Michael

  • Book Notes: How to Succeed in Mr. Beast Production

    Chapter ONE: Intro

    1. Be very clear withTHE GOAL (of a Youtube Channel):
      1. To make the best Youtube videos (not the best produced videos, highest quality videos, Hollywood videos, etc.)
    2. Results (and only results) matter:
      1. The amount of hours you work is irreslevant
    3. Only A players get to stay
    4. What makes a Youtube video viral:
      1. Click Through Rate (CTR):
        1. CTR is basically how many people see our thumbnail in their feeds divided by how many that click it. If 100,000,000 people see our thumbnail and 10,000,000 click on it then that means 10% clicked and we have a 10% CTR.
          1. Title and Thumbnail should be EXTREME. The more extreme, the better:
            1. “I Spent 50 Hours In My Front Yard”: BAD
            2. “I Spent 50 Hours In Ketchup”: BETTER
            3. “I survived 50 hours in Ketchup”: EVEN BETTER
            4. “I don’t like bananas” vs. “Bananas are the worst food on earth”
      2. Average View Duration (AVD):
        1. AVD is how long on average people watch a given video (Youtube will tell you this in analytics).
          1. The shape of the audience retention graph can tell which parts of video are most and least interesting to viewers.
          2. The 1st minute is the most important minute of a video:
            1. Must match the title and thumbnail expectations (content vs. clickbait)
            2. Front load some interesting stuff
            3. Pre plan what to say and say interesting things
          3. Minute 1 to 3:
            1. Transit from hype to execution: stop telling people what they will be watching and start showing them the thing.
              1. Example: say we have 10 minute video about a guy surviving weeks in the woods. Instead of making the first 3 minutes of the video about his first day then progressing from there like a logical filmmaker would. We’d tried to cover multiple days in the first 3 minutes of the video so the viewer is now super invested in the story.
          4. Around the 3-minute mark:
            1. Do a re-engagement: content that is highly interesting that fits the story and makes people genuinely impressed. It’s important to re-engage the viewer around this time because they could get bored of the story and click off.
          5. Minute 3 to 6:
            1. The goal is to make viewers fall in love with the story.
            2. This is where you plan out all the most exciting and interesting content that is also very simple. This includes lots of quick scene changes and highly stimulating simple content that reflects the story.
          6. Around the 6-minute mark:
            1. Do another re-engagement: this one can be also highly interesting but needs a little bit more explanation (coz the viewers are already very invested in the story by now) and will push the story in the second half of the video.
          7. Second half of video (minute 6 to 12):
            1. Not as interesting as the first half is okay, since viewers by now are watching the video without even realizing they are watching a video.
          8. The end of video:
            1. Don’t ever signal the end of the video unless it’s to build hype for the prize or payoff.
            2. Long explanation bits should be put here at the end of videos.
            3. Unexpected things that happen which can be turned into content (should be put here at the end).
      3. Average View Percentage (AVP):
        1. (Jimmy didn’t say what it is coz this is decided by himself, so no explanation in this staff handbook)
      4. The “WOW” factor:
        1. Basically, anything that no other Youtuber can do (this is a subjective factor).
        2. Examples:
          1. Bring a house in on a crane

