Hugh Garry

100 Unread Messages

We made an app for Gruff Rhys called 100 Unread Messages and we kinda love it. You can download it to your choice of reading device here. Go on... It's great.

100 Unread Messages accompanies the American Interior book, film and album by former Super Furry Animals frontman. It tells the incredible story of John Evans, a distant relative of Gruff, who travelled across America in the 18th century looking for a mythical tribe of Welsh speaking Native Americans.

The idea for the app comes from a song Gruff wrote about the family of John Evans sat at home waiting for news that never came. With such a rich array of content to pick from we loved the idea of telling the story in 100 messages. The messages are distributed across a map following John's journey and are delivered in the form of film, music, photos, drawings, text, spoken word and gifs. All artwork was done by the brilliant Pete Fowler. 

There's lots to say about why we like this app but I thought I'd pull out three things that are noteworthy. 

1. The smart stuff in this app is hidden. Like everything else we do we look at the story first and decide on the best way of telling it. It was app of the week in The Guardian and Stuart Dredge clearly got the experience we were hoping for:

"As a technology writer who’s spent a lot of time covering apps in the last five years, my favourite thing about the American Interior app is the way it helped me get lost (again) in the John Evans story rather than thinking too much about the format in which it’s being delivered. It’s not a whizzy app: it’s a great story."

2. Every message is a Twitter card which means it can be shared as an individual piece of content embedded in a tweet. Twitter now does deep linking, which means that you can link to messages deep within the app. So if you click on a link in Twitter and already have the app and it will fire it up and bring you to that message. If you don't have the app it will fire it up in the store for you to buy. 

3. There is something really interesting in the snack sized portions and physical gesture required to open each message that fires off a shot of dopamine in the brain. The first time I tested it with all the content in was on a 2 hour flight. I planned to test the first few messages but before I knew it the plane was landing and I'd pretty much been through most of them. It's incredibly addictive and a behaviour we're certain to do more research on for future projects.  

Tonight (Wednesday) Gruff is performing at the Apple Store on Regent Street. He'll be telling the story and live tweeting it via the messages built into the app. So people at home will be able to follow the story Gruff tells in the store via a selection of cards embedded in Twitter. 

Credits should go to everyone at Storythings for the work that went into making such a thing of beauty, Nathan Hull at Penguin for generally being ace. And the lovely Cat and Gruff and their team in Wales for their spirit of adventure. 

If you want to speak to us about working on a project get in touch here.

Listening Differently

"But most days, if you're aware enough to give yourself a choice, you can choose to look differently at this fat, dead-eyed, over-made-up lady who just screamed at her kid in the checkout line. Maybe she's not usually like this." 

I spent all of my 30's working at Radio 1, a radio station aimed at 15-25 year olds. At the time I was working in the media, referring to large coffees as 'Venti' and hanging out in wanky East London. Little has changed to be honest.

When you're producing content for people from a different generation you have to quickly learn how to stop being you. You have to step out of your bubble and become a 15 year old school boy from Derry, an 18 year old MC from Dundee or a 21 year old single mum from Hackney. You have to break out of your default setting.

My eldest son was recently training to be a coach and mentor. I talked to him about the importance of empathy and a little thing I do when I'm on a train in the morning, or in a cafe waiting for someone. I look at the people around and build the stories of their lives based on whatever clues I can grab. It's not enough to form opinions based on the easy clues. You have to look for the hard ones. 

Yesterday I came across this. It's a wonderfully visualised version of a commencement speech given by novelist David Foster Wallace. It's a brilliant essay on empathy and living compassionately. Everyone should hear it. If you work with audiences or customers then you have to listen to them. Hearing is not enough. You have to build the story that lies behind the data rather than just acting on the data. You have to understand people and the only way to do that is by listening differently.

THIS IS WATER - By David Foster Wallace from The Glossary on Vimeo.

Storytelling Tips from Pixar

Thanks to the wonderful Emma Coats, storyboard artist for Pixar, who recently tweeted a series of 'story basics' picked up from senior collegues she's been working with at the studio.

I partiularly like "#9: When you’re stuck, make a list of what WOULDN’T happen next". I often use the 'opposite' technique in my creative process when I have a block. When you're struggling for ideas try coming up with a list of things you definitely don't want to do. You'll be amazed how quickly the fog clears. 

#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.

#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

#17: No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

Thanks to The Pixar Touch Book for originally sharing these. And thanks to Pete Jackson on Twitter for reminding me of this excellent TED Talk by Toy Story's Andrew Stanton on the clues to a great story.

Storytelling tips from Ken Burns

"The common story is 1 + 1 = 2... The real genuine stories are about 1 + 1 = 3. That's what I'm interested in" says filmmaker Ken Burns in this short film on the art of filmmaking and storytelling. Watching it I was reminded of a quote in Storytelling Tips from Ira Glass "You have to be really a killer about getting rid of the boring parts and going right to the parts that get into your heart. You just have to be ruthless if anything is going to be good. Things that are really good are good because people are being really, really tough". I don't think there is a wasted word in this entire video that punches you you in the heart. 

