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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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"It's not like you have ten ideas a day... if you have two good ideas for a movie script in a year, that's amazing." Screenwriter, Aline Brosh McKenna (The Devil Wears Prada and We Bought A Zoo, takes viewers inside her creative process in an exploration of where ideas come from.
~ 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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"The writing of a compelling dramatic story is always a transformative experience in that it ultimately transports the storyteller into a view of the world that is multi-perspectional, where the storyteller confronts and emphasises with the needs, desires and fears of a number of diverse and often conflicting characters and perspectives. The finding of a story involves a certain type of resiliency by virtue of which there is the possibility of liberating yourself from an artificially precise and confining ego. When you experience, develop and live inside a story-world that is founded on accepting and understanding the differences rather than anxiously asserting the identities of the characters, you edge closer to the truth that stands behind and within every story worth telling, for which there is no better word than "love".
THE MEANS IS FILM
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