    Chapter TWO: Creating Content

    1. Watch the damn video:after each video is done, watch every Mr. Beast video on all the channels.
    2. Check. In. Daily. Leave. No. Room. For. Error.:
      1. Let’s say you’re in production and a video you’re assigned to is put up 45 days out. A lot of things need to happen before you can start working on it. The big things would probably be you need a thumbnail sketch and creative on your team to write the video. DO NOT just go to them and say “I need creative, let me know when it’s done” and “I need a thumbnail, let me know when it’s done”. This is what most people do and it’s one of the reasons why we fail so much.
      2. I want you to look them in the eyes and tell them they are the bottleneck and take it a step further and explain why they are the bottleneck so you both are on the same page. “Tyler, you are my bottleneck. I have 45 days to make this video happen and I can not begin to work on it until I know what the contents of the video is. I need you to confirm you understand this is important and we need to set a date on when the creative will be done.”
      3. Now this person who also has tons of shit going on is aware of how important this discussion is and you guys can prioritize it accordingly. Now let’s say Tyler and you agree it will be done in 5 days. YOU DON’T GET TO SET A REMINDER FOR 5 DAYS AND NOT TALK TO HIM FOR 5 DAYS! Every single day you must check in on Tyler and make sure he is still on track to hit the target date.I want less excuses in this company. Take ownership and don’t give your project a chance to fail. Dumping your bottleneck on someone and then just walking away until it’s done is lazy and it gives room for error and I want you to have a mindset that God himself couldn’t stop you from making this video on time.
    3. Video tape everything:
      1. It is more important that the entire team have a good mental grip on something, rather than that 1 person has a good mental grip.
        1. Example: Let’s say you go to scout a set for a video in a month while the rest of your team is working on this week’s video. Most people just go to scout the set, maybe grab a photo, and walk around and try to grab a good mental model of it. Then a week later when you’re back, this video is now Tyler’s main focus and he starts asking questions about the set, and you can’t quite recall. The questions get more and more detailed and all you have to go off of is what’s in your mind. The rest of your production team also needs to start planning bits but they don’t know what it looks like and it’s a shit show. This is why we say video everything.
    4. Say the negatives (bad news):
      1. Don’t just tell people the good news. Say the bad news.
    5. It’s your fault. (And your responsibility to) track the contractor.
      1. I can’t stand when people dump and forget their project on a contractor and then the day before the shoot blame them when it’s not ready.
      2. That’s on YOU, not the contractor. Let’s say we are building the world’s largest water balloon and you need someone to make a giant wooden stand for it to sit on. Most people here would just call someone like JB and have him do it and tell him to be done by filming day. Instead, you should really have it done a certain time frame in advance (you need to use your own intelligence based on the project to determine that) in case something is off we can make changes. And you need to then decide whether or not it’s a critical component. If it is, you should also begin working on a backup and while working on a backup you should check in with JB every single day. Ask him to send videos everyday to spot problems early, hell maybe talk to him twice a day. I don’t care just don’t leave room for error. No excuses, stop leaving room for error. Check in daily, receive videos, and know weeks in advance if you’re fucked. Not days.
    6. How to ask for decisions (I’m not always right)
      1. Whatever you don’t tell me, I don’t know.
      2. A bad way to ask for a decision to be made: “in a coming up video we are giving away a car, what do you think of this lexus it’s only $10,000”
      3. A good way to ask for a decision to be made: “We have a coming up would you rather video. One of the bits at the 6 to 9 minute mark we will be giving away a car. We are still on budget and the budget for this car is $10,000. I checked with PM. It could go up another $5k if you really wanted. I searched all of NC for cool ass cars around that price point and here are 5 i found that I got preapproved by creative all on budget. I also got 5 other backup options that are less “cool” looking and more avg if you’re going for that. Here is a picture of all 10 cars, the miles on the cars, and all the information you’d want. Which of these cars do you think is best or should I get other options?
    7. If what you are working on is a critical component, treat it like a baby.
      1. Critical components are: without them, the video doesn’t happen
        1. Example: If I want to put 100 people on an island and give it away to one of them, then securing an island is a critical component. It doesn’t matter how well planned the challenges on the island are, how good the weather is, etc. Without that island there is no video. Hence it is a critical component.
      2. Never flip a coin on a critical component:
        1. Protect it at all costs, check in on it 10x a day, obsess over it, make a backup, if it requires shipping pay someone to pick it up and drive it, don’t trust standard shipping, and speak up the second anything goes wrong.
    8. The right way to communicate cross-departments:
      1. Up, then over: i.e. you tell your dept. head, who tells the dept. head of another dept., who tells the person in charge of the thing
    9. Creativity saves money
      1. Use creativity to solve problems, not use money to solve problems.
        1. Example: Which sounds cooler to you as a prize for a gaming video. $20,000 or a year’s supply of doritos? To me doritos is so much funnier and I think our audience would find it fucken hilarious. So lets say we define a year’s supply of doritos by 5 packs of doritos a day for 365 days. That’s 1,825 packs of doritos and a quick google search shows you can buy a pack of doritos for less than a dollar but we can round up and just say a dollar per a pack of doritos. Our prize for the video just went from $20,000 down to $1,825 because we didn’t just throw money at the problem and we used creativity.
    10. Always build in some buffer in your solutions (always have a backup day)
