, and that foundation is essential even when we fail at first. For example, consider that a smoker who has unsuccessfully tried to quit before has a better chance of quitting now, statistically, than a smoker who has never tried to quit before. In some cases, the mistaken belief that the smoker could quit on the first or second attempt allowed that person to get far enough along to successfully quit on a later attempt.

People accomplish real change every day, but it’s far more likely that change will happen when we understand and believe it’s possible in the first place.

 

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Will Writers Benefit from Amazon Studios’ Success?

Writing

In two recent posts (“Why Amazon Studios Will Succeed, Part 1: Crowdsourced Projects” and “Why Amazon Studios Will Succeed, Part 2: Customers and Distribution“), I’ve talked about the advantages Amazon has in becoming a producer and distributor of movies and series. That’s clearly great for Amazon, and it seems likely it will be great for audiences, too.

How will Amazon Studios affect writers?
What I don’t know at this point is how writers will be affected. My guess is that it will be much like the Kindle Store: some writers will come up with products that catch on and will do spectacularly well while most won’t see any significant success at all. Disappointing as that is for the majority of would-be screenwriters, that’s as it should be: there’s only so much media the world needs, and not everyone who wants to be a screenwriter can be: those who are most persistent, passionate, and hardworking and who make the most effective project choices will succeed.

For better or for worse, I suspect Amazon Studios will begin to suck some of the profit out of the traditional movie and series production channels, which is likely to limit opportunities for writers there. The game changes, and players just shift around. Overall, our hunger for new content is likely to be about the same either way, and I don’t see Amazon changing the total number of successful screenwriters very much, unless they’re successful in getting a lot of niches interested in a lot of niche projects, in which case there will be more jobs for less pay.

However, there’s an argument–one I’m inclined toward, but not ready to back wholeheartedly–that an Amazon Studios system will be better for writers than the traditional routes to screenwriting success. Why? Because instead of a small number of gatekeepers who are sometimes difficult to access, gatekeeping duties instead get assigned to the Crowd. This means that if a story can capture people’s interest, it’s likely to succeed–the successes would be less subject to individual whim, preference, and assumptions of what does and doesn’t work.

On the other hand, a reasonable person could say that this is likely to result in more pandering to the masses, more success of whatever stories take the cheapest and easiest routes to popularity. If a reasonable person were to say this to me, however, I would laugh in that reasonable person’s face. After all, look at movies and television programs now: for every truly innovative or meaningful project, there are a hundred others that are cheap, derivative, or even detrimental to our experience as human beings. It seems likely to me that quirky, meaningful projects that really do have meaning for a lot of people are more likely to succeed in a crowdkeeping environment than in a gatekeeping environment, because the best thing gatekeepers have to go on is past successes, whereas a crowd can give a reliable response directly from the gut.

Then again, the Kindle Store successes to date have tended to be the same mysteries, thrillers, and paranormal romances that crowd the bestseller racks everywhere, so what do I know? Maybe I shouldn’t be so optimistic on that count. In my defense, I did say I’m not ready to fully back that view at this point.

My experience with Amazon Studios
In my case, I have a feature-length film screenplay called Down based on my Writers of the Future winning novelette “Bottomless.”  The script has been out to quite a number of agents, managers, production companies, and contests, but apart from a few mildly encouraging comments has gotten nowhere. For a number of months, it has basically been doing little else than taking up space on my hard drive.

This is a story that I love. It takes place in a vast bottomless pit, lit by a sun-like thread down the center, and populated by villages built on ledges all around its walls. The cardinal rule in this world is that you don’t throw anything into the Pit, because if you do, it’s likely to kill someone somewhere below you. It’s basically an entire world built on fear of heights and vertigo. I really enjoyed writing the story and enjoyed even more expanding it into a feature-length film, in which a young man obsessed with the secrets of the Pit (Why is it there? Is there a bottom or not?) is exiled from his village and journeys deep, deep into Pit in a search for answers–and when he finds them, he discovers a danger much worse than anything he had imagined.

