Honestly, i found everything he said helpful! The things about the writers's fears was the one that resonated more with me at the moment, but again, everything he said is great!
This is exactly the reminder I need right now. It is in these subconscious moments that the characters hop into the driver's seat and steer. It's what I love most about the process.
3:37 "The story is not about what happens, it's about the meaning we ascribe to what happens." What an awesome video! As a writer, I've learned so much from listening to Alan Watt.
An example includes Sinbad´s biggest fear; cryptids. Sinbad the mariner is known for his trouble with cryptids. The reason for why he has a bad relationship with cryptids is, because he is arrogant. If you read Tales from 1001 Nights you will discover that he usually has to confront a situation where he is caught battling a cryptid. He is good at survival. His favourite TV show would probably be Survivor. His second most important skill is his ability to adapt to new cultures and learn new languages at an apparently impossible speed. This allows him to communicate information from the various cryptids he encounters. It is not unlikely that he has Thalassophobia. In the last story, if I remember right, he earns the Golden Staff as a result of the experiences he has had with diplomacy. Sinbad should pursue a carreer in biology and zoology to study the behaviour of sea creatures so he can overcome his Thalassophobia and stop being an asshole with cryptids.
This sounds a lot why there is no continuity in stories today, with characters do what the plot needs them to do instead of being true to who they are as a character.
It’s funny how he contradicts himself right after saying the genius is in the subconscious. He quotes Einstein as saying you cannot solve a problem at the same level of consciousness that created it, but then goes on to state three elements of a story that resemble the all important plot. This I find is a recursion to conscious planning. I’d expected a deep insight of working with your creative subconscious but was instead treated to another standard 3-stage plot structure.
@@genghiskhoo8312yea he also says to outline your story which is basically forming a blueprint for the entire story (problems AND solutions) in the same state of mind. Which is the opposite of what he says initially. I don’t think the greatest writers sat and outlines their script - I know my favourite writers don’t. It’s such bs LA advice - exactly like the fake yoga and therapy culture that’s so dominant nowadays.
Alan Watt’s approach and methods are fantastic. I wrote the first draft of a script last year, and the characters were flat and forced. I’ve been working through Alan’s “90 Day Screenplay” now as I do the second draft. The characters are alive and interwoven with the plot in ways I never could have imagined-a completely different animal! “Save the Cat” and other structure books are great, but they’re only part of the equation. Alan helps you utilize the creativity you didn’t know you had.
Have you considered using the personality enneagram? I'm not sure how popular it is with writers, but after I kinda figure out what characters I want/need I use the enneagram to help me figure out what their core personality is, and then try to line up the characters they have to interact with the opposing personalities in the enneagram to ensure there's always some kind of conflict in what everyone wants, even if it's among people who love each other.
I've toyed with the enneagram approach briefly. Still experimenting with it, but it seems like a viable method for pairing characters. Sometimes I find that the characters seem to develop (i.e., pair up) naturally in ways that seem to correspond to archetypal/enneagram models. Maybe this is part of our human condition. Where Alan's approach is really helpful for me is in letting the subconscious play with ideas that the conscious mind might squash because these ideas don't immediately "fit" the initial story idea. Admittedly, Alan's remark about being the "channel" instead of the "author" to me is semantics, but I get what he's saying. There's more to authorship than a conscious notion of what the story must be. The subconscious must have its day or the story will be flat. @@julius-stark
Here's a bit of advice: if you love your story, and you think it must be told, but no one will spend the $$$ to make it...make it yourself. OR...write it as a novel, novella, novelette, whatever. Self-publish it. At least it is out in the world.
Interestingly one of the best advices I received on being a god Game Master in RPG was: let go your scenario, let the players be and create the world, let yourself be surprised by the direction your game is taking in the frames of the world you are the creator of.
I really liked his book! It was so riveting that I had to put it down, take a breather, stop worrying about the main character, come back a few days later, keep reading and stop again out of anxiety for the plot. Even now I see the image of the dad character’s face in my mind very vividly and I read this a while ago. I was walking in time square one day and I saw a sign about a musical about Niel Diamond and I thought “who do I know that really likes that artist?” and then I realized-it was the dad character from the book 😂
Good ideas are easier to write. Writing is difficult enough, no need to make it harder by going in without a premise you're passionate to see flourish.
I felt enlightened by the notion of not discarding a creative idea but seeing how it can be supported. He elucidates it in a manner that had me seeing the notion of my ego as referee, getting in the way, and it standing aside, allowing goodness to be nurtured to see where it goes if supported. I do not know much about the writing scene or Alan Watt but if I were seeking writing guidance I'd want someone like him, someone with solid process and hands off the story... It's really a beautiful thing to hear stuff like this, even for someone in a different field.
Creative ideas? Hollywood doesn't do creative ideas. What Hollywood does is merely an interpretation of someone else's creative ideas. Taking them from other platforms: a novel, a videogame etc. that already proven the concept, and Hollywood writers may just tweak those concepts here and there, but there is no 'from the ground up' creative ideas in Hollywood. There never really was, and the writing of them today is just awful. Tumblr fan-flick writers that don't even know the basics of storytelling. I mean the fact that they made Fast and the furious 10...12... whatever the number, already a hint that there is no creativity in tinseltown (left).
I have become a fan of screen writing because it helps me create the scenarios and stories for my group's RPG sessions. Roleplaying games are usually about a Cadre of characters and their heroes journey. Screen writing helps me weave a tapestry that the players can co-create their stories within. I love your emphasis on meaning because that is how the player's characters really come alive and what makes memorable moments and characters.
Talking about his fear exercise just made me realise things about the protagonist of a story I wrote a couple of years ago. I'm so glad I watched this because he is really insightful about the process.
I see writing as a discovery, writers as voyagers of uncharted lands like Magellan or Colombus, and there is great pleasure, drive and excitement in discovering that "channel" in our subconscious that he has mentioned.