      1. you still can do certain things to increase the probability of success and one of the easiest but most overlooked is having a back up day.
        1. Example: When you’re spending hundreds of thousands of dollars securing a set, renting a tank, etc. make sure you have the ability to extend them in case something goes wrong.
    11. Don’t take anything at face value, always dig
      1. Do not overly trust people outside the company. Investigate and verify what they say or it is your fault if they don’t pull through.
        1. Example: If you need 10,000 pillows by next week and you’ve called 10 pillow companies and none have more than a few hundred in stock but then the 11th company magically has 10,000 pillows, investigate. Are they drop shipping? Are the pillows shitty? Why the fuck does no one want your pillows? Push and get answers. What tends to happen is people think their job is done by finding the 10k pillows and just order them only for us to find problems with them when the arrive but it’s too close to the filming window to fix it.
    12. (It is preferred to use) Higher form of communication
      1. Talk face to face > phone call > Text
      2. The more complex what needs to be said is, the higher the form of the communication you should use. Call first then text if they don’t answer. Since we are on the topic of communication, written communication also does not constitute communication unless they confirm they read it.
    13. Own your mistakes
    14. Nothing comes before your priorities
      1. When you are assigned tasks you should have a prio list. Then nothing on this freakin planet is allowed to come between you and getting those prios done. If the other team asks for your help and you spend two days helping them and fall behind on getting your lamborghini secured, THAT’S YOUR FAULT. If the studio is burning down and you stop working to put out the fire and don’t get the lamborghini, THAT’S YOUR FAULT.
    15. Use consultants
      1. In every single freakin task assigned to you, always always always ask yourself first if you can find a consultant to help you.
        1. Need to make the world’s largest slice of cake? Start off by calling the person who made the previous world’s largest slice of cake lol.
    16. Math Science Vision Approvals Budget
      1. Everything you need can be solved by one of these 5 things above. Use Math, Science, Vision, Approvals, or Budget.
    17. No does not mean no
      1. Alway push through the Nos and exhaust every possible methods for solution
        1. Example: If we need a store to buy everything inside of and you call the local Dollar tree and the person that answers says “No, you can’t film here”. That literally doesn’t mean shit. Talk to other employees and see if any are fans or if any have kids that are fans, try talking to their boss, their bosses boss, have me dm them on twitter and try their social team, etc. If after all avenues are exhausted you are left with a no, that doesn’t mean don’t try the other dollar trees because the manager of those could be huge fans and willing to bend the rules.
    18. Work on multiple videos EVERYDAY
      1. If you ever only work on one video during a day, you failed as a MrBeast employee that day.
    19. (Learn to) be able to hold a camera
      1. When we do a big shoot not local it’d be nice to not have to bring 10000000 production people and 100000 camera people. If for example there are only a few scenes that need a couple extra camera men I’d love for us not to have to fly, house, transport, and baby more camera men when we could just have a few people from production or creative help for those overflow scenes because typically the more cameramen we have filming the less important each shot becomes.
    20. 1 out of 10 good. 10 out of 10 bad.
      1. This is what it means: Youtube has a feature that compares a new upload’s performance to the previous 9 videos and tells you how the views rank in the first hour, two hours, three hours, 4 hours, etc.
    21. Other things:
      1. Don’t leave contestants waiting for more than 3 hours
      2. Not every video should be a spectacle and we realize these videos are hard but that’s the point.
      3. If someone is necessary, then that’s fine but if not, kick them off set or go have them watch from behind a monitor. Create an environment where the contestants also feel natural.
      4. I’d rather you be honest with eachother then nice to eachother.
      5. Do not talk down to talent or do anything to make them feel like shit. I need them to be happy and in good moods and those boys are special to me. Ideally most talks with talent (Chris, Karl, Chandler, Nolan) go thru me, Ali, or Tyler to avoid confusion amongst them.
      6. Me like simple. The simpler the better (APPLY WITH A GRAIN OF SALT)
      7. We pivot a lot, be ready to have everything flipped on its head at a moment’s notice lol
      8. I want money spent to be shown on camera ideally. If you’re spending over $10,000 on something and it won’t be shown on camera, seriously think about it.
      9. Work with intensity
      10. Push outwards, not inwards.
      11. Pull all nighters weeks before the shoot so you don’t have to days before the shoot.
      12. If something goes wrong on shoot always check to see if it can be made into content. A tree fall over on your car and breaks the 100 vases we needed to give away? THAT’S FUCKEN HILARIOUS AND WE SHOULD MENTION IT IN THE VIDEO LOL
      13. Feasibility is working to see if the critical components of a video are actually possible.
        1. Example would be if I wanted to play hide and seek in the world’s largest building. If you did feasibility on this, that basically means you’re trying to see if it’s possible to get that building. If you do then we have a video and it should go into production. If you can’t then that’s why it was in feasibility so no one else wasted time.
      14. Never do anything that could make us look bad from a pr perspective.
      15. We often do renderings of sets to see what they look like beforehand, which is amazing and helps a lot cause i’m very visual and gets the whole team on the same page. When doing these renders though, I want to make sure you know the difference between a “Pre Vis” and a “Concept”. Please do not refer to a render as a “Pre Vis” unless that is actually what we plan on building. If it’s just a render for inspiration and is not building locked, call it a concept. This will greatly help with confusion in my opinion. Many people wave around a concept but call it a Pre Vis and people see it expecting that to be what’s built only to find out later that was a concept and the actual set is much different.