"We live in a rational world where 1 + 1 = 2. And it does. But the things that matter most to us, some people call it 'love, some people call it 'God', some people call it 'reason', is that other thing where the whole is greater than the sum of the parts. And that's the 3. There are great stories everywhere. Abraham Lincoln wins the Civil War and then decides he has time to go to the theatre. When Thomas Jefferson said 'We hold these truths to be self evident that all men are created equal' he owned 100 human beings he never saw the hypocrisy, never saw the contradiction, and more importantly never fit in his lifetime to free any one of them. That's a good story. The stories I like to tell are always interesting because the good guys always have really serious flaws the the villains are very. compelling."

Let them play

One of the saddest things about our educational system is that schools are too keen to turn moments of 'play' into moments of 'learning'. The crayon becomes the pencil then a pen. The lego becomes the exercise book then the ruler and protractor. As Ken Robinson said in The Element"

“Imagination is the source of every form of human achievement. And it's the one thing that I believe we are systematically jeopardising in the way we educate our children and ourselves.” 

When I watched Caine's story I struggled to hold back the tears as it reached it's conclusion. In part they were tears of joy for such a remarkable story, but also tears of sadness that his days of play may soon be behind him with his creative spirit dampened by an industrial model of education the sees work and play as polar opposites.

4 lessons in creativity from 'The Artist'

 

I went to dinner on Sunday with a friend who told me that people in Liverpool were walking out of the cinema when they discovered that The Artist was a silent film. I shouldn't be surprised though. I'm sure there were couples choking into their popcorn in multiplexes all over the country when the realised that a silent movie actually means no speaking and no colour. Not even 3D!!! What was Hollywood thinking?

I was delighted to see it scoop a handful of Oscars last month. It's a brilliant and engaging film packed with lessons in how to be creative in whatever it is you do. Here are 4 to be getting on with:

1. What is not constrained is not creative. If you are faced with a blank sheet of paper to fill try add some restrictions of your own. 

2. Creativity is about subtraction. What you remove is as import as what you add. If you're making a blockbuster like Transformers and you add more robots, you simply have a film with more robots. If you're making a film like The Artist and you take away the voices you have something 'remarkable'.   

3. Talent imitates, genius steals. Borrowing from what has gone before is no bad thing. Singing the Rain was a brilliant movie.

4. Rethink deadness. Just because technology moves forward doesn't mean old ideas are bad ideas. 

 

That Special Place

Quotes from The Futures of Entertainment: Location, Mobile, and How Data Tells Stories

Quotes from The Futures of Entertainment: Storytelling

Charlie Kaufman on Storytelling

There's this theory in fashion that once you spot something three times in quick succession then it's officially 'a trend'. There's also that thing that once you start thinking about something more than usual you simply notice it more. Either way, I agree with Matt, conversation around storytelling seems to be everywhere at the moment.  

I love this from Charlie Kaufman in The Guardian on why he wrote 'Being John Malkovich'. A great example of the combinatoral nature of the creative process:

"I wrote Being John Malkovich while I was waiting for hiring season. My idea was that I would write a script and use it to get work. I had this idea that someone finds a portal into someone's head, and I had another idea that somebody has a story about someone having an affair with a co-worker. And neither one was going anywhere, so I just decided to combine them".

But what I really like about the article is this great anecdote about running. It's goes back to what Ira Glass has to say in 'Part 1' of this post.

"I'll tell you this little story. There's something inherently cinematic about it. I run in my neighbourhood, and one day I ran past this guy running in the other direction: an older guy, a big hulky guy. He was struggling, huffing and puffing. I was going down a slight hill and he was coming up. So he passes me and he says: "Well, sure, it's all downhill that way." I loved that joke. We made a connection. So I had it in my head that this is a cool guy, and he's my friend now.

A few weeks later, I'm passing him again, and I'm thinking: "There's the guy that's cool." As we pass each other, he says: "Well, sure, it's all downhill that way." So I think: "Oh, OK. He's got a repertoire. I'm not that special. He's probably said it to other people, maybe he doesn't remember me ... but OK." I laughed, but this time my laugh was a little forced.

Then I pass him another time, and he says it again. And this time he's going downhill and I'm going uphill, so it doesn't even make sense. And I started to feel pain about this, because I'm embarrassed for him and I think maybe there's something wrong with him. And then it just keeps happening. I probably heard it seven or eight more times. I started to avoid him.

I like the idea that the story changes over time even though nothing has changed on the outside. What's changed is all in my head and has to do with a realisation on my character's part. And the story can only be told in a particular form. It can't be told in a painting. The point is: it's very important that what you do is specific to the medium in which you're doing it, and that you utilise what is specific about that medium to do the work. And if you can't think about why it should be done this way, then it doesn't need to be done".

It has the first building block, the sequence of actions - I went running and met this man and he told a joke and I met him again and he told the same joke. That's followed by a moment of reflection - he says this to everyone and it kinda makes me feel uncomfortable. Then the big point - It's very important that what you do is specific to the medium in which you're doing it.

A very simple story, built with basic building blocks creating something wonderful in a few paragraphs. 

Read the full article here.