Easily one of the most important classes for a writer to take, The Problem with Avoiding a Solution reveals the blind spot present within each and every one of us--and reveals concreate strategies for working your way through them. Beginning with making a distinction between what the characters see and feel (subjective story structure) and what you, the Author, recognize and interpret (objective story structure), Jim them goes on to lead the class into an exploration of what it truly means to solve a Problem within a complete narrative.
If there is one class you watch here on Subtext, this would be the one.
This transcription is provided as a teaching tool for the above class. As it was saved live during the broadcast, there may be some mistakes present.
00:00:00.000 --> 00:00:00.000 OK, and then let's record.
00:00:00.000 --> 00:00:08.000 And then let's record. Hello everyone welcome to season five Episode 13 of the writers room.
00:00:08.000 --> 00:00:20.000 This week I'm going to do what I said I was going to do last week which is all about the problem solution focus and direction so if you're very very familiar with dramatic.
00:00:20.000 --> 00:00:25.000 And you've been doing it for years and years, this could likely seem remedial to you.
00:00:25.000 --> 00:00:46.000 But I think it's important, you get some beginner type stuff out there, so that people who are new to it can re experience or experiences for the first time and understand where we're coming from, because the main reason is because this year, there's
00:00:46.000 --> 00:01:02.000 But everybody seems to be repeating the same sort of mistakes that I see him because this is all I do I figure I can save people some time by going over the things that happened and everybody can have that and then we can do some new things.
00:01:02.000 --> 00:01:12.000 So I actually don't have new stuff to show which I'm sure everybody's very happy about. I stopped changing things. And we'll just go over the basic stuff.
00:01:12.000 --> 00:01:25.000 Let me go into my here, share your screen, and is right here no no no orders.
00:01:25.000 --> 00:01:43.000 Okay, so, um, I did see, I've been watching all the Oscar movies, ones that are up for Oscars in the next two weeks, I believe, which I did, you know, promising young woman and the father, which was fantastic.
00:01:43.000 --> 00:01:54.000 And then so last night I checked out what will likely when the best. Well no, it's international feature film it's not foreign film, which is.
00:01:54.000 --> 00:02:01.000 Hopefully I'll say this right but cool buddies, which is all about the bosnia Serbian conflict.
00:02:01.000 --> 00:02:05.000 It's so good it's it's ridiculous.
00:02:05.000 --> 00:02:20.000 So I'll be putting this up in subtext so if you haven't seen it, I always think the greatest, one of the greatest things gifts of Informatica theory is you get introduced to films that you perhaps don't know about because it's got a really great story
00:02:20.000 --> 00:02:22.000 form.
00:02:22.000 --> 00:02:36.000 A lot of my favorite films are films that Chris ended up doing in the user group and then I go watch it and then it's like, Oh my gosh, I can't believe it.
00:02:36.000 --> 00:02:40.000 But yes, very heartbreaking It's fantastic.
00:02:40.000 --> 00:02:44.000 Very, very good so make sure you check that out.
00:02:44.000 --> 00:02:52.000 So, with that said, let's do some problems solution focus can do actually.
00:02:52.000 --> 00:03:04.000 Let's start out with a void. So, anybody who's been around from Africa or subtext or has heard me talk about stories.
00:03:04.000 --> 00:03:26.000 You know that one of the most familiar story problems that anybody ever runs into is the problem of avoidance, and a solution of perceived the reverse of that would be a problem of pursuit, and solution of avoidance, and this is one of the most popular
00:03:26.000 --> 00:03:37.000 story form or problem and solution pairing that you'll find, particularly in western linear 20th century type narrative.
00:03:37.000 --> 00:03:50.000 Because of the state of things. These are becoming more popular again so I'm finding more people come to me with stories that are about obtaining and self interest in physics.
00:03:50.000 --> 00:04:08.000 And like I mentioned before, I think that's because every 20 years, kind of shifts seems to shift.
00:04:08.000 --> 00:04:13.000 Presidents, and then you're
00:04:13.000 --> 00:04:17.000 talking I think it might be.
00:04:17.000 --> 00:04:19.000 Somebody needs to.
00:04:19.000 --> 00:04:31.000 So, and then for right now. The obtaining future between subconscious seems to be getting more popular in years, there seems to be
00:04:31.000 --> 00:04:47.000 conflict a brand of claiming for yourself or controlling sort of what it is that you want. And so I find that very interesting that's coming to play. So, things that I would assume are really simple and easy to do like avoidance and pursuit.
00:04:47.000 --> 00:04:54.000 People run into the problem of it, so I'll come into self interest here.
00:04:54.000 --> 00:05:08.000 And let's do random seeking standing clear recruit. This is great. Okay, so I'm just going to copy that and then I will go into quip here.
00:05:08.000 --> 00:05:15.000 And then we can play around with that. So, we're
00:05:15.000 --> 00:05:17.000 there.
00:05:17.000 --> 00:05:26.000 So, these are the same elements that I just grabbed. And the first one is pursuit, right, so this is.
00:05:26.000 --> 00:05:28.000 This one is control.
00:05:28.000 --> 00:05:34.000 This one is free. And then this one is a boy.
00:05:34.000 --> 00:05:40.000 And what this means is when you look at.
00:05:40.000 --> 00:05:52.000 I'm going to do, I'm going to treat this like a main character so we'll just say Sarah, we'll just call her. Sir, I don't want her problem is, but let's just do it as if it's the main character tonight.
00:05:52.000 --> 00:06:07.000 So when you look at this, and you see perceived control for you to avoid one of these will be the problem one will be the solution, be the focus will be the direction so one pair is what's really causing all the problems, and the other pair is what appears
00:06:07.000 --> 00:06:23.000 to be causing the problems in the past. All the literature everything to dealing with dramatic is always well, the focus is what the if you ask the main character what their problem is they would say oh my problem is, I don't have enough control.