    Chapter THREE: Creative

    1. Creative is important in all aspects of the company, not just in dept. of creative, because that’s the core of Mr. Beast Production Company,
      1. If you find something inspiring and creative but you are in production and not creative, bring it to the creative team.
    2. Goal of content:
      1. To get Jimmy excited. That may sound weird to some of you, especially if you’re new but to me it’s what’s most important. If I’m not excited to get in front of that camera and film the video, it’s just simply not going to happen.
        1. If Jimmy as the talent is not excited, he will not perform in the video. If he is happy, the viewers are happy.
          1. The camera angles need to always get better, the pacing, the story, the jokes, the color, the lighting, the music, the props, the people, our framing, our ideas, literally everything must always be improving and innovating. Because that is what excites me. That’s literally what I live for, to see these videos get better and better and ultimately make the viewers happy.
    3. What makes good content:
      1. You need to read the book on this one coz he was kind of everywhere…
    4. How to measure the success of content:
      1. AVD and AVP
    5. Format:
      1. Last to leave: this does well because people want to find out, who actually is the last to leave…
      2. Stair stepping: “I bought the world’s largest firework” – showing lighting of $1 firework, $10, then $50, $375, $1000, $10,000, then the world record.
      3. Chased by a bounty hunter/military/FBI, etc.: Viewers are likely to stay by the end of the video to see what the result is.
      4. Donating to twitch streamers randomly
      5. Always be innovating on formats; viewers may think they want a certain format forever, but they don’t. All they want is new formats.
    6. Who is our audience:
      1. You need to read the book on this one
    7. You should watch our videos
    8. Brand deals are content:
      1. If you watch a lot of youtube you’ll probably notice that when someone does a brand deal it’s boring and sounds like they’re reading a script. We take a different approach to brand deals, we like to integrate them into the content so it doesn’t nuke our retention and boosts conversion.
        1. Remember that I told you we could see the exact moment when viewers click off our videos? Here is a retention chart for when we used to do brand deals the old way. Now here is a retention chart with a new style brand deal in it.
    9. Your information diet FUCKING MATTERS (Understand Culture):
      1. You. Can’t. Get. Inspired. By. Things. You. Don’t. Know. Exist.
        1. If you are a talent, watch tons of goofy and stupid shit.
        2. If you are a writer, inhale your type of inspiration.
    10. It’s okay for the boys to be childish:
      1. If talents want to draw a dick, let them draw a dick.
    11. We don’t fake things.
    12. Make sure to prep contestants and try to create an environment where they feel comfortable talking.
    13. If you wrote a banger piece of content but it is a 50/50 chance of working, write another piece of content. Content is unlimited, don’t be lazy.
    14. Run your content by as many people as possible for inspiration on how you could make it even better.
    15. I want famous people in our videos.
    16. Don’t ever put me in a situation where I have to lie, because I won’t and it will screw the video.
    17. No dull moments in videos
    18. You can’t fake intensity in videos
    19. The video endings must always be abrupt to protect retention.
    20. This isn’t really a creative thing but in general when on set be attentive and engaged. Filming days are stressful enough, be useful please.

    Chapter FOUR: Your Career

    1. Read the book; this is about how a staff will progress in the company
  • Transcript: “The Promise”, a Story By Matthew Dicks

    This is a transcript of Matthew Dicks’s story, The Promise, at a NYC Moth GrandSLAM.


    I asked Laura to be my girlfriend on the back steps of our high school. Laura was my best friend, so when I asked her, we made a promise to each other. We promised that we would always stay friends and we would always take care of each other, no matter what happened in our relationship.

    I started to lean in to kiss her at that moment, but I realized it was going to be my first kiss ever, and it was going to be hers as well. So, I wanted it to be a perfect kiss.

    Three days later, we were leaving for California. Our band was marching in the Rose Bowl Parade in Pasadena on New Year’s Day, and Laura and I were taking separate flights. We decided to make mixtapes for each other for the flight. I sat in my bedroom with my finger hovering over the record button, waiting for the perfect Richard Marx power ballad to come on, praying that the DJ wouldn’t speak over the introduction so the song would be perfect. I loaded those cassettes with all of the songs that said the things to Laura that I couldn’t say myself.

    But when I got on the plane and pressed play on my Walkman, there was no music on Laura’s cassettes. Instead, it was her voice. It was eight hours of Laura talking to me, telling me stories about her childhood, telling me about her hopes and dreams, reading Shel Silverstein poetry to me, and singing acapella Beatles songs to me. Somewhere over the Rockies, at like 33,000 feet, I fell in love with Laura March.

    And I decided she had to have the perfect first kiss. And it was perfect, because the next day we were at Disneyland. We were on the Ferris wheel, at the very top of the circle, surrounded by thousands of people in this beautiful spot, but as alone as two people could be. It was the perfect place to kiss her. And it was at that moment that I realized a perfect kiss is not really dependent upon location as much as technique. And I had never kissed anyone before, so I didn’t have technique. And so, I choked and didn’t kiss her.

    But that was okay, because like four hours later, I was on a little stone bridge in front of Cinderella’s Castle as fireworks exploded over our heads. It was perfect, and I choked and did not kiss her. So, I decided that I would kiss her the next day, New Year’s Eve, on the dance floor at midnight. When the clock struck 12:00, I would kiss Laura and we would have the perfect kiss.

    That morning, we snuck out of our hotel rooms and went down for breakfast early before anyone woke up. We sat and ate muffins, and Laura told me how she wanted to be just like her father when she grew up. She wanted to own her own business and raise two girls, just like he had done. And I told Laura that I wanted to be a writer someday. It was a dream I had, but I had never said it out loud in my life. She was the first one to hear it. And when we had finished our muffins, we went back to our room. But rather than taking the elevator, we decided to take the stairs in case the band directors were up. It was 14 flights up a Pasadena Holiday Inn stairwell that was sort of gray and smelled like urine and tacos, and it was already hot.

    We were up ten flights when Laura told me to stop. I turned around, thinking that she was tired, that she needed to take a rest. But as I turned, she grabbed my face and pulled it to hers and kissed me. When she broke, she looked at me and said, “Can we get on with things now?”