The unconscious is the seat of genius. I have been contemplating a lot about dreams for quite awhile. Dreams as in, while you're sleeping. Frequently i have, what i call, 'weird' dreams. Sometimes very vivid, detailed, long and involved. Many times things happen in my dreams that "I" would never think of. What amazes me is it takes no effort. The dreams are spontaneous. Scenarios, dialog, characters. Sometimes rather wise ideas. Formulated instantly by my Unconscious Mind.
Watt has a lot of great info that maybe coincidentally, or maybe because writers find similar roads to their work that what he's describing is mirroring a lot of my own writing process currently and what other professional writers have coached me on.
Great advice. Overthinking closes down that connection. I'm a musician and artist, and I love writing, and it's the same for all of these. Stay open. Don't judge the process, and let it flow.
Good video! I started work on a screenplay about a year ago. I figured it was going to be easy because I had what I thought was a good idea. But when I actually started writing the outline and thinking about it for more than five seconds, I realized that it's not that cut and dry. I've learned so much about my story and the characters and I stopped trying to force things to happen. Playing around with ideas has made writing more enjoyable. Needless to say, I'm looking forward to when I actually finish my first draft.
Al Watt is a great writing coach with a unique process. I spent 14 years trying to write the first draft of a novel - and failed. I took his ‘90 day novel’ course and completed a decent first draft. I’m on my fifth and final draft now and looking to get it published. 😊
This is gonna sound crazy but… I’m a first time writer (writing a custom novel for my little bro’s Christmas present). And the last few days, I have been dreaming about these ideas. Like there was something I wanted to express about the process, but didn’t know how to articulate. And I knew if I could articulate how the story needs to flow (and what I need to surrender to let it), it will turn out amazingly. This video put all of those needs into words. Every single one.
It's actually 100% based on our research survey, and the real reason is because they're not Grand Unified Theory compliant. I discovered what appears to be the Grand Unified Theory of Storytelling Based on 18 months of research we could not find a single complete story in all of human history. This now answers the question, "What is a story?", and formalizes the criteria of a story which also largely eliminates writer's block, among other things like guaranteeing an entertaining and inspiring result (regardless of genre, to a general audience).
this has to be the one video that i always find myself coming back to, like a person of faith frantic with scripture. i'm constantly quoting this material to myself whenever i get stuck and it honest to goodness works!! i sit there and look to the ceiling and recall watt's letter to the author 9:17 and recover my faith 😂
Wow this man's level of discernment and insight is extremely impressive, but not as impressive as what seems to be the genuine humility, and honesty that he has acquired Bravo, and thanks so much for posting! 🙏🏼❤️👏🏼
I would say that several ideas that are brought together to make a whole, is what makes a story. All the characters are created to present the story themes.
I got to thank you SO MUCH for this interview. I’m amongst one of your avid viewers and this is BY FAR one of the most educative interviews you’ve done. So glad you got to collect all those gems. His perspective on meaning and fears is just 🤯🤯
5:50 If you don't restrain your subconscious, the script/story writing process can turn into a therapy session, an attempt to speak out rather than write a story. The ability to let your subconscious come out is a great ability, but the final decision should be made by the conscious mind so that it doesn't turn into a muddled mess that only a therapist can analyze. The "my character wouldn't do that" claim is a very good claim. It's not a reason to discard the idea, but it is a reason to think about why your subconscious mind is demanding these exact actions from this character. Maybe you're trying to put yourself into it? Maybe it says something about your problems and unfinished "gestalts"? Or maybe on a subconscious level you understand the character better than on a conscious level. And that means you need to pay more attention to character development. Perhaps your subconscious has found a double bottom, or has found far more important and valuable accents to place than your conscious mind. But you can't blindly follow your subconscious.
This was wonderful. It brought the crux of the matter back to the ground - to an artist's subconscious , to the channel (which is what matters as he said). It kind of rewired I guess to where it all gets created, to be aware of that. Awards serve the ego. I was surprisesd to know the story of how Oscars got created - out of fear.
I'm afraid to write this story because... "The fears you have in writing your story are identical in nature to the fears that your protagonist has in the story."
"Not the author, but the channel." Huh? I had to relisten to make sure he said that. If I wrote like this I'd have to be in a padded room. Edit: I dont think he actually watched the first half of Its a Wonderful Life. It made total sense to the story that Potter wanted to edge George out by bringing him in to work for him. He wanted full control of the town and George was always the fly in that ointment.
Alan said when the story started, Potter wouldn't have offered to employ George. It was only after George had begun his transformation in the middle of the story, did Potter try to tempt him with a job.
Characters are the life blood of the story. In grander scope stories the characters can be an entire nation or civilization. But characters are NEEDED, something for the reader to connection to. Be a rollercoaster ride in text form, a mystery, a romance, sci-fi horror, fantasy adventure, we need something to connect with.
This is my first exposure to Alan Watt. First off, I like him already because he spells his name correctly, A l a n. Second, I wholeheartedly agree with the channel aspect of creation. That's exactly how all of my stories have come to be, as a simple spark of subconscious inspiration. Heck, two of my stories literally evolved from dreams I had many years ago.
This is the first segment in a new interview with Alan Watt. Here is the link to our previous full interview with Al - ruclips.net/video/tBR5BCLkHDE/видео.html
This guy is really helpful. I hear people talking about mentors lol I don’t have anyone to talk to concerning writing my very first novel, although these videos are quite helpful. I am attempting to write about my life. It’s very personal and definitely. I have to be very vulnerable. Vulnerable, authentic and vulnerable that’s a difficult one….. 😂 not entirely though… Do you have any videos to recommend concerning writing a novel with a twist of fantasy and based on a true story?
