• The heart of a story.

When you tell a remarkable story, the world opens up.

Bringing a story to life is like rock-climbing. You know where you are and you can visualize where you want to go, but their are many paths that connect the two and the ‘right’ one is often not so clear. With that climb comes great uncertainty, constant challenges, and the need for a solid approach that will take you to the top.

A climber needs rope, shoes, and carabiner’s but they don’t climb the rock any more then the pen and paper will write a great story for you. Cameras don’t tell stories, people do. Yet so often we focus on the gear as our way of making an impact, taking that next step, and telling a powerful story.

I’m reminded of a famous line from Fight Club – we are not our khakis nor are we our cameras.

This short film is our attempt to share what we feel lies at the heart of a remarkable story. If this moves you, it is the foundation of our Storytelling With Heart workshop starting Feb 1st.

P.

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2 Thoughts on “The heart of a story.

  1. Hi,

    Don’t know if you’re still monitoring the comments on this (slightly) older post, but I wanted to comment on a relevant post. I have had a storytelling issue that’s come up a few times and wanted to see how you’ve dealt with it in the past. First let me give you the nitty-gritty on our process.

    For our videos we sit down with our client contact and talk about their goals for the video and do some brainstorming. From there we create some theme options, basically very broad arcs in which we can take the story. These writeups, about a paragraph or so each, are delivered to the client. After talking it through, the client and us pick one.

    Next, we go through a pre-production process where we sit down with the potential characters in our video and talk about history, motivations, feelings, and other issues pertinent to the story we’re trying to capture.

    Our process is to then to create a paper edit for the client so they can can see what we’ve learned and how (in general) the video will be structured. We have also been storyboarding and providing that to the client, also.

    Finally, here’s where the snag has come up a few times. In two videos (including one that I’m editing right now) we’ve received new or different answers from our interviewees during filming that are just amazing and it shifts the video. I don’t mean major shifts like it goes from emotional to humorous in tone, but that one character gets more emphasis, one or more characters get cut. Basically, the story we set out to be told is happening, but with a different emphasis and possibly a different theme than the beginning. The concern is that we’re not exactly delivering on the agreed upon theme at the beginning. As a side-note, no client has ever been unhappy. In fact they’ve loved the shift. The client-relations side of us doesn’t want to make this a habit.

    So…I’m not sure if we’re missing something in our process or if we’re not leaving ourselves enough room/creative space to make shifts. One thing I do know for sure is I’m too close to see it.

    P.S. In the KNOW Field Guide you had a comprehensive, but flexible treatment for Old Skool. How does that factor into your approach and how much detail you provide up front?

    Thanks, and if you guys don’t see this comment I’ll hold onto it until a relevant blog post goes up.

    Brian

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