    And we did. For two years, we were like the disgusting high school sweethearts, perfect in every way. And if the things that don’t break up couples at the end of high school didn’t break us up, we might be together today. But we kept our promise, the one we made on those steps, and we stayed friends. We took care of each other.

    Laura became a business owner and had her two little girls, Ava and Tess. And I became the writer that I wanted to be. Three years ago, Laura called me and said she needed my help. So, I came back to our hometown. We went right back to those steps at our high school, and Laura told me that she had cancer. She told me that she was dying of cancer, and she asked me to be the person who would tell Ava and Tess someday the stories of her teenage years, the time that we spent together.

    I promised her I would. I told her that the writer I had become would write down her stories, that we would get together, reminisce, and I would capture every memory she wanted and put it down so I could share it when the girls were old enough someday.

    And then, for the next two years, I did not keep my promise. I saw Laura once, but I couldn’t stand the thought of seeing my high school sweetheart wither and die away. I’m looking at Facebook and I see a post from her sister Elena that says, “Laura’s back in the hospital again, and she’s not doing well, but they’re hoping she’s going to get out in time for Easter to celebrate.”

    And that’s the moment I decide, “Dammit, I need to do the right thing and keep my promise.” I’m going to go back to my hometown and spend the time I need to capture her stories.

    Laura dies two days later. They bury her in a cemetery where I once taught her to drive, on a hill where we once had a blanket and sat, talking about our futures. And I’m terrified to think that Laura wondered if I was going to keep my promise when she was dying. And I’m terrified to think that she died wondering if Ava and Tess would know the things she wanted them to know.

    So, I’m going to keep the promise that I made on that day, 25 years ago. And every time a thought of Laura comes into my mind, it gets written down. I just pray to God that I can remember all the ones that she wanted me to remember. And when I meet Tess and Ava someday, I’ll tell them their stories. The first one I’m going to tell is about a hot and stinking stairwell in Pasadena, California, and my first kiss—our perfect first kiss.


    Disclaimer: this transcript is a product of Youtube-auto-generated transcript and simple ChatGPT cleaning, and I do not own any intellectual property in any shape or form mentioned. The content on this blog is for informational purposes only and should not be considered professional advice. While every effort is made to provide accurate and up-to-date information, I make no guarantees about the completeness, accuracy, or reliability of any content. Any actions taken based on the information provided here are done solely at your own risk. I am not liable for any losses, damages, or consequences arising from your use of this blog or its content. Please consult with a qualified professional before making any significant decisions.

  • Transcript: “A Mop Sink and Maybe God”, a Story By Matthew Dicks

    Transcript: “A Mop Sink and Maybe God”, a Story By Matthew Dicks

    This is a transcript of Matthew Dicks’s story, A Mop Sink and Maybe God, at a Boston Moth GrandSLAM.

    I’m standing in a mop sink in a tiny closet in the police station in Bourne, Massachusetts. The door is closed, and there’s no light in the closet, so it’s pitch-black. It’s 1993, I’m 22 years old, and I’m about to confess to a crime I didn’t commit.

    I came to this police station two weeks ago after a seven-thousand-dollar deposit disappeared at the McDonald’s where I work. After three days of frantic searching, my boss and I determined that it was not going to be found, and I was responsible for it. I accepted responsibility and said I’d pay back what was lost. She said no. She said it’s company policy that you don’t pay it back, and it’s not the first deposit that’s ever gone missing, so don’t worry. I’ll lose about a year of promotions, but I’m a rising star in the McDonald’s managerial career, so she says I’ll be fine. But we have to go to the police station to report the loss for insurance purposes.

    So that day, we go, and we meet a police officer. He’s a tall guy, he’s old, and he’s got steel-gray hair. I tell him what happened. I say I brought three deposits to the bank, and only two ended up in the night drop. I don’t know where the other one went. He listens and then says, “We need to go back so I can ask you some more questions.” My boss jumps in and says, “No, no, we don’t think he stole the money. We’re just here to report it for insurance.” He says, “I understand, but we still need to go out back.”

    So I go to the back room with him, and I’m in this tiny room with a metal table and chairs. He pushes a piece of paper across the table. It’s my Miranda waiver that I need to sign, which means I’m going to be questioned without an attorney. I’m going to accept that, and I do, because I didn’t do anything. Innocent people don’t need lawyers, is what I’m thinking. So, I sign my Miranda rights away, and he starts to question me. Almost immediately, he gets right to drugs.

    He asks, “What drugs do you use, and are you selling?” I tell him I’m not using drugs. In fact, I’ve never used an illegal drug in my entire life. He does not believe that. And I want him to believe it because it’s true. I’ve been on my own since I was 18 years old, and it’s been really hard for me. I don’t have parents, and I don’t have family. I’m living without a safety net. I feel alone in this world, and I made a decision when I was young that I wasn’t going to use drugs because if I had a problem, no one was going to be able to save me. But he doesn’t believe me, and I can see it in his eyes.

