It’s Storytime: Wend-Way-Go

It is Wednesday, and that means there’s a new episode of It’s Storytime With Wil Wheaton, waiting for you wherever you get your podcasts.

This week’s story is Wend-Way-Go by Tim Pratt. It was originally published in Uncanny Magazine.

I made a creative choice for this week that I haven’t made before on the podcast, and it was so satisfying, I wanted to talk about it a little bit.

When I was working on Star Trek, one of the adults in the cast — and I can’t remember who, no matter how hard I try — introduced me to the concept of “meeting the demands of the material.” They meant that our job as actors is to serve the writer’s intention, not the other way around. Before we start changing words or rewriting lines, it is our responsibility to do the work of understanding the author’s intent until the scenes work. And if the scene still doesn’t work after all of that, then it is time to talk about making changes. But you don’t go making changes because you’re 15 and don’t yet know what it means to be an actor, beyond following direction.

It took me awhile to process that, and it took me even longer to reliably meet the demands of the material, but I eventually got there and never left.

As a narrator of over 100 titles, my job is easier, more joyful, and more satisfying because I know to listen to what the author wants to say, and then do my best to communicate that through my performance. When it works, the listener doesn’t even know what I did; they just feel the story more completely than they would, otherwise. It’s a pretty great trick.

When we recorded this week’s story, Gabrielle (who directs and produces) and I both felt that the material was making a specific demand, that was also a gift to me: without saying so directly, Tim sets this story in what felt to both of us like South Carolina, for some reason. It was so clear in the text that the narrative character needed to speak in a soft drawl, that supported his fundamental gentleness.

It is a creative risk, to be sure. Accents are tough, and present a unique trap that catches me all the time when I discover I am doing an accent, when I should be performing with an accent.

So it’s exciting and a little scary, but I’m glad I did it. I loved this story, and I hope you do, too.

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