A Million Miles In A Thousand Years: What I Learned While Editing My Life

Miller notes that his perspective on life changed when filmmakers wanted to make a movie based on his memoir, Blue Like Jazz. He wondered if the filmmakers wanted to make a documentary and considered what the experience would be like. He felt they were “about to explore [his] same old places in a way that might make them feel new” (15). Miller notes that he enjoys movies because they often help him escape real life. He wondered how it would feel to watch his own life as a movie.

Miller describes meeting with Ben and Steve, the filmmakers, to talk about his memoir. Steve said Miller’s book could bring something special to the screen, but Miller was confused, believing it was only a series of essays rather than an actual story. Steve asserted that they’d need to create a “narrative arc,” a story structure that would make sense. Miller’s character, Don, would have to acquire a more specific ambition and navigate obstacles. Miller listened as they explained that books must change to be adapted for the screen since movies need a clear plot. Steve also explained to Miller that thoughts do not translate well in films because a cinematic story is about action. Miller felt concerned that audiences would be bored if they showed them his life as it was and worried about “artistic integrity,” but agreed to make the necessary changes after learning his salary for the film.

In another meeting, Ben asked Miller how editing his life felt, suggesting it must be exciting to “dream it all up again” and add meaning (21). Miller responded that it wasn’t real life but a movie. However, he noted that by editing a fake life, they could learn something and apply it to their real lives.

Steve asked Miller for a whiteboard and talked about the work of making movies, emphasizing that ‘It’s all about the story” (23). Steve reflected on changes they could make to help people to like Don—they could make him an underdog, someone working on a blue-collar job. Miller protested that he never worked at a factory, but Steve emphasized they must find the story. Miller asked what was wrong with Don in the memoir. Steve noted that a movie must be “going somewhere,” and Ben added that Miller’s real life was boring. They should take the main events from Miller’s life and create a structure. Miller argued that life does not work like a formula because experiences and events are random. Steve began to teach Miller about the fundamental principles of story structure so the movie would make sense.

Addressing the readers, Miller suggests they might find his endeavor to write a movie based on his own memoir exaggerated. Miller notes that when a person is a writer, it is exhausting to think about themselves because writing becomes a mirror. Miller felt tired at the idea of writing another book, but he became excited about the movie and started thinking like the filmmakers, removing himself and his life from the equation and focusing on telling a good story. He began to view Don as someone else who had no resemblance to him. Soon, Miller realized that the fictional character was becoming the person he wanted to be. He was recreating his story and writing a better version, a character that was “flesh and soul better” (29).

As he worked on the screenplay, Miller realized that stories need “conflict” to be great but in real life, people grieve conflict and are “unwilling to embrace the potential greatness” (31). Miller notes that much of the “dramatic tension” in humanity revolves around life and death. He argues that people do not celebrate coming into life much but fixate on death. In playwriting, he says, tragedies end with a funeral and comedies with a wedding. He notes that the Bible describes the afterlife in heaven as a wedding feast—a celebration of the union between God and man.

Miller recalls his Uncle Art’s life and eventual death from a heart attack. He was the only man in the family after Miller’s grandfather died. He founded a rehabilitation facility, a boy’s camp for young men who were formerly incarcerated. Miller visited the camp and spent time with them. The men were happy and calm, in contrast to when many of them first arrived at the camp. When conflict arose, Uncle Art encouraged them to resolve it peacefully. Everyone wanted to stay in Uncle Art’s camp. Miller loved Uncle Art and notes that his life was like tree roots deep in the soil.

Miller remembers that Uncle Art’s funeral was beautiful, and his life was celebrated. There was a lunch, and everyone sang songs and told stories. The undertakers told Miller it was the most meaningful funeral they had witnessed. Miller notes that his uncle told a good story with his life, but his funeral was sad because, as with everyone who had a good life story, people felt he was gone too soon. The day after the funeral, Miller imagined his uncle was at a wedding in heaven.

Returning home from his uncle’s funeral, Miller reflected on the elements of a screenplay and what makes a story meaningful. Miller wondered if life could be lived like a good story and if a person could “plan a story for his life and live it intentionally” (39). He called his friend Steve, who said he learned about storytelling by taking a class from screenwriter Robert McKee. Steve gave Miller information about McKee’s seminar and told him to watch a film called Adaptation that features a scene representing one of McKee’s seminars. In the film, McKee, played by Brian Cox, discusses essential structure in stories. Steve warned Miller about McKee’s limited patience and advised him not to ask any questions.

Miller talked about the seminar with Jordan, a fellow writer, and they agreed to attend it together. To prepare, Miller read McKee’s book on storytelling, which felt philosophical.

Miller describes attending McKee’s seminar with his friend Jordan. The class was 36 hours long, and McKee would lecture for 12 hours a day. When he spoke about the quality of older films, Miller notes, he was calm and articulate. Once, though, he reproached Miller for whispering to his friend.

Miller learned much about the “science” of storytelling and how good stories are planned. However, even after the seminar, Miller wondered what a story was. He returned to McKee’s book and his notes but ultimately asked Jordan’s opinion. Jordan responded, “A story is a character who wants something and overcomes conflict to get it” (47). For Miller, Jordan’s answer defines the structure of a good story.

Miller met with a friend named Jason, who was upset because he had discovered pot in his daughter’s room. Jason believed her boyfriend abused drugs. Impulsively, Miller told Jason she was living a bad story, explaining the elements of storytelling. Months later, Jason reported that his daughter was better and had started living a better story.

Jason wanted to support his daughter by creating a “better role” for her. He explained to Miller that he remembered a character must overcome conflict to grow, so instead of fighting with his daughter, he attempted to build a better story. Surfing the Internet, he discovered an organization that built orphanages and thought it was something the family could do together. The venture involved risk because Jason’s family did not have the money. His wife and daughter were frustrated when he announced his decision to build an orphanage. At night, he talked with his wife about stories and their family’s issues. The next day, Jason’s wife told him she was proud of him and agreed to build the orphanage. Days later, his daughter asked them about the orphanage and thought she could post pictures on her website and ask people to donate. She broke up with her boyfriend and her confidence continued to grow.