    But after an hour, he says, “You can go.” As I’m leaving the police station, my boss leans in and says, “What the hell was that?” I say, “I don’t know, but I’m just glad it’s over.” But it wasn’t.

    Two weeks later, the police officer calls me again and says he needs me for more questions. So I go back to the police station, and I’m back in that little room with the metal table. Now, there’s another police officer there too. He’s a younger guy, and he’s smiling when I walk in. He gives me a cup of Sprite, and I like him right away. He says things like, “Take your time, it’s fine, think about it.” I get that. I understand. And I’m looking at him, and I start talking directly to him. I think, “He’s such a good cop. He’s not like this bad cop.”

    I’m literally thinking good cop, bad cop, and it’s going right over my head, like hundreds of hours of criminal drama, and I’m missing it completely. They’re right back at drugs. “What drugs are you using? That’s the only way you spent seven thousand dollars in the last two weeks.”

    I’m telling them again and again, and three hours of questioning go by. Then they say, “We’re going to take a minute,” and they leave the room. When they come back in, they say, “We have no more questions for you. We’re going to arrest you. You got to be arrested for grand larceny.” And they tell me they have a deal. The deal is, I confess to the crime, and I get no jail time. But if I don’t confess, they’re going to push for five years in prison. They tell me I am going to be convicted.

    So I decide I’m going to confess. I’m going to confess to a crime I didn’t commit. But there’s a sticking point. They need me to tell them what I did with the money. And I know what they want me to tell them. They want me to say I used it on drugs, and I would if I could. But I don’t actually know where to buy drugs. I don’t even know how much drugs cost.

    I don’t know whether to say I bought a gram of cocaine or ten pounds of cocaine. I don’t even know what drugs look like—like which ones come in blocks and which ones come in baggies. Whatever lie I make up about drugs is not going to sound right, and they’re going to know I’m lying. So I’m panicking because I can’t think of a lie. I can’t lie to make these people believe that I’m telling the truth when I’m really lying.

    I ask the cops if I can have a minute to think. I think they’re going to leave the room, but they don’t. They bring me down a hallway and put me in a little closet with a mop sink in the floor. They have me stand in that mop sink, and they close the door. I’m in the dark, and I feel more alone than I’ve ever felt in my life. I think there are two people in the world who know I’m in this police station right now, and they’re standing on the other side of the door. They want me in prison.

    And I’m just standing there trying to think of a way that I spent seven thousand dollars and have nothing to show for it. And I’ve got nothing. Standing there, I start to think, and I say, “God, should I confess to a crime I didn’t commit?” I’m not a person who believes in God. I’m one who wants to, but can’t. But when I say those words out loud, and I hear them out loud, I realize how insane it is to say I did this thing. For the first time in two weeks, my body fills up with something—like, this is not going to happen to me.

    And I push the door open, and I look at that steel-gray-haired man and I say, “No, I didn’t do it, and I’m not going to say I did.”

    So they arrest me, and they send me to jail. It’s a long two years before I’m sitting in a courtroom and I’m found not guilty. But that is not my victory day. My victory happens in that mop sink, in that dark closet, when I call out to a god that I don’t really think exists, and he maybe gives me the answer I needed to hear. And somehow, I think in that dark space that maybe I’m not alone.


    Disclaimer: this transcript is a product of Youtube-auto-generated transcript and simple ChatGPT cleaning, and I do not own any intellectual property in any shape or form mentioned. The content on this blog is for informational purposes only and should not be considered professional advice. While every effort is made to provide accurate and up-to-date information, I make no guarantees about the completeness, accuracy, or reliability of any content. Any actions taken based on the information provided here are done solely at your own risk. I am not liable for any losses, damages, or consequences arising from your use of this blog or its content. Please consult with a qualified professional before making any significant decisions.

  • Transcript: “Lemonade Stand”, a Story By Matthew Dicks

    This is a transcript of Matthew Dicks’s story, Lemonade Stand, at a NYC Moth StorySLAM.


    My parents didn’t have a lot of money when I was growing up. My mom was a disabled pharmacist and my evil stepfather was a psychiatric social worker, which actually enhanced his ability to be evil but did nothing for his earning potential. But I was lucky as a kid because, when it came to managing the meager sums in our house, my parents were exceptionally irresponsible. This sounds like a recipe for disaster, and it was. In a lot of ways, it destroyed our lives and our futures. But at the time, I was a boy, and boys are like goldfish— we can only see nine seconds ahead. So, all of my parents’ irresponsible decisions totally made sense to me at all times.

    We were hungry growing up. There wasn’t always a lot of food. I was a free lunch kid, surviving on government cheese. But while we were hungry, we had five dogs at all times. The town limit, I think, was four, but we had five. As a boy, this was great because the only thing better than a dog is a lot of dogs. I loved that we had In Poco, Rags, Meiselmen (who was named after the doctor who did my father’s vasectomy), Polly (who was always getting knocked up by the Pomeranian across the street), and Pac-Man (who was named after my mother’s favorite video game, which she played on the Atari 5200, the most advanced game system at the time). But it was attached to the only television in the house, which was a 13-inch black-and-white TV that, on good days, got three channels. Things just didn’t make sense, but they seemed so right to me.

