A.N. Publishing’s Post

❓What does it look like for a video editor to be a great STORYTELLER? I've been writing these daily posts for over a week now about what it looks like for an editor to be great at various aspects of the job. I've saved storytelling for last this week because I think it's a pretty obvious topic. Some people may say that editors are just "button pushers." But those people are embarrassing themselves. 😬 ⭐ Here are a few things editors should know in order to be a great storyteller: ▶ Understanding arcs 🔎 What happened before this moment and what comes next? These are not just questions for the showrunner to ask. Having a clear handle on the story we're all trying to tell is essential. A good editor understands the scene arc. But a GREAT editor has a handle on the episode arc, the act arcs, the scene arc, the character arcs, and hopefully a general idea of the season arc. ▶ What are the stakes? ⚡ Stories without stakes are boring. Adding tension and conflict that makes sense (and doesn't feel fake or forced) and ultimately resolving it, is the key to a great story. ▶ Excellent pacing 🏃♀️ Great stories have ups and downs, fast moments and slow moments. Knowing when, where and how to pace the story can make or break moments like landing a joke, selling an idea, or living in the inner turmoil of a character. Pacing is a key tool in an editor's toolbox. 🔧 ▶ Being a creative collaborator ✂ The main goal of the television editor is to help the vision of the showrunner and EP's come alive! But that doesn't mean we don't have creative cups to fill. We can and should make creative story choices in the edit that align with the showrunner's vision. Being a creative collaborator with your producers prevents burnout and allows an editor to feel like they're a valued member of the team. 🙋♀️ One of my favorite personal examples of this was when I was supposed to cut this serious scene for a show. As I watched the string out, I thought the reactions of one of the characters was HILARIOUS. I thought to myself... I wonder how this scene would be as a FUNNY scene? So I gave it a try! The Supervising Story Producer laughed so hard watching it down and couldn't believe I was able to squeeze comedy out of the content. We ended up sending it to the network and they essentially said, "I want all the scenes to be more like that." The lesson I learned was to give things a try and let my creativity soar, and usually it pays off. 🤩 👋 Are you looking for a creative collaborator who understands how to effectively tell a story? Fantastic, then click on my website below, watch my reel, and connect with me on Linkedin! I'd love to share what I can bring to the table on your next project. ⬇

SO nice to see Crashed: $800m Festival Fail went out again last month on BBC3—a proud reminder of all the work that goes on behind the scenes to get a project of this scale out the door! Developing and producing a documentary of this kind is so much more than just pressing record; it’s about earning contributors’ trust, uncovering fresh journalism, and creating a compelling story that stays true to the facts. From the initial seed of a story to writing a treatment, filming, editing, and right up until TX, you have to spin multiple plates—it’s a complex, layered (and fun!) process. Here’s a teenie tiny snapshot of what it involves: 💡 Research-Driven Storytelling: We spend months immersing ourselves in every detail, with extensive calls to contributors, sifting through mountains of evidence, and thinking about the story from all angles to ensure impartiality. Then, we distill these complex cases into accessible and entertaining stories without sacrificing on facts or accuracy. 🧩 Creative Problem-Solving: Documentary-making isn’t always plain sailing—contributors get cold feet, locations fall through, and archive material might suddenly be off-limits. Flexibility is key (even if it means a few more hours tweaking shoot schedules or changing things in the edit). Storytelling is an evolving process, but when the film goes out, you’re proud of the hard. ruddy. work. 🤝 Building Relationships: I’m a people person, and I love, love, love this part of my job. So much of a producer’s work relies on the trust we build with contributors (both on and off screen) and of course, our colleagues. Without them, we can’t tell the story, so we aim to be professional, friendly, and—crucially—impartial, so they can trust us to tell their stories with integrity (I know gossiping is fun, but save it for the pub with your mates mmmkay?). ANYWAY—in summary, I’m so grateful to have worked on projects like this throughout my career. A little bit of challenge, a little bit of growth, and a lot of fun make me a happy producer. #DocumentaryProduction #StoryDevelopment #BehindTheScenes #TrueStories #CreativeChallenges #ContentCreation #BBC3

I want to share a free online webinar on "Audience Metrics & TV Writers". This webinar looks very interesting insofar as I would like to learn how broadcasters do 'metrics' on Audiences. Not sure if you need to be Canadian to register but I am sharing the link below:

The Evolution of Live TV #writing, #RevolutionizingLiveTV #TelevisionEvolution #TechEnhancedViewing #FutureofBroadcasting #ImmersiveViewingExperience, #LiveTVTech #ARVRBroadcasting #5GViewing #EthicalTech, Comment, Like, Follow me, Share, Subscribe!

UserGen TV: Redefining Television Dynamics #TVContentDemocratization, #TVPlatforms, #TVRevolution, #UserGenContentInfluence, #UserContentInfluence, #UserGenTV, #AdaptableTVPlatforms, #ContentEngagement, #UserContentRevolution, #writing, #CommunityEngagement,

Hey All, There's a new FREE 24-Hour Ask Me Anything happening from Wednesday 5/15 to Thursday 5/16 over in the Stage 32 Producing Lounge! Timothy Kuryak, Emmy-Award nominated Executive Producer (SAY YES TO THE DRESS, TODDLERS & TIARAS, WHO DO YOU THINK YOU ARE?) will be answering people's questions about "Developing Unscripted Content" The questions won’t be answered until Wednesday, but the post is live for you to comment with your questions NOW! https://lnkd.in/gr8UipYs    You can ask Timothy questions like- How do you balance entertainment value with authenticity in unscripted storytelling? What are the key elements of successful unscripted content? How do you avoid exploitation when dealing with sensitive subject matter in unscripted content? Don't miss out on a chance to ask your questions!