I have always been unable to satisfactorily explain to others how to write. I always tell them, "I don't write. The story writes itself. I merely put it on paper. And my job is to make sure the best bits get chosen to tell, but sometimes there's parts of the story that are not told." Most people just stare at me, nod, and walk away looking confused and frustrated. Maybe it takes a writer to understand another writer.
I dont actually know what plot is, i just write my story and readers tell me they think i was born to write it. And its cuz i let my subconscious AND my conscious fears go buckwild. The weirdest analytical thing i discovered tho, was i ended up writing the subconscious and life details of a distant family member ive never met. I have to admit, that was possibly the most shocking revelation of my life
I also decided to approach my writing for this story role playing as a megalomaniac author, conversing with the true storyteller in my mind, a formless voice in the void... and the ideas, these unrefined germs that emerged, became living, wild things that opened new waypoints and twists in the story. Characters became scarier, more vulnerable, and the more salacious it gets, the happier (and scared) my readers seem to get. So who am I pleasing? My audience? Myself? Or the voices in my head who force my pen to the page...all I know is this choice delivered me to a confrontation with true meaning, one I dont need to tame or constrict, because it explains itself, under the trembling membrane of words
In complete agreement that an idea can be the germ of a story, but is not a story in itself. However, he lost me with the needs driven paradigm. That is a way of telling a character story, but not the only way and I am all about breaking the rules we've all come to know and expect.
" The channel was being celebrated" is something that most fear to admit and to say out loud. The creative mind is a channel and what comes through isn't ours. I believe there are some people who construct their stories purely from their own imagination but many of us do not. Part of the process of writing is to be honest with ourselves and not obstruct the channel, even if what comes through doesn't adhere to what we are trying to construct.
"You can't solve a problem at the same level of consciousness that created the problem" I was not ready for the truth bomb to be in the first minute of the video. I'm not even in screenwriting, but as a fellow creative these are so relevant to what I'm going through.
Alan has given me a lot to think about. But I'd like to know if the 453 page script of True Detective, season One, that Nic Pizzolotto wrote, can be reduced to a three act structure.
Very good clip, but it seems to me that his point about outlining does not follow from the premise that writers shouldn’t be attached to their ideas. Wouldn’t it be more accurate to say exactly the opposite? That the answer is to not outline at all and just let the story and characters flow freely out of the idea? Outlining just seems to ossify it even more.
TL;DR the process is about expression and experimentation, no matter how you begin, or how long you spend on each phase. I think trying to prove definitively that outlining does or doesn't harm creativity and flow is a mute point. I think it just depends on the individual and how it's easiest for them to problem solve. I think this comes down to how a writer outlines. Some people just go with their first instinct and list/fit plot points down until they have something to start writing with (and that's fine if that works for them). For others, the outlining stage is a thorough interrogation of the ideas and characters, where they experiment, and they don't start writing until they feel really solid about the direction. On top of that, outlines don't have to be followed to the letter. It's more like a safety net to keep you motivated and focused - for example, you could jump to a different scene from your outline if you're stuck on one scene. I suppose most writers probably jump back and forth between outlining and writing, either in their mind, or consciously by making changes to their outline. IMO, outlines aren't supposed to be rigid. I think his point is that without an outline to explore what could happen and why, the writer might be relying on their first idea of what they expect the story is, or want the story to be. I think many writers finish an outline or first draft, and find that what they're actually writing about is something very different from their first assumption, because the emotions they wanted to express are hard to articulate directly without exploration. And then the writer has a choice to follow the direction that the process has shown them, or try and force the story into being what they envisioned it "should be". I think it doesn't matter what the writer's process is and how much time they allot to each phase of the process. But it is important to really explore ideas and be open to being bold and vulnerable, and not constrained by expectations or fears of judgement.
@@Ruylopez778 I see your point. It’s part of why I think it’s weird that he focused on outlining and not exploration or familiarization with character. Those do seem essential to writing.
So how the heck do authors plot a story without knowing the meaning? How do you know when you're adding meaningful actions vs when you're adding meaningless action that will just be totally scrapped later?
"The story is not about what happens it's about the meaning we ascribe to what happens." I screamed "YES" when he said this. I'm so sick and tired of RUclips film critics giving their analysis at the level of summary.
I don’t know how to get into a spirit of play when it comes to writing 😅 Its a hobby I’m trying to learn, but I’m afraid it won’t be good enough and boring to read
Not gonna lie, I barely understand the arguments behind the point being made. I really wanted to understand what he meant when he said that many authors get so attached to their ideas that they don't let the story go where it wants. Does he mean we should let the characters do what comes naturally to them? If that's what he meant, it didn't come across well at all. I'm not even sure how the example he uses supports the point.
I think what he means is to let the characters guide the story. Let it be a natural progression. Don't lock yourself into an idea just because it was your original idea. Maybe along the way, you discover that something more interesting can happen, something better than your original idea. Give that new idea a chance. I recently shot a movie and when we shot the third act I decided last minute to change the entire ending, we didn't go by the script. I rewrote it the night before filming it. And that idea came to me as we were filming.
Thank you for asking this bc I felt exactly the same way. I don’t struggle with letting the characters lead bc I never get that far with my ideas - I would have liked more explanation about making writing playful, embracing fear, and letting our subconscious take the lead - those are all the things I struggle with after an initial idea. I don’t know how to ascribe meaning to the story itself, and I think that (over characterization) makes my stories flat.