    When I was 10, the furnace broke—like, really broke, like it can’t get fixed—and my parents’ solution was, “We will be cold.” And that worked. They were right; it worked, and we were cold. Then, the pipes started to freeze. The kids were already freezing, but the pipes started to freeze too. Eventually, they had to spring for a furnace. And for the next year, I just remember that birthdays were nothing, there was less food, and the electricity was getting shut off.

    So, when I was 11, I decided I was going to take things into my own hands. I was going to change my dad. I was going to earn money for myself, so I opened a lemonade stand. My goal was to earn $100 by the end of the summer, which, at that time, would have been like a million dollars for me. I charged 10 cents a cup, which, if you do the math, means I needed to sell 1,000 cups of lemonade over the course of two months. But things weren’t going well. I lived on a street where cars go by at 50 miles an hour, so they barely stopped.

    But one day, a father and son stopped. As I was pouring the lemonade, the kid saw my brother’s X-wing fighter at the top of the driveway. It was Star Wars, and it was the early ‘80s—Star Wars was everything. The kid tells me that he’s collecting action figures and is looking for Bossk. Now, Bossk is a bounty hunter from The Empire Strikes Back. He appears for like one second on screen, has no lines, but he has an action figure. And my brother has it. My brother has every action figure. I’m wearing my cousin Russell’s hand-me-down underwear, and he’s too big, so it’s like a lifetime of chafing for me, but my brother has every Star Wars figure in the world, because priorities are with my parents.

    But I get an idea. I go to my bedroom and get my brother’s Bossk figure, and I bring it down. I tell the kid, “Do you want to buy my Bossk?” I offer it for $2, which turns out to be a very low, low number. I didn’t know it at the time, but for me, it’s 20 cups of lemonade that I now don’t have to sell. He buys it, and I suddenly realize I’m not in the lemonade business. I am in the selling-my-brother’s-and-sister’s-toys-out-from-under-them business.

    So, I get my brother’s action figures, strip all the Barbie dolls from my sisters, and get those clothes. I start selling the toys to the people who are stopping for the lemonade, and now I’m really making some money. When the inventory gets low, I go next door to my grandfather’s house because he has these great picnics on Saturdays. I start clearing the good food off the tables and bringing it down to the lemonade stand. The fried chicken is unbelievable, and people are buying it.

    By early August, I have $100, and I can’t believe it. I put it in this little blue Cub Scout wallet and put it under my pillow for safekeeping. Two days later, I go into my bedroom, and the pillow is pushed aside, and the wallet is gone. I know what happened. I go outside, and an hour later, I find what remains of the wallet. It’s in the backfield, and the money is in shreds, just spread out around the grass. I find six dollars of the hundred. Pac-Man ate my wallet. He eats everything. And my wallet smelled like fried chicken. If my nose could detect the fried chicken, I knew Pac-Man’s could too.

    The irony that it’s Pac-Man who eats my wallet is not lost on me. I cry. I cry like I have never cried before. My mom comes to me, and I’m weeping. She expresses the requisite sympathy, but then she reminds me that I still have six dollars, so maybe there should be like a $94 cry and not a hundred-dollar cry. She thinks she’s being funny, but I’m just crying. Then, she gets mad at me and says, “It’s only money. You’re being ridiculous.” She thinks I was saving the money for myself. She doesn’t know that that was like insurance money, that I was going to use that money the next time the furnace broke or the next time the electricity got shut off or the next time there just wasn’t enough at dinner for all of us.

    And she’s mad at me because I can’t tell her that I’m trying to save money because I’m living with people who can’t always take care of me in the way that I think they should.


    Disclaimer: this transcript is a product of Youtube-auto-generated transcript and simple ChatGPT cleaning, and I do not own any intellectual property in any shape or form mentioned. The content on this blog is for informational purposes only and should not be considered professional advice. While every effort is made to provide accurate and up-to-date information, I make no guarantees about the completeness, accuracy, or reliability of any content. Any actions taken based on the information provided here are done solely at your own risk. I am not liable for any losses, damages, or consequences arising from your use of this blog or its content. Please consult with a qualified professional before making any significant decisions.

  • Transcript: “The Pole Vaulter”, a Story By Matthew Dicks

    This is a transcript of Matthew Dicks’s story, The Pole Vaulter, at a Moth StorySLAM.


    So, it’s the spring of 1986, and Coach Cronin has decided we need two more pole vaulters for our high school track team. We have Jimmy Dean, who’s our one pole vaulter. Jimmy is a senior and he’s a stoner, but he’s the best pole vaulter in all of Massachusetts in 1986. He can vault 17 feet and win every meet, but some meets are called relays, and those meets need to have three competitors. All of those competitors in pole vault need to clear opening height, or nothing counts. The opening height is seven feet, six inches.