00:06:23.000 --> 00:06:27.000 Practically speaking and what I found.
00:06:27.000 --> 00:06:45.000 Working with tons and tons of writers, is if you step back from it, and you look at it as if you're the therapist, sitting on the couch and you're looking at the character, and you're able You are the one that is coming up with these four like dramatic
00:06:45.000 --> 00:07:01.000 as your little iPad or iPhone, that has already interpreted this character and knows exactly what's wrong with them, and is telling you well their problem is they have too much focus on control, and what they're doing about it is moving in a more freedom
00:07:01.000 --> 00:07:06.000 direction more liberty, you know, freedom things.
00:07:06.000 --> 00:07:22.000 But what's really causing them problems, is this abundance of pursuit. It could be a lack of pursuit but right now it's an abundance of pursuit, and the way that they're going to resolve it is to avoid it.
00:07:22.000 --> 00:07:36.000 So one of the first things I would say whenever you're developing any of this stuff is. Don't ever think of it from the point of view of the characters the closest thing you're going to get to what the characters are going through in the story would be
00:07:36.000 --> 00:07:43.000 the scene resolution thing that's at the bottom of the story, beats, we know it will be very soon.
00:07:43.000 --> 00:07:54.000 Because that's the closest thing to what the character slash audience will see as they go through a story, you're looking at, like, way, way back in the process.
00:07:54.000 --> 00:08:12.000 So, if it's kind of this, if the justification process like starts here, and then goes up peaks and then comes down, the more like where you're determining all the different things that are going on with the story that's closest to this beginning part
00:08:12.000 --> 00:08:27.000 over here, which is where you'll find stuff like the problem solution focus and direction, concerns, domain domains, all that stuff that you're setting up structurally is way way way back in the process.
00:08:27.000 --> 00:08:33.000 And if you think of that process is basically you, the author are talking to the characters.
00:08:33.000 --> 00:08:49.000 Here, your audience, which is what you're like, you're trying to communicate something to your audience then, and then the story form is like the thing in between that it's like kind of what it is that you're trying to communicate, then
00:08:49.000 --> 00:09:01.000 the all those structural elements not how it's going to play out but all the structural stuff that you're studying is way way back here and nobody's going to know know characters going to know what that is.
00:09:01.000 --> 00:09:18.000 So anytime you can just make it all about what it is that you want to say what the story is using any other story paradigm or anything to develop accounts actually presented, how it appears their characters, and what it means and mythical cultural sort
00:09:18.000 --> 00:09:25.000 of stuff. That's all. At the end, and the closest thing they'll get to that would be.
00:09:25.000 --> 00:09:34.000 It's like the, you're the audience is coming into the story form from the element level, and then working their way back to what it is that you're trying to say.
00:09:34.000 --> 00:09:46.000 So, basically what happens. So I would always always always always avoid will what is their focus. And, you know, if you ask them what is their problem and they would tell you what this is.
00:09:46.000 --> 00:09:58.000 And I would make it strictly about what you as the author, as soon as their problem, or what they're actually like spending all their time on.
00:09:58.000 --> 00:10:02.000 So when it comes to pursuit, and avoidance.
00:10:02.000 --> 00:10:17.000 The other big big thing that it seems to be a repeatable, not a fence but repeatable problem is the idea that if you're pursuing something so let's say you have an addiction to fame, right.
00:10:17.000 --> 00:10:28.000 So, Sarah.
00:10:28.000 --> 00:10:34.000 Stop seeking validation for all the stuff that she does right.
00:10:34.000 --> 00:10:49.000 So somebody who's just completely driven has exactly what it has in mind exactly what they want to accomplish like a career goal, and they just do it but they do it to the extent where friends and family are being left behind, you know like workaholic
00:10:49.000 --> 00:10:52.000 type stuff and then pursue.
00:10:52.000 --> 00:10:58.000 Right, kind of know what's that.
00:10:58.000 --> 00:11:00.000 hello.
00:11:00.000 --> 00:11:06.000 I'm so sad. You said to no end and it's, but it's the wrong kind of know.
00:11:06.000 --> 00:11:15.000 Okay, thank you. I wasn't sure if that was just a routine problem. Okay.
00:11:15.000 --> 00:11:20.000 All right. So, pursuing things no one can stop you know workaholic type.
00:11:20.000 --> 00:11:37.000 And then what happens is when it comes to the avoid and what most what a lot of authors, new to it, too dramatic and thinking of starting in this terms will see a void and they'll think oh okay great so then, Sarah boys, seeking fame.
00:11:37.000 --> 00:11:44.000 And another cool I did it I know she's she's not she's avoiding it, and then that'll be the end of the story.
00:11:44.000 --> 00:12:02.000 But if you think about it, and you think about it in terms of a narrative and what it is that you're actually trying to say like you're trying to show a change in direction, avoiding what it is that you were pursuing is not the same as a solution of avoidance.
00:12:02.000 --> 00:12:07.000 All this really is is just a lack of pursuit.
00:12:07.000 --> 00:12:14.000 So if you are just going to stop or prevent what it is that you're going for.
00:12:14.000 --> 00:12:28.000 This is the same as the pursuit. And what happens is, all you're doing is just continuing the problem that drive is still there. It's just diminished.
00:12:28.000 --> 00:12:37.000 In the same way that a steadfast character, if you had, you know, a ton of abundance, or I'm sorry.
00:12:37.000 --> 00:12:49.000 If you had somebody who was wanting to be famous, and then everybody keeps telling them no you can't do it you know you can't do it. And then they just really dig in their heels, and they stay steadfast and they're like, no, this is what I'm going for
00:12:49.000 --> 00:12:53.000 them that stories like success and trying.
00:12:53.000 --> 00:12:58.000 That would be a steadfast problem or steadfast and no source of drive.
00:12:58.000 --> 00:13:10.000 That would be an effective way of communicating to your audience, you know, no matter what anybody tells you you keep pursuing you're going to get it, and things are going to work out great.