I think "letting your story goes where it wants" is problematic advice because it is so vague in and of itself that it forces the listener to supplying their own meaning which could be wrong. He does mention other things though that are helpful, a lot of which can be found in many other craft books. Some of what he cites can be found in Lajos Egri's The Art of Dramatic Writing. Egri gets into the idea of the character goal. On a subconscious level the audience wants to know what the main character wants. Anything that isn't about a character trying to pursue a want and encountering obstacles is boring. That's usually the #1 problem in rookie drafts. The characters are either engaging in pointless banter, delivering exposition apropos of nothing, or doing stuff for which there are no apparent stakes or obvious problems to be solved. So if you were someone who came to the conclusion that your story "wants" to be about idle chit chat, it would be wrong 99% of the time, Kevin Smith and Richard Linklater notwithstanding. Egri also gets into theme or premise or meaning. He's one of the earliest proponents of the idea laid out in the interview of thesis, antithesis, and synthesis also called the Hegelian dialectic. Egri doesn't believe a dramatist should start writing until they have a solid idea of what it is they are trying to say. One of the examples he gives is that Romeo and Juliet's central premise is "great love survives even death." One's story should be about proving their premise and this meaning should only become apparent at the end of the story. To that end I think the interviewee forgot part of his made up example. It opens with the guy's wife divorcing him because she doesn't know who he is. So he runs off to his father's vineyard where he ostensibly finds himself. There isn't a tag that closes that loop definitively which could be the wife coming back, saying, "I now see who you are," or the new wife saying, "I love you because you know exactly who you are."
Just write it, STORYBOARD IT! Know edit and animation. And make it. Now finding the money to make it is a different story. I just shot a sci-fi film dealing with androids. I don't give a shit about going to writing school. If you write screenplays, DO IT! There's really no rules. But you need to understand the powerfull aspect of the cinematic visual storytelling. Too many screenplays in the market now and NONE will get made into a film. Unless you take hold and get it made. You need too storyboard. That's why comic book avenue is best answer. If you write and don't now your visual.... Story yes.... but visual... you're screwed.
The story is always about what happened. In Alan's story, if he includes one small detail, it changes everything. If he says the man was throwing his wife a surprise trip to France before she dumped him, devastated, the guy decides he's going to take the trip anyway so he can commit suicide but meets a carrot farmer that gives him new purpose. It's totally different. Meaning is subjective. The sequence of events is everything. Everyone assigns their own meaning. The meaning you try to inject into your story may never reach your audience. People see what is happening and draw their own conclusions. Case in point: what is the meaning behind the spinning top at the end of Inception? Another misconception about writing, I'm afraid. Writers are not Gods; they are storytellers. Tell the story and let the chips fall where they may. By the way, Alan is another guy who is giving screenwriting advice without a single screenplay credit on IMDB. I didn't say he doesn't know what he's talking about. I'm just saying how come this guy has been unable to successfully put his advice into practice and deliver. Hmm🤔. Sorry to seem negative, but I'm a sociologist and always curious about what drives teaching practices. The last point is the story about Louis B. Mayer is totally made up. A folktale that has been floating around the industry for years. In fact, the actors union started in 1933, so I guess the plan didn't work. Now you see how Alan doesn't need a shred of proof to tell that story. I don't believe it. The Guys building Mayer's house advised him an actors' uprising was about to happen. So Mayer convinced all of Hollywood at the time, let's create a diversion with this awards thing. That's gonna stop them from unionizing. Laughable! But maybe it is true. We all have to draw our own conclusions. My point exactly.
I don't see why he's acting like it's one or the other. A good story to the laymen reader is a combination of the characters' motivations and the story. Any good story writer knows this. Seems like a convoluted way of looking at writing. The default should be a mix of it all.
![Writing Your Story In 90 Days - Alan Watt [FULL INTERVIEW]](http://i.ytimg.com/vi/IhVXWGVNguQ/mqdefault.jpg)
What do you like about this one?
Every word is valuable, thank you 😳
"Your job as a storyteller I believe is to support what your subconscious gives you" -I couldn't agree more
Thank you, Alan, FC- cheers
Honestly, i found everything he said helpful! The things about the writers's fears was the one that resonated more with me at the moment, but again, everything he said is great!
I like his views on the unconscious and writing, really struck a cord.
This is exactly the reminder I need right now. It is in these subconscious moments that the characters hop into the driver's seat and steer. It's what I love most about the process.
3:37 "The story is not about what happens, it's about the meaning we ascribe to what happens."
What an awesome video! As a writer, I've learned so much from listening to Alan Watt.
This is what I've always told my kids as they grew up. "What is it about" is very different from "what happens". Meaning overrides plot.
I understood it as: "Plot is what happens. Story is what does it mean and why does it matter?"
Me too.
"The fears you have in writing your story are identical in nature to the fears your protagonist has within the story."
Beautifully said.
An example includes Sinbad´s biggest fear; cryptids. Sinbad the mariner is known for his trouble with cryptids. The reason for why he has a bad relationship with cryptids is, because he is arrogant. If you read Tales from 1001 Nights you will discover that he usually has to confront a situation where he is caught battling a cryptid. He is good at survival. His favourite TV show would probably be Survivor. His second most important skill is his ability to adapt to new cultures and learn new languages at an apparently impossible speed. This allows him to communicate information from the various cryptids he encounters. It is not unlikely that he has Thalassophobia. In the last story, if I remember right, he earns the Golden Staff as a result of the experiences he has had with diplomacy. Sinbad should pursue a carreer in biology and zoology to study the behaviour of sea creatures so he can overcome his Thalassophobia and stop being an asshole with cryptids.
This sounds a lot why there is no continuity in stories today, with characters do what the plot needs them to do instead of being true to who they are as a character.
It’s funny how he contradicts himself right after saying the genius is in the subconscious. He quotes Einstein as saying you cannot solve a problem at the same level of consciousness that created it, but then goes on to state three elements of a story that resemble the all important plot. This I find is a recursion to conscious planning. I’d expected a deep insight of working with your creative subconscious but was instead treated to another standard 3-stage plot structure.
@@genghiskhoo8312yea he also says to outline your story which is basically forming a blueprint for the entire story (problems AND solutions) in the same state of mind. Which is the opposite of what he says initially. I don’t think the greatest writers sat and outlines their script - I know my favourite writers don’t. It’s such bs LA advice - exactly like the fake yoga and therapy culture that’s so dominant nowadays.
