The mystery of storytelling: Julian Friedmann at TEDxEaling

Summary

Julian Freedman, an agent with over 40 years of experience, offers a candid exploration of the challenges in storytelling and the rejection process writers face. He emphasizes that storytelling is less about the characters and more about engaging the audience, urging writers to prioritize human behavior and emotional connections. Freedman also discusses the importance of accessible characters, emotional catharsis, and the need for a formulaic structure in storytelling, drawing on Aristotle's principles. Despite the harsh realities of rejection, he concludes by reminding writers that the goal is to entertain and connect with audiences on a deep emotional level.

Takeaways

• 😀 Agents are in the business of rejection, with most submissions being rejected because they are boring or not compelling enough.
• 😀 Storytelling is more about connecting with the audience than focusing solely on the characters or plot.
• 😀 Storytelling cannot be taught; writers should focus on understanding human behavior and motivation instead.
• 😀 Writers are incredibly brave to share their work, knowing it will be scrutinized by others, including agents who are often criticized.
• 😀 The writer’s primary relationship is with the audience, not the characters, and this should drive the storytelling process.
• 😀 Writers should understand that storytelling is about irrational human behavior and emotions, not just facts or logic.
• 😀 George Orwell argues that writers are motivated by egotism, immortality, getting back at people, and trying to improve the world.
• 😀 There is a storytelling formula, with the three-act structure being a reflection of human brain function, involving pity, fear, and catharsis.
• 😀 The emotional impact of stories is often caused by chemical reactions in the audience, such as the release of PEA (phenylethylamine), the happiness drug.
• 😀 American films are more successful globally because they focus on accessible characters, visual storytelling, shorter scenes, and emotional engagement through music.
• 😀 While rejections are part of the process, successful writers learn to entertain and connect with the audience, ensuring they look at themselves in the story rather than just the characters.

Q & A

What does Julian Freedman mean when he says agents are in the business of rejection?

Freedman explains that agents reject the vast majority of submissions they receive, with his agency alone receiving about 6,000 submissions annually and only taking on around six writers. Rejection is a natural part of the industry, reflecting the highly competitive and subjective nature of selecting stories that resonate with the audience.

Why does Freedman argue that storytelling is more about the audience than the writer or the characters?

Freedman believes that storytelling should primarily engage and emotionally connect with the audience. The writer's role is to captivate and entertain the audience, not just to focus on the characters or personal creative desires. The audience's experience is what ultimately defines the success of a story.

What does Freedman mean by 'adultery' in relation to writing?

Freedman uses 'adultery' as a metaphor to suggest that writers must be unfaithful to their characters. While writers may form deep, loyal relationships with their characters, their primary relationship must be with the audience, who may have different tastes and preferences than the writer.

How does Freedman describe the importance of understanding human behavior in writing?

Freedman argues that the proper study for writers is human behavior, not just writing techniques. Writers should focus on understanding why people act the way they do, especially in irrational or extreme ways. This understanding of human motivation is crucial for creating engaging and realistic stories.

Why does Freedman believe that the three-act structure is effective in storytelling?

Freedman believes the three-act structure, based on Aristotle's model of pity, fear, and catharsis, works because it aligns with how the human brain processes stories. This structure ensures that the audience emotionally connects with the characters and experiences a journey that leads to emotional release.

What is the significance of 'pity, fear, and catharsis' in storytelling?

According to Freedman, 'pity, fear, and catharsis' are key emotional responses that make stories compelling. Pity is evoked when a character faces undeserved misfortune, fear increases as the character’s situation worsens, and catharsis occurs when the character is released from their troubles, providing emotional release to the audience.

What does Freedman suggest about the relationship between stories and human evolution?

Freedman suggests that storytelling might have evolved as a way for humans to rehearse fear and other emotions. He refers to ancient cave paintings and rituals of tribes like the Maasai, where storytelling and dramatic rituals allowed people to confront dangers symbolically, preparing them emotionally for real-life challenges.

Why does Freedman emphasize the need for accessible characters in storytelling?

Freedman emphasizes accessible characters because they help ensure that the audience can emotionally engage with the story. Accessible characters, especially in films, are more relatable to a wider audience, which is crucial for a story’s success, particularly in markets with diverse or lower literacy levels.

How do American films differ from European films in terms of storytelling and audience engagement?

Freedman notes that American films tend to have shorter scenes, more accessible characters, and more visual storytelling compared to European films. American films also typically have less dialogue and a stronger reliance on music, which helps create a stronger emotional connection with the audience. These factors make American films more successful globally, especially in markets with diverse audiences.

What lesson does Freedman draw from the rejection letter he mentions at the end of his talk?

Freedman uses the humorous rejection letter from a Chinese economics journal to illustrate that rejection is an inevitable part of the writing process. Even great works face criticism and rejection, but writers should persist, understanding that rejection often comes from people who may not be as talented or creative as they are.