The Wide Range of “Good”

I have a shot of espresso every afternoon. I love it. I’ve learned a lot about tasting and noticing flavors. Woodsy, dirty, sweet, astringent, blueberry, raspberry, tart, caramel, dark chocolate, milk chocolate, hazelnut, etc.

When you get good at something you can get snobbish. It’s your right. But with espresso I’m surprised how wide the range of “good” is, and how I’m pleased as punch with anything within that range.

I feel the same about design and, in many ways, business in general. There’s a wide range of good. There’s an hundred possible potential good outcomes for my design of Think Traffic or for the eventual offering of Fizzle.

Make sure you know what good is… for you, your business, your people. Do the work to know what success looks like, what the desired outcome actually is, what makes it balanced, not too acidic, not too boring.

Then, don’t waste a bunch of energy and effort splitting hairs that may not matter. Bring out the flavor of the bean and let it be.

Massimo Vignelli on the Lousiest Profession in the World

“Never work for a bad client in your life. Because from a bad client, you will get a worse client thereafter. If you get a good client to begin, you will get a better client thereafter. It is better to starve than get a bad client, because from a bad client you just go down.

Don’t work for money, because it’s the lousiest profession in the world to make money… You do design because you feel it inside; you have a moral issue to spread quality in our environment.”

Massimo Vignelli

Pixar screenwriter reveals building blocks of story

In this Ted talk Andrew Stanton, screenwriter at Pixar, gives us the building blocks of story. He doesn’t lay out these thoughts in a list, but it kind of makes sense to display these elements that way.

  • Story telling is joke telling. Knowing your punchline, your ending. Orchestrating everything from first to last towards a singular goal.
  • Make me care—emotionally, intellectually, aesthetically… whatever. I know what it means to not care. Make me care.
  • A well told promise is like a rock being pulled back in a sling shot, getting ready to propel you forward, through the story, to the end.
  • Don’t give the audience 4, give them 2 + 2. The audience actually wants to work for their meal, they just don’t want to know that they’re doing it. The elements you provide and where you place them are crucial. It’s the invisible force that holds our attention to a story.
  • All well drawn characters have a spine, an inner motor, a dominant unconscious goal they’re striving for, an itch that they can’t scratch. Michael Corleone wanted to impress his dad. Wall•e wanted to find the beauty.
  • Change is fundamental in story. If things go static stories die because life is never static. “Drama is anticipation mingled with uncertainty.” Have you created honest struggle/conflict between characters/themselves? Will Dory remember what Nemo’s dad told her? Will they ever actually find Nemo??
  • Storytelling has guidelines not hard and fast rules.
  • A story should have a theme. Laurence of Arabia’s is “who are you?” Everything he does is an attempt to figure that out.
  • The magic ingredient: can you invoke wonder. The best stories infuse wonder.
  • Use what you know, capture a truth from your experience, express values you feel deep down in your core.