Every Rian Johnson film ever made.
@@genghiskhoo8312 "Everything is and isn't at the same time." - The Kybalion
@@genghiskhoo8312A changed mentality beneath the same action can produce a changed result.
Alan Watt’s approach and methods are fantastic. I wrote the first draft of a script last year, and the characters were flat and forced. I’ve been working through Alan’s “90 Day Screenplay” now as I do the second draft. The characters are alive and interwoven with the plot in ways I never could have imagined-a completely different animal! “Save the Cat” and other structure books are great, but they’re only part of the equation. Alan helps you utilize the creativity you didn’t know you had.
Have you considered using the personality enneagram? I'm not sure how popular it is with writers, but after I kinda figure out what characters I want/need I use the enneagram to help me figure out what their core personality is, and then try to line up the characters they have to interact with the opposing personalities in the enneagram to ensure there's always some kind of conflict in what everyone wants, even if it's among people who love each other.
I've toyed with the enneagram approach briefly. Still experimenting with it, but it seems like a viable method for pairing characters. Sometimes I find that the characters seem to develop (i.e., pair up) naturally in ways that seem to correspond to archetypal/enneagram models. Maybe this is part of our human condition. Where Alan's approach is really helpful for me is in letting the subconscious play with ideas that the conscious mind might squash because these ideas don't immediately "fit" the initial story idea. Admittedly, Alan's remark about being the "channel" instead of the "author" to me is semantics, but I get what he's saying. There's more to authorship than a conscious notion of what the story must be. The subconscious must have its day or the story will be flat. @@julius-stark
Here's a bit of advice: if you love your story, and you think it must be told, but no one will spend the $$$ to make it...make it yourself.
OR...write it as a novel, novella, novelette, whatever. Self-publish it. At least it is out in the world.
"the unconscious is the seat of your genius" --you said it right there, Alan. Neuroscience is behind you on this, actually. Cheers
Interestingly one of the best advices I received on being a god Game Master in RPG was: let go your scenario, let the players be and create the world, let yourself be surprised by the direction your game is taking in the frames of the world you are the creator of.
I really liked his book! It was so riveting that I had to put it down, take a breather, stop worrying about the main character, come back a few days later, keep reading and stop again out of anxiety for the plot. Even now I see the image of the dad character’s face in my mind very vividly and I read this a while ago. I was walking in time square one day and I saw a sign about a musical about Niel Diamond and I thought “who do I know that really likes that artist?” and then I realized-it was the dad character from the book 😂
Good ideas are easier to write. Writing is difficult enough, no need to make it harder by going in without a premise you're passionate to see flourish.
I felt enlightened by the notion of not discarding a creative idea but seeing how it can be supported. He elucidates it in a manner that had me seeing the notion of my ego as referee, getting in the way, and it standing aside, allowing goodness to be nurtured to see where it goes if supported. I do not know much about the writing scene or Alan Watt but if I were seeking writing guidance I'd want someone like him, someone with solid process and hands off the story... It's really a beautiful thing to hear stuff like this, even for someone in a different field.
Creative ideas? Hollywood doesn't do creative ideas. What Hollywood does is merely an interpretation of someone else's creative ideas. Taking them from other platforms: a novel, a videogame etc. that already proven the concept, and Hollywood writers may just tweak those concepts here and there, but there is no 'from the ground up' creative ideas in Hollywood. There never really was, and the writing of them today is just awful. Tumblr fan-flick writers that don't even know the basics of storytelling. I mean the fact that they made Fast and the furious 10...12... whatever the number, already a hint that there is no creativity in tinseltown (left).
Ideas are just ideas until a back story or deeper meaning is established. I'm going to go over my log lines and synopsis. Alan Watt Thanks!!!❤
I have become a fan of screen writing because it helps me create the scenarios and stories for my group's RPG sessions. Roleplaying games are usually about a Cadre of characters and their heroes journey. Screen writing helps me weave a tapestry that the players can co-create their stories within.
I love your emphasis on meaning because that is how the player's characters really come alive and what makes memorable moments and characters.
The host did ask great questions.
Talking about his fear exercise just made me realise things about the protagonist of a story I wrote a couple of years ago. I'm so glad I watched this because he is really insightful about the process.
Storytelling is the path of the unknown to the known.
This has to be my favorite channel on RUclips. I've obtained the most value here bar none. Thank you so much.
Wow, thank you! This is wonderful to hear. Glad the videos have been helpful.
I see writing as a discovery, writers as voyagers of uncharted lands like Magellan or Colombus, and there is great pleasure, drive and excitement in discovering that "channel" in our subconscious that he has mentioned.
The unconscious is the seat of genius.
I have been contemplating a lot about dreams for quite awhile. Dreams as in, while you're sleeping.
Frequently i have, what i call, 'weird' dreams. Sometimes very vivid, detailed, long and involved. Many times things happen in my dreams that "I" would never think of.
What amazes me is it takes no effort. The dreams are spontaneous. Scenarios, dialog, characters. Sometimes rather wise ideas. Formulated instantly by my Unconscious Mind.
Watt has a lot of great info that maybe coincidentally, or maybe because writers find similar roads to their work that what he's describing is mirroring a lot of my own writing process currently and what other professional writers have coached me on.
I like the way this guy talks.
What an absolute bombshell at 8:05 to 8:40. What an interesting way to approach storytelling and getting into the right headspace.
Great advice. Overthinking closes down that connection. I'm a musician and artist, and I love writing, and it's the same for all of these. Stay open. Don't judge the process, and let it flow.
Good video! I started work on a screenplay about a year ago. I figured it was going to be easy because I had what I thought was a good idea. But when I actually started writing the outline and thinking about it for more than five seconds, I realized that it's not that cut and dry. I've learned so much about my story and the characters and I stopped trying to force things to happen. Playing around with ideas has made writing more enjoyable. Needless to say, I'm looking forward to when I actually finish my first draft.
