Ira Glass is one of the most recognized voices in radio. He’s the man behind This American Life, which has landed no fewer than six Peabody Awards, among other accolades and nominations. Glass has spent the last 30 years of his career as reporter and host for numerous NPR programs and was nominated for an Emmy in Outstanding Writing for Nonfiction Programming. He is known for his thoughtful, relatable stories and was acknowledged for setting the aesthetic standard for nonfiction programming in both radio and television when awarded the Edward R. Murrow award. What is it about Glass that captivates audiences so effectively? Let’s take a look at two undervalued bits of wisdom from this four-part interview shared on YouTube.
1. Finding the Right Story
“Often the amount of time finding the decent story is more than the amount of time it takes to produce the story… if someone wants to do creative work, you have to set aside just as much time for the looking for stories.”
Did you hear that? Just as much time needs to be set aside for finding the story for TV or radio. Maybe not in exactly the same ratio, but this counsel is so relevant and necessary in the lives of so many writers, both fiction and nonfiction. It takes time to really find the right story to tell, and it’s important not to be discouraged every time you hit a dead end. That’s just the way this works! Ira admits, “between half to one-third of everything we try, we go out, we get the tape, and then we kill it…I think that not enough gets said about the importance of abandoning crap.” I’d like to add that this time spent on odds and ends that don’t pan out is not time wasted. All of that work, every interview, paragraph, and character sketch is just making you better at what you do. It’s an essential part of the creative process.
“… failure is a big part of success… you’re going to run into a ton of stuff and it’s going to go nowhere, and you should be happy about that.”
Why would we be happy about that? Because it means we’re doing it right. You have this lightning bolt idea, but toss it around, do the research, spend some time on it, and ultimately realize there are some key flaws and it’s not going to take shape the way you need it to. It’s okay to let that idea die! There’s a reason the age-old adage, “kill your darlings,” never goes away. It’s just a fact of creating good art. The key is knowing when to quit. Stop shoving effort into a blah story. Be encouraged by those discarded scraps of Not Quite. They are freeing you up to pursue something much better. Just keep looking, keep showing up and doing the work and you will be on the road to creating something special.
“You will be fierce. You will be a warrior. And you will make things you know in your heart aren’t as good as you want them to be. And you will just make one after the other.”
2. Ruthless Editing
“You have to be, like a killer about getting rid of the boring parts and getting right to the parts that are getting to your heart, and you have to be, you know, just ruthless if anything is going to be good.”
– Ira Glass
You’ve found the right story to tell? Fantastic! Don’t hang up your machete. The savage work has just begun. Create and stitch and solder together your anecdotes, reflections, and revelations. Then get brutal. You will have to make tough choices about what needs to be there, and what is a distraction.
“Things that are really good are good because people are being really, really tough, and you’re going to be really tough.”
Evaluate the purpose and power of each part of your manuscript, and if in doubt, cut it out. Read it again. Does something new stand out? It is surprising how much impact is made when you’ve left only what’s most meaningful. If it’s causing your work to lose focus or spin off kilter, it’s got to go. It can be hard to see your work objectively, which is why I recommend letting it rest before diving in with the carving knife. If despite all this you know you’ve got a story, you’ve cut what you could but still aren’t satisfied; consider hiring an editor to point out the areas that need work.
“You don’t want to be making mediocre stuff… that’s not why anyone gets into this. The only reason why you want to do this is because you want to make something that’s really memorable…”