00:13:10.000 --> 00:13:28.000 That is what happens it's the same exact thing when you just avoid or stop or prevent, whatever it is that you are seeking So for instance, if somebody is always trying to get, you know, likes on Instagram or whatever like their social media account up,
00:13:28.000 --> 00:13:45.000 and then they totally are really into their Instagram account and do everything they can to do it and ignore everybody around them and then, you know, everything comes crashing down and if their solution is just to like throw away their phone, or to stop
00:13:45.000 --> 00:13:50.000 looking at their what it is that gives them that validation.
00:13:50.000 --> 00:14:01.000 You're just dropping the pursuit, so that the mind is still okay well then that's just kind of brought it back to.
00:14:01.000 --> 00:14:06.000 Not a completely balanced but I just kind of less than what it was that was happening.
00:14:06.000 --> 00:14:21.000 And you won't get that same feeling it won't mean the same as if there's a complete 180, and now you're like actively avoiding and actively, preventing something.
00:14:21.000 --> 00:14:27.000 So for here you can see oh well then steering clear of a group right so then, you know, Sarah.
00:14:27.000 --> 00:14:30.000 Just a voice.
00:14:30.000 --> 00:14:33.000 Just do that, sir.
00:14:33.000 --> 00:14:44.000 Here's clear. everyone would
00:14:44.000 --> 00:14:46.000 issue.
00:14:46.000 --> 00:15:01.000 Right, that's like, that's not really going anywhere. It's just like, Okay, well, it sort of is there but the reason why I feel so weak. And the reason was very unsatisfying.
00:15:01.000 --> 00:15:11.000 That's the word I was looking for it, unsatisfying is the satisfaction is replacing it with. I mean obviously you're abandoning the pursuit, which is what this is.
00:15:11.000 --> 00:15:21.000 Oh, so like on the premise right you know it always says abandon you know something or other. So maybe this one would say abandoned pursuit.
00:15:21.000 --> 00:15:25.000 You know, something like that.
00:15:25.000 --> 00:15:38.000 Um, so when you. You're she's abandoned in the pursuit here, right, and then, but you're not replacing it with something else and then that's why it doesn't feel.
00:15:38.000 --> 00:15:51.000 You don't feel that satisfaction, because it's not a complete shift in where you're going to be approaching it for the next time so you think like, if this was a scene.
00:15:51.000 --> 00:16:07.000 You wouldn't just end it with are not pursuing anymore. You would create avoidance, or prevention, which would spin up potential for the next scene, so you're just there it's not really resolved.
00:16:07.000 --> 00:16:13.000 Did you get some satisfaction that you get it by actually bring something.
00:16:13.000 --> 00:16:20.000 So, What would the actual difference be.
00:16:20.000 --> 00:16:39.000 I have a technique or two to be able to get that but just right off the bat, does anybody have any questions about that or do they have a suggestion for something that would be a lot more satisfying, a resolution for somebody who is driven to, you know,
00:16:39.000 --> 00:16:44.000 seek fame or something like that.
00:16:44.000 --> 00:16:48.000 But you have any suggestions.
00:16:48.000 --> 00:16:59.000 Diane does it shocked. Like, I mean I'm just looking at I'm just looking at the dramatic of words like I mean like you said prevention is what you were going for right.
00:16:59.000 --> 00:17:14.000 Well, So like, avoid is the true element of it right, but it sometimes can look like prevention so avoid was pro action.
00:17:14.000 --> 00:17:25.000 I'm not pro action but it's like, I would say it's like an abundance of avoidance is called prevention right so
00:17:25.000 --> 00:17:31.000 that that's why you'll see it in dramatic it's like okay it's either.
00:17:31.000 --> 00:17:43.000 You know, avoid slash prevent that's, that's what they're trying to account for because it's precisely for this reason because it's like, Avoid just seems like, Oh, I'm not pursuing anymore.
00:17:43.000 --> 00:17:56.000 And I'll do other ones that are have the similar sort of problem with this but because it's such a really clear one, you know, it's like, It's like a really important one to get says anybody have anything.
00:17:56.000 --> 00:18:18.000 Susie anybody have anything. I. The problem I am having coming up with it is because, to me it's not avoid is the weird one. And I would want to replace it, like you said with something else, but that means pursuit of something else.
00:18:18.000 --> 00:18:21.000 Yes.
00:18:21.000 --> 00:18:26.000 I'm like wait a minute.
00:18:26.000 --> 00:18:32.000 I don't have a suggestion because I don't think that's what you're after so
00:18:32.000 --> 00:18:41.000 cool. So another thing would be like maybe somebody is addicted to like smoking or whatever right
00:18:41.000 --> 00:18:48.000 now pursuing either drug addiction or drug addiction or smoking or something like that. Right.
00:18:48.000 --> 00:18:54.000 So you just think, Oh, well then they're just going to crumble up there, carton of cigarettes or whatever.
00:18:54.000 --> 00:19:08.000 Flush everything down by the end it's going to be fine. And then maybe what they'll do is they'll just go all right well now I'm going to replace it with, you know, working out.
00:19:08.000 --> 00:19:25.000 And so it's like okay well then that's, but the problem is is somebody who's a workaholic, is just going to transfer all that bad energy they had with all the drug addiction and smoking, and now they're just putting it into another pursuit.
00:19:25.000 --> 00:19:36.000 And then they're promised I'm going to go on. Now that could be a really cool story. So it could be somebody who's pursuing that and then they feel like, Oh, I'm going to replace it with something, something else.
00:19:36.000 --> 00:19:42.000 And then all that's doing is just continuing the problem pursuit and then maybe it's a tragedy or something like that.
00:19:42.000 --> 00:19:47.000 Because what you want to get is that feeling of avoidance.
00:19:47.000 --> 00:19:54.000 And what's really interesting is, everybody avoid writing about avoidance.