Al Watt is a great writing coach with a unique process. I spent 14 years trying to write the first draft of a novel - and failed. I took his ‘90 day novel’ course and completed a decent first draft. I’m on my fifth and final draft now and looking to get it published. 😊
Awesome! Thanks for posting and best of luck with your novel!
You won't know if it's your final draft, until you've completed it, and re-read it once more.
This is gonna sound crazy but…
I’m a first time writer (writing a custom novel for my little bro’s Christmas present).
And the last few days, I have been dreaming about these ideas. Like there was something I wanted to express about the process, but didn’t know how to articulate. And I knew if I could articulate how the story needs to flow (and what I need to surrender to let it), it will turn out amazingly.
This video put all of those needs into words. Every single one.
It's actually 100% based on our research survey, and the real reason is because they're not Grand Unified Theory compliant.
I discovered what appears to be the Grand Unified Theory of Storytelling
Based on 18 months of research we could not find a single complete story in all of human history.
This now answers the question, "What is a story?", and formalizes the criteria of a story which also largely eliminates writer's block, among other things like guaranteeing an entertaining and inspiring result (regardless of genre, to a general audience).
this has to be the one video that i always find myself coming back to, like a person of faith frantic with scripture. i'm constantly quoting this material to myself whenever i get stuck and it honest to goodness works!! i sit there and look to the ceiling and recall watt's letter to the author 9:17 and recover my faith 😂
Great advice. Your bringing the story back to the human element which is what hooks viewers.
You bring up "It's a Wonderful Life" because it's an amazing script?
Great advice for writing. Helped me solidify a few things. Thanks.
Exactly. Ideas are a dime a dozen. What happens next after your initial hook is what counts.
Wow this man's level of discernment and insight is extremely impressive, but not as impressive as what seems to be the genuine humility, and honesty that he has acquired
Bravo, and thanks so much for posting! 🙏🏼❤️👏🏼
Wow! Wonderful he talk about the self conscious and spirit in writing! Ideas are last all is writers sub conscious minds!
8:05 is really interesting to me. Im definitely going to explore that.
I would say that several ideas that are brought together to make a whole, is what makes a story. All the characters are created to present the story themes.
Very insightful. Especially what Alan had to say about the Oscars. Amazing.
I got to thank you SO MUCH for this interview. I’m amongst one of your avid viewers and this is BY FAR one of the most educative interviews you’ve done. So glad you got to collect all those gems. His perspective on meaning and fears is just 🤯🤯
Fantastic, one of your best videos! Though, admittedly, that is because it entirely lines up with my own writing principles.
Puts the courage in film courage.
This is literally genius and so helpful! 🙌🏼
What a wonderful and inspiring teacher.
This is one of the best ones on this channel. This resonated deeply with me. Thank you.
Of course ideas are not stories but stories without ideas are even more worthless.
yea but that doesn't trap members into their cult to be humbled as well... because you're the channel NOT the author.
Kavalier & Clay is my entire adolescence, goddamnit i love that novel, so happy to be reminded of it
5:50 If you don't restrain your subconscious, the script/story writing process can turn into a therapy session, an attempt to speak out rather than write a story. The ability to let your subconscious come out is a great ability, but the final decision should be made by the conscious mind so that it doesn't turn into a muddled mess that only a therapist can analyze.
The "my character wouldn't do that" claim is a very good claim. It's not a reason to discard the idea, but it is a reason to think about why your subconscious mind is demanding these exact actions from this character. Maybe you're trying to put yourself into it? Maybe it says something about your problems and unfinished "gestalts"?
Or maybe on a subconscious level you understand the character better than on a conscious level. And that means you need to pay more attention to character development. Perhaps your subconscious has found a double bottom, or has found far more important and valuable accents to place than your conscious mind.
But you can't blindly follow your subconscious.
Jokes on you my story is about subconscious processes
This is a revelation to me thanks!
This was fantastic. One of the most informative vids yet.
More to come!
How much knowledge, insight and profound advice can you provide?
Alan: Yes.
Watts is on of the top 3 best guests so far.
This was wonderful. It brought the crux of the matter back to the ground - to an artist's subconscious , to the channel (which is what matters as he said). It kind of rewired I guess to where it all gets created, to be aware of that. Awards serve the ego. I was surprisesd to know the story of how Oscars got created - out of fear.
Some beautiful advice from Alan, thanks.
I'm afraid to write this story because... "The fears you have in writing your story are identical in nature to the fears that your protagonist has in the story."
My fear is my story is crap. My protagonist's fears are that the life he has been a slave to is also crap.
Beautiful tbh
Thank you for bringing up the importance of channeling🙏 oh my what a synchronicity❤
5:43 This is one of the most genius things ever said.
thx will watch tomorrow as its gone 1am for me
You got it!
"Not the author, but the channel." Huh? I had to relisten to make sure he said that.
If I wrote like this I'd have to be in a padded room.
Edit: I dont think he actually watched the first half of Its a Wonderful Life. It made total sense to the story that Potter wanted to edge George out by bringing him in to work for him. He wanted full control of the town and George was always the fly in that ointment.
Alan said when the story started, Potter wouldn't have offered to employ George. It was only after George had begun his transformation in the middle of the story, did Potter try to tempt him with a job.
Karen your questions are so good, I love you
Hot damn! That was good.
Characters are the life blood of the story. In grander scope stories the characters can be an entire nation or civilization. But characters are NEEDED, something for the reader to connection to. Be a rollercoaster ride in text form, a mystery, a romance, sci-fi horror, fantasy adventure, we need something to connect with.
One of the most interesting videos in a long time. Literal inspiration. Hmmm...
This is my first exposure to Alan Watt. First off, I like him already because he spells his name correctly, A l a n. Second, I wholeheartedly agree with the channel aspect of creation. That's exactly how all of my stories have come to be, as a simple spark of subconscious inspiration. Heck, two of my stories literally evolved from dreams I had many years ago.
