Working in a Trance

There’s a note in my old acting journal about avoiding “the trance”. What does this mean in an acting context? From my memory, it is about striking a balance in performance between inward and outward attention. You need to connect to your own feelings and reactions, to maintain authenticity in your portrayal of a character. But you need to also keep a part of your focus on the audience and the other actors you’re responding to, so that you’re genuinely reacting to things being said, and not just running through a pre-programmed routine.

So “trance” is that loss of outward awareness. It’s auto-pilot. More specifically it’s working in a way that’s disconnected to the people around you.

This translates to the work I do today. Every morning, when I arrive at work, I know there will be fifteen items waiting for me to address. It’s worth checking in with yourself before you begin to identify all the things that need to be done. The next critical question of course is what should be done first.

The trance-y approach to that question is to choose the first thing on the list, or the easiest thing, or your favorite thing, or — as is the case for some people I know — the problem that has you most pissed off because you haven’t solved it yet, whether it’s still important or not. All of these approaches are based on disconnection, because all of them are about your personal relationship to the tasks ahead and none are about relationships with other people.

It’s important to identify the important tasks that make up your day. That’s just called being responsible. But then ask what the people around you — members of your team, your manager or staff, your customers and partners — have to do today and figure out which of your things have an impact on those people and their things. Very likely there are other schedules, other deliverables that rely on your input or on the completion of the tasks on your list.

The trance-y temptation is to dive into the same problem that occupied you the day before, the one that you know is going to occupy 90% of your cycles again today. But the connected choice may be to identify a 10-minute effort that unlocks several other gears in the machine, an item you that may have been completely overlooked had you started your day in a trance.

Posted in General by Scott. No Comments

Shifting to Neutral

During my university career, I received six credits for yoga. You may be asking yourself a couple of reasonable questions: first, how is one graded for downward dog? And second, why would that be part of any curriculum?

I am a systems engineer by training and trade. But I also studied theatre acting in university, sneaking in enough credits — in fact — to earn a second degree. Yoga, every second morning for two terms, constituted six of those credits. It was a course load designed to help me lose my stiff, uncoordinated engineer body and work toward something else, a neutral actor’s body.

The thought process goes like this: an actor’s job is to be a physical and emotional vehicle for storytelling and to embody a character on stage. You can’t do a great job of embodying a character if your body is either limited in what it can do, or brings with it a ton of baggage and bad habits. In a nutshell, you want to be a fit actor who chooses to slouch in character, not a dude who can only play characters who slouch.

So we practiced yoga (and pilates), three days a week, to get ourselves into better physical shape, to learn how to carry our own weight, and to lose the physical baggage our bodies bring with them that gets in the way of our work.

To say that I still apply my acting training daily to project and product management may be a minor overstatement. But this felt like a concept I could benefit from recalling. I still play several roles at work: managing customer and supplier relationships, attending and running meetings with colleagues, and helping to brainstorm and troubleshoot engineering design problems. To be present in any of these tasks, it’s valuable to shed the residue of conversations and frustrations past, so they don’t get in the way of the current effort. It’s worth taking the time to reset to zero, to get back to neutral, before assuming the next role.

Returning home to spend time with my wife and baby girl demands the same discipline. The transit commute now is my present-day yoga class. It lets me put the day behind me and come back to neutral. It helps me lose my slouch.

I came up with this post after opening my acting journals for the first time in almost ten years, the daily chronicles of my theatre training at Simon Fraser University. I expect to flip through them a few times over the next several weeks and I am interested to see if they still offer any pearls of wisdom I can apply to my life and work today.

In the mean time, I’ll do a sun salutation or two for old time’s sake.

Posted in Artsy Parenty by Scott. No Comments

Writers Toolbox – Dropbox for Collaborating

In my previous post about Dropbox, I talked about Dropbox as a tool for writers to backup their work and move projects across multiple devices. It is absolutely a great tool for this and with a “free” price tag for 2GB of cloud storage, it’s a no brainer to try.

But Dropbox can also prove a good resource for collaboration. In my own experience, I used it as a tool to work on active drafts of a couple of screenplays with a coauthor. The fact that those projects remain incomplete is certainly not the fault of the tool. (Side note: we haven’t killed one another and are still close friends.)

Within both the Dropbox desktop and web UI, users can browse the entire folder structure backed up in their account. But they also have the option to share folders within their account (and the contained files) with one or more users.

For truly public data, there’s a “Public” folder. This is a place you could place a large file you want to share with someone as a one-time download, which can be given a generic, easy to email, public URL. For longer term collaboration, like writing partnerships, you have the option to share specific folders with another user or set of users. These folders then get mirrored to your partners’ Dropboxes for collaboration.

As an example, consider a new screenplay called “Clowning Around” that I want to work on with you. I can create a “Clowning Around” folder within my Dropbox and copy my screenplay files into that folder. Within moments, it’s backed up for my own use. If I right-click on the “Clowning Around” folder, I can navigate to “Sharing Options” through the Dropbox UI and can share that folder with you by entering your Dropbox account information (email address) and inviting you to collaborate. Now any changes or new files that appear in my version of this folder appear in your version also, with all the same multiple-device benefits attached.