00:19:54.000 --> 00:19:57.000 Because, let's try this.
00:19:57.000 --> 00:20:09.000 Let's say it was just flipped. let's say there was a problem, avoidance solution of pursuit.
00:20:09.000 --> 00:20:15.000 Let me know if that one might be a little bit easier.
00:20:15.000 --> 00:20:32.000 Yeah, what I'm trying to understand what I'm trying to wrap my head around, is what your, if I end up just going to say what I understand, is that what you're saying is that you're playing with the dramatic a setup has this pursue avoid, but you don't
00:20:32.000 --> 00:20:50.000 like the way the words feel for what they really are so you're trying to, you're discussing the concepts and how they feel and your and my question is, is what is it that you're trying to do are you looking for better words then then pursue and avoid
00:20:50.000 --> 00:21:04.000 or are you just looking at different ways to say the same thing I'm not understanding what your problem that you're posing to us is no I'm definitely not trying to rewrite words I'm not trying to fix dramatic code and anything like that.
00:21:04.000 --> 00:21:21.000 I'm specifically trying to show how difficult it is to think of a problem of pursuit, and then a resolution of a void. That is not just simply a repeat of the original pursuit.
00:21:21.000 --> 00:21:24.000 It's like I gotcha. So what were.
00:21:24.000 --> 00:21:29.000 What were your two techniques, was working through here.
00:21:29.000 --> 00:21:37.000 But I was hoping there'd be somebody to mentor somebody would you be avoiding what the drive for the validation is.
00:21:37.000 --> 00:21:47.000 In this respect, what would be a example of that, or illustration.
00:21:47.000 --> 00:21:50.000 I don't know,
00:21:50.000 --> 00:22:01.000 just trying to think of that Stopping, stopping preventing avoiding because there's a she can't stop seeking validation.
00:22:01.000 --> 00:22:11.000 So it's not just that it's not just that actually stopping the seeking. It's almost like stopping the need for validation, or something.
00:22:11.000 --> 00:22:17.000 Just kind of thinking about, okay, well that's good I need.
00:22:17.000 --> 00:22:26.000 That would be that's usually where most people go, because it's like okay well what real problem is she has is need for validation. And so she just needs to stop that and that'll be fine.
00:22:26.000 --> 00:22:32.000 Again, this just like a pursuit, it's just like,
00:22:32.000 --> 00:22:41.000 oh, let's look at the other direction, because you know, two different ways affiliates one might be easier.
00:22:41.000 --> 00:22:48.000 let's say, Sarah has an avoidance problem.
00:22:48.000 --> 00:23:02.000 Alright, so what would hear it steering clear of a group let's see that maybe I'll go back to subtext, and we'll find
00:23:02.000 --> 00:23:06.000 different parent here.
00:23:06.000 --> 00:23:13.000 Oh look at that eluding a group in pursuing happiness. Alright so I'm going to copy that guy.
00:23:13.000 --> 00:23:20.000 Go back to where I was,
00:23:20.000 --> 00:23:22.000 is here.
00:23:22.000 --> 00:23:24.000 All right.
00:23:24.000 --> 00:23:31.000 Watch what happens. OK, so now, Sarah has an avoidance problem
00:23:31.000 --> 00:23:54.000 is alluding or be sure you know somebody that's not yourself, who is has a problem of avoidance, and they would he lose give just give me a group if anybody has anything.
00:23:54.000 --> 00:24:00.000 Oh shoot, I didn't family.
00:24:00.000 --> 00:24:06.000 Sometimes you really want to know
00:24:06.000 --> 00:24:12.000 what is what how does. So she would elude themes, even if it came her way.
00:24:12.000 --> 00:24:16.000 she would avoid it.
00:24:16.000 --> 00:24:23.000 Oh, let's make it a completely different story right sorry I'm not sorry I just thinking, I'm gonna mute myself because I think I talk out loud.
00:24:23.000 --> 00:24:35.000 Yeah, so instead of, instead of the problem being in pursuit on that side. I've just flipped it so now the problem is avoidance, which is always a limiting your family.
00:24:35.000 --> 00:24:40.000 And what kind of promises that cause ban. If you know.
00:24:40.000 --> 00:24:46.000 So, when you avoid your family
00:24:46.000 --> 00:24:56.000 responsibilities that are supposed to be being taken care of that, that can be a problem.
00:24:56.000 --> 00:25:00.000 expectations when you get to have a baby.
00:25:00.000 --> 00:25:10.000 That can be a problem in a home because you feel like you're not fulfilling the sort of stuff that you're supposed to be doing right. Uh huh.
00:25:10.000 --> 00:25:13.000 You like filling.
00:25:13.000 --> 00:25:25.000 You like compounds itself. Maybe you invest yourself in something that's even more.
00:25:25.000 --> 00:25:35.000 Maybe you avoid your, your, the problem is your family so you're going to work on writing, you're going to become a writer right now.
00:25:35.000 --> 00:25:46.000 Have a thought Jim that's sort of related it's backing up to what you said but for any given goal right. whatever, whatever the behavior is that. So Sarah.
00:25:46.000 --> 00:25:49.000 Sarah wants to avoid her family.
00:25:49.000 --> 00:26:03.000 The reason why the, I don't know if it falls under justification I'm just thinking story but it can either be for something at stake. So something scary about her family that she's trying to avoid or it can be, there's something that's rewarding her so
00:26:03.000 --> 00:26:21.000 by avoiding her family. She received some kind of reward. So, there are really more than one reason why she would avoid her family like it, like it, avoiding the family can have Kim is a, it's a, it's a focus or a symptom of a you know, have a prop of
00:26:21.000 --> 00:26:21.000 have a problem. So I'm just thinking out loud about how that works because it's not always the same review, you can have.
00:26:21.000 --> 00:26:33.000 a problem. So I'm just thinking out loud about how that works because it's not always the same, right, you, you can have a, or you can have a behavior for two for two different reasons.