    So, in every one of those meets throughout Jimmy’s entire career, we’ve never scored any points. Coach Cronin decides he’s going to fix it. He’s going to find two new vaulters, so he takes all the mediocre sprinters and all the mediocre long jumpers, and he brings us all down to the pole vault pit to have a vault off.

    Now, pole vaulting is an interesting sport. It requires strength, speed, and precision, but mostly, you just have to be crazy. You take a pole, about 12 feet long, and hold one end of it at the end of a runway. You run as fast as you possibly can for 18 steps. During the last three steps, you raise the pole over your head, jam the other end of the pole into a metal box set into the ground, throw your feet directly into the air, throw your head directly to the ground, and pull back on the pole. Theoretically, it throws you over the bar.

    I did not vault that first day. I went left, wrenched my knee, and literally ended up in a gully. But the pole was still in my hand. I had not let it go, and therefore, I became a pole vaulter.

    Two of us didn’t let go, and so that day, the pole vaulting team, probably the best name for a team ever, was Jimmy Dean, Jack Daniels, and Matthew Dicks.

    Fast forward to the first relay. I’d been practicing for about six weeks with Jack, and I’m occasionally reaching opening height. I know all the pressure is on me. Jack is older than me, and I want to be good, because the real secret to team sports is you want to beat your opponent, but what you really want is your teammates to like you. The only way you can get them to like you is to either perform at a very high level or perform higher than the mediocre people on your team. I cannot perform at a high level, so my goal is to beat Jack and hope that he’s mediocre.

    I don’t like Jack to begin with. He’s better-looking than me, he’s faster than me, and his name is Jack Daniels, and my name is Matthew Dicks. People look at me and go, “Oh, Dicks?” And I go, “No, it’s like more than one penis.”

    And I’d like to complain about my name, but my father, hand to God, is named Leslie, and he goes by Les. I have two uncles named Harold, and they both go by Harry. So, I don’t complain about my name very often.

    However, in pole vaulting, there’s a lot of waiting. You wait to vault, and they need to let you know because, like Jimmy, some people aren’t paying attention. So, the way they let you know is the official will announce, “Smith up, Jones on deck, Peterson in the hole.” For me, I would hear, “Dicks up, Dicks on deck, Dicks in the hole,” and it breaks your concentration when you’re getting ready to vault.

    I had a lot going against me that day. So, Dicks was up. He was at the end of the runway, and by some miracle of miracles, I made opening height on my first vault. At that moment, I realized I was going to be Mr. Dependable. I was going to be better than Jack, no matter what.

    And when Jack missed his first vault, I can’t tell you how good I felt. Then Jack missed his second vault, and for a moment, I thought the sun had come out and shined upon me. But then I realized that if Jack makes his third vault, he becomes Mr. Clutch. And Mr. Clutch is damn well better than Mr. Dependable.

    This son of a [__]! I believed, at that moment, had set it up so that all the drama and all the attention would be on him. On his third and final attempt, he would achieve opening height, stealing my win and not allowing me to be better than New Yorker.

    So, Jack ran down that runway, and I begged. I pleaded with all my mental energy. I just hoped that Jack would lose. I didn’t want the pole to break, because then he would have an excuse. I wanted something bad to happen.

    And it did. On his way up, Jack’s foot kicked the bar, and he failed. I was happy.

    Then something terrible happened. My team won the meet, and they won by like 50 points. Jack missing the pole, missing the bar—it didn’t matter anymore. Nobody cared because we beat the team by 50 points.

    What I wanted was for us to lose by one point. I wanted to step onto that bus being the guy who cleared opening height, and everyone’s staring at Jack, knowing that I was better than Jack. But because we had crushed the team so badly, nobody paid any attention to me.

    So, I learned three very important lessons that day. Number one: Although the world does revolve around me, not everyone notices. I’m sort of trapped like the sun in this pre-Copernican world where everyone refuses to acknowledge that it revolves around me, and I’m just going to have to accept that.

    Number two: I learned that while I’ve got my little mind games going, trying to become better than mediocre, everybody else has a mind game too. Some of them actually have noble mind games, like, “I want to win, I want our team to do well, and I want to support our teammates.” And while they’re doing all that crap, nobody pays attention to the rest of the mind games. So, while you’re thinking that the world is revolving around you, it really is only revolving around me, and everybody else isn’t paying attention.

    And the third, and really the most important lesson is: You don’t get attention in life by being the best of the rest. You really need to be the best of the best. And that day, and for many subsequent days, I was not.


    Disclaimer: this transcript is a product of Youtube-auto-generated transcript and simple ChatGPT cleaning, and I do not own any intellectual property in any shape or form mentioned. The content on this blog is for informational purposes only and should not be considered professional advice. While every effort is made to provide accurate and up-to-date information, I make no guarantees about the completeness, accuracy, or reliability of any content. Any actions taken based on the information provided here are done solely at your own risk. I am not liable for any losses, damages, or consequences arising from your use of this blog or its content. Please consult with a qualified professional before making any significant decisions.