How else is Alan spelled?
@@galaxynote4752 Exactly. Some imposters spell it A-l-l-e-n.
Absolute legend, loved this one!
Waiting for the full interview
This is the first segment in a new interview with Alan Watt. Here is the link to our previous full interview with Al - ruclips.net/video/tBR5BCLkHDE/видео.html
@@filmcourage that is byheart😎
I have no fears in writing my story. I'm not sure how I would complete that assignment...
At last I know, i am not on my own!
Thank you 🙏🏾
Cheers!
This guy is really helpful. I hear people talking about mentors lol I don’t have anyone to talk to concerning writing my very first novel, although these videos are quite helpful. I am attempting to write about my life. It’s very personal and definitely. I have to be very vulnerable. Vulnerable, authentic and vulnerable that’s a difficult one….. 😂 not entirely though… Do you have any videos to recommend concerning writing a novel with a twist of fantasy and based on a true story?
I have always been unable to satisfactorily explain to others how to write. I always tell them, "I don't write. The story writes itself. I merely put it on paper. And my job is to make sure the best bits get chosen to tell, but sometimes there's parts of the story that are not told." Most people just stare at me, nod, and walk away looking confused and frustrated. Maybe it takes a writer to understand another writer.
Great interview
Really great talk
awesome
I dont actually know what plot is, i just write my story and readers tell me they think i was born to write it. And its cuz i let my subconscious AND my conscious fears go buckwild. The weirdest analytical thing i discovered tho, was i ended up writing the subconscious and life details of a distant family member ive never met. I have to admit, that was possibly the most shocking revelation of my life
I also decided to approach my writing for this story role playing as a megalomaniac author, conversing with the true storyteller in my mind, a formless voice in the void... and the ideas, these unrefined germs that emerged, became living, wild things that opened new waypoints and twists in the story. Characters became scarier, more vulnerable, and the more salacious it gets, the happier (and scared) my readers seem to get. So who am I pleasing? My audience? Myself? Or the voices in my head who force my pen to the page...all I know is this choice delivered me to a confrontation with true meaning, one I dont need to tame or constrict, because it explains itself, under the trembling membrane of words
In complete agreement that an idea can be the germ of a story, but is not a story in itself. However, he lost me with the needs driven paradigm. That is a way of telling a character story, but not the only way and I am all about breaking the rules we've all come to know and expect.
I usually feel like I've entered an interesting world shackled to a fool.
" The channel was being celebrated" is something that most fear to admit and to say out loud. The creative mind is a channel and what comes through isn't ours. I believe there are some people who construct their stories purely from their own imagination but many of us do not. Part of the process of writing is to be honest with ourselves and not obstruct the channel, even if what comes through doesn't adhere to what we are trying to construct.
"You can't solve a problem at the same level of consciousness that created the problem"
I was not ready for the truth bomb to be in the first minute of the video. I'm not even in screenwriting, but as a fellow creative these are so relevant to what I'm going through.
It’s funny he says Channel, to me it’s God, who is Love, great video learned a lot of how to get out of my own way. Grateful 🙏🏼
Tremendous
Thanks Dave!
On a separate note, I just returned from Carrot Juice Charlies. Never disappoints.
Alan has given me a lot to think about. But I'd like to know if the 453 page script of True Detective, season One, that Nic Pizzolotto wrote, can be reduced to a three act structure.
Very good clip, but it seems to me that his point about outlining does not follow from the premise that writers shouldn’t be attached to their ideas. Wouldn’t it be more accurate to say exactly the opposite? That the answer is to not outline at all and just let the story and characters flow freely out of the idea? Outlining just seems to ossify it even more.
That's where I kinda get lost. How can you have an outline without plotting? And how can you plot but allow the character free reign?
TL;DR the process is about expression and experimentation, no matter how you begin, or how long you spend on each phase. I think trying to prove definitively that outlining does or doesn't harm creativity and flow is a mute point. I think it just depends on the individual and how it's easiest for them to problem solve.
I think this comes down to how a writer outlines. Some people just go with their first instinct and list/fit plot points down until they have something to start writing with (and that's fine if that works for them). For others, the outlining stage is a thorough interrogation of the ideas and characters, where they experiment, and they don't start writing until they feel really solid about the direction. On top of that, outlines don't have to be followed to the letter. It's more like a safety net to keep you motivated and focused - for example, you could jump to a different scene from your outline if you're stuck on one scene.
I suppose most writers probably jump back and forth between outlining and writing, either in their mind, or consciously by making changes to their outline. IMO, outlines aren't supposed to be rigid. I think his point is that without an outline to explore what could happen and why, the writer might be relying on their first idea of what they expect the story is, or want the story to be. I think many writers finish an outline or first draft, and find that what they're actually writing about is something very different from their first assumption, because the emotions they wanted to express are hard to articulate directly without exploration. And then the writer has a choice to follow the direction that the process has shown them, or try and force the story into being what they envisioned it "should be".
I think it doesn't matter what the writer's process is and how much time they allot to each phase of the process. But it is important to really explore ideas and be open to being bold and vulnerable, and not constrained by expectations or fears of judgement.
@@Ruylopez778 I see your point. It’s part of why I think it’s weird that he focused on outlining and not exploration or familiarization with character. Those do seem essential to writing.
His ideas are really philosophical. His first approach is Hegelian and of course he mentions the Socratic Method.
So how the heck do authors plot a story without knowing the meaning? How do you know when you're adding meaningful actions vs when you're adding meaningless action that will just be totally scrapped later?
Welcome to the storyteller's dilemma?
"The story is not about what happens it's about the meaning we ascribe to what happens."
I screamed "YES" when he said this. I'm so sick and tired of RUclips film critics giving their analysis at the level of summary.