00:26:33.000 --> 00:26:43.000 Right. So when it comes to dramatic and looking at a story for him when you see a problem avoid it doesn't tell you anything about that right because then explain well Why is that a problem.
00:26:43.000 --> 00:26:44.000 Right.
00:26:44.000 --> 00:26:52.000 The answer to why it is a problem is called backstory.
00:26:52.000 --> 00:26:53.000 Right.
00:26:53.000 --> 00:27:11.000 So you could like you said there's any number of reasons why that problem avoidance is coming into the narrative, and then that's where backstory is, which is a completely different narrative that typically is the reverse narrative of what it is that
00:27:11.000 --> 00:27:31.000 you have going on in the forest story. So the fourth story is, or story was called The story is the problem of avoidance, and, you know, if we did a I'm writing a change story here some imagine it's going to have a solution of pursuit here, then the backstory
00:27:31.000 --> 00:27:45.000 would be a story, a steadfast story where you show those justification is being built up as to why there's an avoidance problem so I'm not even asking that because I figured, that's another story.
00:27:45.000 --> 00:27:59.000 It could be anything so it doesn't really matter because I just as an author said okay, we're gonna have a problem wins here and we have a solution for see why it's there is a completely other different story, which you know if it's if you're not like
00:27:59.000 --> 00:28:10.000 a great writer novel, you know, students, there was a flashbacks to show why they are there, that kind of thing. That's why that pops in because you're explaining.
00:28:10.000 --> 00:28:13.000 The reason for that problem.
00:28:13.000 --> 00:28:29.000 So regardless of what it is, she could, you know, completely avoid whatever reason you know like she doesn't she doesn't feel comfortable being around other people so she avoids everything and then she invests herself into a screenplay or something like
00:28:29.000 --> 00:28:55.000 that. So that would be a story where the problem is. Avoid the focus is free, so maybe doesn't feel like she's too busy worried about not having time to do all the things he wants to do.
00:28:55.000 --> 00:29:01.000 So then the direction is.
00:29:01.000 --> 00:29:10.000 So, she's directing all her efforts towards writing hobby, I guess.
00:29:10.000 --> 00:29:14.000 So then, the solution of pursuit.
00:29:14.000 --> 00:29:21.000 In order to get rid of all those sort of bad feelings.
00:29:21.000 --> 00:29:31.000 She has to pursue reconciliation with her family. Then she has to be willing to
00:29:31.000 --> 00:29:37.000 put her writing in a
00:29:37.000 --> 00:29:46.000 lesser place, so that she can develop relationships with her family that are satisfying.
00:29:46.000 --> 00:29:54.000 So how is that not just
00:29:54.000 --> 00:30:12.000 because she's not avoiding she's actively pursuing relationships, that's, that's not avoidance avoidance of what at that point
00:30:12.000 --> 00:30:19.000 is avoiding her family that was the original problem right right diluting the family avoiding.
00:30:19.000 --> 00:30:33.000 She's alluding them.
00:30:33.000 --> 00:30:51.000 So then your solution would be to pursue happiness, or I'm sorry so the the illustration is pursue happiness and your interpretation of that is to actively pursue relationships with her family right
00:30:51.000 --> 00:30:56.000 or with it designed family that would work too but yes.
00:30:56.000 --> 00:30:58.000 What do you mean by design the family.
00:30:58.000 --> 00:31:05.000 Well, you have the family you're born to and then you have the family that that you choose.
00:31:05.000 --> 00:31:18.000 Okay, Cool. That's not what you originally said, pursue find
00:31:18.000 --> 00:31:24.000 good, but but but what I said would apply to either type.
00:31:24.000 --> 00:31:45.000 Well okay so the first one where it's like, Okay, I'm going to work on my relationships with my family is the same headspace as the lack of avoidance, it's not the satisfaction isn't there because you haven't moved into a completely different headspace
00:31:45.000 --> 00:31:59.000 of pursuit, and it's like a completely different thing. And the third thing I want to get across is, and this is the super important part of which apply make it even better is that it has to be a process.
00:31:59.000 --> 00:32:09.000 So, so many times people will see a you know a problem of reconsider and a solution.
00:32:09.000 --> 00:32:11.000 Consider, right.
00:32:11.000 --> 00:32:25.000 So they are maybe the person is constantly rethinking what it is they want to do, they're always second guessing you know some of you can, you know, thousand people who don't ever take action on anything because they're always second guessing and then
00:32:25.000 --> 00:32:30.000 so what that is, like, all right, you know what, I'm just going to be a lawyer, and I'm just gonna go for it.
00:32:30.000 --> 00:32:41.000 That's not consider a single consideration, but every single one of these is supposed to be a process.
00:32:41.000 --> 00:32:46.000 Consideration so it's almost like I'm gonna get rid of all this stuff, and from now on I'm just going to make.
00:32:46.000 --> 00:33:01.000 I'm going to see what's there, make a choice and move on, see what's there and make a choice and run, so you wouldn't just do one sort of thing because all that is is showing the change resolve, which is the same thing with.
00:33:01.000 --> 00:33:06.000 When you just like, get rid of flushing your stuff down the drain.
00:33:06.000 --> 00:33:17.000 That's why that's a lack of pursuit, it's not an actual new prevention process, like a new completely new motivation and new direction of going things.
00:33:17.000 --> 00:33:28.000 So, okay, but that, but that wouldn't be true of what I said, which is pursue reconciliation reconciliation is a process.
00:33:28.000 --> 00:33:36.000 So the pursuing reconciliation with the original family right
00:33:36.000 --> 00:33:43.000 with either with either I made it, who it's being pursued with wouldn't matter.
00:33:43.000 --> 00:34:10.000 It's, it's the process of reconcile of reconciling, I need people. I need to engage with them I can't always be focused on my writing. I must make the effort to connect with people who love me, whether or not that's a designed family or your blood family.
