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          "text": "What will you do with that power? Will you garret yourself until you absolutely have to emerge to tell your staff what to do? Will you demand that everyone jockey for your favor in order to have the information they need to do their job... or will you provide that information freely so that creativity blooms because - and not in spite - of you?",
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          "text": "It seems weird that someone would sell a show and then not really \"know\" what it is - or be unwilling to share that information. Kind of like Steve Jobs not telling his staff more about the iPod than that \"it's white and needs a dial\"... and yet, not knowing - or not telling - what the show is a common showrunner dysfunction.",
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          "text": "You can also do that by instilling fear - of job insecurity, of the loss of political capital in the show's hierarchy, or simply the harsh judgment of a capricious father figure. You have the power to be either an enabler of your employees's creativity, or make them the enablers of your whims.",
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          "text": "Avoiding decisions causes your staff to run themselves ragged coming up with contingencies and robs them of the time they need to properly execute your vision. There's also the sad - and very frustrating and demoralizing to your employees - truth that most decision-averse managers usually return to one of the first things they were pitched as their final answer.",
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          "text": "And yet, an aversion to making decisions is a massively common showrunning dysfunction. It comes out of an understandable insecurity: once you make a decision, the world knows where you stand. Once you say \"This is what this is,\" you have made your taste and opinion clear: the world will judge you. Decision aversion can also be a stalling tactic designed to let you have it your way without ruffling too many feathers on an interpersonal and creative level. Wanting to be seen as \"a nice person\" and a \"good employer\" are understandable desires.",
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          "text": "Most importantly, the sooner you make a decision, the sooner you will know from your crew what is achievable, and the sooner they will be able to expand upon - and use their talents to - elevate it. The time you spent not deciding is time you rob from your staff's ability to make whatever the object of the decision the best it can be. The show simply cannot go on until you say what the show is.",
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          "text": "Architects can see buildings off blueprints. That's their job. Yours is to see the gross anatomy of the stories the writers pitch you off the shorthand of the board, and to let them run with the details. The next step is to visualize even further down the line as the writers refine the muscular, circulatory, and nervous systems in the slightly more detailed treatment of the story, plot, and scenes in an outline, and - if you don't like the shape of the surface once the script come in - for you to give notes and rewrite if necessary.",
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          "text": "The same applies for production design and prop fabrication - festooned as they are with blueprints, concept art, fabric",
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          "text": "In the business of entertaining people, many facets of the process of entertaining people are entertaining in and of themselves. Consider the costume designer's workshop. They have drawings of pretty girls on the walls, the costumers are frequently young and attractive - and have a great sense of style and design - and, every once in a while, beautiful actors come in and put on a fashion show for you.",
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          "text": "Why should you ask for this help and take yourself out of at least part of the loop? Because it all begins with the story: you need to focus your energy on making sure that the stories are developed to your satisfaction from the ground up. The writers room is the forge of your show's creation - the single most important place in the universe as far as you should be concerned - even though everything conspires to keep you away from it; jealously guarding your time in the writers room should be your prime target.",
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          "text": "The more your stories represent the purest version of your vision, the more involved will be your writers's knowledge of that vision... and the better your scripts are going to convey the vision to everyone else involved with the production (as well as the outlying regions, like the people who cut your promos at the network, or the people who license the show for merchandising).",
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          "text": "This is why conveying your vision clearly - making sure the work of the writers room reflects it first and foremost - and delegating the conveyance of that vision to others is so important. You are in the business of telling stories: you must strive to free your mental bandwidth to make sure they are your first, and final priority.",
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          "text": "highly creative people were put in a privileged position of access to the seat of power and knowledge. All you have to do is share with your writer/producers/showrunners-in-training What You Want, then send them off to all the meetings and have them report back. You do not have to give up your command authority: remember the First Law, and remember that there will always be a final meeting on all these matters before the scenes are shot.",
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          "text": "So don't be a Time Bandit (or a \"Time Vampire\"). Tell people what you want concisely... and then leave... or better yet, tell one of your writer/producers, let them have the discussion with the different department heads first, and then make course corrections later there's an adequate level of proof of concept.",
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          "text": "A. By the time a pitch/outline/script comes to the showrunner, the writers room has undoubtedly discussed it to every possible endgame. The outsider's idea was most likely already tossed around, taken for a test drive, kicked on the tires, and judged wanting for reasons that you have not yet had the time to examine.\nB. You have told the more senior staffer - the one whom you should be trusting with the stewardship of your vision - that you trust them so little that you are looking for help anywhere you can get it.\nC. You have sent the message that it's OK for an inexperienced staffer to speak out against a superior. That's not necessarily a sin, but applied capriciously and frequently, it breeds an entitlement in which junior staffers hold back the process because they believe they have the right to veto marching orders from anyone but the showrunner.\nD. You have put a younger member of the hierarchy in the awkward position of being shut down in front of you by another one of his/her mentors. Everyone loses face.\nE. You are privileging the counsel of people whose power differential with yours is so steep that they will never question your decisions in a productive way.",
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          "text": "Here's a few of the reasons why this well-meaning gesture often ends in tears:",
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          "text": "1. Throw the problem back at Doctor No - Doctor No tells you that they disapprove of something, you reply \"You break it, you bought it.\" If you can pitch an objection, but not a solution, you have not earned the right to speak. As showrunner, you get to express that, first politely, then in escalating levels of exasperation until it sticks. More importantly, expressing this is an important part of your job as a teacher: the critical faculty develops earlier than the more craft-focused, patience-requiring, spade-and-trowel discipline of story generation and repair. If you don't correct Doctor No-ism early and often, you are causing yourself and other showrunners more trouble down the line.",
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          "text": "And, if you don't have the time or energy to lay down your affectations, you can at least shield others from your insanity by building a scaffold of professionalism around yourself. Suffer for your art if you must - but make the effort to prevent others from becoming participants in your daily reenactment of your trauma. It will make your show a better workplace place for you and every member of your staff.",
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            "description": null
          },
          "evidence": "The closing ask encourages action.",
          "position": 4,
          "isPrimaryArc": true,
          "parentBeatType": {
            "name": "Resolution",
            "slug": "resolution",
            "status": "active",
            "canonId": "019dd9b8-045d-703b-8dd7-e92aba3ba91b",
            "version": 1,
            "description": "How the deck ends. Required in 19/20 arcs. The exception (Sparkline) ends with new bliss which is functionally a resolution."
          },
          "alignedBlockIds": null,
          "matchConfidence": 0.8
        }
      ],
      "loops": [],
      "locked": true
    }
  ],
  "arcBeats": [
    {
      "from": 1,
      "to": 1,
      "label": "Attention",
      "description": "The title slide grabs attention."
    },
    {
      "from": 2,
      "to": 3,
      "label": "Need",
      "description": "The introduction and key messages establish the need for showrunning laws."
    },
    {
      "from": 4,
      "to": 21,
      "label": "Satisfaction",
      "description": "The presentation of the 11 laws satisfies the need established earlier."
    },
    {
      "from": 22,
      "to": 23,
      "label": "Visualization",
      "description": "The epilogue and final slides help visualize the application of the laws."
    },
    {
      "from": 24,
      "to": 25,
      "label": "Action",
      "description": "The closing ask encourages action."
    }
  ],
  "loops": []
}