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To work as a medium, channeling characters and stories, is to immerse yourself in a "show" that is being performed by some thing other than yourself, and thus to acknowledge that there's no way of entering a story other than surrendering to it, and allowing it to enter you. When this happens, the usual demarcations that separate the dreamer from the dream are erased. In jettisoning the ego-centric "self that creates", we surrender our need to manipulate and judge, and allow ourselves to be told by the story that is continually becoming present, not-yet.
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If the thought of spending yet another day with your nose inside a screenwriting book bums you out, take your nose out of the book and check out this video about the very funny business of being funny. If you're one of those that automatically believes comedy is the most demanding and difficult kind of dramatic writing to do well, then you owe it to yourself to watch this clip.
~ Bruce Joel Rubin
The most relevant and enduring questions in the evolution and evaluation of screen-stories-that-matter are WHERE'S THE DRAMA? and WHY DO I CARE? Yet the creation of fresh, surprising and compelling screen narratives - with some notable exceptions - is uncommon. Why is this? And what can be done about it?
Industry and non-industry film and program makers, film audiences, students, reviewers and critics are invited to join Billy Marshall Stoneking and Stoneking Seminars in this unique, online investigation into the nature and character of dramatic, screen storytelling.
Discover and explore the world of the character-driven story, as channeled by the storyteller working as a medium. Share your opinions and ideas, your insights and 'imaginary solutions'. Spread the word!
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“Character-based screen stories are always subject to – and not uncommonly subverted by – the needs and fears of those that tell them, namely, screenwriters, directors, producers, and others, whose extra-narrative agendas sometimes work to confound or distort the story and story-finding process in ways that trivialise the emotional energies that might otherwise encourage, motivate and empower the characters. There are no handy methods or sure-fire techniques for dealing with these fears and anxieties. The application of method can too easily and unconsciously become an expression of fear, and if allowed to operate unchecked and uncriticised will constantly stand between the storyteller and the story that is seeking to get itself told.”
- Billy Marshall Stoneking
THE MEANS IS FILM
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