00:34:10.000 --> 00:34:25.000 Okay, so, um, hopefully I can show that there's a difference between the two. And the main part of that is, if she has a problem with avoiding her family like avoiding making connections.
00:34:25.000 --> 00:34:46.000 Then, pursuing that family and making those connections, is just a lack of avoidance, it's not pursued in the same way that throwing away the drugs is not an active avoidance, it's just a lack of personal
00:34:46.000 --> 00:34:50.000 same exact thing, you just flip the motivations.
00:34:50.000 --> 00:34:53.000 And so, it's not as satisfying.
00:34:53.000 --> 00:35:07.000 Because you have to get out of whatever that avoidance is whatever sort of stuff that was creating all that avoidance, and then move into a completely different path.
00:35:07.000 --> 00:35:25.000 So, the reason why I liked the design family, it's not so much that it's a different storytelling, although I would say, the one major technique that always seems to work is to do whatever you can to not refer to the original storytelling that was attached
00:35:25.000 --> 00:35:41.000 to the original problem, because all you're going to do is do that progressive complication thing that is in conflict corner, you know the socks little cute double socks and so all you're doing is talking about either more of that conflict or less of
00:35:41.000 --> 00:35:46.000 that conflict. You're not going in a completely different direction.
00:35:46.000 --> 00:35:56.000 It seems kind of counterintuitive because it's like what are you talking about, like, if I have a problem with my family, then I'm just going to go, pursue my family and meet meet up with them.
00:35:56.000 --> 00:36:12.000 So in the real world. Yes, that can fix fix things. But really what it is is, you're still being driven by I can't, I can't avoid my family. I can't, you know, prevent myself from making connections with them I have to go after them.
00:36:12.000 --> 00:36:15.000 That is still being motivated by pursuit.
00:36:15.000 --> 00:36:23.000 And so highly disagree with this get to your point, so that I could stop disagree.
00:36:23.000 --> 00:36:27.000 So Ron.
00:36:27.000 --> 00:36:30.000 Help me out, get to it.
00:36:30.000 --> 00:36:40.000 I've done this quite a bit, and I'm I keep trying, because it seems like all right well that's, you know, make sense like okay now I'm going after it.
00:36:40.000 --> 00:36:56.000 And it's a lot harder with something like a void in pursuit, because they seem like just the opposites of each other, but they're not the opposites, in the same way that this belief and faith aren't the same aren't just opposites.
00:36:56.000 --> 00:37:01.000 They're actually like drives there's like a process of doing things.
00:37:01.000 --> 00:37:18.000 And it's difficult because it seems, it's much easier just to do the opposite of what it was that was causing problems but to the narrative to the audience actually watching it all they're seeing is just not doing your problem.
00:37:18.000 --> 00:37:19.000 So good cheap.
00:37:19.000 --> 00:37:28.000 So as you can achieve, then just like the she would like her own thing like this. She has
00:37:28.000 --> 00:37:34.000 shoe, a go, and that the shoe with an own goal that brings her the.
00:37:34.000 --> 00:37:50.000 We can see there that she wants to pursue a new job and not care about family and that brings the responsibility, which he has avoided. But yeah, and then just like pursuing writing like f my family doesn't even be considered.
00:37:50.000 --> 00:38:01.000 Yeah, I'm just. This makes me happy. All I care about my happiness. That's a solution of pursuit over a problem of avoidance, because now that probably avoids isn't even coming up.
00:38:01.000 --> 00:38:05.000 It's not even anything you consider, it's gone.
00:38:05.000 --> 00:38:13.000 Because you replaced it with this now some people might be like well that's not right. Okay, well then you have a different story to tell.
00:38:13.000 --> 00:38:26.000 But it's the actual like complete 180 turn. That actually makes a solution for a narrative that changes it into a different direction.
00:38:26.000 --> 00:38:40.000 So absolutely, it could be like a completely different job, which you could go like completely not lose her mind but just be like I'm gonna go for a bike ride and then go roller skating, like, oh, ok and then she finds a lot of happiness there, and then
00:38:40.000 --> 00:38:56.000 maybe because she's doing all this other stuff. Then she's able to have better relationships with their family, then that would know if the relationship stories about the family or maybe with one of her children or maybe, you know, husband or partner
00:38:56.000 --> 00:38:59.000 whoever it is,
00:38:59.000 --> 00:39:09.000 but it's the fact that she moved away from any sort of baggage. Right. The problem is all about baggage and then he heaviness dealing with all I gotta deal with this sort of thing.
00:39:09.000 --> 00:39:24.000 Getting rid of that. That's why you have abandoned in there it's just like, forget it, it's gone out of the mind. And because I'm building I'm using replacing it with a completely different justification which is all that matters my happiness.
00:39:24.000 --> 00:39:37.000 And then depending on what kind of person who are what it is that you're trying to get across. Then you can bring in, you know, either that she goes off and then just find happiness, doing whatever the action wants to do and he leaves everybody behind
00:39:37.000 --> 00:39:56.000 or by just concentrating on your own happiness, it's like, oh, you know it's like there's the thing right you know proceed and avoid it's no wonder that it's attached to selfishness, because there's really programmed heavy you to be selfish is bad, and
00:39:56.000 --> 00:40:04.000 to be not selfish is good, but there's a lot of really good parts about being completely selfish.
00:40:04.000 --> 00:40:16.000 You know, it makes you a much happier person which then makes it better for you or easier for you to have actual relationships, like are healthier relationships, which would be a different kind of story.
00:40:16.000 --> 00:40:32.000 So quick question based on what Nick just said and what how you just explained it. So, the problem is avoid the way to find solution is to pursue something completely different from that wasn't the subject of the avoid basically, to me that's the easiest.