Meanwhile, the rest of my folders and files remain private or shareable with a different set of users. So I’m not giving you access to my entire Dropbox, just the portion that’s interesting to us both.

My partner and I found this to be a great way to share screenplay files. There was never a need to email things back and forth or to worry that changes been copied to our local hard drives. We were working on the same files, collaboratively. If a conflict ever arises, from changes in two different devices (or from two users) at the same time, copies are made with unique names that can manually be merged. Nothing is lost or overwritten.

Whether you’re a solo creator or part of a creative team, try incorporating Dropbox as a tool into your workflow. I’ve found it incredibly useful in mine.

Posted in Artsy Techie by Scott. No Comments

Getting Better at Being Terrible

For a long time, I’ve prided myself on the things I’m good at.

Growing up, I regarded myself as a skilled tennis player, a good student, and — later in my youth — a decent actor. School aside, “good” — it turned out — was entirely relative. Truthfully, I mostly played tennis against people as or less capable than I, so I didn’t lose often. In fact, one of my clearest tennis memories is losing my first ever tournament match to a kid two years older than me, eight inches taller, and clearly stronger and more skilled. I cried. Not when I got home, as I walked defeated to shake his hand mid-court. I didn’t handle losing well.

As an actor, even in a high school that placed significant attention on its theatre program, males were in the minority. So, of course, I got some decent roles and even a little recognition. At university, again, there were lots of great male roles and few men to compete against. So I didn’t lose out on many auditions. Fast forward to my brief career as a professional actor, where the talent pool grew and the bar was raised. After early success getting a couple of voice gigs, a commercial, and a bit part on series TV, I struggled to consistently earn roles. Not really used to such challenges, I didn’t push hard enough to get better and become successful. Quickly, my time as a professional actor fizzled.

I now realize I was missing a key skill: I needed to be better at failing.

In truth, sucking at stuff makes up most of the time we spend on the path to getting good at anything. And now that I’m a new dad, I want to make sure that I’m ready to instill this notion in my daughter. The more you avoid failure, the fewer things you allow yourself to get good at. It’s okay to be bad for a while. More than okay. It’s imperative.

So my new resolution is to be willing to be terrible. I’ll try to write some awful blog posts, some poorly conceived screenplay pages, some badly structured code, and maybe even record some half-baked podcasts. I need to be willing to let these things be awful, or I’ll never get good at any of them. And above all these, I’ll need to be ready to make some parenting mistakes, too. Because there’s no other way to get good at that job, either.

Posted in Artsy Parenty by Scott. 1 Comment

Writing Lessons Learned from TV: Damages S1

I am a television fan, a fan of good stories, and of good writing. More than in any feature film, television characters engage me and draw me in. And it’s those characters and the time spent with them that have provided the most emotional responses from me of any visual media (film, theatre, web series, or television).

I have no business writing a how-to on screenwriting — I haven’t figured it out yet — but every great television series I encounter adds a new lesson (or three) to my mental notebook of how writing can be done right.

In this post, I’ll talk about FX’s suspenseful crime drama, Damages Season 1 (2007).

Disclaimer: No spoilers beyond the pilot episode.

Damages is the story of a young lawyer, Ellen Parsons, who gets the opportunity of a lifetime, a job helping high-profile litigator Patty Hewes prosecute a corrupt billionaire CEO, Arthur Frobisher. Patty is one of the most manipulative and ruthless in the business and every new case means a new set of enemies for the firm.

What makes Damages unique is the non-linear nature of its storytelling, jumping from the first encounters between Ellen and Patty forward six months as Ellen stumbles into the street shaking and covered in blood. Whose blood, the events of the night leading to that encounter, and the roles played by Patty Hewes and Arthur Frobisher are revealed in brief flashes as the episodes unfold, working backward until the story of Ellen’s beginnings meets the events of that fateful night.

Lessons learned:

Planning is key. There is no way to write a story like this, so full of lies, betrayals, double-crosses and scandal without a clear picture of the truth from the beginning. And there’s no way to ensure a satisfying finale, as I found the Season 1 conclusion to be, without carefully mapping the pace of events.

Control the flow of information and you control the emotional response of the audience. In a suspense/mystery the audiences emotions are shaped by the relative timing of reveals. As we flash back through the night of Ellen’s bloody encounter, we see other characters wrought with guilt, still others dead, and the audience makes natural assumptions about the causes behind these images. Each time, the next reveal proves to reverse these suppositions. The balance of “what happens next?” and “what aren’t they showing me?” keeps the attention of the viewers through all 13 episodes.

Had this story been revealed linearly, i think it could still have been successful, but the writers’ skill in holding back information and slowly leaking it over time is what made the first season so satisfying.

Heroes can be villains and villains heroes. Partly through clever casting, but largely through writing, the characters of Damages are shown to be mixtures of light and dark, all capable of making deeply disturbing choices or gestures of great kindness. In addition to believability, it amplifies the tension of the show that any character may be behind the heinous acts shown in the pilot episode.

Damages Season 1 is available on DVD and Netflix streaming.

Posted in Artsy by Scott. No Comments