❓ What does it look like for a video editor to WORK EFFICIENTLY? Editing can be broken down into two main buckets: Creative and Technical. When editing a feature film, perhaps time is a luxury. But in the deadline-driven world of television, working quickly and efficiently is truly a prized currency. Here are some tricks I've learned in my career as an editor to enhance my speed: ▶  Overcoming "blank canvas syndrome" 🎨 🖌 Editing, essentially, is just making a series of choices. A strategy I often use when I'm starting a new sequence is to make a creative choice immediately to overcome "blank canvas syndrome," which is when we stare at a blank timeline and simply don't know where or how to begin. Once I make the choice, I watch it back and can tell pretty quickly if that's a choice that works or not, and then I move forward making more choices. This method allows me to rapidly get a cut off the ground, and it's smooth sailing from there. ▶  Understanding software and keyboard shortcuts 💻 You're only as fast as your technical knowledge allows you to be. Truly understanding the software and utilizing things like keyboard shortcuts will significantly improve speed and set an editor apart from the rest. ▶  Prioritizing where to spend your valuable time ⏳ Some editors fall into a trap where they spend hours on minutiae in the RC stage, only to get the first round of RC notes back and learn that the entire beat has been cut. When I'm editing, I prioritize specific things depending on what version of the cut we're working on. If you understand the psychology of watching a cut, you'll know where to efficiently spend your time in the edit so you're not wasting time on details that may not matter later. ⬇ ▶  Understanding the psychology of watching a cut 🧠 When a network executive watches a cut, there are some key elements they WILL bump up on and get very distracted by. The more distractions, the more negative lens they will view the entire cut, and the more bad notes you will get overall. The goal is to maintain rose-colored glasses 😎 for the duration of the cut by avoiding simple mistakes, so they can focus on the story. Some of these are things like: 🛑 Terrible audio: too quiet, too loud or anything obviously standing out, bad music edits 🛑 Jump cuts 🛑 Shots in Log that appear grey and washed out 🛑 Slates that are too short in duration, have too much text, or have misspellings Luckily, these are VERY simple things to clean up and avoid in a RC, and will positively impact the kinds of notes you receive. Focusing your time on these elements for early cuts will allow you the time to fine-tune in later cuts, when it matters. GOOD NEWS! I have a reputation for being a quick and efficient editor, and I'm available now! Check out my website and let's get your next project off the ground together. ⤵

Online master class starting May 8

Currently, I am working on a plan for my pilot script that I co-wrote with Cat Yudain. In this ever-changing landscape of film & tv, where it feels harder than ever to sign with a literary agent, theatrical agent, and there is an increased focus on those with built in audiences - we are asking ourselves, how can we do that? I've slowly been shifting over to Substack, both with my frustrations on the Meta algorithms changing to favor paying advertisers over creatives or the "social aspect". My hope was to find a platform that allows the opportunity for growth and discovery, while also giving me direct access to my audience. The more I've been experimenting with posting and sharing on the platform, the more I was beginning to feel like I should publish the novel I've been writing behind my newest pilot, chapter by chapter, to the platform to begin to build an audience. Then, I stumbled upon an awesome video on Tiktok that confirmed I should do this! If you haven't read or seen the Elysian Press yet, authored by Elle Griffin, you should definitely check out her TedTalk on how she released her first serialized novel via substack and made $20,000. If she would have released that same novel to Amazon, with the same amount of purchasers, she only would have made around $800-900. Since Substack has added "Notes" and "note restacking", her readers can share quotes from her novel and articles to be discovered by others to also potentially read the novel. In the same way the global streamers are making it harder than ever for Indie filmmakers to make money on their films, publishing houses are also having a harder time than ever supporting authors. Books are at an all-time low for purchases, but, reading is at an all-time high on places like Substack. Instead of purchasing a novel for one price, Substack almost acts more as a Patreon where you can release one chapter a week (or however you prefer) to paid subscribers, and then make a section on your page with the chapters in order in case someone subscribes later in the journey. This creates build and anticipation, like waiting for the next episode of a network TV show to air, instead of having the entire season available to watch at once. She rewards her year-long subscribers with a paper version of the novel. Films like "The Kissing Booth" were created from substackers building a significant audience, plus you continue to own your IP instead of giving the rights to a publisher. I can't wait to share more about our next steps! In the meantime, if you wish to subscribe to follow the journey - I'll link my substack in the comments!

Shrunk: Redefining Television on Tiny Screens #TVonMobile, #writing, #AdaptToMobile, #TinyScreenOptimization, #MobileContentCreation, #MobileEntertainment, #ShrunkContent, #MobileTV, #MobileViewingExperience, #TelevisionOnTheGo, #SmallScreenOptimization,