00:40:32.000 --> 00:40:44.000 That's clear best way to do it, because then you're not attached to anything, theoretically, and a storytelling has nothing to do with it right like it could be anything storytelling is meaningless.
00:40:44.000 --> 00:40:44.000 So it's like really it's just a void and pursuit and you're looking at those two things. but as practically.
00:40:44.000 --> 00:41:00.000 It's like, really it's just a void and pursuit and you're looking at those two things. But as practically. If you want to really get to that place where you're doing something that's actually different from the avoidance, is to just completely.
00:41:00.000 --> 00:41:04.000 Do something completely different as nothing to do with that storytelling.
00:41:04.000 --> 00:41:22.000 Because then you don't fall into the trap of just writing a lack of what it is that was going on, you're actually going into a different area, baby can we can we maybe say that the solution doesn't actually solve the problem.
00:41:22.000 --> 00:41:25.000 Just the way of getting rid of the problem.
00:41:25.000 --> 00:41:36.000 Do you mean the problems Sarah's problem with these families is not solved by by pursuing a career.
00:41:36.000 --> 00:41:45.000 She's just doesn't think about it anymore so you get rid of the problem that she doesn't solve it. Yes, yes, yes, Yes, yes. Okay. Yeah.
00:41:45.000 --> 00:41:50.000 There was something you said it was like really close.
00:41:50.000 --> 00:41:52.000 Oh no, I just lost it.
00:41:52.000 --> 00:41:58.000 I had the transcript I'll go back and I'll write it up or something but
00:41:58.000 --> 00:42:04.000 it doesn't, you're saying it doesn't solve the original problem it just gets rid of the original problem right, is that what you're saying.
00:42:04.000 --> 00:42:12.000 Yeah, really solves it No, because you're not thinking about it or focused on and it's not tugging at you. Yeah.
00:42:12.000 --> 00:42:14.000 That moment.
00:42:14.000 --> 00:42:27.000 It solves it but it doesn't solve the original problem right it just like it, it resolves that by putting you're just going in a different direction and doing something completely different.
00:42:27.000 --> 00:42:35.000 So yeah, that's totally it, and that the easiest way to do that is, don't try and solve that original problem.
00:42:35.000 --> 00:42:45.000 What is it that gets her to the place where, whatever that goal that she was working for is actually achieved is because of this sort of thing.
00:42:45.000 --> 00:42:56.000 Yeah, That's perfect. Excellent. Okay, so then that one was easier right, everybody had ideas for that and I want to argue with me about it.
00:42:56.000 --> 00:43:01.000 Why is it that the arguing Hush.
00:43:01.000 --> 00:43:06.000 Why is it that the other direction is so difficult.
00:43:06.000 --> 00:43:10.000 It might not be now. Yeah, let's do it let's try out.
00:43:10.000 --> 00:43:23.000 Alright so let's go back.
00:43:23.000 --> 00:43:27.000 Obsessed or chasing anything.
00:43:27.000 --> 00:43:28.000 Okay.
00:43:28.000 --> 00:43:44.000 Slim, what would be a resolution, what is sorrow avoid gluten.
00:43:44.000 --> 00:43:48.000 Sure.
00:43:48.000 --> 00:43:50.000 You avoid gluten.
00:43:50.000 --> 00:43:56.000 Yeah, something
00:43:56.000 --> 00:44:00.000 bigger.
00:44:00.000 --> 00:44:15.000 Maybe she starts at gluten, or gets kind of wrapped up in a gluten blog and gets fame. Regardless, yay. Yes, yes.
00:44:15.000 --> 00:44:26.000 Gluten blog and become famous for it. Okay, that is perfect, so ridiculous.
00:44:26.000 --> 00:44:42.000 Obviously, you probably, unless maybe there's a story you want to tell and this is actually what this connects with you but that's exactly it. Because that pursuit problem isn't something in consideration now, now she's just like I can avoid this and
00:44:42.000 --> 00:44:54.000 to get rid of this and you know and maybe as she was going through the fame sort of thing, it was like, Oh, I need to stop trying to get lights I'm trying to get this sort of thing I need to get rid of my phone and you know what I'm going to clean up
00:44:54.000 --> 00:45:06.000 my diamonds like oh my gosh okay week. Yeah, gluten gluten is the worst thing in the world, everybody needs to cycling gluten you're gonna you know and, because now her headspace is in that avoidance place.
00:45:06.000 --> 00:45:20.000 Then she ends up being famous and that she gets the original thing but by going in a completely different direction and dropping that original headspace of that problem, and going towards a new solution.
00:45:20.000 --> 00:45:26.000 That's good. I'm looking forward to the story to Nicholas.
00:45:26.000 --> 00:45:34.000 This one, I'm sure you very popular, but that yeah that's exactly it. thank you so much.
00:45:34.000 --> 00:45:40.000 And that works for any parents so when it comes to like faith and disbelief.
00:45:40.000 --> 00:45:48.000 It's not about the original problem of whatever faith, it was or whatever just belief, it is to replace something completely different.
00:45:48.000 --> 00:45:53.000 What's another one could be considered.
00:45:53.000 --> 00:46:12.000 But Jim you what's what sort of the mean. What you said is that, actually, you come back to the original problem, adding this second part of the, of the sentence which he becomes famous because of that blood.
00:46:12.000 --> 00:46:30.000 Yeah, let's say, not so much the problem, maybe the goal slash concern of that particular storyline So, okay, I was thinking like attaining let's say if obtaining was her, her concern which feels like a goal.
00:46:30.000 --> 00:46:42.000 This works really nicely so because it's really funny the way that I put it because it's like, other than that so how she gets fame, which works great, because you're really pointing out that it's not in the same headspace, and then you get the same goal.
00:46:42.000 --> 00:47:00.000 you don't necessarily have to attach it to that concern you know she could become wrapped up in a gluten blog and lose everything. Like all connections with everybody but, and not become her original thing that she was seeking and happy right so you don't
00:47:00.000 --> 00:47:15.000 necessarily have to fulfill that concern is just really funny to to attach it to that kid the problem that was not pursuing fame in the original sentence, it was pursuing fame, to no end.