I’ve uploaded Down to Amazon Studios: you can see it here, and even download the screenplay if you like. It has done well so far in Premise Wars, a game anyone can play on Amazon Studios’ home page (just go to http://studios.amazon.com and scroll down to the gold Premise Wars heading), where you’re presented with two brief descriptions of movie projects and you select the one you like better. The top 10 Premise Wars projects as of this writing have won in the range of 53%-71% of the time, while Down currently has won 77% of its Premise Wars battles–but Amazon determines the Premise Wars winners on a secret formula that, as they describe it, makes complex adjustments based on which other premises any given premise has bested. This more or less explains how premises that have lost more than they have won in Premise Wars are still making the leaderboard (though not, at the moment, in the top 10 spots), even though it’s a little hard to believe that they’re doing so much better with an adjusted score than they do with their raw percentage. However, my impression is that being in the top 10 on the leaderboard doesn’t necessarily count for much anyway: it seems to matter much more if people review your script positively or decide to make a trailer for it. We’ll have to see if either of those things develop down the line.

My next post in this series will cover some of the dangers and limitations writers face at Amazon Studios.

Movie shoot photo by jonas maaloe
Down
image by writer Elise Tobler.

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Why Amazon Studios Will Succeed, Part 2: Customers and Distribution

Society and culture

Last week I began talking a bit about Amazon Studios, Amazon’s 20-month-old initiative to find and produce new movie and series scripts. In that post I posted on the advantages and opportunities of crowdsourced material. Today’s post looks at the business advantages Amazon brings to bear.

Customer comprehension
In most of their efforts, judging by sales, Amazon seems to get where their customers are coming from and what they really want. They came to dominate the book market because they presented customers with the buying experience and advantages they wanted (huge selection, simple and effective searching, lower prices, affordable shipping). They became a sell-anything behemoth by applying the same principles they used to sell books to, well, practically everything.

Their original Kindle succeeded extravagantly; the Kindle Fire, a very different device, also took off, and among authors their eBook store is close to the only one that matters. It seems to me that Amazon’s principles here are to focus on wide selection, good search tools, and an affordable price point, and that formula has delivered for them again and again. I have no reason to believe they’ll do anything differently–or need to–as they start bringing out movies and series.

Well-suited distribution channels
We tend to think of series as things we watch on television and of movies as things we watch in movie theaters, but increasingly we’re watching these things on our computers, tablets, Rokus, and other devices.  Can Amazon get movies in theaters and series on TV channels? Absolutely. Much smaller and less well-funded production companies do it all the time. Will Amazon need to do this? Maybe not.

I don’t feel I can predict how much our viewing habits might migrate away from movie theaters and TV stations. After all, both of these industries have survived massive changes in the last few decades, and I don’t know that further changes will necessarily swamp the boat for either one. For instance, even though I’ll eventually be able to watch virtually any movie I want on DVD and/or through streaming, I still see movies in theaters sometimes because of the big screen experience, and because sometimes I want to see the film as soon as it’s released.

However, it’s clear that people are ready and willing to watch movies and series through streaming, and Amazon already has a successful streaming service that it could expand or build on in a number of ways. It’s also clear that streaming is getting more and more popular compared to other modes of watching, and while this upward trend may eventually plateau, it’s likely streaming is here to stay, at least until the next game-changing paradigm comes along.

Familiar with success
So unlike literally every other movie and TV studio in the world, Amazon has a massive, successful, existing distribution channel, not to mention their own device, the Kindle Fire, out in the world to stream to (along with many other non-Amazon viewing devices, of course). None of this is any guarantee of success, and there are any number of companies that have dropped the ball on opportunities that were just as promising–but Amazon isn’t just any company.

Compare them to Google, for instance, which often seems to be just trying anything that looks popular. “How about a virtual world (Google Lively)? No, I guess that didn’t work. Now let’s make something called Google Wave and see if anyone can fully understand it! Huh, I guess not that either. Well, let’s try to out-Facebook Facebook! Hmm, hard to tell whether that’s going to survive or not. Well, good thing some of our other core offerings, like search and maps, are so excellent, and that we drive the software behind some of the world’s best smartphones.”

Amazon, on the other hand, seems to succeed with virtually every major effort they undertake. I have every reason to think they’ll succeed in this one too, even though it’s as much of a stretch as the Kindle was–and maybe more of one. If anyone can make that stretch, it’s Amazon.