I don’t know how to get into a spirit of play when it comes to writing 😅 Its a hobby I’m trying to learn, but I’m afraid it won’t be good enough and boring to read
The idea isn't the story but you need the idea before you can write the story.
❤
"The channel" is an illusion. It's actually you, it just doesn't feel like it.
So he gracefully just ditched the Oppenheimer question?
Not gonna lie, I barely understand the arguments behind the point being made. I really wanted to understand what he meant when he said that many authors get so attached to their ideas that they don't let the story go where it wants. Does he mean we should let the characters do what comes naturally to them? If that's what he meant, it didn't come across well at all. I'm not even sure how the example he uses supports the point.
I think what he means is to let the characters guide the story. Let it be a natural progression. Don't lock yourself into an idea just because it was your original idea. Maybe along the way, you discover that something more interesting can happen, something better than your original idea. Give that new idea a chance. I recently shot a movie and when we shot the third act I decided last minute to change the entire ending, we didn't go by the script. I rewrote it the night before filming it. And that idea came to me as we were filming.
He's talking about letting the characters dictate the plot vs having the plot force the characters actions.
Thank you for asking this bc I felt exactly the same way. I don’t struggle with letting the characters lead bc I never get that far with my ideas - I would have liked more explanation about making writing playful, embracing fear, and letting our subconscious take the lead - those are all the things I struggle with after an initial idea. I don’t know how to ascribe meaning to the story itself, and I think that (over characterization) makes my stories flat.
I think "letting your story goes where it wants" is problematic advice because it is so vague in and of itself that it forces the listener to supplying their own meaning which could be wrong. He does mention other things though that are helpful, a lot of which can be found in many other craft books.
Some of what he cites can be found in Lajos Egri's The Art of Dramatic Writing. Egri gets into the idea of the character goal. On a subconscious level the audience wants to know what the main character wants. Anything that isn't about a character trying to pursue a want and encountering obstacles is boring.
That's usually the #1 problem in rookie drafts. The characters are either engaging in pointless banter, delivering exposition apropos of nothing, or doing stuff for which there are no apparent stakes or obvious problems to be solved. So if you were someone who came to the conclusion that your story "wants" to be about idle chit chat, it would be wrong 99% of the time, Kevin Smith and Richard Linklater notwithstanding.
Egri also gets into theme or premise or meaning. He's one of the earliest proponents of the idea laid out in the interview of thesis, antithesis, and synthesis also called the Hegelian dialectic. Egri doesn't believe a dramatist should start writing until they have a solid idea of what it is they are trying to say. One of the examples he gives is that Romeo and Juliet's central premise is "great love survives even death." One's story should be about proving their premise and this meaning should only become apparent at the end of the story.
To that end I think the interviewee forgot part of his made up example. It opens with the guy's wife divorcing him because she doesn't know who he is. So he runs off to his father's vineyard where he ostensibly finds himself. There isn't a tag that closes that loop definitively which could be the wife coming back, saying, "I now see who you are," or the new wife saying, "I love you because you know exactly who you are."
Just write it, STORYBOARD IT! Know edit and animation. And make it. Now finding the money to make it is a different story. I just shot a sci-fi film dealing with androids. I don't give a shit about going to writing school. If you write screenplays, DO IT! There's really no rules. But you need to understand the powerfull aspect of the cinematic visual storytelling. Too many screenplays in the market now and NONE will get made into a film. Unless you take hold and get it made. You need too storyboard. That's why comic book avenue is best answer. If you write and don't now your visual.... Story yes.... but visual... you're screwed.
2:52
Kind of ironic how everything he said is great for art but not for commerce.
Isn't this what separates most of the industry - art versus commerce?
@@filmcourage Bit art and commerce have been known to spend a romantic evening together now and then.
I hope they still call each other in the morning. Thanks for the comment!
@@filmcourage Thanks for the content. You guys are awesome!
The story is always about what happened. In Alan's story, if he includes one small detail, it changes everything. If he says the man was throwing his wife a surprise trip to France before she dumped him, devastated, the guy decides he's going to take the trip anyway so he can commit suicide but meets a carrot farmer that gives him new purpose. It's totally different. Meaning is subjective. The sequence of events is everything. Everyone assigns their own meaning. The meaning you try to inject into your story may never reach your audience. People see what is happening and draw their own conclusions. Case in point: what is the meaning behind the spinning top at the end of Inception? Another misconception about writing, I'm afraid. Writers are not Gods; they are storytellers. Tell the story and let the chips fall where they may. By the way, Alan is another guy who is giving screenwriting advice without a single screenplay credit on IMDB. I didn't say he doesn't know what he's talking about. I'm just saying how come this guy has been unable to successfully put his advice into practice and deliver. Hmm🤔. Sorry to seem negative, but I'm a sociologist and always curious about what drives teaching practices. The last point is the story about Louis B. Mayer is totally made up. A folktale that has been floating around the industry for years. In fact, the actors union started in 1933, so I guess the plan didn't work. Now you see how Alan doesn't need a shred of proof to tell that story. I don't believe it. The Guys building Mayer's house advised him an actors' uprising was about to happen. So Mayer convinced all of Hollywood at the time, let's create a diversion with this awards thing. That's gonna stop them from unionizing. Laughable! But maybe it is true. We all have to draw our own conclusions. My point exactly.
Most of this video feels like it's about pantsing. I don't understand his suggestion to outline. Can someone explain, please?
#ThatsLifeOnGod
"They'd have to be in some way germane to the events of his life." Dude apparently hasn't seen the Oppenheimer.
Who is this guest?
Alan Watt. His bio is in the description section.
Oppenheimer was not that great.
Yeah and I’m cillian Murphy
I don't see why he's acting like it's one or the other. A good story to the laymen reader is a combination of the characters' motivations and the story. Any good story writer knows this. Seems like a convoluted way of looking at writing. The default should be a mix of it all.