00:47:15.000 --> 00:47:21.000 And to be a workaholic it's the excess of pursuit. That was the problem. Right.
00:47:21.000 --> 00:47:23.000 Right.
00:47:23.000 --> 00:47:26.000 And that's okay.
00:47:26.000 --> 00:47:28.000 Yeah.
00:47:28.000 --> 00:47:35.000 So that was the problem in the land is just imagine the concern of obtaining so yes.
00:47:35.000 --> 00:47:51.000 Just wondering if this is kind of a way to think about it is if the, if the problem is pursued that's like the process. That's the problem and not the circumstances of the story.
00:47:51.000 --> 00:47:57.000 Is that a way to think about it. Yes, that's brilliant. Exactly.
00:47:57.000 --> 00:48:09.000 Do you want to add more because that's perfect.
00:48:09.000 --> 00:48:20.000 And that obviously isn't working and then they try something else. and they might not get out of their circumstance like you're saying it might totally be different but they changed their process.
00:48:20.000 --> 00:48:33.000 I don't know if that's quite, quite it but if you go watch the movie that was cool bunnies, I'd like. Yes, for sure.
00:48:33.000 --> 00:48:45.000 That's exactly that's, that's where I'm always getting, is that a definition for story of exchanging one process for another process. Yes, yes.
00:48:45.000 --> 00:48:47.000 thousand percent.
00:48:47.000 --> 00:48:57.000 Interesting. Okay, so I'm going to bring you back on to topic because you were supposed to be talking about focus direction.
00:48:57.000 --> 00:49:07.000 And so far we've been problem solution. So, bring your background. So, this is probably one of the greatest classes I've ever done thanks to everybody's help.
00:49:07.000 --> 00:49:12.000 So I'm going to actually ended here, and I
00:49:12.000 --> 00:49:27.000 already pulled out of this, and this is like, No idea. I can now just do this link, and say, this is a problem, or you know whatever it is or issue is this is like the fundamental thing for everything.
00:49:27.000 --> 00:49:42.000 And so all these ideas and stuff it's perfect so I come back into focus and direction but the problem salute the idea that it's the idea that you came to the conclusion that it's replacing one process with another process.
00:49:42.000 --> 00:49:47.000 Gold immediately write it down on your notes, please.
00:49:47.000 --> 00:49:48.000 What's that I'm sorry.
00:49:48.000 --> 00:49:52.000 Can you put it in the notes below.
00:49:52.000 --> 00:49:57.000 Yeah, and the other great thing is,
00:49:57.000 --> 00:50:08.000 I'm not sure if you see here, but I have the transcripts going live transcripts, which is something. So, I see them does an okay job I have to go clean it up.
00:50:08.000 --> 00:50:19.000 I did with the user group so the little actually searchable sort of thing. I can put next to the actual class and stuff. Thank you for adding that.
00:50:19.000 --> 00:50:34.000 Yeah, it doesn't. Okay gentlemen as good as the videos in here but, you know, okay gentlemen it's good as the videos and I said, but I'll clean it up.
00:50:34.000 --> 00:50:42.000 But yeah, there can't be any questions because everybody got it and they figured it out.
00:50:42.000 --> 00:51:01.000 Yes, so so happy. Okay, so Oh, so then next week, um, I want to start a TV series right because everybody asked that and it was like Why are there no examples of TV series where the new episodes so I chose succession, which is a great HBO very dramatic
00:51:01.000 --> 00:51:18.000 second season is very different than the first season it's brilliant acting's amazing, the writings fantastic. And so what I wanted to try to do is do just two episodes of weeks you endorse the whole thing, you know, within one week.
00:51:18.000 --> 00:51:33.000 So, you know, less than two hours, basically like a movie, and just little start going through and show what it's like to start to build up an idea of a story form as you're going through it.
00:51:33.000 --> 00:51:40.000 And then by the end of it, you know you can't really know exactly what's supposed to happen until you see the whole thing.
00:51:40.000 --> 00:51:54.000 But if you have like an idea for a pilot or, you know, the first two episodes like how do I turn that into a full season or a full series by going through it with a session and won't be able to develop ideas for you can see the experience of what it's
00:51:54.000 --> 00:52:00.000 it's like to build up your awareness of a story form as you're going through.
00:52:00.000 --> 00:52:05.000 So, and I think I'll probably end up doing both seasons.
00:52:05.000 --> 00:52:14.000 I think when you do when you, when you when you're actually in the picture pilot you should know what the season arc is.
00:52:14.000 --> 00:52:18.000 Um, yes. But, yeah, for sure.
00:52:18.000 --> 00:52:22.000 Narrative first.
00:52:22.000 --> 00:52:32.000 But if you don't, and, you know, never really, there's something in there that's driving you to write this series, then it's like when you have just don't know how it is.
00:52:32.000 --> 00:52:43.000 So I'm hoping, by doing that with something that's finished and similar to the great identify like, Oh, I'm doing the same thing. How do I do this for my, my own words.
00:52:43.000 --> 00:52:47.000 Okay, so you're going to start with season one.
00:52:47.000 --> 00:52:54.000 Yeah, okay. There's two episodes first two episodes so just watch those and then we'll be talking about them.
00:52:54.000 --> 00:52:57.000 At length, next week.
00:52:57.000 --> 00:53:03.000 Cool, any excuse to watch Brian Cox is great.
00:53:03.000 --> 00:53:06.000 He's not very nice.
00:53:06.000 --> 00:53:09.000 Difficult father to have.
00:53:09.000 --> 00:53:36.000 Okay. So, thank you so much everyone that contributed so unbelievably happy is like one of the greatest of all time. So thank you for helping out, and I hope everybody has a great weekend and then I will see you next week.