In my next Amazon Studios post, I’ll offer a look at the possibility’s from the writer’s point of view. Is Amazon Studios a golden opportunity, a one-way ticket to tooldom, or a little of both?

Photo by evadedave

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Why Amazon Studios Will Succeed, Part 1: Crowdsourced Projects

Society and culture

Amazon Studios, in case you haven’t heard of it, is Amazon’s fairly recent foray into the areas we generally think of as “movies” and “television,” even though much of what we watch these days may not be on movie theater or television screens. I just uploaded a script to Amazon Studios myself. Will it vanish in the noise of thousands of other projects, or will it actually get some attention, possibly even be developed into a feature film?

Before we look at my own project, let’s take a look at Amazon Studios as a whole.

What’s so unusual about Amazon Studios? Well, one of the main things is that they crowdsource content. Writers upload scripts, filmmakers make test movies and trailers from popular uploaded content, and everyone can go around and pick out the projects they like most from the field of contenders. Amazon pays tens or in some cases hundreds of thousands of dollars to develop projects people upload, but most of the projects, of course, go nowhere and earn nothing.

This is not too different from the Kindle Store, where authors can upload books, but most of these books sell few or no copies, while a small number do spectacularly well.

Amazon Studios Will Succeed
I’ll go out on a limb right now and predict that Amazon Studios will make successful films and series that people will watch. Why am I confident of this? Three reasons: crowdsourced content, customer comprehension, and ideal distribution channels.

Crowdsourced content
Crowdsourcing, the process of having a large group of people choose from a field of options, is pretty much ideal (says me) for coming up with movies and video series, because a successfully crowdsourced project means a lot of people like it, and because the single key ingredient for success in a movie or series is that a lot of people like it. Successful crowdsourced products are ones that people talk about, are interested in, and will go out of their way to get to. If the crowd gets interested in a project and that picks it out of the slush, then it stands to reason there’s a very good chance that the larger crowd, which is to say a national or international audience, will also be interested in it and pick it out of other options to actually see, paying money somewhere along the way for the privilege.

Of course it’s true that the crowd that’s doing the picking might not have quite the same preferences as the larger potential audience, or that there might be things that would make a project attractive to project-choosers that wouldn’t make it as attractive to actual audiences, but I suspect these and other limitations are pretty minor, all things considered. I don’t believe that crowdsourced projects are necessarily better than non-crowdsourced ones, or that they should get wider exposure, but I do believe they will tend to be successful.

In my next post, I’ll talk about the other two reasons I believe Amazon will come out on top, the unique advantages they have as a business when it comes to making series and movies.

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What Makes Characters Riveting?

Writing

I’ve been thinking about the question of what makes a good fictional character, and the result is this list of ways characters can draw readers’ interests, which I hope you’ll find useful.

There seem to be some basic requirements for characters that aren’t as much about drawing readers to them as about the character being workable at all, things like having flaws, actively pursuing goals, being vulnerable in some way, and being believable (at least in the context of the story). My list below is not so much about these things, which we might consider the character basics, but about the more difficult and touchy job of creating a character that pops off the page or that readers love.

With that said, my fictional success isn’t yet to the point where I can claim that all of my characters do this, so certainly you can take this list with a grain of salt.

So what I came up with when I dug into this question was five categories of things that get and keep readers interested in a character. They aren’t entirely exclusive of one another, but they seem to be helpful categories. They are:

1. sympathy (we like the character)
2. attention (we want to see what the character will do next)
3. entertainment (we enjoy seeing the character in action)
4. admiration (we aspire to be like the character), and
5. identification (we feel like the character reflects ourselves)

It’s likely that there are some other methods or even an entire category or two I’ve missed, but this list should be useful at least as a starting point.

By the way, I give a character for each of the below as an example of that item, but I’m not suggesting that the item in question is the only or even necessarily the primary thing that’s interesting about that particular character, just that the character is an example of that item in action.

SYMPATHY
* Suffering through something undeserved (Harry Potter in Harry Potter and the Sorcerer’s Stone)
* Makes a sacrifice for someone else’s good (Sydney Carton in A Tale of Two Cities)
* Consistently kind to others even when mistreated (Little Orphan Annie in the Little Orphan Annie comic, etc.)
* Extremely loyal (Sam Gamgee in The Lord of the Rings)
* Highly principled (Atticus Finch in To Kill a Mockingbird)
* Not consistently nice, but sometimes willing to put real effort into being kind or friendly (Greg House in the TV series House)

ATTENTION
* Mysterious (Lestat in Interview with the Vampire)
* Trying really hard to accomplish something difficult (Hazel in Watership Down)
* Extremely resourceful, whether well-intentioned or not (Tom Sawyer in Tom Sawyer)
* Unique, fascinating, or exotic (Iorek Byrnison, the armored bear in The Golden Compass)
* Very powerful, whether in politics, money, physical prowess, etc. (Darth Vader in Star Wars)

ENTERTAINMENT
* Eccentric, unpredictable, fun to watch (Captain Jack Sparrow in Pirates of the Carribean)
* Willing to say things most people would only think (Sherlock Holmes in the modern movie and TV adaptations–I can’t comment on the originals, not having read them for a long time)
* Witty or intentionally entertaining (Bartimaeus in The Amulet of Samarkand)
* Strongly identifiable and partly–but not entirely–predictable (Homer Simpson in the TV series The Simpsons)

ADMIRATION
* Great at something (Zorro in various movies)
* Wise or knowledgeable (Gandalf in The Lord of the Rings)
* Unflappable; impossible to keep down (Lyra in The Golden Compass)

IDENTIFICATION
* Struggling with issues we can identify with, whether successful or not (Holden Caulfield in The Catcher in the Rye)
* Feels like a stand-in for the reader (Bella Swan in Twilight)

Of course, many of the best characters hit multiple points above.

As an exercise, it can be useful to think of a character you love from a book, movie, or television show, consider whether one or more of the above applies strongly to that character, and decide for yourself whether or not that has much to do with why you like the character. Recently I’ve been watching the excellent BBC series Masterpiece: Downton Abbey, and I was interested to realize that as I made this list, various characters from that show popped into my head without me even trying.

A more potent exercise: take a piece of your writing–or even someone else’s writing–in which there’s a character who doesn’t really stand out, and go through this list to find one or two of the above items that you can use to punch the character up. What are your results?

I’d appreciate your comments, additions, protests, and so on.

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Transformation: Making One Good Choice Many, Many Times

States of mind

I love movies and novels where a character finally makes a change that we’ve been dying to see since the story began. I love seeing Lester in American Beauty finally understanding the importance of other people, when he sheds the worst of his self-deceptions. It’s a huge relief to see Miss Havisham in Great Expectations break down and finally see what she’s done to herself, Pip, and Estella. Yet to some extent, these transformations are a lie.

The bad news
Let’s face it, our problems, hangups, bad habits, and limitations aren’t hats or shoes, ready to be taken off and replaced at any moment. They’re more like our bodies, which can’t be replaced but can be gradually transformed. The trick of it isn’t to get to that one sudden moment of transformation, because there is no moment of transformation in which a body suddenly becomes healthy after being unhealthy, or in which decades-long thinking patterns spontaneously unwind themselves from our brains. The neural connections we’ve established through repeating problem behaviors or choices over and over can go away, but they only go away gradually.

To put it another way, making one choice one time will not transform us, although it can start us on that road. But making one choice dozens or hundreds or (sometimes) thousands of times will change us. Instead of receiving goals like prizes, we build them up bit by bit, so that a goal is less often something accomplished than a state we reach from some kind of thought or action that we’ve woven into our daily lives.

The good news
Is sudden change useless or imaginary, then? No! We really can and do experience sudden changes of perspective, insights or experiences that completely alter the way we look at some part of our life. And when we start something radical and good, like doing a task that’s been dreaded and avoided for months or going out and offering forgiveness to the person we have most reason to despise, that action can release a lot of energy to propel us forward into thinking similar thoughts and making similar choices going forward. Except in the most extreme cases, we’ll need more than that initial charge to get us all the way to a new habit, but the initial charge can still count for a lot.

Ultimately I think these dramatic fictional transformations do have a value to us, and that value is in their illuminating what it feels like to become a different person. Often the hardest thing about motivating ourselves to follow the difficult path that leads to an altered self is believing that change is even possible. But both in fiction and in life, if we look for them, examples of transformation are all around us.

Photo by Stuck in Customs

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